Travis Harriman 2072225
EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
Differentiated Learning Menu
Name and Student Number: Travis Harriman 2072225
Topic: Poetry
Curriculum Area: English
Year Level: 9
This assignment is differentiated by:
Learning Objectives. As a result of
completing the menu, students will:
Understand that
- Poetic devices are used in poetry and
music to engage audiences and draw
attention to the artist’s subjects and
themes.
- Rhythm, metre and tone influence form.
Know
- A range of poetic devices.
- The difference between subject and
theme.
- Rhythm, metre and tone.
Be able to (do)
- Identify and evaluate the use of a range of
poetic devices, subjects and themes within
songs and poems.
- Identify metre and tone within a poem.
-Demonstrate an understanding of how
poetic devices, rhythm, metre and tone
(within songs and poetry) engage an
audience.
- Present an understanding of subject and
theme in relation to a song and comparable
poem.
- Extend their vocabulary.
X
X
X
Readiness
Interest
Learning Profile
When and how this assignment will be used:
This assignment will be used as a summative
assessment piece at the latter end of a unit
on poetry.1 It aims to tie in students' learning
throughout the early stages of the unit, by
giving them opportunity to apply and
demonstrate their knowledge.
Prior to the assignment being presented in
class, students will be pre-assessed using the
3-2-1 strategy2 to determine their readiness
levels to apply content to practice. The data
gained from the pre-assessment is then used
to determine which version of the learning
menu is to be given to each individual
student.3
The assignment is further differentiated by
interest, before it is even begun, as students
are given the homework task of listening to a
range of pre-approved songs4 before making
the choice of one to work with for the
assignment. 5
In class, the appropriate learning menu6 is to
be distributed to each individual student
1
Prior to this lesson all the terminology used will have been taught explicitly and the connection between
poetry and song would have already been introduced.
2
See Appendix 1.
3
There are two versions, ensuring appropriate levels of challenge for all students whilst aiming for the
same set of objectives. (A) Contains more scaffolding, poem is provided which allows for easier
identification of subject and theme, and the side dishes are less complex)
4
Songs are to be provided to students in CD format or via online links through email, dependent on
students' accessibility. In some cases other methods may need to be used if neither of these suits
individuals' circumstances.
5
See Appendix 5. These songs have been chosen as they exhibit strong subjects and themes (some more
obvious than others) and represent a range of musical genres. Any other songs deemed appropriate may be
set instead but they must allow students the opportunity to meet the learning menus objectives.
6
Interest, as well as learning profile, is also differentiated for in the side dish component of both learning
menus. Students are given choice in the activity so that they may present their knowledge in the format that
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Travis Harriman 2072225
EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
- Work independently and make choices in
regard to their own learning.
*These learning objectives will allow students to
work toward achieving the following objectives
identified within ACARA's Literature English
Scope and Sequence for Year 9 level:
- Understand that authors innovate with text
structure and language for specific purposes and
effects. (Text Structure and Organisation SubStrand)
- Identify how vocabulary choices contribute to
specificity, abstraction and stylistic effectiveness.
(Expressing and Developing Ideas Sub-Strand)
- Explore and reflect on personal understanding of
the world and significant human experience gained
from interpreting various representation of life
matters in texts. (Responding to Literature SubStrand)
-Investigate and experiment with the use and effect
of extended metaphor, metonymy, allegory, icons,
myths and symbolism in texts. (Examining Literature
Sub-Strand)
- Analyse text structures and language features of
literary texts, and make relevant comparisons with
other texts. (Examining Literature Sub-Strand)
- Explore and explain the combinations of language
and visual choices that authors make to present
information, opinions and perspectives in different
along with a copy of their chosen song's lyrics
(and companion poem if in the lower
readiness group).78 Before students begin it is
important that the teacher acknowledges that
they will be using the 'clinic'9 method of
facilitation and that if students need
assistance they must write their names up on
the board in the appropriate place. 10 At this
point students are to be advised that they will
have two lessons to work on their learning
menus and if they fail to use that time wisely
they will need to complete it in their own
time prior to the deadline.11
In the event that some students finish the
required activities early, the desserts operate
as anchoring activities12 to ensure students
aren't left with nothing to do and that the
teacher is free to facilitate the learning of
those in need.
How students’ work will be evaluated:
Students' work will be evaluated using an
assessment rubric13 which will be attached to
their learning menus.14 This rubric aims to
reflect students' achievement of the learning
outcomes through completion of the main
dishes and their chosen side dish.
best suits their individual interest and learning preferences. Similarly, the desserts offer the same
opportunity.
7
Accompanying poems are not to be given to those in the higher readiness group as they will be challenged
to find their own. A range of resources will be made available to assist them though (see References and
Resources).
8
If the class contains students whom suffer from learning difficulties or disabilities that would inhibit their
ability to engage with the learning menu, the teacher should provide a recorded audio version of the task or
any other appropriate modification. Also, appropriate access to computers may be essential for finding
poems, the third dessert, and those who require them for support due to learning difficulties.
9
Individualized instruction is referred to as 'clinic' and is offered only upon request, as needed, in order to
prevent disruption of other students' learning. It is important that the teacher directs students' understanding
and ability to decode, as well as, reiterate core content rather than just give answers. Extra scaffolding
handouts may be developed and distributed appropriately to assist in this process.
10
As the learning menu asks students to complete a variety of tasks, students can be working on another
whilst they await the teacher’s assistance to deal with any issues they are facing or gaps in understanding.
11
It is important that the teacher offers students access to themself outside of class if this happens (via
email preferably) so that these students are not disadvantaged.
12
These activities have been designed so that they are not merely more of the same; rather they aim to build
on knowledge gained throughout the unit and other work completed within the learning menu. Within the
desserts hides a treasure trove of extension, particularly for gifted students who may fly through the main
tasks, and those at a high readiness level. (Appendices 3 and 4 are for specific desserts)
13
See Appendix 6.
14
By giving students access to the assessment rubric they will have the opportunity to see how their work
will be evaluated and can reflect on their ability to meet criteria.
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EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
texts. (Interpreting, Analysing and Evaluating SubStrand)
(ACARA 2013)
Assignment Includes:
X Complete learning menu
X Supplementary materials (e.g., copies of directions, handouts, etc. provided to
students)
X Evaluation/ assessment criteria (e.g., rubric or checklist used to guide evaluation
of student work)
X Explanation of how your menu represents a differentiated task
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Kelly Sharp Wed 5-7pm
References & Resources:

