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Long Term Poetry Activities

Introduction to Poetry I ask them to take a poem and hold it up to the light like a color slide or press an ear against its hive. I say drop a mouse into a poem and watch him probe his way out, or walk inside the poems room and feel the walls for a light switch. I want them to waterski across the surface of a poem waving at the authors name on the shore. ut all they want to do is tie the poem to a chair with rope and torture a confession out of it. they begin beating it with a hose to find out what it really means. illy !ollins

"istrict # Poetry $nit y %ary Pell and %ary Ann &toddard

'e hope you find the following activities and poems helpful in your (uest to )beat it with a hose.*

Long Term Poetry Activities The teacher can share a poem a day, +ust for en+oyment. A few years ago, the poet Billy Collins created Poetry 180, a program to encourage American high school students to read a poem aloud every day of the school year. The program s goal is not to analy!e or teach the poems, "ust to accustom students to reading and hearing poetry. Teachers can find good poems to share in anthologies such as The 20th Century Childrens Poetry Treasury, edited #y "ac$ Preluts$y %new &or$' Alfred A. (nopf, 1)))*. Browsing in the 811 section of the li#rary will yield all $inds of poetry collections+ maga!ines li$e Cricket also have e,cellent poems. -nce you have #egun collecting favorite poems, you will want to ma$e a note#oo$ or filing system to $eep them. .t s also a good idea to photocopy a poem, glue it on a piece of cardstoc$ or old file folder, and laminate it. /a$ing one copy is legal, and this will give you a sturdy collection you can share with children. 0eading poetry can #e a regular part of independent reading. .ncluding a poetry section in the classroom li#rary or putting a #as$et of poetry #oo$s on each ta#le for #rowsing during independent reading time will encourage students to e,plore poetry on their own. The students can make a poetry anthology. This year1long pro"ect comes from The No-Nonsense Guide to Teaching Writing #y 2udy 3avis and 4haron 5ill %Portsmouth, 65' 5einemann, 7008*. 4tudents #rowse in poetry #oo$s for poems that connect to their lives and mar$ favorites with stic$y notes. They choose a favorite and copy it onto paper. They use the poem as inspiration for a poem of their own. They may #e inspired #y the content or the form of the pu#lished poem. They mount #oth poems side #y side on a large sheet of white construction paper and do an illustration on the rest of the page. They share their poems with the class. -nce students have wor$ed through this guided practice, they have a monthly assignment to find a favorite poem, write a poem inspired #y it, and illustrate the poems. The teacher provides a note#oo$ or folder of unlined paper for the anthologies. 4tudents share and en"oy each other s wor$ on the last school day of each month. The authors suggest these variations' 9se the anthologies to collect and illustrate favorite pu#lished poems. 5ave students write a response to the poem instead of an original poem. %4ee Appendi, A, e,ample of a teacher response* 3o the anthologies e,clusively in class to provide more support.

Poetry Pro+ect :very si, wee$s, students choose three poems from their reading. ;or each poem, students are re<uired to' %This assignment can #e modified to "ust one poem per si, wee$s.* %4ee Appendi, B for poetry pro"ect ru#ric.* Copy the poem #y hand on white paper .llustrate it =rite a response e,plaining what the poem says to them and what they notice a#out the way the author wrote the poem The three poems are due the last wee$ of the grading period. Before #ringing the poems to class, students need to choose the one they plan to share and practice reading it aloud. .n class, in groups of four, students share their favorite poem and their response to it. :ach group decides which of these poems it chooses to share with the whole class. After each group has shared its favorite, the class chooses one poem as its favorite and posts it for the ne,t si, wee$s. The teacher might choose to copy the class favorite so that every student has a copy for his note#oo$ or anthology. 4econd semester, the teacher might encourage students to use an original poem as one of the three to turn in. Poetry Pass is one way to encourage students to read a variety of poems #efore ma$ing their decision of which poem they want to include in their pro"ect. To conduct a poetry pass, ma$e photo copies of a#out >0 different poems. Put 8 to 10 poems at each group of four students. :ach student ta$es a poem and reads and then passes it to the person on their left. .f they li$e a poem, they should tag it with a stic$y note and their name. After all of the poems are read, the different groups are to swap their collections of poems and repeat the process. Continue swapping until all poems are read. This ta$es a#out ?> minutes. At the end students choose one of the poems they tagged to start their poetry pro"ect. This is a fun and efficient way to encourage students to read a variety of poetry.

@:44-64 T5AT =-0( =.T5 A6& P-:/ &ou may want to use these lessons to involve students in thoughtful reading of any poem. &ave the Last 'ord for %e ,Reading 3-1.1 3-1.3 3-1.10! "-1.1 "-1.3 "-1.10! #-1.1 #-1.3 #1.10! $-1.1 $-1-3 $-1.1.%Teacher1led version' Before sharing the poem with the students, the teacher chooses a few lines that she considers especially important or interesting. ;or each group of four or five students, she prepares an inde, card with the lines she wants that group to discuss. The students read the entire poem, either as shared reading or independently. Then each group gathers with its card. -ne student, the facilitator, reads the <uotation aloud. 4tudents go around the circle, each ma$ing a comment a#out the <uotation. 4tudents may not spea$ out of order and may not say, A. agree withBC, although they may pass. At the end, the facilitator gives his or her contri#ution. 4tudent1led version' -nce students have had some e,perience with this strategy, they may #e given an inde, card and as$ed to choose the line%s* from the poem that they want to discuss. .n this version, each person in the small group will have his own card with his <uotation written on the front and his response to the <uotation written on the #ac$. 3iscussion proceeds in the same way, around the circle, with each student sharing his <uotation, listening to the responses of the group, and finally sharing what he wrote on the #ac$ of the card. Tea Party ,Reading 3-1.1 "-1.1 "-1.1 $-1.1This strategy comes from (ylene Beers, When &ids Cant Read What Teachers Can 'o %Portsmouth, 65' 5einemann, 7008*. As she says, ATea Party offers students a chance to consider parts of the te,t #efore they ever actually read it. .t encourages active participation with the te,t and givesBa chance to get up and move around.C Before class #egins, the teacher prepares an inde, card to each student. :ach has a phrase from the poem written on it. The entire poem does not need to #e included, and especially interesting phrases can #e repeated more than once. =hen she gives the cards out, she as$s students to get up and move around with four goals in mind' 4hare their card with as many classmates as possi#le @isten to others read their card 3iscuss how the cards might #e related 4peculate on what the poem might #e a#out 4tudents move around for a#out ten minutes, then get into small groups to discuss what they heard and what the cards in front of them say. As a group, they write a A=e thin$C statement that #riefly descri#es what they thin$ the poem is a#out and e,plains their reasons for that prediction. @ast, they share their predictions and then read the poem. %6ote' This activity is particularly effective with narrative poems.*

&ay &omething ,Reading 3-1.1 "-1.1 "-1.1 $-1.1This strategy also comes from When &ids Cant Read What Teachers Can 'o. .n this activity, students read independently up to an agreed1on point, then predict, clarify, <uestion, connect to, or comment on what they have read. The teacher needs to model a 4ay 4omething with a partner and offer some guided practice to the class using the A4tem 4tarter for 4ay 4omething CommentsC %Appendi, C* #efore students wor$ on their own. The 4tem 4tarters can #e copied for each child to $eep in a reading note#oo$ or folder.

