AP Registration

SIGN UP FOR JAN. 31 SATURDAY SESSION IS NOW OPEN. YES, ATTENDANCE IS MANDATORY!!

STUDENTS WHO OWE ME DIGITAL JOURNALS

IF YOU OWE A DIGITAL LOG FOR HAMLET (YES YOUR NAMES ARE UNDER THIS POST, I NEED YOUR JOURNAL URL BY THE END OF THE WEEKEND.

IF YOU HAVE NOT SUBMITTED A JOURNAL BY NOW, THEN YOU'LL NEED A DIGITAL HAMLET LOG BY THE END OF THE WEEKEND.

STUDENTS:
7th period
Damian Camacho
Armando Gonzalez
Anastasia Hernandez
Viviana Monroy
Jose Quiarte
Nisha Rama
(Diego, did i get yours?)

5th period
Tafia Allen
Gerardo Perez
Luis Vega
Gladys Garcia

4th Period
Darius Brown

Hamlet 2.1

Hamlet seems visibly changed according to Ophelia. What do you think he's up to in this interaction and why does he choose Ophelia?

Additionally, we learn quite bit more about Polonius. What are his intentions and motivations in 1)spying on Laertes and 2) in running to Claudius with news that Hamlet is madly in love with Ophelia?

Hamlet Assignment 1.4/5 Due 12/15

Logs due for all of Act 1. Remember, scenes 4 and 5 can be combined into one log.
Read 2.1

Hamlet's language definitely changes after he sees the ghost. Examine how it changes in lines 1.5.97 - 211. What assumptions can we make about Hamlet's state of mind from the specific words he uses and the way he speaks to his companions at this point in the play? Why do you think Hamlet chooses to put on an "antic disposition"? Please leave your comments/answers below.

Hamlet Act 1.3 assignment for 12.9.14

Hamlet Assignment 1.3 

Assignment is class.

1. Complete assignment from previous blog! We did all but the paraphrase in class. Complete your paraphrase. Form groups of 3 or four as we suggested.
2. Complete logs for 1.2 and 1.3
3. As you read 1.3 keep a written list of Polonius's axioms. What do they say about his character?
4. Read 1.3 It's important to pay attention to the advice Laertes gives Ophelia, the advice Polonius gives Laertes, and the advice Polonius gives Ophelia. How would you characterize their relationships? What is on each of their minds? What kind of a man, and what kind of a father does Polonius strike you as being? Finally, what do you make of Ophelia? Please post these observations in the comments section below. Yes, this is for your grade!

Hamlet Assignment 12/8/2014

Greetings!

Hamlet Assignment - In Class

1. Please paraphrase Hamlet's 1st Soliloquy: lines 131 - 163. You will need to put it into your own words line by line on a separate sheet of paper. You will be performing these paraphrases Wednesday. This paraphrase is due by the end of class.
2.Complete your logs for 1.2
3. What's are your opinions of Claudius? Gertrude? Hamlet? Please post your answer as a comment in the comments section of this blogpost by the end of day. Ideally, you should also comment on the opinions of those who commented before you (if you want the super A grade on the assignment)
3. Read 1.3 It's important to pay attention to the advice Laertes gives Ophelia, the advice Polonius gives Laertes, and the advice Polonius gives Ophelia. How would you characterize their relationships? What is on each of their minds? What kind of a man, and what kind of a father does Polonius strike you as being?
4. Complete Log assignment for 1.3 - due at the beginning of class 12/10

Hamlet Log

Since there seems to be some confusion among a couple students, Here's a copy of the Hamlet Log handout. Remember, you are to comment completely with analysis whether you're summarizing, interpreting from a character's perspective, or drawing a representation of the scene.When in doubt, read the instructions and ask a question here if you are still puzzled.

There are a few of you who may wish to try a multimedia log - These can be done through a Wordpress https://wordpress.com/ blog, or Glogster   http://edu.glogster.com/signup. If you are using either of these you will need to inform me in advance and provide me with the direct link to each.

Hamlet - A Start

Complete Log for 1.1, begin log 2

Reading -
1.2 ALL
Close reading -
1.2.1-39
1.2.66-96
1.2.133-164

Questions for consideration: Please have answers to these ready to share:
1. From what you've read in this scene, what are some of the problems Hamlet faces?

