A Brief History of Poetry
The purpose of this module is to give the teacher
options of poems to teach throughout the year.
The aim is to attempt to develop and
understanding and enjoyment of poetry as a
literary genre. It is, therefore, not necessary that
each poem be taught in depth or that the module
is completed as a whole. Teachers can choose to
discuss poems as it is convenient to fit them into
the work programme.
In the broadest sense, this module is intended to offer an overview of
different periods and styles of poetry. The teacher is encouraged to add to
the information provided and to present the poems as vibrant and living
pieces of work.
In this Module we will investigate some of the most popular forms of poetry by
tracing the history and development of the different styles over the last millennium.
Poetry has gone through many stages, reflecting the different concerns in society.
As a separate form of literature, poems are actually older than other genres such as
novels or even short stories.
The earliest form of poetry was Oral Recitation where stories were told to convey
information or commemorate events. Vary often these stories would be sung or
recited with a strong rhythm and rhyme to make them more amusing and
memorable for the listeners. Ancient historical events, such as the wars between the
Greeks and Trojans, were immortalised through the poems of poets such as Homer.
These oral poems changed over the centuries to become songs or ballads which told
stories and conveyed history to people who were not involved in certain events.
Once poetry was written down it developed other forms, often related not only to
the sound of the words and rhythms, but also the visual appearance of the finished
writing. Thus the style and format of the poem became important. At one stage a
writer was not considered worthy until he or she had mastered the form of the
sonnet.
In later years, it has become acceptable for writers to deliberately break the rules of
traditional poetry and attempt to develop new ways of writing. Poets have used
concepts of “free verse” (the avoidance of rhyme and rhythm) to reflect the natural
patterns of speech and thought.
As always, poetry is a form of writing which allows the writer to explore different
means of expressing thoughts, experiences, emotions and philosophical concepts. As
a result, there is not one single identifiable form for poetry, as it could be used in a
variety of ways to capture moods, attitudes or convey thoughts and opinions to
others.
Let’s begin exploring some of the ways in which poets have expressed themselves
over the years.
1. THE TRADITIONAL BALLAD: Ballads are narrative poems, often telling tragic
stories, with repeated lines throughout the poem. Minstrels, bards or troubadours
would travel the countryside singing these ballads to the population, changing the
words to suit the audience. Often legends and Anews@ were spread this way.
The Raggle Taggle Gypsy
There were three old gypsies came to our hall door
They came brave and boldly - o
And the one sang high and the other sang low
and the other sang a raggle taggle gypsy - o
It was upstairs downstairs the lady went
put on her suit of leather - o
and there was a cry from around the door
She=s away with the raggle taggle gypsies - o
It was late that night when the Lord came in
enquiring for his lady - o
and the servant girl she said to the Lord
AShe=s away with the raggle taggle gypsies - o@
AThen saddle for me my milk white steed
- my big horse is not speedy - o
And I will ride till I seek my bride
She=s away with the raggle taggle gypsies - o@
Now he rode East and he rode West
he rode North and South also
until he came to a wide open plain
It was there that he spied his lady - o
AHow could you leave your goose feather bed
with blankets strewn so comely - o
And how could you leave your newly wedded Lord
all for a raggle taggle gypsy - o?@
What care I for my goose feather bed
with my blankets strewn so comely - o?
Tonight I lie in a wide open field
in the arms of a raggle taggle gypsy - o@
AHow could you leave your house and your land?
How could you leave your money - o?
How could leave your only wedded Lord
all for a raggle taggle gypsy - o?@
AWhat care I for my house and my land?
What care I for my money - o?
I=d rather have a kiss from the yellow gypsy=s lips
I=m away with the raggle taggle gypsies - o!@
Characteristics of the ballad:
1. Ballads are narratives – they tell stories.
2. Stanzas (paragraphs) usually consist of four lines with a strict rhyme scheme and
rhythm pattern.
