From
Objects
to
Words
Using
heritage
collections
to
inspire
poetry
About
Brent
Museum
and
Brent
Archives
Brent
Archives
and
Brent
Museum
hold
heritage
collections
related
to
the
area
now
known
as
the
London
Borough
of
Brent
and
its
residents.
Collections
include
maps,
postcards,
costume,
and
historic
objects.
Brent
Museum
public
exhibitions
focus
on
the
fascinating
stories
behind
Brent's
social
history.
Our
collections
reflect
working
and
domestic
life
in
Brent
from
about
1850
to
the
present
day.
We
also
hold
the
Barham
Collection
of
antiquities,
including
objects
from
ancient
Egypt
and
the
Middle
East.
And
the
Wembley
History
Society
Collection,
which
features
archaeological
material
from
Brent’s
past
as
far
back
as
the
Roman
period.
Brent
Archives
can
help
you
find
out
more
about
the
local
area
and
its
history.
We
hold
the
records
of
Brent
Council
and
its
predecessors,
including
council
minutes
and
building
plans,
as
well
as
historical
maps
and
street
directories,
electoral
registers,
school
records,
and
an
extensive
collection
of
old
photographs
and
postcards.
Our
local
history
collections
include
a
large
reference
collection,
and
local
newspapers
dating
back
to
1870.
We
also
collect
the
records
of
local
groups
and
organisations.
www.brent.gov.uk/museum
www.brent.gov.uk/archives
About
this
resource
Poetry
is
a
great
way
to
creatively
engage
young
people
with
a
range
of
subjects
including
History,
Citizenship,
and
English.
It
allows
students
to
make
personal
responses
to
material
and
themes,
exploring
them
in
a
way
that
combines
their
individual
and
social
knowledge,
with
more
formal
knowledge
gained
from
study
of
curriculum
subjects.
Developing
and
planning
ideas
and
writing
poems
also
builds
confidence
in
literacy
skills
and
communication.
This
resource
pack
includes
ideas
for
activities
and
facsimiles
of
objects
and
images
from
the
Brent
Museum
and
Brent
Archives
collections.
The
exercises
are
designed
to
help
students
understand
the
basics
of
writing
poetry.
They
can
be
used
progressively
over
a
number
of
sessions
or
as
part
of
a
planned
Poetry
Day.
Brent
Museum
also
offers
a
half‐day
poetry
workshop,
which
utilises
gallery
displays
and
original
objects.
For
more
information
on
this
and
all
our
workshops
contact:
museum@brent.gov.uk
Notes
for
session
leaders
Where
possible,
take
part
in
the
exercises
and
share
your
work
with
the
group.
This
is
a
great
way
to
connect
with
your
students
and
build
trust
within
the
group.
Only
read
poems
with
the
writer’s
permission.
Over
time,
performing
their
work
in
front
of
others
should
help
young
people
grow
in
confidence.
My
real
name
is
.
.
.
Materials:
Handout
1,
pens/pencils,
labels
Time:
10‐15
min
The
following
is
inspired
by
Susan
G.
Wooldridge’s
poem,
‘Our
Real
Names’
(Poemcrazy,
1996).
The
idea
behind
the
poem
is
that
our
real
names
aren't
necessarily
the
ones
on
our
birth
certificate;
rather
they
are
made
up
of
our
passions,
our
fears,
our
wildest
dreams.
Pass
out
Handout
1.
Ask
the
group
to
think
about
how
they
feel,
what
they
think
about
their
lives,
and
what
words
they
would
use
to
describe
themselves.
Give
them
a
few
minutes
to
fill
in
the
handout
and
ask
them
to
read
their
poems
aloud.
My
real
name
is
__________
Yesterday
my
name
was
_______
Today
my
name
is
__________
Tomorrow
my
name
will
be
___________
In
my
dream
my
name
was
_________________
My
friend
(father,
mother,
brother,
etc)
thinks
my
name
is
________________
With
groups
working
for
the
first
time
together,
ask
participants
to
write
their
name
on
a
label,
either
their
‘real’
name
or
the
name
they
would
like
to
be
known
by
during
the
session.
From
Objects
to
Words
Brent
Museum
Poetry
Resource
Page
1
of
8
What
is
poetry?
Materials:
Whiteboard
/
flip
chart
and
pens
Time:
15‐20
min
Having
warmed
up
in
the
previous
exercise,
discuss
as
a
group
the
various
answers
to
the
question
‘What
is
Poetry?’
Explore
the
ways
that
young
people
receive
and
send
information
(telephone
conversations,
text
messages,
arguing).
Look
at
the
ways
they
use
words
in
everyday
life
and
emphasise
that
these
are
words
and
phrases
they
can
use
when
writing
poetry.
Some
ideas
to
discuss:
‐ Poetry
is
a
form
of
communication,
a
way
of
sending
a
message,
a
way
of
getting
a
message
across.
‐ It
is
a
form
of
literature.
‐ There
is
no
one
type
of
poetry;
it
includes
song
lyrics,
ballads,
nursery
rhymes...
‐ Poetry
can
be
a
collection
of
words
or
phrases
that
get
you
thinking.
‐ Any
form
of
spoken
or
written
words
can
be
used
poetically.