ACARA, February 2013, The Australian Curriculum - English, version 4.1,
http://www.australiancurriculum.edu.au/Australian%20Curriculum.pdf?a=E&e=6&type=
0.

AZLyrics.com, 2013, A-Z Lyrics Universe, http://www.azlyrics.com/.

Donne, J 1633, 'The Sun Rising', cited at The Academy of American Poets 2013,
http://www.poets.org/viewmedia.php/prmMID/20320.

Fry, S 2007, The Ode Less Travelled: Unlocking the Poet Within, Arrow Books,
London.

Hope AD, 1981, Antechinus: Poems 1975-1980, 'Inscription for a War',
http://www.poetrylibrary.edu.au/poets/hope-a-d/inscription-for-a-war-0326030.

Kearney, M 2011, Poems and Tales of Times in Fermoy, 'Blood Diamond',
http://fermoytimes.webs.com/blooddiamond.htm.

Rudyard Kipling 1911, 'The King's Job', cited at The Kipling Society n.d.,
http://www.kipling.org.uk/poems_kingsjob.htm.

LyricsMode 2013, Lyrics, Song Lyrics, http://www.lyricsmode.com/.

McFarlane, P & Temple, L 1996, Blue Light Clear Atoms: Poetry for Senior Students,
Macmillan, South Yarra.

McKean, J 1979, 'Elegy for an Old Boxer', cited at Poetry Foundation 2013,
http://www.poetryfoundation.org/poem/178628.

Northern Territory Government Department of Employment, Education and Training,
2006, Poetry,
http://www.education.nt.gov.au/__data/assets/pdf_file/0019/5248/poetry.pdf .

Service, RW n.d, 'The Ape and God', cited at AllPoetry 2013,
http://allpoetry.com/poem/8458707-The_Ape_And_God-by-Robert_W_Service.

Sousa, DA & Tomlinson, CA 2011, Differentiation and the Brain: How Neuroscience
Supports a Learner-Friendly Classroom, Solution Tree Press, Bloomington.
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EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
Poetry Rocks! Learning Menu
(A)
Due:___________
All the main dishes on the menu and the specified number of side dishes are to be
completed by the due date. You may choose which side dish you complete and may also
like to complete some dessert items to extend your understanding.
Main Dishes (complete all points)

Using the Poetic Devices Handout, identify 3 or more different uses of poetic device in
your chosen song and answer the following questions in full sentences:
- What role do poetic devices play in your chosen song?
- How is rhythm and metre used within the song?
- What other poetic devices could be used within the song, where and why would they
work?