The A0ules for 4ay 4omethingC are' 1. =ith your partner, decide who will say something first. 7. =hen you say something, do one or more of the following' a. /a$e a prediction. #. As$ a <uestion. c. Clarify something you had misunderstood. d. /a$e a comment. e. /a$e a connection. 8. .f you can t do one of these five things, then you need to reread. .uestion /ame %Reading 3-1.1 "-1.1 "-1.1 $-1.1This strategy comes from 2anet Allen, (ello) *rick Roads %Portland, /:' 4tenhouse, 7000*, p. 1DD. :ach student reads the poem and writes down three <uestions he or she would li$e answered. %10 minutes* 4tudents choose a partner, e,change <uestions, and try to answer each other s <uestions. . usually try to have students do this in writing #efore they share. %> minutes* Partners then sit together to discuss answers to each other s <uestions. At the end of the discussion time, these partners form three new <uestions. These <uestions can #e e,tensions of <uestions they had in their original sets, <uestions that remained unanswered, or new <uestions that came out of their discussion. %10 11> minutes* :ach two1person team e,changes <uestions with another two1person team. The partners discuss the <uestions they have received and attempt to answer them. %10 minutes* The two two1person teams that have e,changed <uestions com#ine into a four1person group. The four readers discuss the si, <uestions represented in their group. %10 minutes* =hen time is called, each four1person group comes up with one <uestion that is still unanswered or that they would li$e to #ring to the whole1class discussion.

Allen points out that this strategy wor$s well with any te,t %including te,t#oo$s*.

Lessons in 0lements of Poetry ,Reading 3-1.3 3-1.10! Writing 3-".1 3-".$! Reading "-1.3 "1.10! Writing "- ".1 "-".$ "-#.3! Reading #-1.3 #-1.10! Writing #-".1 #-".$ #-#.3! Reading $1.3 $-1.+! Writing $-".1 $-".$ $-#.3&I%IL0 .ntroduce simile with this definition' 4imile comes from the @atin word for li$e. .t compares one thing to another to provide understanding or insight, as in AChocolate ice cream taste li$e prunesBsince 5annah moved away.C %2udith Eiorst* A simile uses either li$e or as to ma$e an e,plicit comparison. 9sing o#"ects in the classroom, children will #rainstorm simile. %:,ample' The overhead pro"ector is li$e a Cyclops. The cafeteria at lunchtime is li$e a swarm of #ees.* Teacher will ma$e a chart recording several e,amples, then students and teacher will rewrite them using the as Bas form' The cafeteria is as noisy as a swarm of #ees. Teacher will then do a shared reading of an appropriate poem, using a transparency, a chart, or a copy for each student. 1ew 1otebook @ines in a new note#oo$ run, even and fine, li$e telephone wires across a snowy landscape. =ith wet, #lac$ stro$es the alpha#et settles #etween them, comforta#le as a floc$ of crows. 2udith Thurman ;or a variety of other poems with similes, see Appendi, 3. 3uring independent reading this day, encourage students to find similes in their reading to share. 0emind them that they will find similes not only in poetry anthologies, #ut in fiction and nonfiction reading. %0TAP234 .ntroduce metaphor with this definition' a metaphor is a comparison of one o#"ect with another that suggests a li$eness #etween two unli$e things without using the words li$e or as. A5e s a roc$.C A@oo$ around the room with your students. 9sing metaphors, turn everything you see into something else' chal$#oard %mirror for teacher s thoughts*, des$s %perches*, windows %the #uilding s eyes*, rows of chairs %train cars*, art wor$ %pol$a dotted walls*BTo give the activity

further focus, compare o#"ects in your classroom to animals.C 3avid @. 5arrison and Bernice :. Cullinan, ,asy Poetry -essons that 'a..le and 'elight %6ew &or$' 4cholastic, 1))0.* The teacher and students will create a chart of their metaphors. The teacher will then do a shared reading of an appropriate poem, using a chart, a transparency, or a copy for each student. "ecember Leaves The fallen leaves are cornfla$es That fill the s$y s wide dish, And night and noon The wind s a spoon That stirs them with a swish. The s$y s a silver sifter, A sifting white and slow, That gently sha$es -n crisp #rown fla$es The sugar $nown as snow (aye 4tar#ird ;or a variety of other poems using metaphors, see Appendi, :. 3uring independent reading this day, remind the students to loo$ for metaphors in their fiction, nonfiction, or poetry reading and mar$ them to share with the class' 05tension 'riting Activity' 4imile or /etaphor Poems F 0eview simile and metaphor with the students. /odel on chart paper a metaphorGsimile poem using a family mem#er or pet. The first line states the comparison+ the second line e,plains it. 4ee Appendi, ; for an e,ample. 05tension Activity' Huessing /etaphors F 9sing Ealerie =orth s poems or any other metaphor poems, remove the title and have students use inference to figure out the title. p. 81 /)akening the 0eart Heorgia 5eard %Portsmouth, 65, 1)))* 313%AT3P30IA .ntroduce onomatopoeia with this definition' .t comes from the Hree$ word that means Aname ma$ing' words that sound li$e what they represent, as in pop, #ang, whoosh. 5ave students #rainstorm words they $now that sound li$e what they represent, and record them on a chart. The teacher will then do a shared reading of an appropriate poem, using a chart, a transparency, or a copy for each student. 0ars 2ear

;lies #u!! /otors roar, (ettles hiss, People snore, 3ogs #ar$, Birds cheep Autos hon$' BeepI BeepI =inds sigh, 4hoes s<uea$, Truc$s hon$, ;loors crea$, =histles toot, Bells clang, 3oors slam' BangI BangI (ids shout, Cloc$s ding, Ba#ies cry, Phones ring, Balls #ounce, 4poons drop, People scream' 4topI 4topI @ucia /. and 2ames @. 5ymes, 2r. This poem ma$es a wonderful choral reading. ;or other poems with onomatopoeia, see Appendi, H. &ou may want to use these for students to practice with a partner during independent reading. 4tudents may loo$ for e,amples of onomatopoeia in their independent reading, or they may write an acrostic poem using onomatopoeia. 4tudents choose a word from the class chart and create an acrostic poem descri#ing that sound using the letters of the word. ;or e,ample'

6ipping cars In fast Pursuit

ALLIT04ATI31 .ntroduce alliteration with this definition' Alliteration is the repetition of consonant or vowel sounds at the #eginning of words that are close enough together so that the reader is aware of them. The teacher will share A=indy 6ightsC with the students on a transparency, chart, or individual copies, and help them loo$ for and mar$ e,amples of alliteration. =indy 6ights 0um#ling in the chimneys, 0attling at the doors, 0ound the roofs and round the roads The rude wind roars+ 0aging through the dar$ness, 0aving through the trees, 0acing off again across The great gray seas. 0odney Bennett The teacher will then divide the class in small groups to read AThe 0iverC and highlight or mar$ e,amples of alliteration. The students will share their group s discoveries with the whole class. The teacher may record students sharing on an overlay or chart of the poem. The 0iver This slow river, clean enough for sweet salmon to run its course again, sna$es through greening grass #an$s unstartled #y spring. =e cross macadam #ridges, 0iver 0oad to 0iver 0oad, over a millennium of winding water never getting wet.