‐ A
poem
doesn’t
have
to
tell
a
story;
it
could
be
a
snippet;
you
don’t
have
to
explain
who
you
are
or
where
the
poem
is
going,
you
don’t
have
to
construct
a
character,
be
logical
or
be
chronological.
‐ An
expression
of
emotions
in
an
imaginative
and
beautiful
way
How
do
we
convey
meaning
in
a
poem?
Build
on
the
first
part
of
the
discussion
to
explore
ways
poetry
can
be
used
to
express
and
communicate
ideas,
emotions,
or
information.
In
poetry
you
can
convey
meaning
through:
‐ Words
‐
each
word
carries
meaning
and
can
portray
different
things
/
ideas/
emotions
depending
on
the
context.
‐ Repetition
‐
if
you
repeat
words,
phrases,
or
sounds
you
imply
and
emphasize
meaning.
For
example,
in
Tennyson’s
‘The
Charge
of
the
Light
Brigade’
the
poet
both
implies
and
emphasizes
the
dangers:
‘Cannon
to
right
of
them,
Cannon
to
left
of
them,
Cannon
behind
them,
...’
‐ Framing
the
poem
‐
also
known
‘circular
structure’,
this
technique
uses
the
same
word
or
line
at
the
beginning
and
at
the
end
of
a
poem
or
verse
to
highlight
the
core
message
/
emotion.
For
example
in
‘Jenny
Kissed
Me’
by
Leigh
Hunt:
‘Jenny
kissed
me
when
we
met,
...
Time,
you
thief,
who
love
to
get
Sweets
into
your
list,
put
that
in!
...
Say
I'm
growing
old,
but
add,
Jenny
kissed
me.’
‐ Punctuation
‐
creating
pauses,
slowing
the
words
down
or
speeding
the
lines
up.
‐ Through
sounds
‐
where
it
is
the
sound
of
the
word
rather
than
it’s
meaning
that
is
important.
From
Objects
to
Words
Brent
Museum
Poetry
Resource
Page
2
of
8
Rhyme/Rhythm/Free
verse
Materials:
Handout
2
Time:
10‐15
min
Use
the
poems
in
Handout
2
to
discuss
the
ideas
of
rhyme
and
rhythm:
Rhyme
(repetition
of
the
same
sound),
rhythm
(the
beat)
and
free
verse
(lines
with
no
prescribed
pattern
or
structure;
the
absence
of
rhyme
or
rhythm)
are
the
key
techniques
that
convey
meaning
through
sound
in
poetry.
The
sound
of
a
word
is
composed
of
the
syllables
in
it.
The
number
of
syllables
in
a
word
is
roughly
the
same
as
how
many
times
the
shape
of
your
mouth
changes
when
saying
it.
This
means
that
every
word
is
made
up
of
a
number
of
sounds/syllables
and
each
of
those
sounds
can
have
its
own
rhyme.
So
cat
can
rhyme
with
hat
(as
in
‘the
cat
in
the
hat’)
but
it
can
also
rhyme
with
catch
(as
in
‘catch
the
cat
quickly’).
Sounds
at
the
start
of
a
word,
in
the
middle
(e.g.
bubble
and
trouble),
and
at
the
end
of
a
word
can
be
rhymes.
Formal,
classic
poetry
follows
strict
rhyming
structure:
Sonnets
‐
are
14
line
poems
that
usually
have
ten
syllables
in
each
line.
The
rhymes
vary,
for
example
Shakespeare
uses
the
scheme
ABAB
CDCD
EFEF
GG
in
Sonnet
116:
Let
me
not
to
the
marriage
of
true
minds
A
Admit
impediments.
Love
is
not
love
B
Which
alters
when
it
alteration
finds,
A
Or
bends
with
the
remover
to
remove:
B
O,
no!
it
is
an
ever‐fixed
mark,
C
That
looks
on
tempests
and
is
never
shaken;
D
It
is
the
star
to
every
wandering
bark,
C
Whose
worth's
unknown,
although
his
height
be
taken.
D
Love's
not
Time's
fool,
though
rosy
lips
and
cheeks
E
Within
his
bending
sickle's
compass
come;
F
Love
alters
not
with
his
brief
hours
and
weeks,
E
But
bears
it
out
even
to
the
edge
of
doom.
F
If
this
be
error
and
upon
me
proved,
G
I
never
writ,
nor
no
man
ever
loved.
G
It
can,
however,
be
difficult
to
hear
the
rhythm
in
the
sonnet.
The
stress
placed
on
particular
syllables
and
their
arrangement
in
lines
creates
the
rhythm
of
a
poem:
Limericks
‐
are
humorous
poems
that
have
5
lines
and
follow
the
scheme
AABBA.
The
following
is
by
Edward
Lear:
There
was
an
Old
Man
with
a
beard,
A
Who
said,
'It
is
just
as
I
feared!
A
Two
Owls
and
a
Hen,
B
Four
Larks
and
a
Wren,
B
Have
all
built
their
nests
in
my
beard!'
A
The
rhythm
–
here
fast
and
flowing
–
adds
to
the
sense
of
the
poem
as
light
and
fun,
independent
of
the
actual
words.
