Monday, December 9, 2013

Further preparation for the final exam: Writing About Poetry



There is no secret to writing about poetry, any more there was the short story or drama; the difference is only that we have not done it before.To get a good idea of what is expected, read the sample student essay in your text, pages 861-864, AND pay special attention to the accompanying notes in the margin. This is an essay on Emily Dickinson’s  poetry.   

Note the following: 

  •          The first paragraph contains an introduction to Dickinson and provides a thesis statement that indicates the essay will discuss Emily Dickinson’s religious faith that is seen in her poetry. Your first paragraph should introduce Robert Frost and provide a thesis statement concerning a particular aspect that can be evidenced in Frost’s poetry.
  •          Each body paragraph provides an explanation of a specific poem and how it relates to the thesis statement—the paragraph does NOT try to analyze the entire poem; it focuses specifically on the topic raised in the thesis sentence.  In the same manner, if you are analyzing a particular trait in Frost’s poetry, perhaps the importance of setting along with tradition and custom, you will NOT need to analyze the “Out, Out—” in regard to the inevitability of change. Or, to be blunt, an analysis based on the internet could be informative, but will not satisfy the essay assignment.
  •          Note that there are at least 3 poems analyzed and used to support the thesis statement. That should tell you how many poems you need to use
  •          The essay on Dickinson concludes with a “well-supported final analysis of the poet’s views on God and faith.” Likewise, your essay on Frost and his poetry should conclude with a well-supported statement of the poet’s views on which ever topic you have analyzed.
  •          Note how lines of poetry are quoted in the essay on Dickinson; the title of the poem should be in quotation marks; lines, phrases, words from a poem are also quoted, with quotation marks, exactly as they appear in the poem and the line(s) given in parentheses.  Pay attention to this, as it is in the correct format and is expected, particularly if you are seeking an “A.”
You will have 3 topics from which to choose. If you want to bring a laptop, type your final on the laptop and email it to me, I’ll be happy to check to make sure I received it.

Frost’s poems we’ve read or that were assigned:


“Out, Out—“
“Old Man’s Winter Night”
“After Apple Picking”
“Stopping by the Woods”
“One Acquainted With the Night”
“Neither Far Out nor In Deep”
“Birches”
“Death of a Hired Man”
"Nothing Gold Can Stay"
"Mending Wall"

Wednesday, December 4, 2013

Two More Poems by Frost

Acquainted with the Night

By Robert Frost
I have been one acquainted with the night.
I have walked out in rainand back in rain.
I have outwalked the furthest city light.

I have looked down the saddest city lane.
I have passed by the watchman on his beat
And dropped my eyes, unwilling to explain.

I have stood still and stopped the sound of feet
When far away an interrupted cry
Came over houses from another street,

But not to call me back or say good-bye;
And further still at an unearthly height,
One luminary clock against the sky

Proclaimed the time was neither wrong nor right. 
I have been one acquainted with the night.
 
A suggestion in understanding poetry:

 SOMETIMES, not always, but SOMETIMES, a poem can be more easily understood if you write the sentences down and approach the poem as you would prose. Look at the above poem written as prose:

I have been one acquainted with the night. I have walked out in rain -- and back in rain. I have outwalked the furthest city light. I have looked down the saddest city lane. I have passed by the watchman on his beat And dropped my eyes, unwilling to explain. I have stood still and stopped the sound of feet When far away an interrupted cry Came over houses from another street, But not to call me back or say good-bye; And further still at an unearthly height, O luminary clock against the sky Proclaimed the time was neither wrong nor right. I have been one acquainted with the night.

Try to think of the following as a story you might read:

The Death of the Hired Man

 
by Robert Frost

Mary sat musing on the lamp-flame at the table  
Waiting for Warren. When she heard his step,  
She ran on tip-toe down the darkened passage  
To meet him in the doorway with the news  
And put him on his guard. "Silas is back."           
She pushed him outward with her through the door  
And shut it after her. "Be kind," she said.  
She took the market things from Warren’s arms  
And set them on the porch, then drew him down  
To sit beside her on the wooden steps.            
  