Using the provided poem that looks at a subject and theme similar to that found in your
song:
- Identify 3 or more different uses of poetic device.
- Identify the metre and tone being used.
- In 200 words or more, explain how this poem relates to your song.

Develop a Glossary of Terms which defines any new/unfamiliar words you encounter in
your song and poem.
Side Dishes (complete one)

Write a brief magazine article that explores an issue raised by your song (subject) and the
stance taken by the artist (theme). Include any relevant questions you may have for the
artist.

Develop a conversation you would have between a friend in which you explore the issues
raised by the song (subject), the stance taken by the artist (theme) and your own personal
views. You may want to present this with a partner who has chosen the same song. (You
may choose any appropriate mode of presentation).

Draw an album cover that explores an issue raised by your song (subject) and the stance
taken by the artist (theme). Include a title that highlights the point made by your cover.
Desserts (as you choose)





Complete Poetry Exercise 10 from Fry's The Ode Less Travelled.
Complete a Shades of Meaning Card to extend your vocabulary.
Research the subject and theme of your song and create a poster to inform your peers of
what you have learnt. You may include images and/or drawings.
Write a short story based on the subjects and themes raised by your song/poem.
Create a poem that uses a range of poetic devices to explore an issue of your choice.
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Travis Harriman 2072225
EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
Poetry Rocks! Learning Menu
(B)
Due:___________
All the main dishes on the menu and the specified number of side dishes are to be
completed by the due date. You may choose which side dish you complete and may also
like to complete some dessert items to extend your understanding.
Main Dishes (complete all points)

Identify 3 or more different uses of poetic device in your chosen song and answer the
following questions in full sentences:
- What role do poetic devices play in your chosen song?
- How is rhythm and metre used within the song?
- What other poetic devices could have been used within the song and how could they
have been used to greatest effect?

Find a poem that looks at a subject and theme similar to that found in your song, record it
and then:
- Identify 3 or more different uses of poetic device in the poem.
- Identify the metre and tone being used in the poem.
- In 250 words or more, justify why you chose this poem and how it relates to your song.

Develop a Glossary of Terms which defines any new/unfamiliar words you encounter in
your song and poem.
Side Dishes (complete one)

Write a short letter to the artist that explores the subject and themes raised within your
song. Be sure to include any relevant questions you have and reflect on how the song
makes you feel about the issue.

Develop a hypothetical television interview in which your song's artist responds to
questions regarding their views, thoughts, beliefs and values in relation to the subject and
themes raised by their song. You may want to present this with a partner who has chosen
the same song. (You may choose any appropriate mode of presentation).

Develop a sketch, cartoon, or comic that utilises images to convey the subject and theme
conveyed by the artist of your song. Include a caption or title that summarises the point
made by your piece.
Desserts (as you choose)