For  Lines 1 -  62
2. Assess Claudius' character - What did you learn about him from his speech?
3.  In Shakespeare's time Kings and Queens used the royal "we" for public issues, and "I'' for discussing or dealing with private matters. Why does Claudius continue to use the royal "we" when addressing Hamlet, whom he calls his "son"?
4. Look for antithesis, the balancing of two contrasting ideas, words, phrases, or sentences in parallel grammatical form: "An auspicious and a drooping eye" for example. What feelings do these juxtapositions evoke?
5.What does Claudius' choice of words indicate? Why  does he  remember old Hamlet with "wisest sorrow"  instead of deep sorrow?
6. Examine the order of his ideas. What's om his mind and why?

For lines 64-131
7. Think about what Hamlet and Claudius are saying to each other overtly, and covertly. In other words, what do you really think they're really saying to each other?
8. What's Hamlet's attitude toward his mother? (yes, use your tone pages)

AP Lit and Comp Literary terms

Literary Terms page 1
A P LITERARY TERMS
ALLEGORY story or poem in which characters, settings, and events stand for other
people or events or for abstract ideas or qualities.
EXAMPLE: Animal Farm; Dante’s Inferno; Lord of the Flies
ALLITERATION repetition of the same or similar consonant sounds in words that are
close together.
EXAMPLE: “When the two youths turned with the flag they saw that much of the
regiment had crumbled away, and the dejected remnant was coming slowly
back.” –Stephen Crane (Note how regiment and remnant are being used; the
regiment is gone, a remnant remains…)
ALLUSION reference to someone or something that is known from history, literature,
religion, politics, sports, science, or another branch of culture. An indirect reference to
something (usually from literature, etc.).
AMBIGUITY deliberately suggesting two or more different, and sometimes conflicting,
meanings in a work. An event or situation that may be interpreted in more than one way-
- this is done on purpose by the author, when it is not done on purpose, it is vagueness,
and detracts from the work.
ANALOGY Comparison made between two things to show how they are alike
ANAPHORA Repetition of a word, phrase, or clause at the beginning of two or more
sentences in a row. This is a deliberate form of repetition and helps make the writer’s
point more coherent.
ANASTROPHE Inversion of the usual, normal, or logical order of the parts of a
sentence. Purpose is rhythm or emphasis or euphony. It is a fancy word for inversion.
ANECDOTE Brief story, told to illustrate a point or serve as an example of something,
often shows character of an individual
ANTAGONIST Opponent who struggles against or blocks the hero, or protagonist, in a
story.
ANTIMETABOLE Repetition of words in successive clauses in reverse grammatical
order.
Moliere: “One should eat to live, not live to eat.” In poetry, this is called chiasmus.
ANTITHESIS Balancing words, phrases, or ideas that are strongly contrasted, often by
means of grammatical structure.
Literary Terms page 2
ANTIHERO Central character who lacks all the qualities traditionally associated with
heroes. may lack courage, grace, intelligence, or moral scruples.
ANTHROPOMORPHISM attributing human characteristics to an animal or inanimate
object (Personification)
APHORISM brief, cleverly worded statement that makes a wise observation about life,
or of a principle or accepted general truth. Also called maxim, epigram.
APOSTROPHE calling out to an imaginary, dead, or absent person, or to a place or
thing, or a personified abstract idea. If the character is asking a god or goddess for
inspiration it is called an invocation.
Josiah Holland ---“Loacöon! Thou great embodiment/ Of human life and human history!”
APPOSITION Placing in immediately succeeding order of two or more coordinate
elements, the latter of which is an explanation, qualification, or modification of the first
(often set off by a colon). Paine: “These are the times that try men’s souls: The summer
soldier and the sunshine patriot will in this crisis, shrink from the service of his country;
but he that stands it Now, deserves the love and thanks of man and woman.”
ASSONANCE the repetition of similar vowel sounds followed by different consonant
sounds especially in words that are together.
ASYNDETON Commas used without conjunction to separate a series of words, thus
emphasizing the parts equally: instead of X, Y, and Z... the writer uses X,Y,Z.... see
polysyndeton.
BALANCE Constructing a sentence so that both halves are about the same length and
importance. Sentences can be unbalanced to serve a special effect as well.