"When was I ever anything but kind to him?  
But I’ll not have the fellow back," he said.  
"I told him so last haying, didn’t I?  
‘If he left then,’ I said, ‘that ended it.’  
What good is he? Who else will harbor him            
At his age for the little he can do?  
What help he is there’s no depending on.  
Off he goes always when I need him most.  
‘He thinks he ought to earn a little pay,  
Enough at least to buy tobacco with,            
So he won’t have to beg and be beholden.’  
‘All right,’ I say, ‘I can’t afford to pay  
Any fixed wages, though I wish I could.’  
‘Someone else can.’ ‘Then someone else will have to.’  
I shouldn’t mind his bettering himself            
If that was what it was. You can be certain,  
When he begins like that, there’s someone at him  
Trying to coax him off with pocket-money,—  
In haying time, when any help is scarce.  
In winter he comes back to us. I’m done."            
  
"Sh! not so loud: he’ll hear you," Mary said.  
  
"I want him to: he’ll have to soon or late."  
  
"He’s worn out. He’s asleep beside the stove.  
When I came up from Rowe’s I found him here,  
Huddled against the barn-door fast asleep,            
A miserable sight, and frightening, too—  
You needn’t smile—I didn’t recognise him—  
I wasn’t looking for him—and he’s changed.  
Wait till you see."  
  
"Where did you say he’d been?"            
  
"He didn’t say. I dragged him to the house,  
And gave him tea and tried to make him smoke.  
I tried to make him talk about his travels.  
Nothing would do: he just kept nodding off."  
  
"What did he say? Did he say anything?"            
  
"But little."  
  
"Anything? Mary, confess  
He said he’d come to ditch the meadow for me."  
  
"Warren!"  
  
"But did he? I just want to know."            
  
"Of course he did. What would you have him say?  
Surely you wouldn’t grudge the poor old man  
Some humble way to save his self-respect.  
He added, if you really care to know,  
He meant to clear the upper pasture, too.            
That sounds like something you have heard before?  
Warren, I wish you could have heard the way  
He jumbled everything. I stopped to look  
Two or three times—he made me feel so queer—  
To see if he was talking in his sleep.            
He ran on Harold Wilson—you remember—  
The boy you had in haying four years since.  
He’s finished school, and teaching in his college.  
Silas declares you’ll have to get him back.  
He says they two will make a team for work:            
Between them they will lay this farm as smooth!  
The way he mixed that in with other things.  
He thinks young Wilson a likely lad, though daft  
On education—you know how they fought  
All through July under the blazing sun,            
Silas up on the cart to build the load,  
Harold along beside to pitch it on."  
  
"Yes, I took care to keep well out of earshot."  
  
"Well, those days trouble Silas like a dream.  
You wouldn’t think they would. How some things linger!            
Harold’s young college boy’s assurance piqued him.  
After so many years he still keeps finding  
Good arguments he sees he might have used.  
I sympathise. I know just how it feels  
To think of the right thing to say too late.            
Harold’s associated in his mind with Latin.  
He asked me what I thought of Harold’s saying  
He studied Latin like the violin  
Because he liked it—that an argument!  
He said he couldn’t make the boy believe            
He could find water with a hazel prong—  
Which showed how much good school had ever done him.  
He wanted to go over that. But most of all  
He thinks if he could have another chance  
To teach him how to build a load of hay——"            
  
"I know, that’s Silas’ one accomplishment.  
He bundles every forkful in its place,  
And tags and numbers it for future reference,  
So he can find and easily dislodge it  
In the unloading. Silas does that well.            
He takes it out in bunches like big birds’ nests.  
You never see him standing on the hay  
He’s trying to lift, straining to lift himself."  
  
"He thinks if he could teach him that, he’d be  
Some good perhaps to someone in the world.             
He hates to see a boy the fool of books.  
Poor Silas, so concerned for other folk,  
And nothing to look backward to with pride,  
And nothing to look forward to with hope,  
So now and never any different."             
  
Part of a moon was falling down the west,  
Dragging the whole sky with it to the hills.  
Its light poured softly in her lap. She saw  
And spread her apron to it. She put out her hand  
Among the harp-like morning-glory strings,             
Taut with the dew from garden bed to eaves,  
As if she played unheard the tenderness  
That wrought on him beside her in the night.  
"Warren," she said, "he has come home to die:  
You needn’t be afraid he’ll leave you this time."             
  
"Home," he mocked gently.  
  
"Yes, what else but home?  
It all depends on what you mean by home.  
Of course he’s nothing to us, any more  
Than was the hound that came a stranger to us             
Out of the woods, worn out upon the trail."  
  