.n progress counted

.n the distance =e travel -r the distance =e still have to goJ 2ane &olen As a follow1up, the class might ma$e a #ulletin #oard or chart of e,amples of alliteration they find in the media, advertising, and the names of well1$nown people and popular name #rands. :,tension =riting Assignment' 0ead aloud Night 1ounds 2orning 1ounds #y 0osemary =ells. As you read, encourage students to write e,amples from the te,t of alliteration. ;rom their list, students choose one e,ample and use it as a starting off for a memoir poem or narrative. P04&31I7I!ATI31 .ntroduce personification with this definition' A personification gives an inanimate o#"ect, plant, or animal a human attri#ute or <uality. .t s helpful to point out that personification contains the word person. The teacher will share A4ummer HrassC with the whole class as a transparency, chart, or individual copies. &ummer /rass 4ummer grass aches and whispers. .t wants something+ it calls out and sings+ it pours out wishes to the overhead stars. The rain hears+ the rain answers+ the rain is slow coming+ the rain wets the face of the grass. Carl 4and#urg The students should identify the two elements that are #eing personified and list the human characteristics or attri#utes the poet gives to summer grass and rain. 6e,t, the teacher will divide the class into groups of 81> and choose a poem for each group from Appendi5 2 or other source. 4tudents will read their poem together and highlight or mar$ the e,amples of personification and the human attri#utes the poet gives to the o#"ect, plant, or animal in the poem. :ach group will share its group with the whole class.

=hen students read a poem in a small group, they need to follow a few guidelines. ;irst reading' 4tudents read the poem silently. 4econd reading' -ne student reads the poem aloud twice. After these three readings, students #egin to discuss the poem. -ne person in the group is responsi#le for recording information. 4tudents should remem#er to loo$ for e,amples of personification in their independent reading. This would #e a good idea on the day the lesson is taught.

428%0, &!20%0, &TA16A, A1" 4074AI1 %Reading 3-1.10 "-1.10 #-1.10 $-1.+* .ntroduce the lesson #y reviewing rhyme' the repetition of the same or similar vowel and consonant sounds, usually at the end of words. 4how the students A0ain PoemC on a transparency, chart, or individual copies and as$ them to find the rhyming words. 0ain Poem The rain was li$e a little mouse, <uiet, small, and gray. .t pattered all around the house and then it went away. .t did not come, . understand, indoors at all, until .t found an open window and left trac$s upon the sill. :li!a#eth Coatsworth -nce the rhyming words are located, the teacher can help the children notice the rhyme scheme, a consistent pattern of rhyme found in a stan!a or poem, usually at the end of lines. -n the chart or transparency, students can code the lines a#a#Gcdcd. Point out to students that the poem is divided into two sections. 5elp them see that there is a space #etween the sections and that each section contains the same num#er of lines. .ntroduce the term stan!a' a grouping of lines arranged according to a fi,ed plan such as length or rhyme scheme, set apart #y a #lac$ line or other spacing to visually separate one stan!a from another in a poem. 6e,t, do a shared reading of A-cto#er.C Hive each child a copy and have students highlight the last word of each line. 4tudents should wor$ to identify the rhyme scheme and code it. =hen this is done, as$ students what they o#serve a#out the stan!as. 3ctober The month is am#er, Hold, and #rown,

Blue ghosts of smo$e ;loat through the town. Hreat E s of geese 5on$ overhead, And maples turn A fiery red. ;rost #ites the lawn. The stars are slits .n a #lac$ cat s eye Before she spits. At last, small witches, Ho#lin, hags And pirates armed =ith paper #ags, Their costumes hinged -n safety pins, Ho haunt a night -f pump$in grins 2ohn 9pdi$e As a final challenge, ta$e the poem A4eptem#erC or A6ovem#erC from the Appendi5 I and cut it up into lines. Hive each child a line. As$ the students to put the poem in order, using what they $now a#out the rhyme scheme of A-cto#er.C .ntroduce refrain as repetition of certain phrases, lines, or groups of lines to ma$e a point. 4hare AAn$ylosaurusC with students on a transparency, chart, or individual copies.

An$ylosaurus Clan$ity Clan$ity Clan$ity Clan$I An$ylosaurus was #uilt li$e a tan$. its hide was a fortress as sturdy as steel, it tended to #e an inedi#le meal. .t was armored in front, it was armored #ehind, there wasn t a thing on its minuscule mind, it waddled a#out on its four stu##y legs, ni##ling on plants with a mouthful of pegs.

An$ylosaurus was #est left alone, its tail was a cudgel of gristle and #one, Clan$ity Clan$ity Clan$ity Clan$I An$ylosaurus was #uilt li$e a tan$. By 2ac$ Preluts$y To review, as$ students to find the rhyme scheme and tell how many stan!as there are and how long each stan!a is. Then as$ for a volunteer to find the refrain. Conclude the study of rhyme scheme, stan!a, and refrain with A/other 3oesn t =ant a 3og.C %other "oesnt 'ant a "og /other doesn t want a dog. /other says they smell, And never sit when you say sit, -r even when you yell. And when you come home late at night And there is ice and snow, &ou have to go #ac$ out #ecause The dum# dog has to go. /other doesn t want a dog. /other says they shed, And always let the strangers in And #ar$ at friends instead, And do disgraceful things on rugs, And trac$ mud on the floor, And flop upon your #ed at night And snore their doggy snore. /other doesn t want a dog 4he s ma$ing a mista$e. Because, more than a dog, . thin$, 4he will not want this sna$e. By 2udith Eiorst 4tudents can wor$ independently, in small groups, or in a large group to identify the rhymes, rhyme scheme, stan!as, and refrain. I%A/048 %Grade $ only ho)e3er co3ers the 4ollo)ing5 Writing "-#.3 #-#.3 $-#.3 and Reading5 3-1.2 "-1.3 #-1.3 $-1.3* .ntroduce imagery with the definition' language that appeals to the senses F sight, hearing, taste, touch, and smell F and creates pictures in the reader s mind. 0efer to the definition and poem on

p. DK0 of :lements of @iterature %old te,t*. %6ew edition of :lements of @iterature refer to page >88 for definition. 0efer to page D77 for a sample poem, AThe 4eaC #y 2ames 0eeves.* Conduct a shared reading of AThe 4tormC %old edition page DK01DK1* The 4torm .n fury and terror the tempest #ro$e, it tore up the pine and shattered the oa$, yet the humming#ird hovered within the hour, sipping clear rain from a trumpet flower. :li!a#eth Coatsworth 4tudents can ma$e a #u##le map with one #ranch for each of the senses and write in the images they find in the poem. ;or independent practice, give each student a copy of A.nvitation from a /ole.C Invitation from a %ole Come on down live among worms awhile taste dirt on the tip of your tongue smell the sweet damp feet of mushrooms listen to roots reaching deeper press your chec$ against the cold face of a stone wear the earth li$e a glove close your eyes wrap yourself in dar$ness see what you re missing Alice 4chertle 4tudents will ma$e their own #u##le map with a #ranch for each of the senses used in the poem and write in the images they find. %They should discover that there are not images for one sense, and that there is a reason for this omission.*

As students read independently, they should loo$ for e,amples of imagery. These might #e shared when the imagery lesson is taught. 28P04 3L0 % 0eading' 811.8, ?11.18, >11.8, D11.8* .ntroduce the definition of hyper#ole' a figure of speech which e,presses much more or much less than the truth for the sa$e of effect+ e,aggeration. 4tudents might #rainstorm everyday e,amples of hyper#ole %A/y #ac$pac$ weighs a ton,C A. m so hungry . could eat a horse,C etc.* and record them on a chart. 3o a shared reading of A. am ;ree!ingIC, using a chart, a transparency, or individual copies for each student. I am 7ree9ing . am free!ingI . am free!ingI . am a#solutely cold, . am shivering and sha$ing li$e a pudding in a mold. There are glaciers in my stomach, There is sleet inside my #ones, . am colder than the contents of a million ice cream cones. . am free!ingI . am free!ingI from my #ottom to my top, all my teeth are clac$ing madly and . cannot ma$e them stop. -h . cannot feel my fingers, and . cannot feel my toes, now my chee$s are fro!en solid and . thin$ . ve lost my nose. . am free!ingI . am free!ingI .nside out and outside in, every #it of me is chilly, every single inch of s$in, . have icicles inside me and my lips are turning #lue, and . m snee!ing as . m free!ing, for . ve caught a cold B A5C5--------2ac$ Preluts$y As a group, highlight phrases that are e,aggerations. ;or additional e,amples, see Appendi5 :.