3. The poem has repetition to make it easier to remember.
Rhymes Schemes and Rhythm Patterns (Meter):
When analysing a poem we begin by identifying the scansion. This refers to the
rhythm and rhyme pattern in the poem. We label the rhyme scheme by giving lines
which rhyme the same letter, as follows:
There were three old gypsies came to our hall door
They came brave and boldly – o
And the one sang high and the other sang low
and the other sang a raggle taggle gypsy – o
=a
=b
=c
=b
In this case the rhyme has been created by the addition of the –o to the end of the
second and fourth lines. However boldly and gypsy would rhyme anyway so the
rhyme scheme would be the same.
The rhythm is created by the number of syllables per line:
Now he rode East and he rode West
he rode North and South also
until he came to a wide open plain
It was there that he spied his lady – o
=8
=7
=8
=9
The meter of this poem is slightly irregular, which means that the
lines are not all of precisely the same length. However, if you check, you should find
that each stanza consists of a similar pattern.
Activity: Analyse The Raggle Taggle Gypsies
1. How effective is this poem as an example of a ballad? What
characteristics does it have?
Learners should be able to identify the characteristics mentioned above:
there is a story, there is rhyme and rhythm in four line stanzas.
2. Read the poem out aloud. Does this help with understanding it’s
story and characteristics?
Learners should recognise that the rhyme and rhythm are accentuated
when read aloud. This helps the story to flow and develop.
3. Listen to the recorded version * of the song and discuss how music
adds to the storytelling.
Learners should recognise that the music gives a sense of time and place
to the story – also the speaker’s accent / pronunciation adds to the
storytelling.
(The most available version is by The Waterboys, from ROOM TO ROAM, 1990.)
The Sonnet
John Donne (1572 - 1631) was a deeply religious man, who thought (and wrote)
about all the different parts of the human being: the mind (intellect), the soul (the
spiritual) and the heart (love, both spiritual and physical). Seeing that Donne, after a
career in the Navy, joined the Church; it is not surprising that ADeath Be Not
Proud@ is a deeply religious poem. Donne is often considered one of the earliest
metaphysical poets. *
Death be not Proud
Death be not proud, though some have called thee
Mighty and dreadful, for thou art not so,
For those, whom thou think=st thou dost overthrow,
Die not, poor death, nor yet canst thou kill me.
From rest and sleep, which but thy pictures be,
Much pleasure, then from thee much more must flow,
And soonest our best men with thee do go,
Rest of their bones, and souls= delivery.
Thou art slave to Fate, Chance, kings, and desperate men,
And dost with poison, war, and sickness dwell.
And poppy or charms can make us sleep as well,
And better then thy stroke; why swell=st thou then?
One short sleep past, we wake eternally,
And death shall be no more; death, thou shalt die.
5
10
*The Metaphysical Poets believed that they could come to an understanding of the
Human Condition by exploring experiences in a scientific way. This thinking was a
product of the Age of Enlightenment - the period of European history when the Voyages
of Discovery and the Renaissance had brought about new faith in Reason and Science.
The belief was that all things could be understood through scientific experimentation ,
even things that were metaphysical (literally Abeyond the physical@). It is this desire to
understand and explain the unknown that characterises these poets = work.
Activity:
1. Rewrite John Donne=s argument in your own words - why does death not
have reason to be proud?
As a Christian, Donne is not afraid to die as he believes he has eternal life in
Heaven.
2. Do you agree with Donne=s argument? Explain your opinion.
A personal response is required which should show some understanding of
the religious theme and context of the poem.
3. In what sense is this poem metaphysical?
The poem deals with issues and concerns beyond the physical world – it deals
with spiritual questions.
The Romantics
The Romantic Era is regarded as the period of the last years of the 18th and the first years of the 19th
Centuries. This was a period of great change thanks to the Industrial Revolution and also new
political thinking, mostly influenced by the American Revolution (1776 - 1783). The Romantic poets
were strongly influenced by the French Revolution (1789 - 1792) and the philosophy of Jean
Jacques Rousseau. Rousseau was a Humanist, concerned with how Man fitted into the Natural
World and how the balance could be maintained between Acivilization@ and ANature@.