From
Objects
to
Words
Brent
Museum
Poetry
Resource
Page
3
of
8
If
you
have
time,
here
is
another
limerick,
written
by
Bruce
Lansky,
where
the
rhythm
is
analysed.
Lines
1,
2
and
5
have
three
strong
downbeats
and
the
final
syllables
rhyme.
Lines
3
and
4
have
two
strong
downbeats
and
rhyme:
There
was
an
old
man
from
Peru,
(A)
da
DUM
da
da
DUM
da
da
DUM
(3
DUMS)
who
dreamed
he
was
eating
his
shoe.
(A)
da
DUM
da
da
DUM
da
da
DUM
(3
DUMS)
He
awoke
in
the
night
da
DUM
da
da
DUM
(B)
(2
DUMS)
with
a
terrible
fright,
da
da
DUM
da
da
DUM
(B)
(2
DUMS)
and
found
out
that
it
was
quite
true.
(A)
da
DUM
da
da
DUM
da
da
DUM
(3
DUMS)
But
a
poem
needs
neither
rhythm
nor
rhyme
to
be
a
poem.
The
arrangement
/
structure
of
the
verses
provide
the
lyricism/poetry:
‘This
is
just
to
say’,
by
William
Carlos
Williams,
is
an
example
of
this
free
verse.
I
have
eaten
and
which
Forgive
me
the
plums
you
were
probably
they
were
delicious
that
were
in
saving
so
sweet
the
icebox
for
breakfast
and
so
cold
From
Objects
to
Words
Brent
Museum
Poetry
Resource
Page
4
of
8
Describing
an
object
Materials:
Object
images,
notebooks,
pens/pencils
Time:
20‐25
min
Use
the
images
of
objects
from
the
museum
collection.
Ask
everyone
in
the
group
to
choose
and
object
and
read
the
information
about
it.
Next
read
the
following
questions
aloud
and
ask
the
group
to
write
down
the
answers
for
their
chosen
object.
They
do
not
need
to
answer
all
of
the
questions.
Encourage
them
to
write
single‐word
answers,
the
first
ideas
that
come
to
mind.
⋅ What
is
it?
⋅ What
was
it
used
for?
⋅ What
colour
is
it?
⋅ What
is
it
made
from?
⋅ Who
might
have
used
it?
⋅ Where
might
it
have
been
used?
⋅ How
often
was
it
used?
⋅ Can
you
think
of
anything
we
might
use
like
this
today?
⋅ What
do
you
think
it
was
it
worth
to
its
owner?
⋅ What
is
its
value
for
you?
⋅ How
old
is
it?
⋅ What
condition
is
it
in?
⋅ Does
it
look
the
same
now
as
when
it
was
made?
⋅ If
it
is
worn
or
damaged,
how
and
why
did
it
get
like
that?
Ask
them
to
note
down
any
other
words
that
they
thought
of
when
looking
at
the
object.
These
words
are
literal,
giving
a
basic
description.
Poetry
works
by
giving
a
more
imaginative
(‘figurative’)
description.
Ask
the
group
to
choose
three
of
their
words
and
use
each
one
to
develop
a
line
of
poetry.
For
example,
here
are
some
words
that
came
to
mind
when
looking
at
the
object
above,
a
flat
iron
c.
1870‐1914
(Brent
Museum
Collection,
1996.56.7):
Iron,
press
clothes,
flat,
fold,
brown,
rusty,
metal,
women,
clean,
heat,
sweat,
dry,
home,
tool,
work,
families,
daily
use,
now
plastic
and
electricity,
vapour,
steam,
common,
hundred
years
old,
broken,
useless,
door
wedge.
With
these
words
the
following
lines
were
created:
Rusty,
tired
tool
Well‐used
by
weary
women
Busy,
steam,
sweat
Beating
flat
the
family’s
folds
‐
Words
are
used
imaginatively;
an
iron
can’t
real
feel
‘tired’
‐
Punctuation
slows
the
rhythm
of
the
first
and
third
lines,
suggesting
someone
doing
a
difficult
job
‐
Rhyme
is
created
by
the
repetition
of
letter
sounds;
well‐used
by
weary
women
(alliteration)
Read
some
of
the
lines
the
group
have
written
and
discuss
which
are
the
strongest
lines
and
why.
From
Objects
to
Words
Brent
Museum
Poetry
Resource
Page
5
of
8
Simile
&
comparison
Materials:
Handouts
3
&
4,
container
for
cutout
words,
notebooks,
pens/pencils.
Time:
15‐20
min
The
simplest
way
to
describe
things
is
to
use
adverbs
and
adjectives:
‐ Adverbs
describe
verbs
or
how
something
is
done:
e.g.
slowly,
happily,
suddenly.
‐ Adjectives
describe
nouns:
e.g.
yellow,
small,
easy,
loud.
For
example,
small
rusty
iron.
A
poetic
way
to
use
words
is
to
use
more
complex
descriptions
to
create
strong
images.
A
simile
suggests
a
thing
is
like
something
different.
For
example,
your
smile
is
like
sunshine
(the
smile
and
the
sunshine
are
not
really
similar.)
A
comparison
suggests
a
thing
is
like
something
similar.
