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This link is great for breaking down the various types of poetry.

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POETRY ASSUMPTIONS

That a poem is to be read for its "message,"

That this message is "hidden" in the poem,

The message is to be found by treating the words as symbols which naturally do not mean what they say but stand for something else,

You have to decipher every single word to appreciate and enjoy the poem.

There are no easy ways to dispel these biases. Poetry is difficult because very often its language is indirect. But so is experience - those things we think, feel, and do. The lazy reader wants to be told things and usually avoids poetry because it demands commitment and energy. Moreover, much of what poetry has to offer is not in the form of hidden meanings. Many poets like to "play" with the sound of language or offer an emotional insight by describing what they see in highly descriptive language. In fact, there can many different ways to enjoy poetry; this reflects the many different styles and objectives of poets themselves. For an overview of the many ways to read a poem, click here. Finally, if you are the type to give up when something is unclear, just relax! Like we just said, there can be many different approaches to examining poetry; often these approaches (like looking for certain poetic devices or examining the meaning of a specific phrase) do not require a complete and exhaustive analysis of a poem. So, enjoy what you do understand!

Read the poem (many students neglect this step). Identify the speaker and the situation. Feel free to read it more than once! Read the sentences literally. Use your prose reading skills to clarify what the poem is about.Read each line separately, noting unusual words and associations. Look up words you are unsure of and struggle with word associations that may not seem logical to you.Note any changes in the form of the poem that might signal a shift in point of view. Study the structure of the poem, including its rhyme and rhythm (if any). Re-read the poem slowly, thinking about what message and emotion the poem communicates to you.

of analyzing a poem is to look at the stanza structure or style of a poem. Generally speaking, structure has to do with the overall organization of lines and/or the conventional patterns of sound. Again, many modern poems may not have any identifiable structure (i.e. they are free verse), so don't panic if you can't find it!
STRUCTURE and POETRY

STANZAS

An important method : Stanzas are a series of lines grouped together and separated by an empty line from other stanzas. They are the equivalent of a paragraph in an essay. One way to identify a stanza is to count the number of lines. Thus:

couplet (2 lines)

tercet (3 lines)

quatrain (4 lines)

cinquain (5 lines)

sestet (6 lines) (sometimes it's called a sexain)

septet (7 lines)

octave (8 lines)

poem may or may not have a specific number of lines, rhyme scheme and/or metrical pattern, but it can still be labeled according to its form or style. Here are
FORM: A the three most common types of poems according to form:

It is any poem with one speaker (not necessarily the poet) who expresses It is a poem that It is a poem that 1. Lyric Poetry: strong thoughts and feelings. Most poems, especially modern ones, are lyric poems.
tells a story; its structure resembles the plot line of a story [i.e. the introduction of conflict and characters, rising action, climax and the denouement]. 3. Descriptive Poem: describes the world that surrounds the speaker. It uses elaborate imagery and adjectives. While emotional, it is more "outward-focused" than lyric poetry, which is more personal and introspective.

2. Narrative Poem:

In a sense, almost all poems, whether they have consistent patterns of sound and/or structure, or are free verse, are in one of the three categories above. Or, of course, they may be a combination of 2 or 3 of the above styles! Here are some more types of poems that are subtypes of the three styles above:

Ode: It is usually a lyric poem of moderate length, with a serious subject, an elevated style, and an elaborate stanza pattern.

Elegy: It is a It is a It is a It is a long lyric poem that mourns the dead. [It's not to be confused with a eulogy.]It has no set metric or stanzaic pattern, but it usually begins by reminiscing about the dead person, then laments the reason for the death, and then resolves the grief by concluding that death leads to immortality. It often uses "apostrophe" (calling out to the dead person) as a literary technique. It can have a fairly formal style, and sound similar to an ode.
lyric poem consisting of 14 lines and, in the English version, is usually written in iambic pentameter. There are two basic kinds of sonnets: the Italian (or Petrarchan) sonnet and the Shakespearean (or Elizabethan/English) sonnet. The Italian/Petrarchan sonnet is named after Petrarch, an Italian Renaissance poet. The Petrarchan sonnet consists of an octave (eight lines) and a sestet (six lines). The Shakespearean sonnet consists of three quatrains (four lines each) and a concluding couplet (two lines). The Petrarchan sonnet tends to divide the thought into two parts (argument and conclusion); the Shakespearean, into four (the final couplet is the summary).
Sonnet: Ballad: narrative poem that has a musical rhythm and can be sung. A ballad is usually organized into quatrains or cinquains, has a simple rhythm structure, and tells the tales of ordinary people.
narrative poem in elevated style recounting the deeds of a legendary or historical hero.
Epic:

