© Boardworks Ltd 2001 Key Stage 4 Poetry Textual Analysis.
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Transcript of © Boardworks Ltd 2001 Key Stage 4 Poetry Textual Analysis.
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- Boardworks Ltd 2001 Key Stage 4 Poetry Textual Analysis
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- Boardworks Ltd 2001 Textual Analysis UNIT CONTENTS IntroductionSlides 4 - 18 Structure and FormSlides 19 - 37 Storyline and ViewpointSlides 38 - 52 Theme and MessageSlides 53 - 57 Rhyme and RhythmSlides 58 - 72 Tone, Mood and EmotionSlides 73 - 79 Using your SensesSlides 80 - 83
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- Boardworks Ltd 2001 Textual Analysis - Introduction CONTENTS Unit IntroductionSlide 4 What is Poetry?Slide 5 Important British PoetsSlides 6 - 15 Poetry and SocietySlide 16 An Ever Changing LanguageSlides 17 - 18
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- Boardworks Ltd 2001 In this unit we will be learning how to analyse poetry. We will explore the different aspects of poetry, including structure, themes, rhyme and rhythm. We will also look at a series of different poems to show you how the skills you are learning can be put into practice. In the companion unit, Analysing Imagery, you can find lots of information about how to identify and comment on images, such as similes, metaphors and personification. Before we start looking at the examples, first we need to learn a little more about poetry itself: what it is, how it has changed over time, and how it relates to the society in which it is written. Unit Introduction Textual Analysis - Introduction
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- Boardworks Ltd 2001 Poetry has certain characteristics that make it special. Here are a few ideas - you may be able to think of more. Poetry uses vivid images and descriptive language to paint a picture in the readers mind. Poetry cuts out all the excess words that you might find in prose, creating its magic with a limited amount of text. Poetry is normally designed to be read out loud - when you read it, do try to hear it as well. Poetry often makes the reader emphasise certain important words, and it usually has a strong rhythm. Poetry may rhyme, but it does not have to. What is Poetry? Textual Analysis - Introduction
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- Boardworks Ltd 2001 In the next series of slides you will find poems, and extracts from poems, written by some important British poets, from the fourteenth to the nineteenth century. These give just a brief sample of Britains long heritage of great poets. Why not try to decide which modern poets of the twentieth century also deserve a place on this list? The poets are organised in chronological order, and for each poet you are given the dates that they lived and an extract from their work. Later on in this unit we will be analysing some of these poems in greater detail. Textual Analysis - Introduction Important British Poets
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- Boardworks Ltd 2001 As you read the poems, think about the following questions: How does the language that the poets use change over time? Are there any common themes between the poems, or do these change too? Do these poets use imagery? If yes, what types of images do they use? Which of these poems do you like most? Why? Which of these poems do you like least? Why? Textual Analysis - Introduction Important British Poets
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- Boardworks Ltd 2001 Name: Geoffrey Chaucer Dates: ?1343 - 1400 Textual Analysis - Introduction Madam Eglantine (extract) There was also a nun, a Prioress, That of her smiling was full simple and coy; Her greatest oath was but by Saint Loy; And she was clepd Madam Eglantine. Full well she sang the service divine, Entund in her nose full seemely, And French she spake full fair and fetisly, After the school of Stratford-atte-Bow, For French of Paris was to her unknow.
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- Boardworks Ltd 2001 Name: Sir Walter Ralegh Dates: ?1552 - 1618 Textual Analysis - Introduction All the Worlds a Stage What is our life? A play of passion, Our mirth the music of division Our mothers wombs the tiring-houses be, Where we are dressed for this short comedy. Heaven the judicious sharp spectator is, That sits and marks still who doth act amiss. Our graves that hide us from the searching sun Are like drawn curtains when the play is done. Thus march we, playing, to our latest rest. Only we die in earnest, thats no jest.
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- Boardworks Ltd 2001 Name: John Donne Dates: 1572 - 1631 Textual Analysis - Introduction Holy Sonnets (extract) Thou hast made me, and shall thy work decay? Repair me now, for now mine end doth haste; I run to death, and death meets me as fast, And all my pleasures are like yesterday. I dare not move my dim eyes any way; Despair behind, and death before doth cast Such terror, and my feebled flesh doth waste By sin in it, which it towards hell doth weigh.
