Jane Eyre Written Task Results!

Dear IB Language and Literature students,

Here are the results of the Written Tasks you have produced, based on the Literary Option “Jane Eyre”, by Charlotte Brontë.

As a general comment, I would have to say it is still necessary to emphasise the connection between the task and the option being covered at the time of the writing process. In this case, we are looking at Jane Eyre through the glass of “Critical Study”, which focuses on what the text itself presents, such as the formal elements included in it (in this case: narrator’s voice, point of view, characterisation, themes, register, style, etc) and the effect of these on its readers!

I suggest you examine the way in which you explore all these elements through your Written Task, and especially how you present them in the Rationale. Nobody was able to achieve the highest score in this criteria, since there was always a component missing that needed to be explained more thoroughly. Ponder upon the following questions:

“Does the rationale for the written task explain how the task is linked to the aspect of the course being
investigated?”

“Does the rationale present quotes from the Written Task as supportive evidence? Are they explained?”

Also, as this is part of the module “Critical Study”, the use of register and style in the Written Task is essential and it must be coherent with the text-type chosen and the context of the literature work studied. Most of you decided to write Diary Entries, letters, and new chapters of the novel. If you think about it, in all these cases the narrative voice is “Jane” herself. Would Jane have used contractions such as “isn’t”, “doesn’t”, “till”, etc., especially considering the times in which she lived, and the kind of narrator she was? CONSISTENCY!

Cristóbal Léniz

Criterion A: Rationale 0/ 2
Criterion B: Task and content 6/8
Criterion C: Organization 4/5
Criterion D: Language and style 3/5
Total Score: 13/20

Mark: 44

Dan Eidelstein

Criterion A: Rationale 0/ 2
Criterion B: Task and content 7/8
Criterion C: Organization 5/5
Criterion D: Language and style 3/5
Total Score: 15/20

Mark: 51

Daniel Schiefelbein

Criterion A: Rationale 1/ 2
Criterion B: Task and content 8/8
Criterion C: Organization 5/5
Criterion D: Language and style 3/5
Total Score: 17/20

Mark: 60

Javier Elgueta

Criterion A: Rationale 1/ 2
Criterion B: Task and content 8/8
Criterion C: Organization 5/5
Criterion D: Language and style 4/5
Total Score: 18/20

Mark: 63

José Kitzing

Criterion A: Rationale 1/ 2
Criterion B: Task and content 8/8
Criterion C: Organization 5/5
Criterion D: Language and style 5/5
Total Score: 19/20

Mark: 66

José Tomás Gré

Criterion A: Rationale 1/ 2
Criterion B: Task and content 8/8
Criterion C: Organization 5/5
Criterion D: Language and style 5/5
Total Score: 19/20

Mark: 66

Matías Weitz

Criterion A: Rationale 1/ 2
Criterion B: Task and content 7/8
Criterion C: Organization 5/5
Criterion D: Language and style 3/5
Total Score: 16/20

Mark: 55

Pablo Romeu

Criterion A: Rationale 1/ 2
Criterion B: Task and content 8/8
Criterion C: Organization 5/5
Criterion D: Language and style 3/5
Total Score: 17/20

Mark: 60

Vicente Rehbein

Criterion A: Rationale 1/ 2
Criterion B: Task and content 8/8
Criterion C: Organization 5/5
Criterion D: Language and style 5/5
Total Score: 19/20

Mark: 66

Alberto García

Criterion A: Rationale ____/ 2
Criterion B: Task and content ____/8
Criterion C: Organization ____/5
Criterion D: Language and style ____/5
Total Score: _____/20

Mark: PENDING

Last Blog Checkpoint – Monday, Dec 2

These are the posts you must have by Monday, Dec 2:

1. Concept Map on Bubbl.us, or Online Timeline on Dipity, about Tennyson’s life.

2. Critical Analysis of “The Kraken” using a poem analysis technique (for example, TP-CASTT)

3. Link to PREZI Presentation with the analysis of your poem.

4. Activity 8.5 about poem “Beauty” (Photocopies handed in by Sam – p.204)

5.  Discussion questions about Simile and Metaphor (Photocopies handed in by Sam – p.204)

6. Activity 8.6 (Photocopies handed in by Sam – p.206)

You will be assessed based on the following criteria:

A. TASK COMPLETION: Student includes all assignments. (5 pts)

B. LANGUAGE USED: Grammar, spelling, register, and style used are appropriate. (5 pts)

C. CRITICAL THINKING SKILLS: Student shows deep knowledge and understanding of the contents by including his own reflections and associations. (5 pts)

D. USE OF MEDIA: Student manages to make his BLOG attractive by using a variety of media resources in his posts (pictures, videos, slide share presentations, audio, online concept maps, Prezi, etc.) (5 pts)

Total score: 20 pts

Individual Oral Sample!!!

extract 1 (poem)

mp3: Check your email inboxes!