Qualities of an Epic Poem:

narrative poem of great scope; dealing with the founding of a nation or some other heroic theme requires a dignified theme requires an organic unity requires orderly progress of the action always has a heroic figure or figures involves supernatural forces

written in deliberately ceremonial style

Other types of poems include:

Haiku: It has an It has a very structured poem, usually humorous & composed of five lines (a cinquain), in an unrhymed verse form having three line s (a tercet) and usually 5,7,5 syllables, respectively. It's usually considered a lyric poem.
aabba rhyming pattern; beat must be anapestic (weak, weak, strong) with 3 feet in lines 1, 2, & 5 and 2 feet in lines 3 & 4. It's usually a narrative poem based upon a short and often ribald anecdote.
Limerick:

For more about poetic forms, see the Open School Notes on Poetry Forms.

SOUND PATTERNS

Three other elements of poetry are rhyme scheme, meter (ie. regular rhythm) and word sounds (like alliteration). These are sometimes collectively called sound play because they take advantage of the performative, spoken nature of poetry.

:
WORD SOUNDS
Common types of sound play emphasize individual sounds between and within words

the repetition of initial sounds on the same line or stanza - the repetition of the repetition of consonant sounds (anywhere in the middle or end of a line or stanza) - And a words that sound like that which they describe - the repetition of entire lines or phrases to emphasize key thematic ideas. Alliteration : Big Assonance bad vowel sounds (anywhere in the middle or end of a line or stanza) - T Consonance ilting at w ll the air a so lemn sti Onomatopoeia llness ho Boom! Crash! Pow! Quack! Moo! lds.

Parallel Stucture
Repetition indm ills

Bob bounced bravely.

: : (T. Gray) : Caress... : : a form of repetition where the order of verbs and nouns is repeated; it may involve exact words, but it more importantly repeats sentence structure - "I came, I saw, I conquered".

The repetition of certain sounds creates a rhythmic pattern that, in turn, gives lines of words a certain musical or song-like quality. No band is needed!

RHYME

Rhyme is the repetition of similar sounds. In poetry, the most common kind of rhyme is the end rhyme, which occurs at the end of two or more lines. It is usually identified with lower case letters, and a new letter is used to identify each new end sound. Take a look at the rhyme scheme for the following poem :

I saw a fairy in the wood ,
He was dressed all ingreen .
He drew his sword while I juststood,
And realized I'd beenseen .

T he rhyme scheme of the poem is a b a b .

.

Internal rhyme occurs in the middle of a line, as in these lines from Coleridge, "In mist or cl oud, on mast or shr oud " or "Whiles all the n ight through fog-smoke wh ite" ("The Ancient Mariner"). Remember that most modern poems do not have rhyme.

:

RHYTHM AND METER

NOTE Rhyme (above) and rhythm (below) are two different concepts!

I recommend starting with this podcast on rhythm and meter.

and the Meter: the systematic regularity in rhythm; this number of feet. systematic rhythm (or sound pattern) is usually identified by examining the type of "foot"

__ = a stressed (or strong, or ) syllable 1. Poetic Foot: The traditional line of metered poetry contains a number of rhythmical units, which are called LOUD) syllable
feet. The feet in a line are distinguished as a recurring pattern of two or three syllables ("apple" has 2 syllables, "banana" has 3 syllables, etc.). The pattern, or foot, is designated according to the number of syllables contained, and the
relationship in each foot between the strong and weak syllables.Thus:

U = an unstressed (or weak , or quiet

In other words, any line of poetry with a systematic rhythm has a certain number of feet, and each foot has two or three syllables with a constant beat pattern .

maintain, as in the third foot.] a. Iamb (Iambic) - weak syllable followed by strong syllable. [Note that the pattern is sometimes fairly hard to

b. Trochee (Trochaic): strong syllable followed by a weak syllable.

c. Anapest (Anapestic): two weak syllables followed by a strong syllable.

e.g.
In her room at the prow of the house
Where light breaks, and the windows are tossed...

From "The Writer", by Richard Wilbur

d. Dactyl (Dactylic): a strong syllable followed by two weak syllables. DD

Here's another (silly) example of dactylic rhythm.
DDD A was an / ar cher, who / shot at a / frog DDD B was a / butch er, and / had a great / dog DDD C was a / cap tain, all / cov ered with / lace DDD D was a / drunk ard, and / had a red / face .

e. Spondee (Spondaic): two strong syllables (not common as lines, but appears as a foot). A spondee usually appears at the end of a line.