THE WORLD IS TOO MUCH WITH US
The world is too much with us: late and soon,
Getting and spending, we lay waste our powers:
Little we see in nature that is ours;
We have given our hearts away, a sordid boon!
The sea that bares her bosom to the moon:
The winds that will be howling at all hours,
And are up gathered now like sleeping flowers;
For this, for every thing, we are out of tune;
It moves us not._ Great God! I'd rather be
A pagan suckled in a creed outworn;
So might I, standing on this pleasant lea,
Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathed horn.
-
5
10
William Wordsworth (1770 – 1850)
Glossary:
Proteus in Greek mythology, the prophetic old man of the sea and shepherd of the sea's flocks (e.g., seals). He
was subject to the sea god Poseidon, and his dwelling place was either the island of Pharos, near the mouth of
the Nile River, or the island of Carpathus, between Crete and Rhodes. He knew all things—past, present, and
future—but disliked telling what he knew. Those who wished to consult him had first to surprise and bind him
during his noonday slumber. Even when caught he would try to escape by assuming all sorts of shapes. But if
his captor held him fast, the god at last returned to his proper shape, gave the wished-for answer, and
plunged into the sea. From his power of assuming whatever shape he pleased, Proteus came to be regarded
by some as a symbol of the original matter from which the world was created.
Triton in Greek mythology, a merman, demigod of the sea; he was the son of the sea god, Poseidon, and his
wife, Amphitrite. According to the Greek poet Hesiod, Triton dwelt with his parents in a golden palace in the
depths of the sea. Sometimes he was not particularized but was one of many Tritons. He was represented as
human down to his waist, with the tail of a fish. Triton's special attribute was a twisted seashell, on which he
blew to calm or raise the waves.
Questions:
4.1. Discuss how Wordsworth has used the structure of his poem to develop the theme.
(4)
Learners should recognise the tradition structure of a sonnet in which the poet describes the concerns
in the octet (the destruction of the natural world through industrialisation) and then offers a solution
in the sestet (a return to nature).
4.2. Explain the relevance of the following lines and images:
4.2.1. “Getting and spending, we lay waste our powers”
He believes we waste our lives with greed, working to spend money and get possessions.
(1)
4.2.2. “Little we see in nature that is ours”
We have lost our connection to nature, we ignore / miss its beauty.
(1)
4.2.3. “For this, for every thing, we are out of tune”
We are no longer in tune with Nature, we have lost our connection to the real world.
(1)
4.2.4. “I'd rather be
A pagan suckled in a creed outworn”
He wants to return to what he believes was a more innocent and purer time – the pagans were
nature worshippers.
(1)
4.3. What emotional tone is present in the line “It moves us not”? Why does the speaker
feel this way?
(2)
A good interpretation will recognise the sense of resignation, despair and anger in this tone. The
speaker is disillusioned with what he sees.
4.4. Account for the poet’s use of the term “getting and spending”, why has he chosen this tense? (2)
This is present continuous tense – it is happening continuously without any sign of ending.
4.5. Study the illustrations below and then judge which one best displays the poem’s relevance in
the 21st Century. Motivate your opinions.
(5)
Any good response will connect lines from the poem to details in the images.
Picture A:
Picture B:
William Blake is unique in English literature. A printer by trade, Blake was also
painter, a political and philosophical thinker, and a poet. He produced Ailluminated@
books by etching the words and illustrations into copper plates using acid, and then
printing from these plates.
Blake is regarded as a true visionary. Although his poems have the characteristics of
Romanticism (concerns of Man and Nature; the understanding of the
Human Soul), Blake has been seen as far ahead of his time. His poetry was more
popular in the 20th Century than any other time. Blake=s most famous poems come
from books called ASongs of Innocence@ (1789) and ASongs of Experience@
(1794)- in his own words: AShowing the Two Contrary States of the Human Soul@.
Compare these poems - are they really as simple as they seem?
A close reading would suggest that the poems have more complex
meanings than would first appear.