Examiner’s Comments:

Suggested source for the text:

Keats, J. 1919. “Ode on a Grecian Urn” in The Oxford Book of English Verse. Ed. Quiller-Couch, AT. Oxford, UK, Clarendon. Found 5 November 2010 at http://www.bartleby.com/101/625.html

Moderator’s comments

Criterion	A	B	C	D	Total
Marks available	10	10	5	5	30
Marks awarded	10	9	4	4	27

Criterion A: Knowledge and understanding of the text or extract

This is a good sample to show how a student can exhibit full confidence with an extract, even though the exploration may not be exhaustive. The student’s confidence is seen in the manner in which she can integrate specific comments into her overall understanding of the poem, not only by offering analysis of the individual lines, but by moving back and forth between lines and stanzas to strengthen and embellish her argument as she goes. For example, when she senses that she has overlooked a point, she quickly notes that the imagery in stanza one is primarily visual, while discussing the auditory nature of stanza two. She fully understands the poem as an integrated whole and is careful to maintain the analytical stance of a commentary; she is aware that the burden of her argument is to show how language, structure and form shape meaning. Though there are further points of analysis to be made, there is no doubt that this student is entirely comfortable with this poem and is able to account for all of its significant aspects within her understanding of its meaning, showing excellent knowledge of the poem and the ability to effectively integrate well-chosen references from throughout the poem into her response.

Criterion B: Understanding of the use and effects of literary features

This student shows exceptional ability to see, discuss and integrate literary features into her commentary. In her roughly 12 minutes of analysis she is continually focused on how the ideas in the poem are shaped, intelligently exploring the structure of this poem, the various sound devices, imagery, the impact and importance of sentence structure and punctuation, the connotation and denoting of words, tone, paradox and other elements of contrast, and concluding with a statement of theme. There is some hesitancy, however, to give her full marks in criterion B because more than just once or twice the “effect” of the literary feature is not fully explored, and some references, such as to mythology and nature, are not fully shaped.

Criterion C: Organization

Although this response is intelligently delivered, the listener is, at times, a bit uneasy about where the discussion is going next. The introduction, while indicating key points that will be mentioned in the commentary, is a bit unfocused and the structure that the argument will take is unclear. The student indicates that this is an ode “on” not “to”, that it has “contrasting themes” such as “time and eternity versus humanity and transience” (which is actually a topic and not a theme) and includes references to mythology and nature. These do not turn out to be points around which the commentary is structured, nor are they points of equal interest in the analysis. Better, perhaps, if the student had indicated that she saw the poem as a conflict between the ideas of immortality/eternity and mortality/transience and felt that Keats ultimately indicates that both extremes can offer beauty and truth. This would have made her approach truly “thematic” and would have offered a point of organization for the parts of the analysis to follow. A brief indication of the structure—to look at the conflict as presented in each stanza and then to consider the overall poetic structure and how contrasts work within that structure—would have offered the listener a sense of direction.

Nevertheless, though the presentation could have been more “effective”, the student’s thinking was orderly and showed an organization of ideas, and the student held the two parts of the commentary together through the ideas of contrast, giving a sense of coherence to her structure.

Criterion D: Language

While the student’s language is always clear and appropriate, it is not always as precise as it might be. For example, in discussing “bitterness” in the last stanza, the point is not well expressed. The stumbling over words, perhaps in the rush to cover so much material, at times leads to awkward sentence construction. Register and style are effective and appropriate to the oral activity, although terms such as alliteration and theme are used a bit too broadly, and more specific language might have been employed. Articulation could have been more consistently effective, but, overall, the language is good.

Tips and Preparation of your Individual Oral Commentary + Timetable!