CHARACTERIZATION the process by which the writer reveals the personality of a
character.
INDIRECT CHARACTERIZATION the author reveals to the reader what the
character is like by describing how the character looks and dresses, by letting the
reader hear what the character says, by revealing the character’s private thoughts
and feelings, by revealing the characters effect on other people (showing how
other characters feel or behave toward the character), or by showing the character
in action. Common in modern literature
DIRECT CHARACTERIZATION the author tells us directly what the
character is like: sneaky, generous, mean to pets and so on. Romantic style
literature relied more heavily on this form.
STATIC CHARACTER is one who does not change much in the course of a
story.
Literary Terms page 3
DYNAMIC CHARACTER is one who changes in some important way as a
result of the story’s action.
FLAT CHARACTER has only one or two personality traits. They are one
dimensional, like a piece of cardboard. They can be summed up in one phrase.
ROUND CHARACTER has more dimensions to their personalities---they are
complex, just a real people are.
CHIASMUS In poetry, a type of rhetorical balance in which the second part is
syntactically balanced against the first, but with the parts reversed. Coleridge: “Flowers
are lovely, love is flowerlike.” In prose this is called antimetabole.
CLICHE is a word or phrase, often a figure of speech, that has become lifeless because
of overuse. Avoid clichés like the plague. (That cliché is intended.)
COLLOQUIALISM a word or phrase in everyday use in conversation and informal
writing but is inappropriate for formal situations.
Example: “He’s out of his head if he thinks I’m gonna go for such a stupid idea.
COMEDY in general, a story that ends with a happy resolution of the conflicts faced by
the main character or characters.
CONCEIT an elaborate metaphor that compares two things that are startlingly different.
Often an extended metaphor.
CONFESSIONAL POETRY a twentieth century term used to describe poetry that uses
intimate material from the poet’s life.
CONFLICT the struggle between opposing forces or characters in a story.
EXTERNAL CONFLICT conflicts can exist between two people, between a
person and nature or a machine or between a person a whole society.
INTERNAL CONFLICT a conflict can be internal, involving opposing
forces within a person’s mind.
CONNOTATION the associations and emotional overtones that have become attached
to a word or phrase, in addition to its strict dictionary definition.
COUPLET two consecutive rhyming lines of poetry.
DIALECT a way of speaking that is characteristic of a certain social group or of the
inhabitants of a certain geographical area.
Literary Terms page 4
DICTION a speaker or writer’s choice of words.
DIDACTIC form of fiction or nonfiction that teaches a specific lesson or moral or
provides a model of correct behavior or thinking.
ELEGY a poem of mourning, usually about someone who has died. A Eulogy is great
praise or commendation, a laudatory speech, often about someone who has died.
EPANALEPSIS device of repetition in which the same expression (single word or
phrase) is repeated both at the beginning and at the end of the line, clause, or sentence.
Voltaire: “Common sense is not so common.”
EPIC a long narrative poem, written in heightened language , which recounts the deeds
of a heroic character who embodies the values of a particular society.
EPIGRAPH a quotation or aphorism at the beginning of a literary work suggestive of
the theme.
EPISTROPHE Device of repetition in which the same expression (single word or
phrase) is repeated at the end of two or more lines, clauses, or sentences (it is the opposite
of anaphora).
EPITHET an adjective or adjective phrase applied to a person or thing that is frequently
used to emphasize a characteristic quality. “Father of our country” and “the great
Emancipator” are examples. A Homeric epithet is a compound adjective used with a
person or thing: “swift-footed Achilles”; “rosy-fingered dawn.”
ESSAY a short piece of nonfiction prose in which the writer discusses some aspect of a
subject.
ESSAY TYPES TO KNOW:
ARGUMENTATION one of the four forms of discourse which uses logic,
ethics, and emotional appeals (logos, ethos, pathos) to develop an effective means
to convince the reader to think or act in a certain way.
PERSUASION relies more on emotional appeals than on facts
ARGUMENT form of persuasion that appeals to reason instead of
emotion to convince an audience to think or act in a certain way.
CAUSAL RELATIONSHIP Form of argumentation in which the writer