The Clod and the Pebble
Love seeketh not Itself to please,
Nor for itself hath any care;
But for another gives its ease,
And builds a Heaven in Hell’s despair.
So sang a little Clod of Clay
Trodden with the cattles feet;
But a Pebble of the brook,
Warbled out these metres meet.
Love seeketh only Self to please,
To bind another to Its delight:
Joys in another=s loss of ease,
And builds Hell in Heaven’s despite.
Questions:
1. Explain the symbolism of the Clod and the Pebble.
A clod is soft can change / be broken, whereas a pebble is hard and solid.
These could symbolise different human personalities.
2.What has made the difference in the way the Clod and the Pebble view
the world?
The clod has been walked on and damaged in the road, while the pebble
has been smoothed over in the river. The pebble has had an
easier life.
3.What language mistake has Blake made in this poem?
There should be an apostrophe in “cattle’s feet”.
4.Why do you think these poems are written with such strict rhyme
and rhythm? Is this deliberate? What is it meant to relate to?
It is almost as simple and memorable as a nursery rhyme,
suggesting it is meant to be read to / learnt by children.
A Poison Tree
I was angry with my friend:
I told my wrath, my wrath did end.
I was angry with my foe:
I told it not, my wrath did grow.
And I water’d it in fears,
Night & morning with my tears:
And I sunned it with smiles,
And with soft deceitful wiles.
And it grew both day and night,
Till it bore an apple bright.
And my foe beheld it shine,
And he knew that it was mine.
And into my garden stole,
When the night had veil’d the pole;
In the morning glad I see,
My foe outstretched beneath the tree.
Questions:
5.1. Which of these poems is AInnocent@? Why?
A good response will recognise that both poems have a
sense of experience – the speaker has learnt through
observation.
5.2. Which is AExperienced? Why?
The poison tree suggests learning a lesson through experience. Learners
should discuss and argue their opinions by using the text for support.
6.What point is Blake making in AThe Poison Tree@?
Grudges and arguments poison all involved – especially those who hold
the grudges.
7. Is this a Romantic poem? Explain.
It is Romantic in that it uses natural imagery to discuss elements of
human experience.
THE VICTORIANS: Alfred, Lord Tennyson (1809 - 1892)
Queen Victoria reigned over England during the era of Imperialism
(1837 - 1901). During this time England really did rule the ASeven
Seas@ from New Zealand in the East, across India in Asia, Kenya and
South Africa in Africa, to Canada in the West - Athe Sun never set on
the British Empire@. The poets of this time were deeply affected by the
world they saw around them: A world filled with social problems caused
by the Industrial Revolution. As a result, these poets searched for
beauty in myths and legends. As always, Nature provided a refuge.
THE EAGLE
He clasps the crag with hooked hands:
Close to the sun in lonely lands,
Ringed with the azure world, he stands.
The wrinkled sea beneath him crawls;
He watches from his mountain walls,
And like a thunderbolt he falls.
Questions:
1. What is the sun in the first stanza meant to symbolise?
The Empire or the Monarch (Queen Victoria).
2. Explain the effect of the personification used by the poet.
The personification of the eagle allows him to seem like a powerful and omnipotent
ruler surveying his empire.
3. The visual image in line three is one of nobility, dignity and strength. What could
the eagle be symbolising? Refer to the Alonely lands@ in line 2, and the eagle
Aringed with azure world@.
Once again this emphasises the regal nature of the eagle, linking him to the British
Empire and its control over the colonies around the world.
4. What characteristics of the eagle are suggested by: Aclasps@, Astands@, Alike a
thunderbolt@?
Strength and determination – there is no weakness or doubt.
5. Explain the ambiguity of the phrase Ahe falls@.
This could describe the speed with which he dives or the fact that empires cannot
exist forever.
MODERN POETRY: Modernism was an early Twentieth Century movement in all the arts: poetry,
fiction, drama, music, painting and architecture. This movement was characterised by abstract art,
stream-of-consciousness novels and free verse poetry. T. S. ELIOT (1888 - 1965) is most famous for
his complex free verse poem AThe Wasteland@ written as a response to the First World War (1914 1918). He worked as a banker and a then a publisher while writing. He received the Nobel Prize for
Literature in 1948. The book AOld Possum=s Book of Practical Cats@ was turned into the musical
CATS and is amongst the most well known of Eliot=s poetry.