This is the timetable for next week Individual Oral Commentary Examinations:

Monday 25

16.00 – 16.40: Vicente Rehbein

16.45 – 17.25: Javier Elgueta

Tuesday 26

16.00 – 16.40: José Ignacio Kitzing

16.45 – 17.25: Pablo Romeu

17.30 – 18.10: José Tomás Gré

Thursday 28

16.00 – 16.40: Alberto García

16.45 – 17.25: Cristóbal Léniz

17.30 – 18.10: Dan Eidelstein

Friday 29

16.00 – 16.40: Daniel Schiefelbein

16.45 – 17.25: Matías Weitz

What should you keep in mind for your Oral Commentary?

Explore literary works in detail. Points to be considered could include:

• understand the explicit and implicit meanings in a text
• identify and situate a text or an extract in the context of a larger work
• respond to the key features of texts such as language, characterization and structure.

Analyse elements such as theme and the ethical stance or moral values of literary texts. Issues
to be considered could include:

• identify the evidence in the text for a particular stance
• consider point of view in different literary genres.

Understand and make appropriate use of literary terms. Examples could include:

• imagery
• persona
• tone
• metaphor
• irony

IMPORTANT!!

There will be 6 extracts from which you will withdraw one randomly for analysis.

• 3 of these will be poems by Alfred Lord Tennyson : “The Lady of Shalott”, “Idle Tears”, and “The Revenge: A Ballad of the Fleet”
• 3 will be extracts from Charlotte Brönte’s Jane Eyre (up to Chapter 13)

There will be two guiding questions along with the extract you choose. You must consider them in the organisation of your commentary.

Examples of guiding questions could be:

• How does the structure correspond to the overall meaning of the text?
• What elements of style are used to convey ideas, attitudes and feelings?
• How does the narrator’s point of view influence the reader’s understanding of the text?
• What type of audience is this text aimed at?
• What does this text tell us about the relationship between X and Y?
• What is the main theme or idea in this text, and how has it been developed?
• What atmosphere is the writer trying to create in the text?

TO CONSIDER!

During the commentary students must focus only on the text. If the text is an extract from a novel, for
example, the relationship to the whole text or other works by the writer should be mentioned only when
relevant.
Students should not use this activity as an opportunity to discuss everything they know about the larger
text. They are encouraged to integrate responses to the guiding questions into the commentary.

ASSESSMENT CRITERIA

Criterion A: Knowledge and understanding of the text or extract
• To what extent does the commentary show knowledge and understanding of the text?
• Are the comments supported by well-chosen references to the text?

Marks Level descriptor
0 The work does not reach a standard described by the descriptors below.

1–2 The commentary shows limited knowledge and little or no understanding of the text;
comments are rarely supported by references to the text.

3–4 The commentary shows superficial knowledge and understanding of the text; comments
are occasionally supported by references to the text.

5–6 The commentary shows adequate knowledge and understanding of the text; comments
are generally supported by references to the text.

7–8 The commentary shows a very good knowledge and understanding of the text;
comments are supported by well-chosen references to the text.

9–10 The commentary shows excellent knowledge and understanding of the text; comments
are effectively supported by well-chosen references to the text.

 

Criterion B: Understanding of the use and effects of literary features
• To what extent does the commentary show an awareness of how the literary features in the text (for
example, structure, technique and style) are used to construct meaning?
• To what extent does the commentary show understanding of the effects of literary features?

Marks Level descriptor
0 The work does not reach a standard described by the descriptors below.

1–2 There is little awareness of the use of literary features and little or no illustration of their
effects on the reader

3–4 There is some awareness of the use of literary features, with few references illustrating
their effects on the reader.

5–6 There is adequate awareness and illustration of the use of literary features, with
understanding of their effects on the reader.

7–8 There is good awareness and illustration of the use of literary features, with detailed
understanding of their effects on the reader.

9–10 There is excellent awareness and illustration of the use of literary features, with very good
understanding of their effects on the reader.

 

Criterion C: Organization
• How well organized is the commentary?
• How coherent is the structure?

Marks Level descriptor
0 The work does not reach a standard described by the descriptors below.

1 Little organization is apparent; the commentary has little structure.

2 Some organization is apparent; the commentary has some structure.

3 The commentary is adequately organized; the structure is generally coherent.

4 The commentary is well organized; the structure is mostly coherent.

5 The commentary is very effectively organized; the structure is coherent and effective.

 

Criterion D: Language
• How clear, varied and accurate is the language?
• How appropriate is the choice of register and style? (“Register” refers, in this context, to the student’s
use of elements such as vocabulary, tone, sentence structure and terminology appropriate to the
commentary.)

Marks Level descriptor
0 The work does not reach a standard described by the descriptors below.