claims that one thing results from another, often used as part of a logical
argument.
Literary Terms page 5
DESCRIPTION a form of discourse that uses language to create a mood or
emotion.
EXPOSITION one of the four major forms of discourse, in which something
is explained or “set forth.”
NARRATIVE the form of discourse that tells about a series of events.
EXPLICATION act of interpreting or discovering the meaning of a text, usually
involves close reading and special attention to figurative language.
FABLE a very short story told in prose or poetry that teaches a practical lesson about
how to succeed in life.
FARCE a type of comedy in which ridiculous and often stereotyped characters are
involved in silly, far-fetched situations.
FIGURATIVE LANGUAGE Words which are inaccurate if interpreted literally, but
are used to describe. Similes and metaphors are common forms.
FLASHBACK a scene that interrupts the normal chronological sequence of events in a
story to depict something that happened at an earlier time.
FOIL A character who acts as contrast to another character. Often a funny side kick to
the dashing hero, or a villain contrasting the hero.
FORESHADOWING the use of hints and clues to suggest what will happen later in a
plot.
FREE VERSE poetry that does not conform to a regular meter or rhyme scheme.
HYPERBOLE a figure of speech that uses an incredible exaggeration or overstatement,
for effect. “If I told you once, I’ve told you a million times….”
HYPOTACTIC sentence marked by the use of connecting words between clauses or
sentences, explicitly showing the logical or other relationships between them. (Use of
such syntactic subordination of just one clause to another is known as hypotaxis).
I am tired because it is hot.
IMAGERY the use of language to evoke a picture or a concrete sensation of a person ,
a thing, a place, or an experience.
INVERSION the reversal of the normal word order in a sentence or phrase.
IRONY a discrepancy between appearances and reality.
Literary Terms page 6
VERBAL IRONY occurs when someone says one thing but really means
something else.
SITUATIONAL IRONY takes place when there is a discrepancy between
what is expected to happen, or what would be appropriate to happen, and what
really does happen.
DRAMATIC IRONY is so called because it is often used on stage. A
character in the play or story thinks one thing is true, but the audience or reader
knows better.
JUXTAPOSITION poetic and rhetorical device in which normally unassociated ideas,
words, or phrases are placed next to one another, creating an effect of surprise and wit.
Ezra Pound: “The apparition of these faces in the crowd;/ Petals on a wet, black bough.”
Juxtaposition is also a form of contrast by which writers call attention to
dissimilar ideas or images or metaphors.
Martin Luther King: “Injustice anywhere is a threat to justice everywhere.”
LITOTES is a form of understatement in which the positive form is emphasized through
the negation of a negative form: Hawthorne--- “…the wearers of petticoat and
farthingale…stepping forth into the public ways, and wedging their not unsubstantial
persons, if occasion were, into the throng…”
LOCAL COLOR a term applied to fiction or poetry which tends to place special
emphasis on a particular setting, including its customs, clothing, dialect and landscape.
LOOSE SENTENCE one in which the main clause comes first, followed by further
dependent grammatical units. See periodic sentence.
Hawthorne: “Hester gazed after him a little while, looking with a half-fantastic curiosity
to see whether the tender grass of early spring would not be blighted beneath him, and
show the wavering track of this footsteps, sere and brown, across its cheerful verdure.”
LYRIC POEM a poem that does not tell a story but expresses the personal feelings or
thoughts of the speaker. A ballad tells a story.
METAPHOR a figure of speech that makes a comparison between two unlike things
without the use of such specific words of comparison as like, as, than, or resembles.
IMPLIED METAPHOR does not state explicitly the two terms of the
comparison: “I like to see it lap the miles” is an implied metaphor in which the
verb lap implies a comparison between “it” and some animal that “laps” up
water.
EXTENDED METAPHOR is a metaphor that is extended or developed as far
as the writer wants to take it. (conceit if it is quite elaborate).
Literary Terms page 7
DEAD METAPHOR is a metaphor that has been used so often that the
comparison is no longer vivid: “The head of the house”, “the seat of the
government”, “a knotty problem” are all dead metaphors.