MACAVITY – THE MYSTERY CAT
Macavity’s a Mystery Cat: he’s called the Hidden Paw –
For he’s the master criminal who can defy the Law.
He’s the bafflement of Scotland Yard, the Flying Squad’s despair:
For when they reach the scene of crime – Macavity’s not there!
Macavity, Macavity, there’s no one like Macavity,
He’s broken every human law, he breaks the law of gravity.
His powers of levitation would make a fakir stare,
And when you reach the scene of crime - Macavity’s not there!
You may seek him in the basement, you may look up in the air –
But I tell you once and once again, Macavity’s not there!
Macavity’s a ginger cat, he’s very tall and thin;
You would know him if you saw him, for his eyes are sunken in.
His brow is deeply lined with thought, his head is highly domed;
His coat is dusty from neglect, his whiskers are uncombed.
He sways his head from side to side, with movements like a snake;
And when you think he’s fast asleep, he’s always wide awake.
Macavity, Macavity, there’s no one like Macavity,
For he’s a fiend in feline shape, a monster of depravity.
You may meet him in a by-street, you may see him in the square –
But when a crime’s discovered, then Macavity’s not there!
He’s outwardly respectable. (They say he cheats at cards.)
And his footprints are not found in any file of Scotland Yard’s.
And when the larder’s looted, or the jewel-case is rifled,
Or when the milk is missing, or another Peke’s been stifled,
Or the greenhouse glass is broken, and the trellis past repair –
Ay, there’s the wonder of the thing, Macavity’s not there!
And when the Foreign Office find a Treaty’s gone astray,
Or the Admiralty lose some plans and drawings by the way,
There may be a scrap of paper in the hall or on the stair –
But it’s useless to investigate - Macavity’s not there!
And when the loss has been disclosed, the Secret Service say:
‘It must have been Macavity!’ – but he’s a mile away.
You’ll be sure to find him resting, or a-licking of his thumbs,
Or engaged in doing complicated long division sums.
Macavity, Macavity, there’s no one like Macavity,
There never was a Cat of such deceitfulness and suavity.
He always has an alibi, and one or two to spare:
At whatever time the deed took place - MACAVITY WASN’T THERE!
And they say that all the Cats whose wicked deeds are widely known
(I might mention Mungojerrie, I might mention Griddlebone)
Are nothing more than agents for the Cat who all the time
Just controls their operations: the Napoleon of Crime!
1. Identify the scansion of the poem.
There is a strong rhythm and rhyme scheme: 10 stressed and unstressed syllables in
the first line; 14 stressed and unstressed syllables in the second line.
There is a rhyme scheme of rhyming couplets (aa bb cc etc)
2. What effect does the structure and patterning of the poem have on the
storytelling of the poem?
There is a sense of energy and excitement created through the rhyme and rhythm.
3. Account for the repetition of the line Macavity’s not there!
The repetition of this line emphasises Macavity’s ability to avoid the law, he gets
away with his crimes.
4. Describe some of Macavity’s “crimes”.
He steals food (loots the larder), steals jewels and milk, “stifles” Pugs (dogs),
damages the greenhouse and the trellis. “He defies the laws of gravity”.
5. Is this poem simply a children’s poem? Could it have other meanings?
It can be a fun poem for children, in which the cat’s misbehaviour is personified and
exaggerated. It is also a mockery of the Scotland Yard and the police’s inability to
catch criminals.
6. Comment on what you believe the poet’s intentions were in writing this poem.
To what extent has he succeeded in fulfilling this intentions?
The poet was using the misbehaviour of a cat to playful mock crime and the police
force. It is a playful poem, meant as fun.
Modern South African Poetry
Of course, poetry reflects all aspects of the world and society. Poets use the form to
explore and comment on the environment they find themselves in. As South Africans
it is both interesting and challenging to read work which represents the society we
know.