1 The language is rarely clear and appropriate, with many errors in grammar and sentence
construction and little sense of register and style.

2 The language is sometimes clear and appropriate; grammar and sentence construction
are generally accurate, although errors and inconsistencies are apparent; register and
style are to some extent appropriate to the commentary.

3 The language is mostly clear and appropriate, with an adequate degree of accuracy in
grammar and sentence construction; the register and style are mostly appropriate to the
commentary.

4 The language is clear and appropriate, with a good degree of accuracy in grammar
and sentence construction; register and style are effective and appropriate to the
commentary.

5 The language is very clear and entirely appropriate, with a high degree of accuracy in
grammar and sentence construction; the register and style are consistently effective and
appropriate to the commentary.

Cumulative Assessment: IB Official Individual Oral Commentary

The individual oral commentary is a close and literary analysis of an extract, chosen and prepared by the teacher, from a work studied in part 4 of the course. It allows the student to engage in a critical examination of the relationship between formal elements and meaning in that extract.

Learning how to deliver an effective oral commentary

An effective delivery of the oral commentary should aim to give account of the following learning outcomes.

• Explore literary works in detail. Points to be considered include:
  • understanding the explicit and implicit meanings in a text
  • identifying and situating a text or an extract in the context of a larger work
  • responding to the key features of texts such as language, characterization and structure
• Analyse elements such as theme and the ethical stance or moral values of literary texts. Issues to be considered could include:
  • identify the evidence in the text for a particular stance
  • consider point of view in different literary genres
• Understand and make appropriate use of literary terms. Examples could include:
  • imagery
  • persona
  • tone
  • metaphor
  • irony.

Additionally, students should:

• organize the commentary coherently and persuasively
• use language that is clear, varied and appropriate.

The Official Oral Commentary

The oral commentary counts for 15% of each student’s overall grade and is based on the works studied in part 4 of the course. For this activity each student delivers an oral commentary based on an extract from one of the works. The oral commentary consists of a close detailed analysis of the content of the extract. The student should:

• demonstrate clear knowledge and understanding of the extract
• analyse the relationship between literary features, formal elements and meaning
• deliver a response that is carefully organized and expressed in a register suitable for a formal literary discussion.

Choice of Extract

The extract to be used for the oral commentary may be selected only by the teacher; students may not select the extract for their own particular oral commentary (except when asked to draw an extract randomly from the pool selected by the teacher). Students must not be told about or given the extract in advance. A student may draw an extract from a pool selected by the teacher at the start of the preparation period, which is no earlier than 20 minutes before the start of the commentary. A student cannot knowingly choose one extract rather than another.

The individual oral commentary process

The individual oral commentary can be broken down into three distinct phases. These are:

• Preparation time (20 minutes)
• The commentary (10 minutes)
• Discussion and subsequent questioning (5 minutes)

Preparation Time

The preparation time is a maximum of 20 minutes.

Students are given a copy of the extract (without any annotations or notes) and the guiding questions. The purpose of the preparation time is to enable students to consider all aspects of the extract and to organize their commentary.

Each student must prepare the oral commentary under supervision in a separate room. He or she should make brief notes for reference, but must not read them as a prepared speech. During the preparation time the students should have only the extract, the guiding questions and writing materials.

The commentary

The individual oral commentary should last 10 minutes.

Students are expected to demonstrate their ability to discuss their extracts in a sustained and organized manner. The commentary should not be a series of unconnected points, but should be structured in such a manner that the ideas develop logically and offer a sense of coherence.

Students are expected to use a formal register suitable for literary analysis.

As a commentary is a close detailed analysis of writing—showing an understanding both of what is said and of how it is said—it is imperative that students keep a very close focus on the extract itself and make references to passages elsewhere in the text (if, for example, the extract is from a novel) only when those references help clarify or deepen the understanding of the extract itself.

Discussion and subsequent questioning

Approximately 5 minutes should be allocated to this discussion.

This discussion should help the student to expand on any particular issues that were raised in the commentary or to clarify any obscure comments. In the case of less confident students, the teacher will need to draw them out, perhaps even taking them back to the original guiding questions, giving them an opportunity to improve. Teachers must be satisfied that the students have understood the specific details of their extracts and the relevance of those details to the overall significance of the extract.

The discussion and subsequent questioning is also the appropriate time to ascertain that the student is aware of the significance of the extract within the work as a whole or, in the case of a complete poem, the relationship of the poem to the other poems studied.