MIXED METAPHOR is a metaphor that has gotten out of control and mixes
its terms so that they are visually or imaginatively incompatible. “The President
is a lame duck who is running out of gas.”
METONYMY a figure of speech in which a person, place, or thing, is referred to by
something closely associated with it. “We requested from the crown support for our
petition.” The crown is used to represent the monarch.
MOOD An atmosphere created by a writer’s diction and the details selected.
MOTIF a recurring image, word, phrase, action, idea, object, or situation used
throughout a work (or in several works by one author), unifying the work by tying the
current situation to previous ones, or new ideas to the theme. Kurt Vonnegut uses “So it
goes” throughout Slaughterhouse-Five to remind the reader of the senselessness of death.
MOTIVATION the reasons for a character’s behavior.
ONOMATOPOEIA the use of words whose sounds echo their sense. “Pop.” “Zap.”
OXYMORON a figure of speech that combines opposite or contradictory terms in a
brief phrase. “Jumbo shrimp.” “Pretty ugly.” “Bitter-sweet”
PARABLE a relatively short story that teaches a moral, or lesson about how to lead a
good life.
PARADOX a statement that appears self-contradictory, but that reveals a kind of truth.
KOAN is a paradox used in Zen Buddhism to gain intuitive knowledge: “What is
the sound of one hand clapping?”
PARALLEL STRUCTURE (parallelism) the repetition of words or phrases that have
similar grammatical structures.
PARATACTIC SENTENCE simply juxtaposes clauses or sentences. I am tired: it is
hot.
PARODY a work that makes fun of another work by imitating some aspect of the
writer’s style.
PERIODIC sentence that places the main idea or central complete thought at the end of
the sentence, after all introductory elements.
Literary Terms page 8
PERSONIFICATION a figure of speech in which an object or animal is given human
feelings, thoughts, or attitudes.
PLOT the series of related events in a story or play, sometimes called the storyline.
Characteristics of PLOT:
EXPOSITION introduces characters, situation, and setting
RISING ACTION complications in conflict and situations (may introduce new
ones as well)
CLIMAX that point in a plot that creates the greatest intensity, suspense, or
interest. Also called “turning point”
RESOLUTION the conclusion of a story, when all or most of the conflicts have
been settled; often called the denouement.
POINT OF VIEW the vantage point from which the writer tells the story.
FIRST PERSON POINT OF VIEW one of the characters tells the story.
THIRD PERSON POINT OF VIEW an unknown narrator, tells the story, but
this narrator zooms in to focus on the thoughts and feelings of only one
character.
OMNISCIENT POINT OF VIEW an omniscient or all knowing narrator tells
the story, also using the third person pronouns. This narrator, instead of
focusing on one character only, often tells us everything about many characters.
OBJECTIVE POINT OF VIEW a narrator who is totally impersonal and
objective tells the story, with no comment on any characters or events.
POLYSYNDETON sentence which uses a conjunction with NO commas to separate the
items in a series. Instead of X, Y, and Z... Polysyndeton results in X and Y and Z... Kurt
Vonnegut uses this device.
PROTAGONIST the central character in a story, the one who initiates or drives the
action. Usually the hero or anti-hero; in a tragic hero, like John Proctor of The
Crucible, there is always a hamartia, or tragic flaw in his character which will lead to
his downfall.
PUN a “play on words” based on the multiple meanings of a single word or on words
that sound alike but mean different things.
Literary Terms page 9
QUATRAIN a poem consisting of four lines, or four lines of a poem that can be
considered as a unit.
REFRAIN a word, phrase, line, or group of lines that is repeated, for effect, several
times in a poem.
RHYTHM a rise and fall of the voice produced by the alternation of stressed and
unstressed syllables in language.
RHETORIC Art of effective communication, especially persuasive discourse.
RHETORICAL QUESTION a question asked for an effect, and not actually requiring
an answer.
ROMANCE in general, a story in which an idealized hero or heroine undertakes a quest
and is successful.
SATIRE a type of writing that ridicules the shortcomings of people or institutions in an
attempt to bring about a change.
SIMILE a figure of speech that makes an explicitly comparison between two unlike
things, using words such as like, as , than, or resembles.
SOLILOQUY a long speech made by a character in a play while no other characters are
on stage.