!ulminating Activity; Poetic "evice Pro+ect -nce the teacher has covered figurative language and elements of poetry terms, students might complete the following pro"ect' Poetic 3evice Pro"ect 4tudent 0u#ric This pro"ect will help you learn the poetic devices that are re<uired for the PACT test. They will help you with all your reading #ecause all $inds of writers use them, not "ust poets. &ou will receive a sheet with definitions of each device and a sheet of white construction paper. 3ivide your paper into si, sections. %Teacher needs to ma$e a sample.* .n each section, you will have 0u#ric' Basic set1up of the poster %names of devices, definitions* 1 up to 70 points A well1chosen e,ample for each device 1 up to 10 points Attractive and colorful presentation %including illustrations* F 70 points .f your pro"ect is late, you will lose one letter grade for each day it s late. The name of the poetic device The definition %from the sheet* An e,ample you found in a poem. %.mportant' &ou may not use the e,amples on the sheet.* 0emem#er give the title and author of poemI An illustration.

4ummary of Poetic 3evices Terms %to #e used for pro"ect on previous page* 4hyme =ords that have the same ending sounds Athe tiny #ird in the tree was singing songs "ust for me.C %etaphor A figure of speech in which things which are compared #y stating that one thing is another AThe clouds are cotton#alls in the s$y.C Personification A figure of speech in which are given human <ualities AThe sun played pee$1a1#oo with the clouds.C &imile A figure of speech in which things are compared using the words Ali$eC or AasC AThe surface of the water loo$ed As smooth as glass.C Alliteration 0epetition of words with the same #eginning sounds APolly planted plenty of pretty Pansies.C 3nomatopoeia =ords that sound li$e the o#"ects or o#"ects actions they refer to AA pes$y mos<uito #u!!ed around my head.

23' T3 40A" A P30% ,Reading 3-1.1 3-1.2 3-1.3 3-!.Reading ".3-1.# 3-1.$ 31 1.10! "-1.1 "-1.2 "-1.3 "-1." "-1.# "-1.$ "-1.1! Reading #-1.1 #-1.2 #-1.3 #-1." #-1.$ #1.12! Reading $-1.1 $-1.2 $-1.3 $-1." $-1.$ $-1.+! Writing 3-".1 3-".$!"-".1 "-".$ "-#.3! #".1 #-".$ #-#.3! $-".1 $-".$ $-#.36 -ne advantage of teaching children to read poetry is that poems are short, so it s easy for students and teacher to read a poem several times. .n fact, rereading is one of the most valua#le strategies a student can learn to apply to any te,t, and poetry is a natural genre to use for practice. 4tudents need to en"oy a poem for itself #efore they #egin to analy!e its elements. /ultiple readings will help children feel at home with the poem and #uild fluency at the same time. 5ere are some ways to ma$e multiple readings part of a poetry lesson' The teacher can use paired repeated reading. A student reads a short te,t three times to a partner and gets feed#ac$, then the partners switch roles. 4tudents who might have trou#le reading the poem can #e paired with students who can model for them. The teacher can use the poem for a partner reading. The partners can determine how to share the reading' alternating lines, alternating stan!as, or reading parts in unison. The teacher can #rea$ the poem into parts and assign for choral reading. The teacher can do echo reading' After the teacher reads a phrase or sentence from the te,t, the students repeat it. This continues throughout the te,t. =hen students wor$ in small groups, they should first read the poem silently. Then the group should hear the poem read aloud twice, prefera#ly #y one of the stronger readers in the group. -nce the students have heard the poem more than once, the teacher can encourage them to e,periment with some of the different ways to share a poem in their group. =hen students are at home with the te,t, the teacher and students can #egin to loo$ at the poem for meaning. -ne helpful strategy is to thin$ of a poem as a story, either telling a#out an event or a#out a spea$er s reaction to an event. @i$e a story, a poem usually has the following' 4etting Characters Conflict A point of view

To introduce the idea of loo$ing at a poem as a story, the teacher can use AEalentine.C %/7 8 Naturally This Cra.y9 #y 4ara 5ol#roo$ Boyds /ills Press 1))D*

Ealentine . gave 2im a valentine. 5e stuffed it in his shirt, then stood there in the hallway with his "er$o friends and smir$ed.

. must #e dum#er than a door$no#, #ut . thought . d ta$e a chance. now my foot is itching in my shoe, it wants to $ic$ his pants. /y hands are searching for a hiding place. They want to cho$e his throat. 5e thin$s . m a "o$e. -ne day . hope he feels what #urned is all a#out, and he will learn too late that love s too fine to #e crumped out. 4ara 5ol#roo$ The teacher #egins a discussion of the poem #y modeling the <uestions she might as$ herself to ma$e sense of the poem' =ho is spea$ingJ =hat is the pro#lemJ =hen is the poem happeningJ =here is it happeningJ 5ow does the spea$er feelJ -nce the students understand the content of the poem, they are ready for a more thoughtful discussion, which might include /a$ing connections to feelings of re"ection and anger .nferring that the setting might #e a school or that 2im smir$ed #ecause he was em#arrassed to receive a Ealentine in front of his friends Luestioning what might have happened if the spea$er had given the valentine to 2im when he was alone Eisuali!ing the poem through an illustration or comic strip 3iscussing possi#le themes, such as re"ection, ris$1ta$ing, not ta$ing love lightly

After this discussion, students can revisit the poem as writer, not readers. They can #e encouraged to note the poetic devices the author used, such as 0hyme scheme 4tan!as ;igurative language .magery This process needs to #e modeled many times so that students can learn to read poetry independently and respond to it.

Alternative &tudent 4eading and 4esponse; "ouble :ournal 0ntry' This will need to #e modeled several times #efore students practice independently' Create a "ournal #y dividing down the middle' -ne side is la#eled facts. The other side la#eled thoughts. There should always #e more thoughts than facts. Teacher reads aloud the first stan!a of poem. =rite a fact in own words e,plaining what is ta$ing place. .n thought section, write <uestions, inferences, connections, or A. wondersC. 4ee 4ample #elow created #y a >th grade class' ;acts 4he gives 2im a Ealentine and he stuffs it in his shirt. Thoughts =ho is the narratorJ . can infer this is ta$ing place on Ealentine s 3ay pro#a#ly at school. . thin$ 2im stuffed it in his shirt #ecause he is em#arrassed.