For
example,
your
smile
is
like
the
Mona
Lisa’s
smile
Use
Handout
3
to
discuss
simile
and
comparison;
William
Wordsworth’s
poem,
Daffodils,
includes
one
of
the
best‐
known
lines
of
poetry,
which
is
also
a
simile.
Use
Handout
4
–
adding
extra
words
if
you
choose
–
to
prepare
a
bag
of
words.
Ask
the
group
to
each
choose
a
word
and
then
use
it
in
a
line
to
describe
the
object
they
previously
chose:
Object
Word
Line
Iron
Sand
The
iron
glides
like
a
snake
over
the
sand
This
can
be
repeated
several
times.
Then
ask
the
group
to
pick
two
words
and
describe
their
object,
in
a
single
or
a
pair
of
lines.
The
words
can
be
used
as
inspiration,
so
suggest
flexibility
with
the
chosen
words,
for
example
a
student
could
use
synonyms
(words
that
have
the
same
meaning
or
nearly)
or
antonyms
(words
that
have
opposite
meanings).
Personification
&
metaphor
Materials:
Handout
5
Time:
10
min
Poetry
allows
writers
to
be
very
imaginative.
For
example,
metaphor
uses
the
description
of
something
very
different
to
convey
an
intended
meaning.
In
‘I
Feel
Like
Dying’,
L’il
Wayne
writes:
I
can
mingle
with
the
stars,
and
throw
a
party
on
Mars;
I
am
a
prisoner
locked
up
behind
Xanax
bars.
By
describing
the
prisoner
behind
bars,
the
poet
conveys
his
unhappiness.
The
prison
is
a
metaphor
for
depression.
(Note:
He
doesn’t
write
‘my
depression
is
like
a
prison’,
which
is
a
simile.
A
metaphor
is
an
indirect
comparison.)
From
Objects
to
Words
Brent
Museum
Poetry
Resource
Page
6
of
8
In
the
metaphor
above,
the
writer
gave
his
depression
the
qualities
of
a
prison,
extending
the
metaphor
by
describing
the
bars
as
made
of
Xanax,
a
drug
prescribed
for
anxiety.
Poets
use
personification
when
they
want
to
give
human
qualities
to
an
object,
an
animal
or
an
abstract
idea;
they
give
them
a
voice
to
speak
for
themselves.
It
looks
at
ideas
from
an
alternative
perspective.
Riddles
can
be
good
examples
of
the
use
of
personification.
These
are
from
‘The
Lord
of
the
Rings’
by
J.R.R.
Tolkien
(Handout
5).
See
if
anyone
in
the
group
can
work
out
the
answer.
Voiceless
it
cries,
Wingless
flutters,
Toothless
bites,
Mouthless
mutters.
"Wind"
This
thing
all
things
devours:
Birds,
beasts,
trees,
flowers;
Gnaws
iron,
bites
steel;
Grinds
hard
stones
to
meal;
Slays
king,
ruins
town,
And
beats
high
mountains
down.
"Time"
Writing
a
letter
/
The
object’s
response
Materials:
Object
images,
notebooks,
pens/pencils
Time:
25‐30
min
Using
the
images,
ask
everyone
to
choose
a
different
object
to
write
a
letter
to.
Thinking
about
what
it
could
be
like
to
be
an
ancient
artefact
or
antique,
they
might
ask
the
object
what
it
feels
like
to
be
observed,
to
be
inside
a
glass
case,
to
be
ignored,
to
be
held,
or
what
it
thinks/feels
about
all
the
time
it
has
experienced.
Invite
the
group
to
share
their
letters.
Explain
the
difference
between
prose
and
poetry.
‐ Poetry
follows
patterns
that
can
be
made
by
the
structure,
the
rhythm
or
the
rhyme.
There
is
a
relationship
between
words
on
the
basis
of
sound
as
well
as
meaning.
Generally
it
uses
lines
and
stanzas.
‐ Examples
of
prose
are
letters,
and
essays.
There
is
no
decoration;
the
language
is
quite
straightforward.
It
uses
sentences
and
paragraphs.
However,
keep
in
mind
that
there
is
no
clear‐cut
division:
there
are
also
prose
poems!
Ask
participants
to
swap
their
letters
with
the
person
sitting
next
to
them
and
invite
them
to
write
a
poem
in
response
to
the
letter,
imagining
they
were
the
object
replying.
What
would
your
object
say
if
it
could
talk?
What
were
its
most
memorable
journeys?
Imagine
the
same
object
had
been
used
over
many
years,
passed
from
generation
to
generation;
what
memories
and
experiences
would
it
have?
You
could
consider
how
would
the
object
might
view
the
people
looking
at
it
and
the
expressions
of
contemplation
/
boredom
/
excitement
/
surprise.
Think
about
the
mood
and
atmosphere
in
the
museum.
Again
ask
if
anyone
wants
to
share
their
letter.
From
Objects
to
Words
Brent
Museum
Poetry
Resource
Page
7
of
8
Labelling
Materials:
Handouts
6
&
7,
notebooks,
pens/pencils
Time:
15‐20
min
Revise
what
they
have
learnt
so
far.
You
might
also
use
the
Definitions
resource
to
introduce
other
techniques
used
in
writing
poetry.