"Home is the place where, when you have to go there,  
They have to take you in."  
  
"I should have called it  
Something you somehow haven’t to deserve."             
  
Warren leaned out and took a step or two,  
Picked up a little stick, and brought it back  
And broke it in his hand and tossed it by.  
"Silas has better claim on us you think  
Than on his brother? Thirteen little miles             
As the road winds would bring him to his door.  
Silas has walked that far no doubt to-day.  
Why didn’t he go there? His brother’s rich,  
A somebody—director in the bank."  
  
"He never told us that."             
  
"We know it though."  
  
"I think his brother ought to help, of course.  
I’ll see to that if there is need. He ought of right  
To take him in, and might be willing to—  
He may be better than appearances.             
But have some pity on Silas. Do you think  
If he’d had any pride in claiming kin  
Or anything he looked for from his brother,  
He’d keep so still about him all this time?"  
  
"I wonder what’s between them."             
  
"I can tell you.  
Silas is what he is—we wouldn’t mind him—  
But just the kind that kinsfolk can’t abide.  
He never did a thing so very bad.  
He don’t know why he isn’t quite as good             
As anyone. He won’t be made ashamed  
To please his brother, worthless though he is."  
  
"I can’t think Si ever hurt anyone."  
  
"No, but he hurt my heart the way he lay  
And rolled his old head on that sharp-edged chair-back.             
He wouldn’t let me put him on the lounge.  
You must go in and see what you can do.  
I made the bed up for him there to-night.  
You’ll be surprised at him—how much he’s broken.  
His working days are done; I’m sure of it."             
  
"I’d not be in a hurry to say that."  
  
"I haven’t been. Go, look, see for yourself.  
But, Warren, please remember how it is:  
He’s come to help you ditch the meadow.  
He has a plan. You mustn’t laugh at him.             
He may not speak of it, and then he may.  
I’ll sit and see if that small sailing cloud  
Will hit or miss the moon."  
  
It hit the moon.  
Then there were three there, making a dim row,             
The moon, the little silver cloud, and she.  
  
Warren returned—too soon, it seemed to her,  
Slipped to her side, caught up her hand and waited.  
  
"Warren," she questioned.  
  
"Dead," was all he answered.
 

Tuesday, December 3, 2013

Poetry

1. Someone reminded me on Monday that we have not scheduled a poetry quiz over terms, techniques, etc. In lieu of that, hand in the work I assigned before Thanksgiving over the poems, "Out, Out--" (885) "A Man Said to the Universe" and "How We Didn't Tell Her" (1002).
Poem Questions can be handed in on Monday or the day of the final (I'll grade while you write):
#1 - page 1003
#1, and 2 at the top, under "Considerations For Critical Thinking and Writing" and #3, at the bottom, under "Connections to Other Selections" - page 886
Each question will be worth 25 pts.
Don't confuse this with the final!!! 

2. Be SURE to check the Fall 2013 Exam Schedule for the date and time of our final. And yes, you will hand write your final essay; it needs to be in blue or black ink, so bring paper and pen.

3. You WILL be able to use your text during your final; however, I strongly urge you to familiarize yourself with the following topics and with Frost's poems, specifically:

885 - "Out, Out--"
884 - "An Old Man's Winter Night"
881 - "After Apple Picking"
887 - "Stopping by the Woods on a Snowy Evening"
         "Nothing Gold Can Stay"
         "Neither Far Out nor In Deep"
         "Birches"
         "Mending Wall"
***   "One Acquainted With the Night"
***   "Death of a Hired Man"

4. The next thing you need to do is examine each poem, looking for evidence to support the following topics:

  • the "terrifying universe" in Frost's poems
    • not a pleasant, picturesque New England, but one that is somber, even frightening, full of death and despair
  • the fragility of life
    • what does it mean that life is fragile? how does sudden death come and what does it suggest about life, in general?
  • loneliness and isolation
    • which poems reveal an individual who is isolated, cut off in one way or another from the rest of human, and consequently lonely?
  • place and tradition
    • which poems rely on setting and tradition or custom that occurs over and over?
  • the inevitability of change
    • obviously, everything evolves/changes--how does Frost represent this in his poetry?
5. Hopefully, you can look over this and ask me questions