Continue this process through each stan!a. At end of the entry, the AfactC side should read as a summary of the poem. The AthoughtsC should lead to discussion and #etter understanding of the te,t. -nce students see the processed modeled, they can read a poem together and create a dou#le entry "ournal with a partner. :ventually, they will #e a#le to use this strategy independently when dealing with difficult te,t to ma$e meaning. 4ee Appendi5 < for additional writing assignment' :ssay ru#ric for AEalentineC

:MT:63:3 /:TAP5-0 %Hrade D only*% Reading $-1.3* .ntroduce e,tended metaphor with this definition' an e,tended metaphor is a metaphor developed through a considera#le num#er of lines or a whole poem. %The teacher may want to review metaphor.* The teacher will do a shared reading of A- CaptainI /y CaptainIC Before sharing the poem, she needs to find out what students $now a#out the presidency and death of A#raham @incoln. To understand the poem, they must reali!e that @incoln led the nation through the dangers of the Civil =ar, only to #e assassinated #efore he could cele#rate the restoration of the 9nion. - CaptainI /y CaptainI - CaptainI /y CaptainI -ur fearful trip is done, The ship has weather d every rac$, the pri!e we sought is won, The port is near, the #ells . hear, the people all e,ulting, =hile follow eyes the steady $eel, the vessel grim and daring+ But - heartI 5eartI 5eartI - the #leeding drops of red, =here on the dec$ my Captain lies, ;allen cold and dead. - CaptainI my captainI rise up and hear the #ells+ 0ise up F for you the flag is flung F for you the #ugle trills, ;or you #ou<uets and ri##on d wreaths F for you the shores a1crowding, ;or you they calm, the swaying mass, their eager faces turning+ 5ere CaptainI 3ear fatherI This arm #eneath your headI .t is some dream that on the dec$, &ou ve fallen cold and dead. /y Captain does not answer, his lips are pale and still, /y father does not feel my arm, he has no pulse or will, The ship is anchor d safe and sound, its voyage closed and done, ;rom fearful trip the victor ship comes in with o#"ect won+ :,ult - shores and ring - #ellsI But . with mournful tread, =al$ the dec$ my Captain lies, ;allen cold and dead. =alt =hitman :ncourage students to identify what the ship and the Captain stand for. The poem compares @incoln to the captain of a ship %the nation* who has successfully steered his vessel through dangerous waters %the Civil =ar*. To #e sure that students understand e,tended metaphor, as$ them to loo$ through the poem for e,amples in every stan!a that contri#ute to the metaphor. At the end of the discussion, students should #e a#le to prove that the poem uses an e,tended metaphor.

;or other e,amples of e,tended metaphor, see Appendi, @. &8% 3L %Hrade D only* %Reading $-1.1 drawing conclusions* .ntroduce the definition of a sym#ol' a figure of speech in which something means more than what it is. ;or e,ample, students are familiar with such sym#ols as a heart %love* and the E for victory sign. .n literature, a dar$ forest might sym#oli!e confusion or a rose might sym#oli!e love.

4tudents can #rainstorm sym#ols they $now and create a chart of sym#ols from their everyday life, such as the s$ull and cross#ones, the 0ed Cross, the golden arches, the American flag. .f appropriate, the teacher might encourage students to thin$ of more comple, sym#ols such as the ;erris wheel as a sym#ol of life in Tuck ,3erlasting or the 6orth 4tar as a sym#ol of freedom for travelers on the 9nderground 0ailroad, or the #utterfly as sym#ol of re#irth and hope. The teacher will conduct a shared reading of AThe 0oad 6ot Ta$en,C using a transparency, chart, or individual copies. The 0oad 6ot Ta$en Two roads diverged in a yellow wood, And sorry . could not travel #oth And #e one traveler, long . stood And loo$ed down one as far as . could To where it #ent in the undergrowth+ Then too$ the other, as "ust as fair, And having perhaps the #etter claim, Because it was grassy and wanted wear+ Though as for that the passing there 5ad worn them really a#out the same, And #oth that morning e<ually lay .n leaves no step had trodden #lac$. -h, . $ept the first for anotherI &et $nowing how way leads on to way. . dou#ted if . should ever come #ac$. . shall #e telling this with a sigh 4omewhere ages and ages hence' Two roads diverged in a wood, and . F . too$ the one less traveled #y, And that has made all the difference. 0o#ert ;rost

4tudents should #e encouraged to identify the spea$er, setting pro#lem, and point of view. %4ee Ahow to 0ead a PoemC.* They should notice that #y the last stan!a, the author is tal$ing a#out more than a wal$ in the woods. As$ students what the choice of a road sym#oli!es. -ne answer is a choice #etween two e<ually attractive alternatives in life. As$ the students to loo$ closely at the last two lines. =hat does Athe one less traveled #yC meanJ .t may mean that the choice, which loo$ed unimportant when the spea$er made it, has had a #ig impact on the spea$er s life. The teacher may want to e,tend this lesson with a written response a#out life choices students have made or will #e ma$ing. %Writing $-".1 $-".2 $-".3 $-"." $-".# $-".$* ;or other e,amples of sym#olism, see Appendi, /.

!haracteristics of Poetry %Reading 3-1.10 "-1.10 #-1.10 $-1.+* The teacher will provide the students with a copy of the three following te,ts' 0ain came in sheets now, riding the wind, flung crosswise through the night. @ightning crac$led, a #rilliant, "agged strea$, and thunder rattled the little #uilding. The tension in the parched earth eased and vanished. 6atalie Ba##itt, Tuck ,3erlasting 4ain Poem The rain was li$e a little mouse, <uiet, small and gray. .t pattered all around the house and then it went away. .t did not come, . understand, indoors at all, until it found an open window and left trac$s upon the sill. :li!a#eth Coatsworth

April 4ain &ong @et the rain $iss you. @et the rain #eat upon your head with 4ilver li<uid drops. @et the rain sing you a lulla#y. The rain ma$es still pools on the sidewal$. The rain ma$es running pools in the gutter. The rain plays a little sleep1song on our roof at night. And . love the rain. @angston 5ughes Begin #y as$ing the children to decide which te,ts are poems and which are not. -nce they have identified the two poems, as$ them to find differences #etween them. ;or e,ample A0ain PoemC rhymes and is arranged in stan!as. AApril 0ain 4ongC is free verse and written without stan!as. 9sing these te,ts and other te,ts the children $now, teacher and students should create an anchor chart of features of poetry such as 0hyme 0hythm 0epetition 4tan!as @ine #rea$s Alliteration .magery ;igurative language %simile, metaphor, personification* 0hymed poetry or free verse Theme This chart should stay in the classroom so students can add to it as they learn more a#out poetry. To e,tend the lesson and heighten children s appreciation of the characteristics of a poem, give them a descriptive paragraph from a pu#lished wor$ of prose and let them e,periment with it' Ta$e it apart into words and phrases Arrange the words and phrases in a new form 3elete unnecessary words so that the essential words will #e more powerful Punctuate the poem 0ead it aloud to determine whether revisions are needed Add some special feature, such as repetition Hlue it down and illustrate it

AThis is a very concrete way for students to see how a poet carefully selects and arranges the language of the te,t.C %;rom .rene C. ;ountas and Hay 4u Pinnell, Huiding 0eaders and =riters Hrades 81D, p. ?1D.*