Complete Poetry Exercise 10 from Fry's The Ode Less Travelled.
Complete a Shades of Meaning Card to extend your vocabulary.
Research the subject and theme of your song and create a poster to inform your peers of
what you have learnt. You may include images and/or drawings.
Write a short story based on the subjects and themes raised by your song/poem.
Create a poem that uses a range of poetic devices to explore an issue of your choice.
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Travis Harriman 2072225
EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
Appendix 1: 3-2-1 Activity
Before you leave, on a sheet of paper complete this 3-2-1 activity and
hand up to the teacher.
3 - Poetic devices with an example.
2 - Examples of a Subject.
1 - Example of a Theme.
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Travis Harriman 2072225
EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
Appendix 2: Poetic Devices Handout
(Sourced from Northern Territory Government Department of Employment, Education and Training 2006, pp. 14-16)
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Travis Harriman 2072225
EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
(Sourced from Northern Territory Government Department of Employment, Education and Training 2006, pp. 14-16)
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EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
(Sourced from Northern Territory Government Department of Employment, Education and Training 2006, pp. 14-16)
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EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
Appendix 3: Poetry Exercise 10
(Fry S, 2007, The Ode Less Travelled: Unlocking the Poet Within, Arrow Books, London, pp. 166-167)
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EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
Appendix 4: Shades of Meanings Cards (Examples)
HOT
SMALL
WIDE
HARD
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Travis Harriman 2072225
EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
Appendix 5: Example Songs and Companion Poems
A) "Conflict Diamonds" - Lupe Fiasco (http://www.azlyrics.com/lyrics/lupefiasco/conflictdiamonds.html)
Diamonds are forever
They won't leave in the night
I've no fear that they might
Desert me
Uhh, F and F, up
Diamonds are forever
Yeah, ya know what I'm saying
I figure, I feel like I'm should just, ya no
Show people the other side that wonder
Where, ya know wat I'm sayin'
That are presently unaware
They don't know about it, ya no wat I'm sayin'
Ya know jus' show 'em there's another side
To this thing right here we call bling
Allow me to break down the game
Behind the bracelets, earrings
Chains, watches and rings, the bling
The crystal encrusted, princess flooded
Canary studded, blue colored and blood stained
Yeah, the older brother of the drug game
That giver of fame, the take awayer of lame
The empowerer of the kings that came to claims and disease
Believe what the native people were saying
Believe my engagement ring received and flossed
At the cost of a bondage child minus pain
Long ago kings use to wear 'em in their armor
When they fought other armies because it use to scare 'em
If you wasn't rich couldn't wear em
Witches use to marry and they'd shoot you before they share 'em
The gift and the curse, the venom and the serum
Most hated ladies best friend get marked for a clip
You know what I'm sayin', I ain't comin' down on nobody
You know what I'm sayin', I ain't tryin' to judge nobody
Or nutin' like that
You know wat I'm sayin', I've lost to
I might go and get me a pinky ring tommorow
You know wat I'm sayin' but I just want you to see man
You know wat I'm sayin', jus' see, man
Sissero so old and genocide
Until the countryside just to get his shine on
I fear what the beards and his peers use to do
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Before the world really knew just to get they mind on
Making paper from slave labor and hittin' little kids
With life time bids making 'em cut and shine stones
Inflating the price and making 'em look nice
And I wasn't thinking twice when I was putting mine on
About a young shorty in Sierra Leone
Or other conflict countries that people call home
I figured I would never go to Angola
So it never did affect me that made me
Though maybe indirectly
That my necklace was funding a rebellion or a military coo
Started by militias that don't believe in following none of Geneva's rules
I was brushing of the haters, trying to be cool
Didn't have a clue that the rapper was helping the rapers
Raiders of the villagers, pillagers of the schools
Shooters of the innocent, torturers of the witnesses
Burners of the businesses
At my birth there was the few
Uhh, I ain't pushing an agenda, homie
I'm jus' pushing the facts, f*** Bush
'Cause there's people doin' worse on this earth and there black
I took it for years now let me bring it back
We all know on foreign shores that they finance wars
But asks yourself do they finance yours
When I first got mine I took 'em out on tour
They only lost half the value when I took 'em out the store
Or it was full of moistened Nikes and cubics
But the jeweller knew I was stupid and that I couldn't prove it
Feeling like I need it because I do music
To impress the groupies and the interviewers
So I didn't appraise it nor did I loop it
Even gave 'em to my girl thinkin' I was cupid