We will now discuss some representative poems from South Africa.
MBUYISENI OSWALD MTSHALI (1940 - )
Born in Vryheid, KwaZulu Natal, Mtshali went to Johannesburg at the age of 18 and
worked as a messenger while submitting poems to literary magazines. In 1971 Sounds of a
Cowhide Drum, one of the most popular South African poetry anthologies, was published. After
studying in America, Mtshali returned to teach at a Soweto college. He insisted that South
African poets use their mother tongue, as well as English, to write about the day to day life in
South African townships.
INSIDE MY ZULU HUT
It is a hive
without any bees
to build the walls
with golden bricks of honey.
A cave cluttered with a millstone,
calabashes of sour milk
claypots of foaming beer
sleeping grass mats
wooden head rests
tanned goat skins
tied with riempies
to wattle rafters
blackened by the smoke
of kneaded cow dung
burning under
the three-legged pot
on the earthen floor
to cook my porridge.
WALLS
Man is
a great builder
the Berlin Wall
the Wailing Wall of
Jerusalem
but the wall most
impregnable
has a moat
flowing with fright
around his heart.
A wall
without windows
for the spirit
to breeze through
A wall
without a door
for love to walk in.
Questions:
1. What images are used to describe the Zulu hut?
Natural images from the traditional Zulu environment: the beehive especially.
2. Which figure of speech is used in these images?
Metaphors.
3. Identify the poetic technique used in A a cave cluttered@. Discuss its effectiveness.
Alliteration which emphasises the clutter in the hut.
4. Explain the irony in the words AMan is / a great builder@.
Man builds to separate himself from others – building is great separation.
5. What is the poet suggesting in the poem Walls?
People often choose to separate themselves from others – want to be cut off from
interacting with others.
HEATHER ROBERTSON (1964 - )
Born in Cape Town, Robertson worked as an English teacher, Regional
Co-ordinator of a writer=s group and editor of an arts supplement.
Her collection Under the Sun (1992) won the Ingrid Jonker prize.
STARS AND STRIPES
America
smudge of earth
speckled stardust
presleyed,
hendrixed,
joplinned,
stalloned
home of the waltons and house on the prairie home
of blues and brooklyn
home of indian footprints buried in the wind
your generals have marched across the planet
killing
in the name of coca cola,
macdonald=s
and the dream
have you balanced the cost of freedom
on those graves
you sowed
in
Vietnam
Chile
Nicaragua
San Salvador
Angola
Iraq
is a vet medallion
and a mother=s tears
worth
mining the sweat of the poor
lining the bellies of the rich
in the name of
an
oily
snack
crackle and
pop
tv-missile
democracy?
1. Why has the poet chosen to isolate certain words?
Most of these words are elements of what she sees as American culture.
2. Comment on the appropriateness of the poet’s choice
to not write in correct, formal, sentences. Does this
add to the effect of the poem?
By writing in a flood of images the poet is capturing the
overwhelming nature of American culture in our media.
3. Identify elements which relate to American culture.
What is the poet suggesting about how American culture influences the world?
Learners should list all the images that they associate with American culture. The
poet is suggesting that America influences the world by exporting culture throughout
the world, often negatively impacting other cultures.
4. Write down the poet’s theme or meaning, using your own words.
The effects of American Imperialism – American culture invading the world.
5. Do you agree with the poet’s assessment of America as a Atv-missile
democracy@? A good answer must show a clear inter[pretation
of the meaning of this phrase. TV as a missile, doing damage in
the name of democracy.
6.
Collect images that reflect the conventional view of
America and design a collage that reflects the poem.
The teacher can decide whether this activity show
be completed for marks. A simple rubric or
checklist can be drawn up, possibly in consultation
with the learners, as to what elements of the
collage are necessary. For example: Suggest that
learners chose lines from the poem to accompany
images in the collage.