Appendi5 A Learning . m learning to say than$ you. And . m learning to say please. And . m learning to use (leene,, 6ot my sweater, when . snee!e. And . m learning not to dri##le. And . m learning not to slurp. And . m learning %though it sometimes really hurts me* 6ot to #urp. And . m learning to chew softer =hen . eat corn on the co#. And . m learning that it s much /uch easier to #e a slo#. Buy 2udith Eiorst The first time . read this poem it made me laugh out loud. . had two connections simultaneously a#out manners. . thin$ the narrator is trying to say how hard it is to always #e well1mannered. . $now that sometimes . want to "ust slouch at my des$ or pic$ my nose, #ut . $now . shouldn t do that. And that is where my connections enter the poem. /y first connection is when . was a little girl at 4unday dinner. :very 4unday, Big /ama %my mom* coo$ed a delicious dinner and the si, of us plus my paternal grandparents would eat together. /y mom always set the ta#le #eautifully with her dainty china and silver. -n this particular 4unday, my mom had had it with my three #rothers gross eating ha#its. They were smac$ing their food, putting el#ows on the ta#le, and gra##ing at anything they could eat. 4he was mortifiedI /y grandfather was an impecca#le gentleman. /y mom, to ma$e a point, #egan eating li$e a pig. 4he smac$ed her food loudly and spit as she tal$ed. 4he hung her whole #ody over the food and #urped rudely. =e were mortified. =e loo$ed to see what our grandfather s reaction would #e. But he $ept on eating li$e a $ing not #atting an eye toward my mother s gross #ehavior. =e then reali!ed he was in on it. /y #rothers <uic$ly sat up in their seats and manners magically appeared around the ta#le. /y mother em#arrassed us, and #y doing so showed us how we had em#arrassed her. /y other connection to this story is my son. =e are constantly nagging him to sit up, cut his food #efore eating it, and not mum#ling at the ta#le. /ay#e . should read him this poem or #etter yet act li$e my mom so he can see how em#arrassing #ad manners can #e. Another thing . li$e a#out this poem is the way 2udith Eiorst uses rhyme and paints a funny picture with the words. ;or e,ample, . love the line AB learning not to #urpBC 4ometimes it really does hurt if you can t #urp. AAnd . m learning that it s much, much easier to #e a slo#C is so true. 3on t we all "ust want to sometimes let it all hang outI . hope you en"oy this poem as much as . do.

Assignment; . would li$e for you to find a poem that you really en"oy. &ou are to do the following' Copy it neatly on white paper. %7> points* :,plain what your thoughts are a#out the poem. %3o you have any connections, <uestions, or is there a particular line that you thin$ is really descriptiveJ* %7> points* :,plain what you thin$ the poem is a#out. %7> points* .llustrate the poem. %7> points* .f you #ring a favorite #oo$ of poems from home or the li#rary to share with the class, you will receive an e,tra 100 in the grade #oo$. . want everyone to try to #ring a #oo$ #y this NNNNNNNNNNNNNNNNNNNNNNNNN. Put your name on a stic$y note inside the cover if it is from the li#rary so we will $now who chec$ed it out. 4tudent signature NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN Parent signature NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN

Appendi5 !

Appendi, 3
4imile Poems Listening to /rownups .uarreling 4tanding in the hall against the wall with my little #rother, #lown li$e leaves against the wall #y their voices, my head li$e a pingpong #all #etween the paddles of their anger' . $new what it meant to trem#le li$e a leaf. Cold with their wrath, . heard the claws of the rain pounce. ;loods poured through the city, s$ies clapped over me, and . was sha$en, sha$en li$e a mouse #etween their "aws. 0uth =hitman . m no#odyI =ho are youJ Are you no#ody, tooJ Then there s a pair of us F don t tellI They d #anish us, you $now. 5ow dreary to #e some#odyI 5ow pu#lic, li$e a frog To tell your name the livelong day To an admiring #ogI :mily 3i$inson

4imile continued' &inging !hristmas !arols -n Christmas :ve we #undle up and go out caroling, our neigh#ors shut their windows when they hear my family sing. 2y voice is very #eautiful, . sing "ust li$e a #ird, #ut every#ody drowns me out so . am #arely heard. 3ad sings li$e a #uffalo and /other li$e a moose, my sister sounds li$e #rea$ing glass, my #rother li$e a goose. 4ome people come and greet us, they #ring coo$ies on a tray, . thin$ they give us coo$ies "ust to ma$e us go away. Though our singing sounds so sour it sends shivers down my spine, when we re caroling together there s no family sweet as mine. 2ac$ Preluts$y

2arlem =hat happens to a dream deferredJ 3oes it dry up li$e a raisin in the sunJ -r fester li$e a sore F And then runJ 3oes it stin$ li$e rotten meatJ -r crust and sugar over F li$e a syrupy sweetJ /ay#e it "ust sags li$e a heavy load. -r does it e,plodeJ @angston 5ughes 7rog The spotted frog 4its <uite still -n a wet stone+ 5e is green =ith a luster -f water on his s$in+ 5is #ac$ is mossy =ith spots, and green @i$e moss on a stone+ 5is gold1circled eyes 4tare hard @i$e #right metal rings+ =hen he leaps 5e is li$e a stone Thrown into the pond+ =ater rings spread After him, #right circles -f green, circles of gold. Ealerie =ort"h

Peach Touch it to your chee$ and it s soft as a velvet new#orn mouse =ho has to strive to #e alive. Bite in. 0unny honey #looms on your tongue F as if you #e #itten open a whole hive. 0ose 0auter Hrass Hrass on the lawn 4ays nothing' Clipped, empty, Luiet. Hrass in the fields =histles, slides, Casts up a foam -f seeds, Tangles itself =ith leaves' hides =hole rustling schools -f mice. Ealerie =orth

Tractor The tractor rests .n the shed 3ead or asleep, But with high 5ind wheels 5eld so still =e $now it is only waiting 0eady to leap F @i$e a heavy Brown Hrasshopper Ealerie =orth

%onopoly ;rom the hilltop you can see the city, li$e /onopoly, laid out on a paper #oard. @ittle pieces far #elow, plastic houses row on row, holding little plastic fol$ as$ing how the game is scored. @ittle unseen plastic fol$ driving through the city smo$e, following the #oulevards, ta$ing chances, ta$ing cards, driving all across the #oard as$ing how the game is scored. @ittle #usy #usinesses laid out on the streets #elow, waiting for the plastic fol$ driving through the city smo$e, driving cars with little wheels, moving forward, ma$ing deals' Boardwal$, Par$ Place, passing, Ho, 0eading 0ailroad, BOmoving all across the #oard as$ing how the game is scored Alice 4chertle

&pring &torm -ur old fat tigercat =ith no claw on one toe Prints four1leaf clovers in The snea$y April snow, The snea$y April snow that sprang As soundless as a cat 9pon our #udding apple tree And $noc$ed the #ranches flat And made me cry a little #it. Het gone now, heavy snow. Come in, soft grass, come stealing in =ith no claw on one toe. M. 2. (ennedy

Appendi5 0 /etaphor Poems 3ecem#er @eaves The fallen leaves are cornfla$es That fill the lawn s wide dish, And night and noon The wind s a spoon That stirs them with a swish. The s$y s a silver sifter+ A Fsifting white and slow, That gently sha$es -n crisp #rown fla$es The sugar $nown as snow (aye 4tar#ird

T5:0: .4 6- ;0.HAT: @.(: A B--( There is no frigate li$e a #oo$ To ta$e us lands away, 6or any coursers li$e a page -f prancing poetry. This traverse may the poorest ta$e =ithout oppress of toll 5ow frugal is the chariot That #ears the human soulI :mily 3ic$inson

'inter "ark =inter dar$ comes early mi,ing afternoon and night. 4oon there s a comma of a moon, and each street light along the way puts its period to the end of day 6ow a neon sign punctuates the 3ar$ with a #right #lin$ing #reathless e,clamation mar$I @ilian /oore The &idewalk 4acer -r :n the 1kate;oard 4$imming an asphalt sea . swerve, . curve, . sideway+ . speed to whirring sound an inch a#ove the ground+ . m the sailor and the sail, . m the driver and the wheel . m the one and only single engine human auto mo#ile.