Adapted from <http://ibpublishing.ibo.org/live-exist/rest/app/tsm.xql?doc=d_1_a1lan_tsm_1105_1b_e&part=3&chapter=11>

Formative Assessment – Lord Tennyson’s Poetry

Objectives:

– To express ideas clearly in oral and written communication.
– To use oral and written expressions in a variety of styles, registers, and situations.
– To comprehend the use of the language, structure, technique and stylistic conventions

Instructions:

As part of your Formative Assessment this last term of the year, you will have to deliver an oral presentation plus a written analysis of one of Tennyson’s poems which you will be assigned today. You will also have to complete a chart with elements from the poems your classmates will present. These are the steps and the framework for your assignment:

1. Prepare a PREZI presentation about the poem you were assigned. You must include the following elements:

• Reference to the Author’s Life and Times and the Context of Production of the poem you were assigned (How does the poem connect to the period of time in which it was written?)
• Background information about the topic of the poem (At least from two different sources)
• Critical Analysis of the poem by using SOAPS, DIDLS, or TP-CASTT
• Structural Analysis of Poem (Feet and Metre, Figurative Language used, Rhyming Pattern – What type of poem is it?)
• Presentation of Images that in your opinion might represent the poem (at least 5) (provide justification as to why they represent it)
• Incidental Music for the whole presentation.

2. Before you start your presentation, you must provide your teacher and classmates with the printed version of your analysis (critical and structural). This is also an essential part of your evaluation.

3. While your classmates present, you must complete a chart with the elements of the poem they were assigned too. This will also be part of your assessment.

The assessment criteria for your assignment is the following:

1. CRITICAL ANALYSIS: Student’s analysis of poem assigned applies to one type of critical analysis efficiently and includes all elements required.  (8 pts)

2. STRUCTURAL ANALYSIS: Student refers to Feet and Metre, Figurative Language used, Rhyming Patterns, and the type of poem assigned thoroughly and efficiently. (6 pts)

3. INFORMATION PROVIDED ON AUTHOR and CONTEXT OF PRODUCTION: Information provided by student about the author, the context of production is appropriate, and states a clear connection between this and the poem itself. Student acknowledges sources appropriately. (5 pts)

4. BACKGROUND INFORMATION ON POEM’S TOPIC: Information provided by student about the topic of the poem is appropriate and presented in an engaging manner. Student acknowledges sources appropriately. (4 pts)

5. PRESENTATION OF IMAGES: Images (at least 5) have been chosen carefully and justification as to why they represent the poem is presented clearly and efficiently. (5 pts)

6. INCIDENTAL MUSIC: Music to accompany presentation has been chosen carefully and suits the delivery of the student appropriately. It does not interrupt or interfere, but serves as an engaging element of the overall presentation. (4 pts)

7. PRINTED ANALYSIS FOR TEACHER AND CLASSMATES: Student provides printed version of his critical and structural analysis of the poem assigned to classmates and students before he delivers his presentation. Neatness is required. (7 pts)

8. USE OF LANGUAGE: Use of the English Language (Grammar, Spelling, Punctuation, Paragraphing) is accurate throughout the presentation (also considered in the printed analysis) (7 pts)

9. CLASS WORK: Student’s use of time in class is efficient, and does not interfere negatively with the work of their classmates. Student also listens to classmates’ presentations respectfully (5 pts)

10. PUNCTUALITY: Student delivers presentation on assigned day with no delay. (3 pts)

11. CHART COMPLETION: Student hands in analysis chart completed by the end of all presentations. (7 pts)

 

Total Score: 61 points

ASSIGNED POEMS:

ALBERTO GARCÍA – ASK ME NO MORE

CRISTÓBAL LÉNIZ – BATTLE OF BRUNANBURGH

DAN EIDELSTEIN – CROSSING THE BAR

DANIEL SCHIEFELBEIN – DUET

JAVIER ELGUETA – FLOWER IN THE CRANNIED WALL

JOSÉ KITZING – HENDECASYLLABICS

JOSÉ TOMÁS GRÉ – IN MEMORIAM 3: O SORROW, CRUEL FELLOWSHIP

MATÍAS WEITZ – RING OUT, WILD BELLS

PABLO ROMEU – THE CHARGE OF THE LIGHT BRIGADE

VICENTE REHBEIN – THE REVENGE – A BALLAD OF THE FLEET

We start presentations on Monday, October 21

Types of Poetry – Lord Tennyson’s “The Kraken”

Before we go on with our critical analysis of “The Kraken”, let’s review the different types of poems and their classification. Watch the following clip and take notes to fill in the Types of Poetry Sheet

More information on Types of Poetry HERE

There are other important elements in Poetry that you must include in your upcoming critical analyses. Go through the following Slideshare Presentation about Important Elements in Poetry and take notes.