2. The Number of Feet: The second part of meter is the number of feet contained in a line.

Thus:
one foot=monometer
two feet=dimeter
three feet=trimeter
four feet=tetrameter
five feet=pentameter
six feet=hexameter (when hexameter is in iambic rhythm, it is called an alexandrine)

Poems with an identifiable meter are therefore identified by the type of feet (e.g. iambic) and the number of feet in a line (e.g. pentameter). The following line is iambic pentameter because it (1) has five feet [ pent ameter], and (2) each foot has two syllables with the stress on the second syllable [iambic].

That time | of year | thou mayst | in me | be hold

Thus, you will hear meter identified as iambic pentameter, trochaic tetrameter, and so on.

3. Irregularity: Many metered poems in English avoid perfectly regular rhythm because it is monotonous. Irregularities in rhythm add interest and emphasis to the lines. In this line:

The first foot substitutes a trochee for an iamb. Thus, the basic iambic pentameter is varied with the opening trochee., but , is blank verse. Shakespeare frequently used unrhymed iambic pentameter in his plays; his works are an early example of blank verse.

4. Blank Verse: Any poetry that does have a does not have
set metrical pattern (usually iambic pentameter) rhyme

5. Free Verse: Most modern poetry no longer follows strict rules of meter or rhyme, especially throughout an entire poem. Free verse, frankly, has no rules about meter or rhyme whatsoever! [In other words, blank verse has rhythm, but no rhyme, while free verse has neither rhythm nor rhyme.] So, you may find it difficult to find regular iambic pentameter in a modern poem, though you might find it in particular lines. Modern poets do like to throw in the occasional line or phrase of metered poetry, particularly if they're trying to create a certain effect. Free verse can also apply to a lack of a formal verse structure.

How do I know if a poem has meter? How do I determine the meter?

To maintain a consistent meter, a poet has to choose words that fit. For example, if a poet wants to write iambic poetry, s/he has to choose words that have a naturally iambic rhythm. Words like be tray and per suade will work in an iambic poem because they are naturally iambic. They sound silly any other way. However, candle and mus cle will work best in a trochaic poem, because their natural emphasis is on the first syllable. (However, a poet can use trochaic words if s/he places a one syllable word in front of them. This often leads to poetic feet ending in the middle of words - after one syllable - rather than the end.) It's not surprising that most modern poetry is not metered, because it is very restrictive and demanding.

Determining meter is usually a process of elimination. Start reading everything in iambic by emphasizing every second syllable. 80 to 90% of metered poetry is iambic. If it sounds silly or strange, because many of the poem's words do not sound natural, then try trochaic, anapestic or dactylic rhythms. If none of these sounds natural, then you probably do not have metered poetry at all (ie. it's free verse).

If there are some lines that sound metered, but some that don't, the poem has an irregular rhythm.

For more help, try this review of metered poetry.

MEANING and POETRY

I said earlier that poetry is not always about hidden or indirect meanings (sometimes called meaning play). Nevertheless, if often is a major part of poetry, so here some of the important things to remember:

In general, poetry deals with particular things in concrete language, since our emotions most readily respond to these things. From the poem's particular situation, the reader may then generalize; the generalities arise by implication from the particular. In other words, a poem is most often concrete and particular; the "message," if there is any, is general and abstract; it's implied by the images.

Images, in turn, suggest meanings beyond the mere identity of the specific object. Poetry "plays" with meaning when it identifies resemblances or makes comparisons between things; common examples of this "figurative" comparison include:

ticking of clock = mortality

hardness of steel = determination

white = peace or purity

Such terms as connotation, simile, metaphor, allegory, and symbol are aspects of this comparison. These expressions are generally called figurative or metaphorical language.

DENOTATION AND CONNOTATION

Word meanings are not only restricted to dictionary meanings. The full meaning of a word includes both the dictionary definition and the special meanings and associations a word takes in a given phrase or expression. For example, a tiger is a carnivorous animal of the cat family. This is the literal or denotative meaning. But we have certain associations with the word: sinuous movement, jungle violence, and aggression. These are the suggestive, figurative or connotative meanings.

1. Simile is the rhetorical term used to designate the most elementary form of resemblances: most similes are introduced by "like" or "as." These comparisons are usually between dissimilar situations or objects that have something in common, such as "My love is like a red, red rose."

2. A metaphor leaves out "like" or "as" and implies a direct comparison between objects or situations. "All flesh is grass." For more onmetaphor, click here.

3. Synecdoche is a form of metaphor, which in mentioning an important (and attached) part signifies the whole (e.g. "hands" for labour).

4. Metonymy is similar to synecdoche; it's a form of metaphor allowing an object closely associated (but unattached) with a object or situation to stand for the thing itself (e.g. the crown or throne for a king or the bench for the judicial system).