For
example,
internal
rhyme
is
a
popular
technique
used
by
spoken
word
poets
and
rappers.
In
this,
the
rhyme
is
made
within
a
single
line.
‘My
Melody’
by
Rakim
(Handout
6):
My
unusual
style
will
confuse
you
a
while
If
I
were
water,
I'd
flow
in
the
Nile
So
many
rhymes
you
won't
have
time
to
go
for
yours
Just
because
of
applause
I
have
to
pause
Right
after
tonight
is
when
I
prepare
To
catch
another
sucker‐duck
MC
out
there
My
strategy
has
to
be
tragedy,
catastrophe
And
after
this
you'll
call
me
your
majesty...
This
style
speeds
us
the
rhythm
of
the
poem,
makes
it
more
rapid
–
which
is
where
the
term
‘rapper’
originated,
from
‘rapid
spoken
poetry’.
Return
to
the
idea
of
labels
and
ask
the
group
to
write
a
museum
label
for
their
object,
in
the
form
of
a
poem.
Use
the
example
in
Handout
7
to
see
what
a
museum
label
typically
contains
(although
they
do
not
have
to
include
all
these
details).
Labels
generally
show
the
name
of
the
object,
the
date
it
was
produced,
where
it
was
produced,
the
material
it
is
made
of,
how
it
was
used
and
some
historical
context
(what
life
was
like
at
the
time
it
was
used
and
who
it
might
have
been
used
by).
At
the
end
of
the
exercise,
ask
if
anyone
wants
to
share
their
label.
From
Objects
to
Words
Brent
Museum
Poetry
Resource
Page
8
of
8
Handout
1
My
real
name
is
____________________________________
Yesterday
my
name
was
_____________________________
Today
my
name
is
__________________________________
Tomorrow
my
name
will
be
___________________________
In
my
dream
my
name
was
____________________________
My
friend
(father,
mother,
brother,
etc)
thinks
my
name
is
____________________________
My
real
name
is
____________________________________
Yesterday
my
name
was
_____________________________
Today
my
name
is
__________________________________
Tomorrow
my
name
will
be
___________________________
In
my
dream
my
name
was
____________________________
My
friend
(father,
mother,
brother,
etc)
thinks
my
name
is
____________________________
My
real
name
is
____________________________________
Yesterday
my
name
was
_____________________________
Today
my
name
is
__________________________________
Tomorrow
my
name
will
be
___________________________
In
my
dream
my
name
was
____________________________
My
friend
(father,
mother,
brother,
etc)
thinks
my
name
is
____________________________
My
real
name
is
____________________________________
Yesterday
my
name
was
_____________________________
Today
my
name
is
__________________________________
Tomorrow
my
name
will
be
___________________________
In
my
dream
my
name
was
____________________________
My
friend
(father,
mother,
brother,
etc)
thinks
my
name
is
____________________________
Handout
2
Sonnet
116
By
William
Shakespeare
Let
me
not
to
the
marriage
of
true
minds
Admit
impediments.
Love
is
not
love
Which
alters
when
it
alteration
finds,
Or
bends
with
the
remover
to
remove:
O,
no!
it
is
an
ever‐fixed
mark,
That
looks
on
tempests
and
is
never
shaken;
It
is
the
star
to
every
wandering
bark,
Whose
worth's
unknown,
although
his
height
be
taken.
Love's
not
Time's
fool,
though
rosy
lips
and
cheeks
Within
his
bending
sickle's
compass
come;
Love
alters
not
with
his
brief
hours
and
weeks,
But
bears
it
out
even
to
the
edge
of
doom.
If
this
be
error
and
upon
me
proved,
I
never
writ,
nor
no
man
ever
loved.
There
was
an
Old
Man
with
a
beard
By
Edward
Lear
There
was
an
Old
Man
with
a
beard,
Who
said,
'It
is
just
as
I
feared!
Two
Owls
and
a
Hen,
Four
Larks
and
a
Wren,
Have
all
built
their
nests
in
my
beard!'
This
is
just
to
say
By
William
Carlos
Williams
I
have
eaten
the
plums
that
were
in
the
icebox
and
which
you
were
probably
saving
for
breakfast
Forgive
me
they
were
delicious
so
sweet
and
so
cold
Handout
3
Daffodils
By
William
Wordsworth
I
wandered
lonely
as
a
cloud
That
floats
on
high
o'er
vales
and
hills,
When
all
at
once
I
saw
a
crowd,
A
host,
of
golden
daffodils;
Beside
the
lake,
beneath
the
trees,
Fluttering
and
dancing
in
the
breeze.
Continuous
as
the
stars
that
shine
And
twinkle
on
the
milky
way,
They
stretched
in
never‐ending
line
Along
the
margin
of
a
bay:
Ten
thousand
saw
I
at
a
glance,
Tossing
their
heads
in
sprightly
dance.
The
waves
beside
them
danced;
but
they
Out‐did
the
sparkling
waves
in
glee:
A
poet
could
not
but
be
gay,
In
such
a
jocund
company:
I
gazed‐‐and
gazed‐‐but
little
thought
What
wealth
the
show
to
me
had
brought:
For
oft,
when
on
my
couch
I
lie
In
vacant
or
in
pensive
mood,
They
flash
upon
that
inward
eye
Which
is
the
bliss
of
solitude;
And
then
my
heart
with
pleasure
fills,
And
dances
with
the
daffodils.