Homies were all hating, hoping they could make me lose it
Creeping through my own hood, knew I had to remove it
I see the Russian Mafia, the Jewish Mobsters
The undercover terrorists and the traps for the hustlers
Homie, it's a rap for the nonsense rhyming
Props to Kenya I call it conflict diamonds
You know what I'm sayin', I ain't comin' down on nobody
You know what I'm sayin', I ain't tryin' to judge nobody
Or nutin' like that
You know wat I'm sayin', I've lost to
I might go and get me a pinky ring tommorow
You know wat I'm sayin' but I just want you to see man
You know wat I'm sayin', jus' see, man
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Travis Harriman 2072225
EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
A) Blood Diamond
Placed upon a lover's finger,
no one ever thinks to linger,
from where the shinning jewel came,
known as by another name.
To think how long the carbon bakes,
to see the form the crystal takes.
Then as the earth it breaks,
the precious jewel then awakes.
A token of everlasting love,
to those and to the God above.
Her smiling eyes, his bursting heart,
neither know where it did start.
The toil, sweat, blood and tears,
the cost in man, flesh and fears.
To take the crystal from earth's hold,
the tales behind it never told.
To dig and take, to buy and sell,
the merchant, dealer, never tell.
The starving men in living hell
would be ringing the wedding bell.
A miner's body aches and strains,
meager wages, sweat, cuts and pains, the blistering heat and beating rains
only burn and wash away blood stains.
With just his family to feed,
they see him tire, see him bleed.
The fearful dangerous life to lead,
this is just his only need.
These crystals that he sorely mined,
to dig and drill, so hard to find.
To end up cut, ground and shined
for the lady, wined and dined.
He dreams of sometimes for his wife
if they were in another life,
away from hunger toil and strife.
That he would one day linger
and place one on her loving finger.
- Mike
Kearney 2011(Poems and Tales of Times in Fermoy, http://fermoytimes.webs.com/blooddiamond.htm)
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Travis Harriman 2072225
EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
B) "I Was Only 19" - Redgum (http://www.lyricsmode.com/lyrics/r/redgum/i_was_only_nineteen.html)
Mum and Dad and Denny saw the passing-out parade at Puckapunyal
It was a long march from cadets.
The sixth battalion was the next to tour, and it was me who drew the card.
We did Canungra, Shoalwater before we left.
And Townsville lined the footpaths as we marched down to the quay
This clipping from the paper shows us young and strong and clean.
And there's me in my slouch hat with my SLR and greens.
God help me, I was only nineteen.
From Vung Tau, riding Chinooks, to the dust at Nui Dat
I'd been in and out of choppers now for months.
But we made our tents a home, VB and pinups on the lockers
And an Asian orange sunset through the scrub.
And can you tell me, doctor, why I still can't get to sleep?
And night-time's just a jungle dark and a barking M16?
And what's this rash that comes and goes, can you tell me what it means?
God help me, I was only nineteen.
A four week operation when each step could mean your last one on two legs
It was a war within yourself.
But you wouldn't let your mates down til they had you dusted off
So you closed your eyes and thought about something else.
Then someone yelled out "Contact!" and the bloke behind me swore
We hooked in there for hours, then a Godalmighty roar
Frankie kicked a mine the day that mankind kicked the moon,
God help me, he was going home in June.
I can still see Frankie, drinking tinnies in the Grand Hotel
On a thirty-six hour rec leave in Vung Tau
And I can still hear Frankie, lying screaming in the jungle
Til the morphine came and killed the bloody row.
And the Anzac legends didn't mention mud and blood and tears
And the stories that my father told me never seemed quite real.
I caught some pieces in my back that I didn't even feel
God help me, I was only nineteen.
And can you tell me, doctor, why I still can't get to sleep?
And why the Channel Seven chopper chills me to my feet?
And what's this rash that comes and goes, can you tell me what it means?
God help me, I was only nineteen.
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B) Inscription for a War
“Stranger, go tell the Spartans
we died here obedient to their commands.”
— Inscription at Thermopylae
Linger not, stranger. Shed no tear.
Go back to those who sent us here.
We are the young they drafted out
To wars their folly brought about.
Go tell those old men, safe in bed,
We took their orders and are dead.
- A. D. Hope 1981 (Antechinus: Poems 1975-1980, http://www.poetrylibrary.edu.au/poets/hope-a-d/inscription-for-a-war0326030).
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C) "Everybody Leaves In The End" - The Temper Trap
(http://www.azlyrics.com/lyrics/tempertrap/everybodyleavesintheend.html)
Do you remember when you were young
Chasing clouds down the rivers
Catching birds in the sun
You have surrendered life's better hours
In the deep lies your freedom
In the stars is your home
As we gather to see you go
Flowers scatter to let you know
Sons of the mountains cry in the vials
Warm and tender in her arms
So you'll stay though you're gone
As we gather to say goodbye
Until we see your face again
But seasons come you're going soon
Everybody leaves in the end
