This lesson prompts students to think about a poem’s speaker within the larger context of modernist poetry. First, students will review the role of the speaker in two poems of the Romanticism period before focusing on the differences in Wallace Stevens’ modernist “Thirteen Ways of Looking at a Blackbird.
In this lesson, students will read an illustrated version of "Rikki-Tikki-Tavi," examine how Kipling and visual artists mix observation with imagination to create remarkable works, and follow similar principles to create a work of their own.
In this lesson, students will use interactive materials to learn about Rudyard Kipling's life and times, read an illustrated version of "Rikki-Tikki-Tavi," and learn how Kipling effectively uses personification by mixing fact and fiction.
Students explore the metaphysical poet Andrew Marvell's use of tone, imagery, and poetic form as he attempts to seduce his “Coy Mistress.”
In this lesson, students will explore the role of the individual in the modern world by closely reading and analyzing T.S. Eliot’s “The Love Song of J. Alfred Prufrock.”
Striking examples of poetic "pictures"-not just vivid images but the entire mental picture conjured up by a poet-are to be found in "The Charge of the Light Brigade," by Alfred, Lord Tennyson, and "The Highwayman," by Alfred Noyes. As they explore the means by which Tennyson and Noyes create these compelling pictures in words, students will also learn the critical terminology to analyze and describe a variety of poetic techniques and will have an opportunity to create their own pictures in words.
In this lesson, students will discover how historical events gradually merged with fantasy to create the colorful tales we enjoy today.
The historian and literary critic Paul Fussell has noted in The Great War and Modern Memory that, "Dawn has never recovered from what the Great War did to it." With dawn as a common symbol in poetry, it is no wonder that, like a new understanding of dawn itself, a comprehensive body of "World War I Poetry" emerged from the trenches as well.