A simple checklist could be Criteria
Relevance of chosen images
Quality of design
Use of language
Choice of quotes
Relevance of the collage to the
poem
Mark allocation
“Slam” or hip-hop Poetry:
One of the most popular movements in modern poetry is the development of “slam
poetry”. This a return to the oral tradition of poetry, where the poet
presents the poem to an audience. With the development of “rap” and
“hip-hop” as a genre of music based on the rhymes and rhythms of poetry
in a musical form, poets have recognised that the art does not exist purely on the
page anymore.
In different parts of America, meetings of poets and poetry readings are held
regularly. Some of these are organised as competitions where poets compete to
compose and present poems with little or no preparation time. At different events
the rules vary – at times poets are allowed to “free-style” and create spontaneously.
In other events, the poets must stick to predetermined formats or requirements.
1. Consider Hip Hop music.
1.1
What characteristics of poetry does Hip Hop contain?
Provide examples.
Rhythm, rhyme, assonance, alliteration, often metaphors and similes.
1.2.
To what extent can lyrics or songs be considered poetry? Motivate your
opinion by providing appropriate examples as proof.
This could lead to an interesting discussion or debate in which learners must justify
their opinions by quote support from lyrics and poetry. The teacher should not limit
the learners’
expression
but allow a
valid
conversation
to develop.
1.3.
Should other forms of song lyrics be considered poetry? Provide a short,
reasoned argument to prove your opinion.
Combine the question with the previous one to allow for broader discussion.
Television
Look at me, look at me, look at me, look at me,
look at me. Look at me. No no no, don’t
look over there, there’s nothing to look
at over there, look at me, look at me,
look at me.
Are you looking at me? Is everybody looking at
me? Do I have your attention? Good
Don’t get the wrong idea. I’m not trying to take
over your life. You need, what? What do you
need? You need to, what? Go to the bathroom?
Fine. Get up, go to the bathroom, come back,
look at me. You need, what? You need to get
something to eat? Fine. Get up, go to the kitchen,
get something to eat, come back, look at me.
You need to, what? Sleep? Fine, get up, go to bed,
go to sleep, get up, come back, look at me.
Okay. So we have an agreement. You will do what you
absolutely need to do, and when you’re done,
you will come back and look at me.
Don’t worry about your schedule. I am here for you.
I am here for you. Twenty-four hours a day,
seven days a week, I am here for you. I am here
for you. You need me, I’m here. Fair and foul,
thick and thin, I am here for you I am here for you.
People try to tell you I’m bad? You tell them that
I am here for you. Twenty-four hours a day,
fair and foul, thick and thin, I am here for you.
I am here for you, I am here for you.
People tell you that I am bad, know what it sounds
like? Sour grapes.
You see what I – hey, hey, hey, hey, hey, no, don’t look over
there, there’s nothing going on over there, look at me,
look at me, look at me.
I’ve got stuff you wouldn’t believe. Danger? Sex? Action?
Death? Thrills? Comedy? All here, all in the next eight
minutes.
Can you believe it? You can’t. It’s unbelievable. You can’t
believe it because it’s unbelievable. It’s a miracle.
Just keep looking at me. Just keep looking at me, just keep
looking at me. Look at me, look at me, look at me,
look at me, look at me.
5
10
15
20
25
30
35
40
Todd Alcott
(from The Spoken Word Revolution)
1. Why has the poet chosen to repeat certain lines and phrases so many times?
Is it appropriate to the theme of the poem?
The poet is reflecting the way in which information is often repeated and insistent –
especially advertising. The purpose is to attract attention.
2. What point is the poet making about television? Do you agree with his
opinion? Television is repetitive and all-consuming, taking time and attention.
3. Account for the emphasis on certain words in lines 18 and 38.
These words are emphasised because this is the way advertising and television puts
emphasis on ideas to “sell” their products to the viewer.
4. Listen to
poem (it
Spoken
Does it
hear the
How
and
Learners should
are more direct
spoken – the
adds to the
voice, tone and
to the words.