Do you remember, do you remember
No one way, no one can ever walk like you again
All the names left behind
Are standing mirrors of your eyes
No one will, not one name
Shall replace the wars that came
Held you tight, we held you tight
Everybody leaves in the end
Do you remember?
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C)
- Les Murray n.d (in McFarlane, P & Temple, L 1996, Blue Light Clear Atoms: Poetry for Senior Students, p. 53).
).
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D) "Chasing Cars" - Snow Patrol (http://www.azlyrics.com/lyrics/snowpatrol/chasingcars.html)
We'll do it all
Everything
On our own
We don't need
Anything
Or anyone
If I lay here
If I just lay here
Would you lie with me and just forget the world?
I don't quite know
How to say
How I feel
Those three words
Are said too much
They're not enough
Chorus:
If I lay here
If I just lay here
Would you lie with me and just forget the world?
Forget what we're told
Before we get too old
Show me a garden that's bursting into life
Let's waste time
Chasing cars
Around our heads
I need your grace
To remind me
To find my own
Chorus
All that I am
All that I ever was
Is here in your perfect eyes, they're all I can see
I don't know where
Confused about how as well
Just know that these things will never change for us at all
Chorus
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Kelly Sharp Wed 5-7pm
D) The Sun Rising
Busy old fool, unruly Sun,
Why dost thou thus,
Through windows, and through curtains, call on us?
Must to thy motions lovers' seasons run?
Saucy pedantic wretch, go chide
Late school-boys and sour prentices,
Go tell court-huntsmen that the king will ride,
Call country ants to harvest offices;
Love, all alike, no season knows nor clime,
Nor hours, days, months, which are the rags of time.
Thy beams so reverend, and strong
Why shouldst thou think?
I could eclipse and cloud them with a wink,
But that I would not lose her sight so long.
If her eyes have not blinded thine,
Look, and to-morrow late tell me,
Whether both th' Indias of spice and mine
Be where thou left'st them, or lie here with me.
Ask for those kings whom thou saw'st yesterday,
And thou shalt hear, "All here in one bed lay."
She's all states, and all princes I;
Nothing else is;
Princes do but play us; compared to this,
All honour's mimic, all wealth alchemy.
Thou, Sun, art half as happy as we,
In that the world's contracted thus;
Thine age asks ease, and since thy duties be
To warm the world, that's done in warming us.
Shine here to us, and thou art everywhere;
This bed thy center is, these walls thy sphere.
- J. Donne 1633 (http://www.poets.org/viewmedia.php/prmMID/20320).
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E) "In The Shadow of Our Pale Companion" - Agalloch
(http://www.lyricsmode.com/lyrics/a/agalloch/in_the_shadow_of_our_pale_companion.html
Through vast valleys I wonder
To the highest peaks
On pathways through a wild forgotten landscape
In search of God, in spite of man
'til the lost forsaken endless. . .
This is where I choose to tread
Fall. . .so shall we fall into the nihil?
The nothingness that we feel in the arms of the pale
In the shadow of the grim companion who walks with us
Here is the landscape
Here is the sun
Here in the balance of the earth
Where is the god?
Has he fallen and abandoned us?
As I'm stalked by the shadow of death's hand
The fire in my heart is forged across the land
Here at the edge of this world
Here I gaze at a pantheon of oak, a citadel of stone
If this grand panorama before me is what you call God. . .
Then God is not dead
I walked down to a river and sat in reflection of what had to be done
An offering of crimson flowed into the water below
A wound of spirit from which it floated and faded away
. . .like every hope I've ever had. . .
. . .like every dream I've ever known. . .
It washed away in a tide of longing, a longing for a better world
From my will, my throat, to the river, and into the sea. . .
. . .wash away. . .
. . .fade away. . .
Here is the landscape
Here is the sun
Here at the edge of the earth
Where is the god?
Has he fallen to ruin?
As I'm stalked by the shadow of death's hand
My heathen pride is scarred across the land
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Travis Harriman 2072225
EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
E) The Ape and God
Son put a poser up to me
That made me scratch my head:
"God made the whole wide world," quoth he;
"That's right, my boy," I said.
Said son: "He made the mountains soar,
And all the plains lie flat;
But Dad, what did he do before
He did all that?
Said I: "Creation was his biz;
He set the stars to shine;
The sun and moon and all that is
Were His unique design.
The Cosmos is his concrete thought,
The Universe his chore…"
Said Son: "I understand, but what
Did He before?"
I gave it up; I could not cope
With his enquiring prod,
And must admit I've little hope
Of understanding God.
Indeed I find more to my mind
The monkey in the tree
In whose crude form Nature defined
Our human destiny.
Thought I: "Why search for Deity
In visionary shape?
'Twould better be if we could see
The angel in the ape.
Let mystic seek a God above:
Far wiser he who delves,
To find in kindliness and love
God in ourselves."
- RW Service n.d. (http://allpoetry.com/poem/8458707-The_Ape_And_God-by-Robert_W_Service).
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EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