5. A symbol is like a simile or metaphor with the first term left out. "My love is like a red, red rose" is a simile. If, through persistent identification of the rose with the beloved woman, we may come to associate the rose with her and her particular virtues. At this point, the rose would become a symbol.

6. Allegory can be defined as a one to one correspondence between a series of abstract ideas and a series of images or pictures presented in the form of a story or a narrative. For example, George Orwell'sAnimal Farm is an extended allegory that represents the Russian Revolution through a fable of a farm and its rebellious animals.

7. Personification occurs when you treat abstractions or inanimate objects as human, that is, giving them human attributes, powers, or feelings (e.g., "nature wept" or "the wind whispered many truths to me").

8. Irony takes many forms. Most basically, irony is a figure of speech in which actual intent is expressed through words that carry the opposite meaning.

Paradox: usually a literal contradiction of terms or situations - e.g. "All animals are equal, but some are more equal than others!"

Situational Irony: when a situation in life or a story is incongruent - e.g. a firehall burns down

Dramatic Irony: audience has more information or greater perspective than the characters

Verbal Irony: saying one thing but meaning another

Overstatement (hyperbole)

Understatement (meiosis)

Sarcasm

Irony may be a positive or negative force. It is most valuable as a mode of perception that assists the poet to see around and behind opposed attitudes, and to see the often conflicting interpretations that come from our examination of life.

Thus, if we recognize that much of the essential quality of our experience is more complex than a simple denotative statement can describe, then we must recognize the value of the poet's need to search for a language agile enough to capture the complexity of that experience. Consider this four-line stanza:

O Western wind, when wilt thou blow
That the small rain down can rain?
Christ, that my love were in my arms,
And I in my bed again!

The center of the poem is the lover's desire to be reunited with his beloved (lines 3 and 4). But the full meaning of the poem depends on the first two lines also. Obviously, the lover associates his grief with the wind and rain, but the poet leaves to implication, to indirection, just how the lover's situation and the wind and rain are related. We note that they are related in several ways: the need for experiencing and manifesting love is an inherent need, like nature's need for rain; in a word, love, like the wind and rain, is natural. Secondly, the lover is living in a kind of drought or arid state that can only be slaked by the soothing presence of the beloved. Thirdly, the rising of the wind and the coming of the rain can neither be controlled nor foretold exactly, and human affairs, like the lover's predicament, are subject to the same sort of chance.

Undoubtedly, too, there are associations with specific words, like "Western" or "small rain" that the reader is only half aware of but which nonetheless contribute to meaning. These associations or connotations afford a few indirections that enrich the entire poem. For example, "small rain" at once describes the kind of rain that the lover wants to fall and suggests the joy and peace of lover's tears, and "small" alone might suggest the daintiness or femininity of the beloved.

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POETRY ASSUMPTIONS That a poem is to be read for its "message," That this message is "hidden" in the poem, The message is to be found by treating the words as symbols which naturally do not mean what they say but stand for something else, You have to decipher every single word to appreciate and enjoy the poem.

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A fourth grader navigates the complicated world of immigration.

Betita Quintero loves the stories her father tells about the Aztlán (the titular land of cranes), how their people emigrated south but were fabled to return. Betita also loves to write. She considers words like "intonation," "alchemy," and "freedom" to be almost magic, using those and other words to create picture poems to paint her feelings, just like her fourth grade teacher, Ms. Martinez, taught her. But there are also words that are scary, like "cartel," a word that holds the reason why her family had to emigrate from México to the United States. Even though Betita and her parents live in California, a "sanctuary state," the seemingly constant raids and deportations are getting to be more frequent under the current (unnamed) administration. Thinking her family is safe because they have a "petition...to fly free," Betita is devastated when her dad is taken away by ICE. Without their father, the lives of the Quinteros, already full of fear and uncertainty, are further derailed when they make the small mistake of missing a highway exit. Salazar's verse novel presents contemporary issues such as "zero tolerance" policies, internalized racism, and mass deportations through Betita's innocent and hopeful eyes, making the complex topics easy to understand through passionate, lyrical verses.

An emotional and powerful story with soaring poetry. (Verse fiction. 8-12)

Did you like this book?

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A fourth grader navigates the complicated world of immigration. Betita Quintero loves the stories her father tells about the Aztlán (the titular land of cranes), how their people emigrated south but were fabled to return. Betita also loves to write.