7irefly 4ilver of moon. 4lice of star. 0hinestone in a "elly "ar. Twin$ling treasure 4natched ;rom s$y+ 6eon 4par$le F 4ire4ly< 0e#ecca (ai 3oteich

/ood 2eavens -ur lawn is astronomical with dandelion #looms. A green s$y filled with a thousand suns and then a thousand moons that with a puff of wind #ecome a hundred thousand stars.

Appendi5 7 /etaphorG4imile student poems 4usie is li$e a river Catering gracefully in the #ac$ yard A thundercloud Bar$ing deep and loud A warrior 4tanding guard for me a night @i$e a lion 4tal$ing anything in sight @i$e a stin$ magnet -dors cling to her fur 4usie is li$e a gri!!ly #ear #rother Blac$ and always around 6athan %>th grade*

Appendi5 / -nomatopoeia poems 1ight &ounds .n the street sounds of wheels humming, sounds of heels drumming. 5umming and drumming, (eeping me from sleeping. .n the house sounds of words mum#ling, overheard grum#ling. /um#ling and grum#ling, (eeping me unsleeping. ;ar away sounds of waves lashing, <uietly crashing. lashing and crashing, sweeping me to sleep. ;elice 5olman

ell Buy flat tin$ -f tin, or thin Copper tong, Brass clang, Bron!e #ong The #ell gives /etal a tongue F To sing .n one sound .ts whole song. Ealerie =orth

7rom T20 0LL& 5ear the sledges with the #ells F 4ilver #ellsI =hat a world of merriment their melody foretellsI 5ow they tin$le, tin$le, tin$le, .n the icy air of nightI =hile the stars that oversprin$le All the heavens seem to twin$le =ith a crystalline delight+ (eeping time, time, time .n a sort of 0unic rhyme, To the tintinna#ulation that so musically wells ;rom the #ells, #ells, #ells, #ells, Bells, #ells, #ells F ;rom the "ingling and the tin$ling of the #ells. :dgar Allan Poe

&%ALL &3$1"& 5ave you heard small sounds of the world' a1tap when a lady#ird lands, the scrunching1scrunch of a slug crunching lunch, or the rum#le of worm murmurs under the groundJ 5ave you heard the small of the worldJ Avis 5arley

A Thunderstorm Traditional Boom, #ang, #oom, #ang, 0umpety, lumpety, #umpI Poom !am, !oom, !am, Clippity, clappity, clumpI 0ustles and #ustles, And swishes and !ingsI =hat wonderful sounds A thunderstorm #rings.

Appendi5 2 Personification Poems =ind 3ragon Today the wind .s scouring the air, ;ull angry ;ull charge ;ull rum#ling, 0olling 0ushing 0anting. . can feel The house <ua$e $nder my feet. At full tilt . hear it snuffling Along the foundation stones. @eaning against the north wall, /a$ing it crea$, 4eeing if it will still stand. And thenB .n a streaming Tail1pounding rage, =hipping out Across the land 2anet 5ayward Burnham 'hite !at 'inter =hite cat =inter prowls the farm, tiptoes soft through withered corn, creeps along low walls of stone, falls asleep #eside the #arn. Tony 2ohnston

The 3ld 7ield The old field is sad 6ow the children have gone home. They have played with him all afternoon, (ic$ing the #all to him, and him (ic$ing it #ac$. But now it is growing cold and dar$. 5e thin$s of their warm #reath, and their ;eet li$e little hot water #ottles. A #it rough, some of them, #ut still B An now, he thin$s, there s not even a dog To tic$le me. The gates are loc$ed. The #irds don t li$e this nasty snea$ing wind+ And nor does he. 3. 2. :nright

The grass so little has to do, A sphere of simple green =ith only #utterflies to #rood And #ees to entertain. And stir all day to pretty tunes The #ree!es fetch along And hold the sunshine in its lap And #ow to everything. And thread the dews all night, li$e pearls, And ma$e itself so fine A duchess were too common ;or such a noticing. And even when it dies, to pass .n odors so divine, As lowly spices gone to sleep, -r amulets of pine. And then to dwell in sovereign #arns, And dream the days away The grass so little has to do, . wish . were a hayI :mily 3ic$inson

The %oons the 1orth 'inds !ooky %could #e used for e,tended metaphor as well* The /oon s the 6orth =ind s coo$y. 5e #ites it, day #y day, 9ntil there s #ut a rim of scraps That crum#le all away. The 4outh =ind is a #a$er. 5e $neads clouds in his den, And #a$es a crisp new moon thatBgreedy 6orthB=indBeatsBagainI Eachel @indsay

6innias Pinnias, stout and stiff, 4tand no nonsense' their colors 4tare, their leaves Hrow straight out, their petals 2ut li$e clipped card#oard, 0ound, in neat flat rings. :ven cut and #unched, Arranged to please us .n the house, in water, they =ill hardly wilt F . $now 4omeone li$e !innias+ . wish . were li$e !innias. Ealerie =orth !hairs Chairs 4eem To 4it 3own -n Themselves, almost as if They were people, 4ome fat, some thin+ 4ettled comforta#ly -n their own seats, 4ome even stretch out their arms To 0est. Ealerie =orth

Porches -n the front porch Chairs sit still+ The ta#le will receive 4ummer drin$s+ They wait, arranged, 4trange and polite. -n the #ac$ porch Harden tools spill+ An empty #as$et @eans to one side+ The watering can 0usts among friends. Ealerie =orth

&$%%04 /4A&& 4ummer grass aches and whispers. .t wants something+ it calls out and sings+ it pours out wishes to the overhead stars. The rain hear+ the rain answers+ the rain is slow coming+ the rain wets the face of the grass. Carl 4and#urg

'AT04 :0'0L& 5ow well #edec$ed the weeds #ecome =hen dressed in water gems. They wear rain "ewels upon their leaves And raindrop diadems. 2ane &olen

Appendi5 I Poems with refrain, stan!a, and rhyme e,amples &eptember ,Rhy7e stan.aThe #ree!es taste -f apple peel. The air is full -f smells to feel 1 0ipe fruit, old foot#alls, 3rying grass, 6ew #oo$s and #lac$#oard Chal$ in class The #ee, his hive =ell1honeyed, hums =hile /other cuts Chrysanthemums. @i$e plates washed clean =ith suds, the days Are polished with A morning ha!e. ,=a7>le o4 Re4rain uffalo "usk The #uffaloes are gone. And those who saw the #uffaloes are gone. Those who saw the #uffaloes #y thousands and how they pawed the prairie sod into dust with their hoofs, their great heads down pawing on in a great pageant of dus$. Those who saw the #uffaloes are gone. And the #uffaloes are gone. Carl 4and#urg

0efrain e,ample !ity I Love .n the city . live in F city . love F mornings wa$e to swishes, swashes, sputters of sweepers swooshing litter from gutters. .n the city . live in F city . love F afternoons pulse with people hurrying, scurrying F races of faces pacing to must1get1there paces. .n the city . live in F city . love nights shimmer with lights competing with stars a#ove un$nown heights. .n the city . live in F city . love F as dreams start to creep my city of senses lulls me to sleep. By @ee Bennett 5op$ins