F) "Fast Car" - Tracy Chapman (http://www.azlyrics.com/lyrics/tracychapman/fastcar.html)
You got a fast car
I want a ticket to anywhere
Maybe we make a deal
Maybe together we can get somewhere
Any place is better
Starting from zero got nothing to lose
Maybe we'll make something
But me myself I got nothing to prove
You got a fast car
And I got a plan to get us out of here
I been working at the convenience store
Managed to save just a little bit of money
We won't have to drive too far
Just 'cross the border and into the city
You and I can both get jobs
And finally see what it means to be living
You see my old man's got a problem
He live with the bottle that's the way it is
He says his body's too old for working
I say his body's too young to look like his
My mama went off and left him
She wanted more from life than he could give
I said somebody's got to take care of him
So I quit school and that's what I did
You got a fast car
But is it fast enough so we can fly away
We gotta make a decision
We leave tonight or live and die this way
I remember we were driving driving in your car
The speed so fast I felt like I was drunk
City lights lay out before us
And your arm felt nice wrapped 'round my shoulder
And I had a feeling that I belonged
And I had a feeling I could be someone, be someone, be someone
You got a fast car
And we go cruising to entertain ourselves
You still ain't got a job
And I work in a market as a checkout girl
I know things will get better
You'll find work and I'll get promoted
We'll move out of the shelter
Buy a big house and live in the suburbs
You got a fast car
And I got a job that pays all our bills
You stay out drinking late at the bar
See more of your friends than you do of your kids
I'd always hoped for better
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Travis Harriman 2072225
EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
Thought maybe together you and me would find it
I got no plans I ain't going nowhere
So take your fast car and keep on driving
You got a fast car
But is it fast enough so you can fly away
You gotta make a decision
You leave tonight or live and die this way
F)
- Robert Frost 1916 (in McFarlane, P & Temple, L 1996, Blue Light Clear Atoms: Poetry for Senior Students, p.
15).
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EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
G) "The Boxer" - Mumford & Sons (originally by Simon & Garfunkel)
(http://www.azlyrics.com/lyrics/mumfordsons/theboxer.html)
I am just a poor boy
Though my story seldom told
I squandered my resistance
For a pocket full of mumbles such are promises
All lies and jests
Still a man hears
What he wants to hear
And disregards the rest
When I left my home and my family
I was no more than a boy
In the company of strangers
In the quiet of the railway stations running scared
Laying low seeking out the poor quarters
Where the ragged people go
Looking for the places
Only they would know
Asking only workman's wages
I come looking for a job
But I get no offers
Just a come on
From the whores on seventh avenue
I do declare there were times
When I was so lonesome
I took some comfort there
Then I'm laying down my winter clothes
And wishing I was home going home
Where the New York City winters
Are bleeding me, bleeding me going home
In the clearing stands a boxer and a fighter by his trade
And he carries the reminder of every glove that laid him down
And cut him till he cried out in his anger and his shame
I am leaving I am leaving but the fighter still remains
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Travis Harriman 2072225
EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
G) Elegy for an Old Boxer
From my window
I watch the roots of a willow
push your house crooked,
women rummage through boxes,
your sons cart away the TV, its cord
trailing like your useless arms.
Only weeks ago we watched the heavyweights,
and between rounds you pummeled the air,
drank whiskey, admonished “Know your competition!”
You did, Kansas, the ‘20s
when you measured the town champ
as he danced the same dance over and over:
left foot, right lead, head down,
the move you’d dreamt about for days.
Then right on cue your hay-bale uppercut
compressed his spine. You know. That was that.
Now your mail piles up, RESIDENT circled
“not here.” Your lawn goes to seed. Dandelions
burst in the wind. From my window
I see you flat on your back on some canvas,
above you a wrinkled face, its clippy bow tie
bobbing toward ten. There’s someone behind you,
resting easy against the ropes,
a last minute substitute on the card you knew
so well, vaguely familiar, taken for granted,
with a sucker punch you don’t remember
ever having seen.
- James McKean 1979. (http://www.poetryfoundation.org/poem/178628).
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Travis Harriman 2072225
EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
H) "Dear Mr. President" - Pink (http://www.azlyrics.com/lyrics/pink/dearmrpresident.html)
Dear Mr. President,
Come take a walk with me.
Let's pretend we're just two people and
You're not better than me.
I'd like to ask you some questions if we can speak honestly.
What do you feel when you see all the homeless on the street?
Who do you pray for at night before you go to sleep?
What do you feel when you look in the mirror?
Are you proud?
How do you sleep while the rest of us cry?