STEREOTYPE a fixed idea or conception of a character or an idea which does not
allow for any individuality, often based on religious, social, or racial prejudices.
STREAM OF CONSCIOUSNESS a style of writing that portrays the inner (often
chaotic) workings of a character’s mind.
STYLE the distinctive way in which a writer uses language: a writer’s distinctive use of
diction, tone, and syntax.
SUSPENSE a feeling of uncertainty and curiosity about what will happen next in a
story.
SYMBOL a person, place, thing, or event that has meaning in itself and that also stands
for something more than itself.
SYNECDOCHE a figure of speech in which a part represents the whole. “If you don’t
drive properly, you will lose your wheels.” The wheels represent the entire car.
SYNTACTIC FLUENCY Ability to create a variety of sentence structures,
appropriately complex and/or simple and varied in length.
Literary Terms page 10
SYNTACTIC PERMUTATION Sentence structures that are extraordinarily complex
and involved. Often difficult for a reader to follow.
TALL TALE an outrageously exaggerated, humorous story that is obviously
unbelievable.
TELEGRAPHIC SENTENCE A sentence shorter than five words in length.
THEME the insight about human life that is revealed in a literary work.
TONE the attitude a writer takes toward the subject of a work, the characters in it, or
the audience, revealed through diction, figurative language, and organization.
TRAGEDY in general, a story in which a heroic character either dies or comes to some
other unhappy end.
TRICOLON Sentence of three parts of equal importance and length, usually three
independent clauses.
UNDERSTATEMENT a statement that says less than what is meant.
Example: During the second war with Iraq, American troops complained of a
fierce sand storm that made even the night-vision equipment useless. A British
commando commented about the storm: “It’s a bit breezy.”
UNITY Unified parts of the writing are related to one central idea or organizing
principle. Unity is dependent upon coherence.
VERNACULAR the language spoken by the people who live in a particular locality.
WRITING MOVEMENTS AND STYLES TO KNOW:
IMPRESSIONISM a nineteenth-century movement in literature and art which
advocated a recording of the artist’s personal impressions of the world, rather than a
strict representation of reality.
MODERNISM a term for the bold new experimental styles and forms that swept the
arts during the first third of the twentieth century.
NATURALISM a nineteenth century literary movement that was an extension of
realism and that claimed to portray life exactly as it was.
PLAIN STYLE Writing style that stresses simplicity and clarity of expression (but will
still utilize allusions and metaphors), and was the main form of the Puritan writers.
Literary Terms page 11
PURITANISM Writing style of America’s early English-speaking colonists.
emphasizes obedience to God and consists mainly of journals, sermons, and poems.
RATIONALISM a movement that began in Europe in the seventeenth century, which
held that we can arrive at truth by using our reason rather than relying on the authority of
the past, on the authority of the Church, or an institution. ALSO CALLED
NEOCLASSICISM AND AGE OF REASON
REALISM a style of writing, developed in the nineteenth century, that attempts to
depict life accurately without idealizing or romanticizing it.
REGIONALISM literature that emphasizes a specific geographic setting and that
reproduces the speech, behavior, and attitudes of the people who live in that region.
ROMANTICISM a revolt against Rationalism that affected literature and the other arts,
beginning in the late eighteenth century and remaining strong throughout most of the
nineteenth century.
SURREALISM in movement in art and literature that started in Europe during the
1920s. Surrealists wanted to replace conventional realism with the full expression of the
unconscious mind, which they considered to be more real than the “real” world of
appearances.
SYMBOLISM a literary movement that originated in late nineteenth century France, in
which writers rearranged the world of appearances in order to reveal a more truthful
version of reality.
TRANSCENDENTALISM a nineteenth century movement in the Romantic tradition ,
which held that every individual can reach ultimate truths through spiritual intuition,
which transcends reasons and sensory experience.
TIME LINE:
Puritanism 1620 - 1770s
Neoclassic 1770s - early 1800s
Romanticism early 1800s - 1870s
Realism 1850s -early 1900s
Regionalism 1884 - early 1900s
Naturalism - late 1800s - mid 1900s
Modernism - 1920s - [1945]
[Post-Modernism - 1945 - ]