Appendi5 : 5yper#ole Poems There s 6o -ne as 4low as 4lomona There s no one as slow as 4lomona, 4lomona s un#eara#ly slow, it ta$es her as long to eat #rea$fast as it ta$es a tomato to grow, she sits in the $itchen all morning and ni##les a morsel of #read, she dawdles so long at the ta#le, it s time to get ready for #ed. There s no one as slow as 4lomona, her pace ma$es molasses seem fast, she once raced a snail and a turtle and finished a definite last, she never does anything <uic$ly, #ut inches along at a crawl, one winter she sat on a splinter and didn t should A-uchIC until fall. 2ac$ Preluts$y . m Certain . 4ing @i$e an Angel . m certain . sing li$e an angel, . have a mellifluous voice. The moment . open my musical mouth, The multitudes ought to re"oice . croon with melodic precision .n tones undenia#ly sweet . wonder why people throw water at me =henever . sing in the street 2ac$ Preluts$y

Appendi5 <

#y 4ara 5ol#roo$ &ou will write a two paragraph essay. 7irst paragraph' 4ummary o .nclude title, poet o Characters o 4etting o Plot %action, what too$ place* &econd paragraph' Thoughts o Luestions o .nferences o Connections o Poetic devices o /essage =hen you finish your draft, go #ac$ over the ru#ric. 0eread your draft and ma$e sure you have included everything. 4elf chec$' NNN two paragraphs NNN complete sentences NNN capitali!ation and punctuation NNN spelling %use a dictionary or as$ me* NNN included everything listed a#ove in the ru#ric student signature NNNNNNNNNNNNNNNNNNNNNNNNN staple this sheet to the top of your essay

Appendi5 L
05tended %etaphor %other to &on =ell, son, . ll tell you' @ife for me ain t #een no crystal stair. .t s had tac$s in it, And splinters, And #oards torn up, And places with no carpet on the floor F Bare. But all the time . se #een a1clim#in on, And reachin landin s And turnin corners, And sometimes goin in the dar$ =here there ain t #een no light. 4o, #oy, don t you turn #ac$. 3on t you set down on the steps QCause you finds it $inder hard. 3on t you fall now F ;or . se still goin , honey, . se still clim#in , And life for me ain t #een no crystal stair. @angston 5ughes

Appendi5 % 4ym#ols 6ote' 4tudents will need to #e told that @ewis Carroll was writing a#out Lueen Eictoria %the crocodile* and the countries that were #eing made into colonies of the British :mpire %the little fishes*. A5ow doth the little crocodile .mprove his shining tail, And pour the waters of the 6ile -n eery golden scaleI A5ow cheerfully he seems to grin, 5ow neatly spreads his claws, And welcomes little fishes in, =ith gently smiling "awsIC

To !atch a 7ish .t ta$es more than a wish To catch a fish &ou ta$e the hoo$ &ou add the #ait &ou concentrate And then you wait &ou wait you wait But not a #ite The fish don t have An appetite 4o tell them what Hood #ait you ve got And how your #ait Can hit the spot This wor$s a whole @ot #etter than A wish .f you really =ant to catch A fish :loise Hreenfield

Appendi5 1 Poems as a 4tory /ray 3wl =hen fireflies #egin to win$ -ver the stu##le near the wood, Hhost1of1the1air, The gray owl, glides into dus$. -ver the spruce, a drift of smo$e, -ver the "uniper $noll, =hispering wings /a$ing the sound of sil$ unfurling, .n the soft #lur of starlight A puff of feathers #lown a#out. Terri#le fi,ed eyes, Talons sheathed in down, 0efute this floating wraith. Before the shapes of mist 4how white #eneath the moon, The ra##it or the rat =ill $now the $nives of fire, The pothoo$s, swinging out of space. But now the muffled hunter /oves li$e smo$e, li$e wind, 4carcely apprehended, Barely glimpsed and gone, @i$e a gray thought ;anning the margins of the mind. 2oseph Payne Brennan

7oul &hot =ith two D0s stuc$ on the score#oard And two seconds hanging on the cloc$, The solemn #oy in the center of eyes, 4<uee!ed #y silence, 4ee$s out the line with his feet, 4oothes his hands along his uniform, Hently drums the #all against the floor, Then measures the waiting net, 0aises the #all on his right hand, Balances it with his left, Calms it with fingertips, Breathes, Crouches, =aits, And then through a stretching of stillness, 6udges it upward. The #all 4lides up and out. @ands, @eans, =o##les, =avers, 5esitates, :,asperates, Plays it coy 9ntil every face #egs with unsounding screams F And then, And then, 0ight #efore 0-A0 F 9P, 3ives down and through. :dwin A. 5oey

4eferences Allen, 2anet. (ello) *rick Road. Portland, /:' 4tomhouse, 7000. Ba##itt, 6atalie. Tuck ,3erlasting. 6ew &or$' ;arrar, 4traus and Hirous, 1)K> Beers, (ylene. When &ids Cant Read What Teachers Can 'o. Portsmouth, 65' 5einemann, 7008 Collins, Billy. 1%0 2ore ,=traordinary Poe7s 4or ,3ery 'ay. 6ew &or$' 0andom 5ouse, 700> Cullinan, Bernice :. and 5arrison, 3avid @. ,asy Poetry5 -essons that 'a..le and 'elight. 6ew &or$' 4cholastic, 1))). 3avis, 2udy and 5ill, 4haron. The No-Nonsense Guide to Teaching Writing. Portsmouth, 65' 5einemann, 7008 3ic$inson, :mily. Poetry 4or (oung Peo>le. :d. ;rances 4choonma$er Bolin, 6ew &or$' 4terling Pu#lishing. 1))? 5eard, Heorgia. /)akening the 0eart. Portsmouth, 65' 5einemann, 1))) 5ol#roo$, 4ara. /7 8 Naturally Cra.y9 5onesdale, PA' Boyds /ills Press, 1))D 2anec!$o, Paul B. :>ening a 'oor Reading Poetry in the 2iddle 1chool. 6ew &or$' 4cholastic, 7008. @oc$er, Thomas. 5ome / ?ourney Through /7erica. 4an 3iego' Eoyager Boo$s 5arcourt, 7000 9pdi$e, 2ohn. / childs Calendar Poe7s #y 2ohn 9pdi$e. 6ew &or$' 4cholastic, 1)D> Perfect, (athy A. Poetry -essons ,3erything (ou Need. 6ew &or$' 4cholastic, 700> Poe, :dgar Allen. Poetry @or (oung Peo>le. :d. Brod Bagert. 6ew &or$' 4terling Pu#lishing, 1))> Preluts$y, 2ac$. 1o7ething *ig 0as *een 0ere. 6ew &or$' Hreenville Boo$s, 1)K0 Preluts$y, 2ac$ The 20th Century Childrens Poetry Treasury. 6ew &or$' Alfred A.(nopf, 1))) 4and#urg, Carl. Poetry 4or (oung Peo>le. :d. ;rances 4chooma$er Bolin. 6ew &or$' 4terling Pu#lishing, 1))> 4chertle, Alice. / -ucky Thing. 4an 3iego' Browndeer Press, 1))) Eiorst, 2udith. 1ad Ander)ear5 and :ther Co7>lications 2ore Poe7s 4or Children and Their Parents. =ells, 0osemary. 6ight 4ounds /orning Colors. 6ew &or$' 3ial Boo$s, 1))?. =orth, Ealerie. /ll the 17all Poe7s and @ourteen 2ore. 6ew &or$' ;orrar, 4traus and Hirou,, 1))?