Todd Alcott reciting the
is available on The
Word Revolution CD).
make a difference to
poet reciting the poem?
does this assist meaning
understanding?
recognise that the words
and
personal
when
emphasis and intonation
meaning. The use of
pause can add humour
5. Consider the cartoon below. Explain how this cartoon’s message is similar to
that of the poem.
Just like the cartoon, many people watch unpleasant programmes on television as
“entertainment” because it is “reality”. People are mesemerised by what they see on
television.
“Reality TV”
ACTIVITY 1: Creative Writing
Allow the learners sufficient time to make numerous attempts and to edit
and develop their own poems. Discuss the need for originality and the
need to avoid plagiarism of any kind.
It can be easier for learners to work according to specific guidelines, so
encourage them to choose a format (ballad, sonnet, haiku) to explore.
Instructions: Write an original poem. You may use any of the styles which you
have studied in this module. You need to meet the following requirements:
1. Use the correct format for the poem you have written.
2. Your poem must be original and contain your own ideas.
3. Write a short motivation (100 words) explaining why you chose this form of
poem.
You will be assessed using this rubric:
Assessment for Original Poem
Criteria
1. Correct format
2. Originality of
writing
3. Appropriate
language
4. Convincing
motivation
Learner’s Name: _______________
Levels &
Marks
Description
Level 7:
16, 17, 18,
19, 20
The poem perfectly uses the format and is
clearly an original work. The language has
been carefully chosen. The learner has
convincingly motivated the reasons for
writing.
A very good attempt at an original poem,
using appropriate format and language. A
clear motivation given.
An honest attempt at writing an original
poem. The format has a few errors and the
language is unedited. There is a good
motivation given.
A basic poem with some originality, though
the format is not well used and there are
many language errors. The motivation is very
superficial.
An attempt at writing a poem, but there are
errors in the format and language used.
There may be questions about the originality.
The motivation is too superficial and
unconvincing.
Level 6:
14, 15
Level 5:
12, 13
Level 4:
10, 11
Level 3:
8, 9
Level 2:
4, 5, 6, 7
Level 1:
1, 2, 3
A poorly constructed poem with many errors
in format and language. Ideas do not seem
original and there is little convincing
motivation offered.
There is no sense of formatting and the
language is poorly used. There is no
motivation given. OR The poem is clearly
unoriginal.
TOTAL: _______________ / 20
ACTIVITY 2:
This is more an extension exercise to be completed once some study has
been done. Most important is to allow sufficient time for the completion of
the task. This can be quite a challenging activity for weaker learners, so
the teacher may want to break the activity into task smaller tasks with
consultation and established deadlines.
1. Select a poem or song lyric that you believe should be included in this anthology.
2. Type, or neatly write out the poem, with the name of the poet and some
biographical details about him or her.
3. Write a short paragraph on a separate sheet of paper in which you make an
argument for why you have chosen this poem.
N.B. This poem may be from any era and can take the form of a song lyric, provided
that it is appropriate to the criteria of this assignment.
REMEMBER to put your name on to your assignment before handing it in; attach this
sheet to your work so that you can be assessed.
Assessment for Poetry Activity 2
Learner’s Name: _________________
Criteria
Level 1
Level 2
Level 3
Level 4
1. Choice of
poem.
Completely
inappropriate
choice, little
thought put
in.(1)
Irrelevant or
inappropriate
choice of poem.
(2)
Appropriate
choice of poem.
(3)
Well chosen, very
appropriate. (4)
2. Research on
poet / poem.
No research
done. (1)
Minimal research
done. (2)
Sufficient
research done.
Interesting and
informative
(3)
biography. (4)
3. Quality of
argument.
No coherent
argument. (1)
Weak,
unconvincing
argument. (2)
Competent
argument. (3)
Totally convincing
argument. (4)
4. Language
usage.
Too many
careless
mistakes (1).
Many mistakes
(2).
Good language
(3).
Excellent language
usage. (4)
5. Presentation.
Disorganised,
unoriginal (1).
Untidy,
uninspiring (2)
Well presented,
neat. (3)
Attractive and
original outstanding
presentation. (4)
TOTAL: _________ / 20