Elements of poetry from Beth Spataro

In your attempt to critically analyse “The Kraken”, it is necessary to find out about the legend itself as a starting point. Consider the information on the following website and the Discovery Channel YouTube clip. How can you connect them to Tennyson’s words when describing the Sea Monster?

The Legendary Kraken

Alfred Lord Tennyson’s childhood was surrounded by religiosity, given his nature as son of a vicar. Compare the figure of the mythological Kraken to the Biblical “Leviathan”. Can you spot any similarities?

TASK: Using any of the three techniques to analyse poetry explained in class, write a critical analysis of “The Kraken”. Point out each of the technique elements in your writing.

Here is the list of poems we will analyse in our upcoming lessons.

 1. Ask Me No More

2. Battle Of Brunanburgh

3. Crossing the Bar

4. Duet

5. Flower in the Crannied Wall

6. Hendecasyllabics

7. In Memoriam 3: O Sorrow, Cruel Fellowship

8. Ring Out , Wild Bells

9. The Charge Of The Light Brigade

10. The Kraken

11. The Lady of Shalott (1832)

12. The Revenge – A Ballad of the Fleet

 

Iambic Pentameter! Don’t Forget It!

Poetry Analysis and Victorian Poetry: Alfred Lord Tennyson!

Close reading is considered to be a core skill in the understanding and interpretation of literature. By looking closely at the detail of literary texts, students develop awareness of their rich complexities and the intricacies of their construction.

The study of literature – critical study – means that students will be able to meet the following learning outcomes:

• Explore literary works in detail. Points to be considered could include: understand the explicit and implicit meanings in a text; identify and situate a text or an extract in the context of a larger work; respond to the key features of texts such as language, characterisation and structure.

Analyse elements such as theme and the ethical stance or moral values of literary texts. Issues to be considered could include:

• Identify the evidence in the text for a particular stance
• Consider the point of view
• Understand and make appropriate use of literary terms. Examples could include imagery, persona, tone, metaphor, irony.

Click HERE for a complete list of POETIC TERMS you will need in your upcoming analyses.

TECHNIQUES FOR POETRY ANALYSIS 

Following are a handful of techniques you can use to perform an explanation, a thorough analysis or picking apart of all of the significance a particular poem has to offer. Not all of these skills will work for you on every poem you read, but if you memorise these strategies, you can figure out just about any poem put in front of you.

SOAPS is handy as a general introduction to a poem. If you are having a tough time getting any meaning at all from a poem, SOAP will lead you to at least a basic understanding.

• Subject:                     the general topic, content, and ideas in the poem
• Occasion:                   the time and place or context of the poem
• Audience:                  to whom the poem is written
• Purpose:                    the reason behind the writing of the poem
• Speaker                     the voice speaking in the poem

DIDLS is a good strategy for determining the tone of a poem and how the author creates the tone.

• Diction:                      the author’s word choice
• Images:                      vivid appeals to understanding through the senses
• Details:                      facts that are included or omitted
• Language:                 the overall use of language
• Sentence Structure:  how structure affects the reader’s attitude

TP-CASTT is possibly the most effective of the techniques listed.

• Title:                         Ponder the title before reading the poem.
• Paraphrase:              Translate the poem into your own words.
• Connotation:             Contemplate the poem for meaning beyond the literal.
• Attitude:                    Observe both the speaker’s and the poet’s attitude (tone).
• Shifts:                        Note changes in speakers and attitudes.
• Title:                          Examine the title again, but on an interpretive level.
• Theme:                      Determine what the poet is saying.