Handout
4
stuffed
Away
pause
click
strength
fear
reflection
battle
Cycle
preen
justice
idea
care
edge
flummox
Size
whisper
hate
collective
petal
magenta
sour
Pleasure
fuchsia
magnolia
courage
result
sphere
surround
Control
lord
tiny
affection
dollop
dance
admiral
Ship
silence
exploratory
blue
anger
malicious
bouquet
Future
vessel
life
human
welcome
collaborate
bridge
Murmur
tear
steel
destroy
rain
laughter
connection
Marriage
balloon
moon
yes
dream
sigh
death
No
door
sky
slattern
labyrinth
alcohol
flattery
Past
puzzle
metal
coerce
redemption
smile
love
Acidic
slaughter
horde
dragon
space
quibble
organic
Hewn
present
breathe
harem
embrace
dust
plastic
Friendship
crimson
unscrupulous
circus
paradise
fraction
quiver
Stumble
late
velvet
voice
passion
obsession
indigo
magnify
magnet
cloud
scope
frost
Geometry
atone
remove
cold
power
sand
jealousy
Lens
opposite
mark
warm
tongue
tropical
wapping
Mask
curdle
shake
war
poor
home
time
Time
polite
star
desperate
gold
familiar
wave
Shame
subtle
lips
patriot
silver
foreign
zigzag
lime
green
helium
compass
riot
flash
united
brief
sensible
heart
perfume
sin
beast
common
joy
tumbleweed
alchemist
grasshopper
engrossed
road
Butterfly
mellow
error
kingdom
Hope
ripe
ice
blood
Sweet
melody
save
tongue
simple
snake
splash
Regret
mind
delicious
identity
task
glide
innocence
chemistry
habit
Handout
5
Riddles
from
‘The
Lord
of
the
Rings’
By
J.R.R.
Tolkien
Voiceless
it
cries,
Wingless
flutters,
Toothless
bites,
Mouthless
mutters.
This
thing
all
things
devours:
Birds,
beasts,
trees,
flowers;
Gnaws
iron,
bites
steel;
Grinds
hard
stones
to
meal;
Slays
king,
ruins
town,
And
beats
high
mountain
down.
Handout
6
My
Melody
By
Rakim
Turn
up
the
bass,
check
out
my
melody,
hand
out
a
cigar
I’m
lettin
knowledge
be
born,
and
my
name’s
the
R
A‐K‐I‐M
not
like
the
rest
of
them,
I’m
not
on
a
list
That’s
what
I’m
sayin’,
I
drop
science
like
a
scientist
My
melody’s
in
a
code,
the
very
next
episode
Has
the
mic
often
distortin’,
ready
to
explode
I
keep
the
mic
in
fahrenheit,
freeze
mc’s
and
make
‘em
colder
The
listener’s
system
is
kickin’
like
solar
As
I
memorize,
advertise,
like
a
poet
Keep
you
goin’
when
I’m
flowin’,
smooth
enough,
you
know
it
But
rough
that’s
why
the
middle
of
my
story
I
tell
EB
Nobody
beats
the
R,
check
out
my
melody...
So
what
if
I’m
a
microphone
fiend
addicted
soon
as
I
sing
One
of
these
for
mc’s
so
they
don’t
have
to
scream
I
couldn’t
wait
to
take
the
mic,
flow
into
it
to
test
Then
let
my
melody
play,
and
then
the
record
suggest
That
I’m
droppin’
bombs,
but
I
stay
peace
and
calm
Any
MC
that
disagree
with
me
just
wave
your
arm
And
I’ll
break,
when
I’m
through
breakin’
I’ll
leave
you
broke
Drop
the
mic
when
I’m
finished
and
watch
it
smoke
So
stand
back,
you
wanna
rap?
