nbsp respond the items below in complete sentences distinguishing your

Respond the items below in complete sentences, distinguishing your words and ideas from those of the authors (Arp and Johnson), as well as other sources, when the latter are used. Be sure to acknowledge the author or editors where appropriate. Of course, when you do borrow more than three consecutive words from your sources, you are obligated to place those words within quotation marks.
Part I. Poems and their Elements. Discuss the lines excerpted below by way of the elements specified; you may need to refer to the text in order to read outside of the lines provided. {Each item is worth 5 points}
A} In Robert Haydens Those Winter Sundays (723), discuss the contrasting imagery of light and dark, as well as that of hot and cold; include in your discussion some treatment of imagery beyond the visual. Note in particular how such imagery functions in the poem. You may need to consider the Speaker, his or her Situation, and how the Imagery works to evoke Theme within these other elements. Haydens poem begins with this first stanza:
Sundays too my father got up early
And put his clothes on in the blueblack cold,
then with cracked hands that ached
from labor in the weekday weather made
banked fires blaze. No one ever thanked him.
Dont forget to discuss the title of the poem as it relates to any themes that you see.
B} In Gwendolyn Brookss famous poem, We Real Cool, the speaker(s) may be evident in the poets subtitle: The Pool Players, Seven at the Golden Shovel; Discuss the Speaker(s) of this poem, particularly in terms of how both Rhyme and Enjambment affect the poems meaning and expressive power. Again, your task is to consider HOW such elements work in the poem; for example, note how much different the poem would read if it were written as follows:
We real cool.
We left school.
We lurk late.
We strike straight. Etc.
C} Translate John Donnes poem, The Flea (825) into plain, contemporary English. Keep your sentences concise; remember, too, that a translation includes no commentary on your part; simply translate the poem line-by-line; you may need to use the footnotes and discussion that follows the poem in order to construct your translation.
D} Examine Wilfred Owens poem, Dulce et Decorum Est (666 -7), to determine the poems atmosphere; in particular, note the imagery of the poem and its shaping of that atmosphere. Similes, also, among other things, lend something to this atmosphere; take note of several, explaining how they work here. Finally, it is difficult to examine atmosphere without considering Situation, Speaker, and even speculating about whom the Speaker is addressing.
Part II.
Lets go with a veritable potpourri of options: Select two of the following items.
{Part II is worth 10 points.}
A} Equipped with the hand-out featuring Elizabeth Bishops poems, One Art and The Fish, respond to both poems, separately; the former poem might be read for its form; discuss how that form is appropriate for the conveyance of the poems subject. Note also how Bishop varies the elements that are usually repeated in this form. This particular form should remind you of a poem that we read in class; actually, we heard it read.
You may discuss One Art in any other ways that you find useful.
The Fish might be approached in terms of its imagery and figurative language; other elements are up to you; use your books and be resourceful.
B} Seduction, Love, or carpe diem? There are several famous poems found in the aforementioned genres: Marvell, To His Coy Mistress, Waller, Go, Lovely Rose, Jonson, Come, my Celia, let us prove, Marlowe, The Passionate Shepherd to his Love, and Raleigh, The Nymphs Reply the Shepherd, and even Williamss Raleigh was Right. If any of these are not featured in our anthology, see if you can locate a version through creative internet searches. Look through these various arguments; are they exhortations of carpe diem or outright utterances of invitations to sex? Of course, they vary widely; which is the most manipulative? Which is most clever? Least? Which is most convincingly carpe diem, rather than simply a call for intercourse (I mean of the sexual kind; there are many kinds of intercourse). Have some fun with these; you are not expected to offer full explications of all. Compare and contrast the poems to your own inclination.
C} Be your own detective; find at least two cases in which poets respond to the poems of previous poets, either humorously or otherwise (critically?); one such case Ill give you: Kenneth Koch begins one of his poems thus: I chopped down the house that you had been saving to live in next summer./ I am sorry, but it was morning, and I had nothing to do and its wooden beams were so inviting. To whose work is he reacting, and to what effect? See if you can find three cases of such responses; simply discuss the pairs in terms of what the later poet is doing with the material or message of the earlier one.
D] Feeling Creative? Take any one of the Short Stories that we read and convert it, or some substantial aspect or part of it, into a poem. No kidding: rewrite a story (or a good scene) into a poem. Hint: dont rhyme your poem; or, if you do, make it fit a strict form, as rhymed poems tend to do: the sonnet, the villanelle, the sestina, etc.
Rather than rhyming, though, I advise you to compose in free verse; what will distinguish your poem as such? Remember the powerful tools of the poet: Speaker, Situation, Tone, Imagery, Figurative Language, Alliteration, Assonance, Metonymy, Synecdoche, Symbol, Allusion, and so on; do not feel compelled to use them all; however, you might use your three or four favorites as they serve you.
Part III.
A} Perusing the Poetry: Range through the chapters on Poetry, from Chapter 5, Figurative Language 1 (728), through Chapter 14, Pattern, (893). For each chapter, locate a poem that well illustrates the particular element that the chapter presents. Then, introduce that poem, discussing how it serves as an example of work demonstrating how that element functions in poetry. For example, for Chapter 6, Figurative Language 2, one might introduce William Blakes The Sick Rose, including a couple of sentences discussing how the poem makes use of Symbol to enhance the works richness and meaning. A brief quotation of a couple of lines would be in order as well.
(There are 10 chapters, so each treatment is worth 1 point: the total value, then is 10 points; it may be useful to label the chapters 1 10, so that chapter 5 is 1, chapter 6 is 2, and so on).
B} Select one of the poems from Chapter 16, Evaluating Poetry 2: Poetic Excellence; In a well-developed paragraph, discuss the purported excellence of the poem, supplementing your response with an article on the poem found in one of the following MC Library Search Engines: JSTOR, Project Muse, Literature Resource Center, or MLA International Bibliography. Quote from both the primary and the secondary sources in support of your discussion. To the best of your ability, document your use of these sources according to MLA style.
*BONUS: Discuss any popular song lyrics as a kind of poetry; note the context in which such songs are presented, explaining the effect of such a context (ie, musical framing, etc); your focus is to be on the poetic elements of the lyrics. For example, often, in a well-penned song, one finds rich imagery; take note of such and quote from the song to support your discussion. Take note, also, of any elements that lend something to a songs theme, message, or other expressive power: figurative language, tone, rhyme, meter, alliteration, assonance, and, yes, even metonymy and synecdoche. Again, it is never enough to say, I find a simile on line three of stanza two. So what, one asks? It is always the burden of the writer to suggest what that simile does in the poem; what is its function? How does it work? Therein lies the challenge and essence of interpretive reading, especially of poetry. 5 points

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