How do you dream when a mother has no chance to say goodbye?
How do you walk with your head held high?
Can you even look me in the eye
And tell me why?
Dear Mr. President,
Were you a lonely boy?
Are you a lonely boy?
Are you a lonely boy?
How can you say
No child is left behind?
We're not dumb and we're not blind.
They're all sitting in your cells
While you pave the road to hell.
What kind of father would take his own daughter's rights away?
And what kind of father might hate his own daughter if she were gay?
I can only imagine what the first lady has to say
You've come a long way from whiskey and cocaine.
How do you sleep while the rest of us cry?
How do you dream when a mother has no chance to say goodbye?
How do you walk with your head held high?
Can you even look me in the eye?
Let me tell you 'bout hard work
Minimum wage with a baby on the way
Let me tell you 'bout hard work
Rebuilding your house after the bombs took them away
Let me tell you 'bout hard work
Building a bed out of a cardboard box
Let me tell you 'bout hard work
Hard work
Hard work
You don't know nothing 'bout hard work
Hard work
Hard work
Oh
How do you sleep at night?
How do you walk with your head held high?
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Kelly Sharp Wed 5-7pm
Dear Mr. President,
You'd never take a walk with me.
Would you?
H) The King's Job
Once on a time was a King anxious to understand
What was the wisest thing a man could do for his land.
Most of his population hurried to answer the question,
Each with a long oration, each with a new suggestion.
They interrupted his meals - he wasn't safe in his bed from 'em They hung round his neck and heels, and at last His Majesty fled from 'em.
He put on a leper's cloak (people leave lepers alone),
Out of the window he broke, and abdicated his throne.
All that rapturous day, while his Court and his ministers mourned him,
He danced on his own highway till his own Policeman warned him.
Gay and cheerful he ran (lepers don't cheer as a rule)
Till he found a philosopher-man teaching an infant-school.
The windows were open wide, the King sat down on the grass,
And heard the children inside reciting "Our King is an ass."
The King popped in his head: "Some people would call this treason,
But I think you are right," he said; "Will you kindly give me your reason?"
Lepers in school are as rare as kings with a leper's dress on,
But the class didn't stop or stare; it calmly went on with the lesson:
"The wisest thing, we suppose, that a man can do for his land.
Is the work that lies under his nose, with the tools that lie under his hand."
The King whipped off his cloak, and stood in his crown before 'em.
He said: "My dear little folk, Ex ore parvulorum (Which is Latin for "Children know more than grown-ups would credit")
You have shown me the road to go, and I propose to tread it."
Back to his Kingdom he ran, and issued a Proclamation,
"Let every living man return to his occupation!"
Then he explained to the mob who cheered in his palace and round it,
"I've been to look for a job, and Heaven be praised I've found it!"
- Rudyard Kipling 1911 (http://www.kipling.org.uk/poems_kingsjob.htm).
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EDUC 4720: Differentiation for Diverse Learners
Kelly Sharp Wed 5-7pm
Appendix 6: Poetry Rocks! Learning Menu Assessment Rubric
Inadequate
Failed to complete all
required aspects of the
learning menu.
Fails to exhibit any
understanding of poetic
device and the role it
plays within poem and
song.
Fails to identify subject
and theme within chosen
song.
Satisfactory
Completed all required
aspects of the learning
menu.
Exhibits a developing
understanding of poetic
device and the role it
plays within poem and
song.
Acknowledges subject
and theme within chosen
song.
Above Average
Completed all required
aspects of the learning
menu and a dessert.
Exhibits a good
understanding of poetic
device and the role it plays
within poem and song.
Excellent
Completed all required
aspects of the learning menu
and two or more desserts.
Exhibits a thorough
understanding of poetic
device and the role it plays
within poem and song.
Clearly identifies a subject
and theme within chosen
song.
Fails to connect poem
and song through subject
and theme.
Acknowledges a
relationship between
text's subject and theme.
Uses a poem of similar
subject and theme to
demonstrate a clear
relationship between texts.
Fails to connect rhythm,
metre and tone with
texts.
Fails to reflect on any
engagement with texts.
Acknowledges rhythm,
metre and tone in
relation to texts.
Acknowledges own
engagement with texts.
Developing analysis of
rhythm, metre and tone in
relation to texts.
Critically reflects on own
engagement with texts.
Work contains
significant punctuation,
spelling and
grammatical errors.
Work contains some
minor punctuation,
spelling and grammatical
errors.
Work is free of any major
punctuation, spelling and
grammatical errors.
Clearly identifies a subject
and theme within chosen
song.
Uses textual evidence to
support claims.
Uses a poem of similar
subject and theme to
demonstrate a clear
relationship between texts.
Uses textual evidence to
support claims.
Critical analysis of rhythm,
metre and tone in relation to
texts.
Critically reflects on own
engagement with texts and
considers that of a larger
audience.
Work is free of any
punctuation, spelling and
grammatical errors.
Comments:
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