All
of
that
can
wait
I
won’t
push,
I
won’t
beat
around
the
bush
I
wanna
break
upon
those
who
are
not
supposed
to
You
might
try
but
you
can’t
get
close
to
Because
I’m
number
one,
competition
is
none
I’m
measured
with
the
heat
that’s
made
by
sun
Whether
playin’
ball
or
bobbin
in
the
hall
I
just
writin’
my
name
in
graffiti
on
the
wall
You
shouldn’t
have
told
me
you
said
you
control
me
So
now
a
contest
is
what
you
owe
me
Pull
out
your
money,
pull
out
your
cut
Pull
up
a
chair
My
name
is
Rakim
Allah,
and
R
&
A
stands
for
RA
Switch
it
around,
but
still
comes
out
R
So
easily
will
I
E‐M‐C‐E‐E
My
repetition
of
words
is
check
out
my
melody
Some
bass
and
treble
is
moist,
scratchin’
and
cuttin’
a
voice
And
when
it’s
mine
that’s
when
the
rhyme
is
always
choice
I
wouldn’t
have
came
to
set
my
name
around
the
same
weak
shit
Puttin’
blurs
and
slurs
and
words
that
don’t
fit
In
a
rhyme,
why
waste
time
on
the
microphone
I
take
this
more
serious
than
just
a
poem
Rockin’
party
to
party,
backyard
to
yard
Now
tear
it
up,
y’all,
and
bless
the
mic
for
the
gods
The
rhyme
is
rugged,
at
the
same
time
sharp
I
can
swing
off
anything
even
a
string
of
a
harp
Just
turn
it
on
and
start
rockin’,
mind
no
introduction
‘Til
I
finish
droppin’
science,
no
interruption
When
I
approach
I
exercise
like
a
coach
Usin’
a
melody
and
add
numerous
notes
With
the
mic
and
the
R‐A‐K‐I‐M
It’s
a
task,
like
a
match
I
will
strike
again
Rhymes
are
poetically
kept
and
alphabetically
stepped
Put
in
order
to
pursue
with
the
momentum
except
I
say
one
rhyme
and
I
order
a
longer
rhyme
shorter
A
pause,
but
don’t
stop
the
tape
recorder
I’m
not
a
regular
competitor,
first
rhyme
editor
Melody
arranger,
poet,
etcetera
Extra
events,
the
grand
finale
like
bonus
I
am
the
man
they
call
the
microphonist
With
wisdom
which
means
wise
words
bein’
spoken
Too
many
at
one
time
watch
the
mic
start
smokin’
I
came
to
express
the
rap
I
manifest
Stand
in
my
way
and
I’ll
lead
a
words
protest
MCs
that
wanna
be
dissed
they’re
gonna
Be
dissed
if
they
don’t
get
from
in
front‐a
All
they
can
go
get
is
me
a
glass
of
Moet
A
hard
time,
sip
your
juice
and
watch
a
smooth
poet
I
take
7
MCs
put
‘em
in
a
line
And
add
7
more
brothas
who
think
they
can
rhyme
Well,
it’ll
take
7
more
before
I
go
for
mine
And
that’s
21
mc’s
ate
up
at
the
same
time
My
unusual
style
will
confuse
you
a
while
If
I
was
water,
I
flow
in
the
Nile
So
many
rhymes
you
won’t
have
time
to
go
for
yours
Just
because
of
a
cause
I
have
to
pause
Right
after
tonight
is
when
I
prepare
To
catch
another
sucka
duck
mc
out
there
Cos
my
strategy
has
to
be
tragedy,
catastrophe
And
after
this
you’ll
call
me
your
majesty,
my
melody...
Marley
Marl
synthesized
it,
I
memorize
it
Eric
B
made
a
cut
and
advertised
it
My
melody’s
created
for
mc’s
in
the
place
Who
try
to
listen
cos
I’m
dissin’
to
your
face
Take
off
your
necklace,
you
try
to
detect
my
pace?
Now
you’re
buggin’
over
the
top
of
my
rhyme
like
bass
The
melody
that
I’m
stylin’,
smooth
as
a
violin
Rough
enough
to
break
New
York
from
Long
Island
My
wisdom
is
swift,
no
matter
if
My
momentum
is
slow,
MCs
still
stand
stiff
I’m
genuine
like
leather,
don’t
try
to
be
clever
MCs
you’ll
beat
the
R,
I’ll
say
oh
never
So
Eric
B
cut
it
easily
And
check
out
my
melody...
Handout
7
Museum
object
label
Object
number:
1979.208
Title:
Etiquette
for
Ladies
Description:
Dark
brown
cloth‐bound
book,
apprx
15cm
high,
with
title
'ETIQUETTE
FOR
LADIES'
in
gold.
The
book
included
instructions
on
behaviour
judged
as
appropriate
for
ladies
in
‘polite
society’.
It
included
guidance
on
posture,
on
dress,
and
on
how
to
speak
to
men
in
social
situations.
This
edition
was
published
in
1841,
four
years
after
the
reign
of
Queen
Victoria
began.
A
similar
book
was
published
for
men,
revealing
the
concerns
of
people
in
a
period
when
industrialization
saw
‘ordinary’
people
growing
rich
and
wanting
to
move
up
in
society,
themes
popular
in
the
work
of
Charles
Dickens.
Publisher:
Tilt
&
Bogue
Production
dating:
1841
Object
name:
Book
Definitions
Term
Acrostic
poem
Alliteration
Definition
Uses
the
first
letters
of
each
line
to
spell
a
word,
often
the
subject
of
the
poem.
Repetition
of
initial
consonant
sounds
Assonance
Repetition
of
the
vowel
within
a
word
Ballad
Tells
a
story
or
describes
a
person.
Has
a
regular
rhyme
pattern.
Blank
verse
Has
meter
but
no
rhyme
Concrete
poem
It
is
written
in
a
shape
that
adds
meaning
to
the
poem.
Consonance
Repeating
the
consonant
within
a
word
Couplet
Two
lines
of
poetry
that
usually
rhyme.
Dissonance
Using
clashing
words
to
create
a
lack
of
harmony,
usually
to
convey
disharmony
in
the
situation
being
described.
Epic
A
long
narrative
poem
centering
on
the
deeds
of
a
heroic
figure
or
the
fate
of
a
nation.
Figurative
language
Saying
one
thing
and
meaning
another.