VICTORIAN POETRY AND LORD ALFRED TENNYSON

Born on August 6, 1809, in Somersby, Lincolnshire, England, Alfred Tennyson is one of the most well-loved Victorian poets. At the age of twelve he wrote a 6,000-line epic poem. His father, the Reverend George Tennyson, tutored his sons in classical and modern languages. In the 1820s, however, Tennyson’s father began to suffer frequent mental breakdowns that were exacerbated by alcoholism. One of Tennyson’s brothers had violent quarrels with his father, a second was later confined to an insane asylum, and another became an opium addict. Tennyson escaped home in 1827 to attend Trinity College, Cambridge. In that same year, he and his brother Charles published Poems by Two Brothers. Although the poems in the book were mostly juvenile, they attracted the attention of the “Apostles,” an undergraduate literary club led by Arthur Hallam. The “Apostles” provided Tennyson, who was tremendously shy, with much needed friendship and confidence as a poet. Hallam and Tennyson became the best of friends; they toured Europe together in 1830 and again in 1832. Hallam’s sudden death in 1833 greatly affected the young poet. The long elegy In Memoriam and many of Tennyson’s other poems are tributes to Hallam. In 1830, Tennyson published Poems, Chiefly Lyrical and in 1832 he published a second volume entitled simply Poems. Some reviewers condemned these books as “affected” and “obscure.” Tennyson, stung by the reviews, would not publish another book for nine years. In 1836, he became engaged to Emily Sellwood. When he lost his inheritance on a bad investment in 1840, Sellwood’s family called off the engagement. In 1842, however, Tennyson’s Poems in two volumes was a tremendous critical and popular success. In 1850, with the publication of In Memoriam, Tennyson became one of Britain’s most popular poets. He was selected Poet Laureate. In that same year, he married Emily Sellwood. They had two sons, Hallam and Lionel. At the age of 41, Tennyson had established himself as the most popular poet of the Victorian era. The money from his poetry (at times exceeding 10,000 pounds per year) allowed him to purchase a house in the country and to write in relative seclusion. His appearance—a large and bearded man, he regularly wore a cloak and a broad brimmed hat—enhanced his notoriety. He read his poetry with a booming voice. In 1859, Tennyson published the first poems of Idylls of the Kings, which sold more than 10,000 copies in one month. In 1884, he accepted a peerage, becoming Alfred Lord Tennyson. Tennyson died in 1892 and was buried in Westminster Abbey.                                  Extracted from <http://www.poets.org/poet.php/prmPID/300>

TASK: Consider the following clips and information about Lord Alfred Tennyson’s Life and Times. Use it to create your own Concept Map by using https://bubbl.us/, or a timeline on TIMETOAST or DIPITY Once it’s finished, insert it in your blog.

The first poem we will analyse by Lord Tennyson is The Kraken (1830). Your first approach to this poem will be to write an introductory paragraph on the analysis of the title and a structural analysis of the verses (feet and meter). Post in your BLOG.

Below the thunders of the upper deep;
Far, far beneath in the abysmal sea,
His ancient, dreamless, uninvaded sleep
The Kraken sleepeth: faintest sunlights flee
About his shadowy sides: above him swell
Huge sponges of millennial growth and height;
And far away into the sickly light,
From many a wondrous grot and secret cell
Unnumbered and enormous polypi
Winnow with giant arms the slumbering green.
There hath he lain for ages and will lie
Battening upon huge sea-worms in his sleep,
Until the latter fire shall heat the deep;
Then once by man and angels to be seen,
In roaring he shall rise and on the surface die.

 You can use LINGRO to read this poem!

Critical Study Part II: What makes English poetic?

By the end of this unit, keep in mind that you must reach the following objectives:

• Identify the different structural devices that make English poetic
• Identify different stylistic devices such as imagery and figurative language
• Plan and perform and individual oral commentary

WHAT MAKES ENGLISH POETIC?

Consider the words of Martin Heidegger (1889-1976), the German philosopher known for his existential exploration of the “being”, regarding Language and Poetry:

“The conception of language as an instrument of information is today pushed to the extreme. The relation of man to language is understood in a transformation whose range we still estimate. The course of this transformation can also not be immediately arrested. Moreover, it is fulfilled in the deepest silence. Indeed, we must admit that language in its daily usage appears as a means of comprehension, and these means are used for the usual relations of life. Only, there are still other relations than the usual ones. Goethe calls these other relations “deeper”, and says of language: In ordinary life, we scarcely get by with language because we only indicate superficial relations, As soon as speech is made from deeper relations, another language immediately appears: the poetic”

How do these words match your own conception of Poetic Language?

Edgar Allan Poe (1809-49) says: “Poetry is the rhythmical creation of beauty in words”

Samuel Taylor Coleridge (1772-1834) says: “Poetry: the best words in the best order”

Bright Star by John Keats (1816)