AP Lit Card Deck Due 12/1 (A) or 12/2 (B)

Assignment: On Large Index Cards
For each term on your list you are to create TWO (2) cards.
     a. On card 1 put the term on one side and the definition on the other. Use a marker or a BOLD pen - not pencil!
     b. On card 2 write down one or two examples of how the terms is used on one side and the number (from your AP literary terms list) of the term on the other.

For Example -
Card 1 side A

Card 1 side B

Card 2 side A

Card 2 side B

To locate the definition and the examples you may go to http://literarydevices.net/

Homework due 11/24 or 11/25

Please draw, paint, sketch, animate, or perform (on video) one of the sonnets or poems (assigned as class/homework depending on your period) in such a way that you bring the poem to life. Since imagery is generally physical it should lend itself to artistic expression. Though not required, you may work with one other partner.

Poems/Sonnets
My Last Duchess
Naming of Parts
The Cross
The World Is Too Much With Us
Desert Places
Holy Sonnet VI
Holy Sonnet X
Holy Sonnet XIV
Sonnet 73
Sonnet 130
Pathedy of Manners
After Apple-Picking
Here, Bullet
Eulogy
Digging
Because I Could Not Stop For Death


Have fun with this and let your interpretation serve as your analysis. You will present these for our pleasure in class.

My Last Duchess by Robert Browning

My Last Duchess

Robert Browning, 1812 - 1889

 

That’s my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Frà Pandolf’s hands
Worked busily a day, and there she stands.
Will ‘t please you sit and look at her? I said
‘Frà Pandolf’ by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, ‘t was not
Her husband’s presence only, called that spot
Of joy into the Duchess’ cheek: perhaps
Frà Pandolf chanced to say, ‘Her mantle laps
Over my lady’s wrist too much,' or ‘Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat:' such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart -- how shall I say? -- too soon made glad,
Too easily impressed; she liked whate’er
She looked on, and her looks went everywhere.
Sir, ‘t was all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace -- all and each
Would draw from her alike the approving speech,  
Or blush, at least. She thanked men, -- good! but thanked
Somehow -- I know not how -- as if she ranked
My gift of a nine-hundred-years-old name
With anybody’s gift. Who’d stoop to blame
This sort of trifling? Even had you skill
In speech -- (which I have not) -- to make your will
Quite clear to such an one, and say, ‘Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark’ -- and if she let
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and made excuse,
-- E’en then would be some stooping; and I choose
Never to stoop. Oh, sir, she smiled, no doubt,
Whene’er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will ‘t please you rise? We’ll meet
The company below then. I repeat,
The Count your master’s known munificence
Is ample warrant that no just pretence
Of mine for dowry will be disallowed;
Though his fair daughter’s self, as I avowed
At starting, is my object. Nay, we’ll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!

I will post commentary on this poem later in the day with questions for your consideration here on the blog. 

Assignment for 11/17/14

Mr. Jessup AP English 4 – Periods 5,7,8 and 4

 

ALL assignments are in Perrine’s Structure, Sound, and Sense textbook (the tan one)

1.       Students are to read pp. 674-680, then answer questions 1-6 on p680. 

2.      “Naming of Parts” by Henry Reed (p.681-82)) and thoroughly answer 1-6.

3.      Read “Cross” (p.682) and answer questions 1 and 2. 

4.       Read “The World is too much with us” (p.682-83) and answer 1 - 4.  The theme may be stated “This poem is about _______ because Wordsworth believes_________ and _________  are __________.”

5. Read “Desert Places” (p. 683) and answer 1 -5.

     Please work independently and submit all work to class box at the end of the period. Any work not submitted will not be accepted.

Homework: Read “My Last Duchess” and the commentary on the Blog – there will be a quiz on this poem Wednesday.

There will be a Quiz Wednesday, and a Mini Timed Sonnet Writing on Wednesday.