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- Boardworks Ltd 2001 Name: John Milton Dates: 1608 - 1674 Textual Analysis - Introduction Paradise Lost (extract) Now came still evening on, and twilight grey Had in her sober livery all things clad; Silence accompanied, for beast and bird, They to their grassy couch, these to their nests Were slunk, all but the wakeful nightingale; She all night long her amorous descant sung; Silence was pleased.
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- Boardworks Ltd 2001 Name: Alexander Pope Dates: 1688 - 1744 Textual Analysis - Introduction A Little Learning (extract) A little learning is a dangerous thing; Drink deep, or taste not the Pierian spring: There shallow draughts intoxicate the brain, And drinking largely sobers us again. Fired at first sight with what the Muse imparts, In fearless youth we tempt the height of Arts; While from the bounded level of our mind Short views we take, nor see the lengths behind, But, more advanced, behold with strange surprise New distant scenes of endless science rise!
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- Boardworks Ltd 2001 Name: William Blake Dates: 1757 - 1827 Textual Analysis - Introduction The Tiger (extract) Tiger! Tiger! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies Burned the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire?
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- Boardworks Ltd 2001 Name: Robert Burns Dates: 1759 - 1796 Textual Analysis - Introduction Auld Lang Syne (extract) Should auld acquaintance be forgot, And never brought to min? Should auld acquaintance be forgot, And auld lang syne? For auld lang syne, my dear, For auld lang syne, Well tak a cup o kindness yet, For auld lang syne.
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- Boardworks Ltd 2001 Name: Christina Georgina Rossetti Dates: 1830 - 1894 Textual Analysis - Introduction Song (extract) When I am dead, my dearest, Sing no sad songs for me; Plant thou no roses at my head, Nor shady cypress tree: Be the green grass above me With showers and dewdrops wet; And if thou wilt, remember, And if thou wilt, forget.
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- Boardworks Ltd 2001 Throughout history, poets have commented on the society in which they live. Just as novelists write in a particular social context, so too do poets. Poetry can be a very special form of commentary, because part of its magic is that it can be read aloud. Some poets in our modern society write performance poetry, specifically designed to be heard. One of the ways in which poets can comment on their society is by choosing particular themes, such as religion or politics. We will be looking at the themes that poets choose in greater detail later on in the unit. When you analyse any piece of poetry, you should take the social context into account. Poetry and Society Textual Analysis - Introduction
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- Boardworks Ltd 2001 The English language, like any language, is subject to constant change. This change is, perhaps, particularly apparent in the poetry that we write, because poetry is such a condensed form of language. If we read a piece of poetry written a long time ago, it may be difficult for us to understand the language that is used. We might not understand some of the words, because they are no longer used, or we may see a word that we know, but spelt in a very different way. There are many different reasons that language changes, and you will find some examples on the next slide. An Ever Changing Language Textual Analysis - Introduction
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- Boardworks Ltd 2001 Why, then, do languages change? Here are two reasons. See how many more ideas you can think of. Textual Analysis - Introduction Because we need to find new words to describe new ideas and inventions. For instance, the words email and internet would have been unknown, even fifty years ago. Because our own language is influenced by other cultures, perhaps through the integration of people from around the world into our country, or by seeing examples of other cultures in the media. An Ever Changing Language
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- Boardworks Ltd 2001 Textual Analysis - Structure and Form CONTENTS StructureSlides 20 - 27 FormSlide 28 The LimerickSlides 29 - 31 The Shakespearean SonnetSlides 32 - 37
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- Boardworks Ltd 2001 When you look at a poem, whether in class or for an examination or coursework essay, the first thing to explore is the way that it is structured. Generally speaking, poems are structured in verses, and within the verses you may also find a specific line structure. An example of this is the Shakespearean Sonnet, which we will be analysing further on in this section. When commenting on the structure of a poem, you should ensure that you discuss how the structure affects the impact of the poem, and the way that it works. Lets look briefly now at a poetry extract to see how you might do this. Structure Struc