The
opposite
of
literal
language.
Free
Verse
Has
no
rhythm
or
rhyme.
Haiku
A
3‐line
poem,
usually
about
nature,
with
the
syllable
pattern:
5,7,5.
Originally
from
Japan.
Hyperbole
An
exaggeration
made
for
effect.
Image
Language
that
creates
a
representation
of
an
object
or
an
experience.
Limerick
Fun
poem
that
has
five
lines.
Lines
one,
two
and
five
have
three
strong
downbeats
and
the
ends
rhyme.
Lines
three
and
four
have
two
strong
downbeats
and
rhyme.
Line
A
unit
of
verse
consisting
of
words
in
a
single
row.
Metaphor
Analogy
or
comparison
where
the
author
finds
and
expresses
similarity
between
dissimilar
things.
Meter/rhythm/beat
The
pattern
of
stress/accent
and
non‐stress
on
syllables.
Ode
A
meditation
or
celebration
of
a
specific
subject.
Onomatopoeia
The
use
of
words
or
phrases
that
sound
like
the
things
to
which
they
refer.
Ex.
Meow,
clink,
boom,
mumble.
Personification
Used
to
give
human
qualities
to
an
object,animal
or
idea.
Rap
Rapid
rhythmic
rhymes.
Rhyme
Repetition
of
the
same
sound.
Rhythm
Rhythm
(or
"measure")
in
writing
is
like
the
beat
in
music.
In
poetry,
rhythm
is
achieved
by
the
pattern
of
stress
and
non‐stress
of
individual
words.
The
repetition
of
the
pattern
produces
a
rhythmic
effect.
Simile
A
comparison
using
‘like’
or
‘as’.
Stanza
Sonnet
Grouping
lines
within
a
poem.
A
14‐line
poem
usually
rhyming
ABBAABBA,
followed
by
two
or
three
other
rhymes
in
the
remaining
six
lines.
Symbol/
symbolism
Anything
that
stands
for
or
suggests
something
else.
Verse
A
division
of
a
poem.
Example
‘Full
fathom
five...’
‐
The
Tempest,
by
William
Shakespeare.
‘Or
sinking
as
the
light
wind
lives
or
dies’
‐
To
Autumn,
by
John
Keats.
Clock,
brick.
The
test
was
a
real
killer.
I
have
mountains
of
work
to
do.
He
is
a
machine.
‘I
wandered
lonely
as
a
cloud…’
–
Daffodils,
by
William
Wordsworth
Curriculum
links
This
activity
is
closely
linked
to
the
English
syllabus
and
meets
the
National
Curriculum
targets
in
the
following
ways:
Promoting
clear,
coherent
and
accurate
communication
by
reading
and
understanding
a
range
of
texts,
and
responding
appropriately;
through
expressing
complex
ideas
in
speaking,
writing
and
listening;
by
demonstrating
flexibility
and
adapting
to
the
demands
of
the
different
exercises.
Encouraging
pupils
to
show
creativity
by
exploring
a
variety
of
starting
points
and
making
connections
between
ideas,
experiences,
texts
and
words;
by
experimenting
with
language,
manipulating
form,
and
reinterpreting
ideas;
by
using
imagination
to
create
effects
to
surprise;
by
using
creative
approaches
to
answering
questions,
solving
problems
and
developing
ideas.
Helps
them
develop
their
understanding
of
English
literary
heritage
and
modern
writers;
through
comparing
texts
to
explore
ideas
and
engage
with
new
ways
in
which
culture
develops;
by
understanding
how
spoken
and
written
language
evolve
in
response
to
changes
in
society
and
technology
and
how
this
process
relates
to
identity
and
cultural
diversity.
Engaging
them
with
ideas
and
texts,
and
helping
them
understand
and
respond
to
issues;
by
analysing
and
evaluating
spoken
and
written
language
to
appreciate
how
meaning
is
shaped;
by
examining
the
use
of
language
and
forms
in
a
range
of
texts,
challenging
traditional
ideas;
and
through
expressing
their
own
views
independently.
Follow
on
suggestions:
Use
the
facsimiles
of
photographs
and
cuttings
from
the
Brent
Archives
collection.
Discuss
what
is
happening
in
the
images
and
then
write
a
ballad
style
poem
telling
the
story
of
what
is
happening
in
the
image.
Choose
one
of
the
Brent
Museum
objects.
Use
the
facts
provided
and
write
an
acrostic
poem
about
the
object.
Choose
either
a
person
shown
in
one
of
the
archive
photographs
or
apply
the
technique
of
personification
to
one
of
the
museum
objects
and
write
an
epic
poem
about
the
adventures
of
that
person
/
object.
Links
to
useful
websites:
Poetry
Archive
http://www.poetryarchive.org
Poetry
Society
http://www.poetrysociety.org.uk
Shakespeare
Sonnets
http://www.shakespeares‐sonnets.com
Teachit
–
Poetry
Place
http://www.teachit.co.uk/poetry.asp?CurrMenu=263
Young
Poets
Network
http://www.youngpoetsnetwork.org.uk
Winning
Words
http://www.winningwordspoetry.com
From
Objects
to
Words
Brent
Museum
Poetry
Resource
End