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A YOUNG POET'S CALL TO JUSTICE

by Mahogany L. Browne & Elizabeth Acevedo & Olivia Gatwood ; illustrated by Theodore Taylor III ‧

Poets Browne ( Black Girl Magic, illustrated by Jess X. Snow, 2018), Acevedo ( The Poet X, 2018), and Gatwood ( Life of the Party, 2019) team up to offer a collection that calls young readers to awareness and justice.

Browne's introduction explains what it means to be woke-"aware of your surroundings"-and connects this awareness to historical movements for justice, stating, "this is where our freedom begins." The poems are assigned subject headings located next to the page numbers, in nearly alphabetical order, for easy access when flipping through this slim volume for inspiration. Some poems cover quiet topics that nourish individuals and relationships, such as body positivity, forgiveness, individuality, and volunteerism. Other poems are louder, calling for lifted voices. In "Activism, Everywhere," Browne writes, "It is resisting to be comfortable / When we all have yet to feel safe and free"; her protest poem, titled "Right To, After Claude McKay," powerfully echoes McKay's historic verses while reversing the premise: "If we must live, let it not be in silence." A resistance poem by Acevedo urges readers to "Rock the Boat," and Gatwood's poem on privilege asks, "What's in My Toolbox?" Identity issues are covered too, with poems on disability, gender, immigration, and intersectionality. Each of the 24 poems is an irresistible invitation to take up space in community and in society, and each is eminently recitable, taking its own place in the spoken-word tradition. Taylor's bold and colorful illustrations complement the poems without distracting from their power; Jason Reynolds contributes a foreword.

Read it; gift it; use it to challenge, protect, and grow. (Picture book/poetry. 8-18)

Did you like this book?

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Well, finally. In this long-overdue follow-up to A Light In The Attic (1981), Silverstein once again displays the talent for wordplay and idea-play that keeps his poetry evergreen.

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by Annie Matthew ; developed by Kobe Bryant ‧

A young tennis champion becomes the target of revenge.

In this sequel to Legacy and the Queen (2019), Legacy Petrin and her friends Javi and Pippa have returned to Legacy's home province and the orphanage run by her father. With her friends' help, she is in training to defend her championship when they discover that another player, operating under the protection of High Consul Silla, is presenting herself as Legacy. She is so convincing that the real Legacy is accused of being an imitation. False Legacy has become a hero to the masses, further strengthening Silla's hold, and it becomes imperative to uncover and defeat her. If Legacy is to win again, she must play her imposter while disguised as someone else. Winning at tennis is not just about money and fame, but resisting Silla's plans to send more young people into brutal mines with little hope of better lives. Legacy will have to overcome her fears and find the magic that allowed her to claim victory in the past. This story, with its elements of sports, fantasy, and social consciousness that highlight tensions between the powerful and those they prey upon, successfully continues the series conceived by late basketball superstar Bryant. As before, the tennis matches are depicted with pace and spirit. Legacy and Javi have brown skin; most other characters default to White.

A worthy combination of athletic action, the virtues of inner strength, and the importance of friendship. (Fantasy. 9-12)

Did you like this book?

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by Annie Matthew ; developed by Kobe Bryant ‧ A young tennis champion becomes the target of revenge. In this sequel to Legacy and the Queen (2019), Legacy Petrin and her friends Javi and Pippa have returned to Legacy's home province and the orphanage run by her father.

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THE POET OF PINEY WOODS | Kirkus Reviews

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THE KING OF KINDERGARTEN | Kirkus Reviews

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Newbery honoree Barnes (Crown, illustrated by Gordon C. James, 2017) shows a black boy what to expect on his first day as "king" of kindergarten.

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Brantley-Newton delivers a book of poems featuring girls of all kinds.

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This is more of a tool that may help students if they are struggling with rhyming. You can type in a word and it will give you suggestions on words that rhyme. This may be helpful to just explore with when introducing rhyme to students.

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rhyming dictionary rhyme write rhymes words songwriting poetry language lyrics writerhymes

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Write rhymes - The interactive rhyming dictionary

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Look up rhyming words as you write. Instead of leaving what you're writing to find rhymes in a rhyming dictionary, just alt-click (or option-click) on the word you need a rhyme for and select from a pop-up list of suggested rhymes.

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This link provides a lesson plan on how to teach figurative language. It provides powerpoints and other supplemental worksheets to teach alliteration and personification.

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Figurative Language

A PowerPoint activity about alliteration and personification
Grade Level: 3-5
Duration: Two class periods

Objectives: Students will

Create a PowerPoint show illustrating two types of figurative language. As an alternative, allow students to use an interactive online tool to create a similar slideshow presentation, using a site such as Zoho Show (reviewed here). This site is easier to use than PowerPoint and FREE! Another advantage to Zoho Show versus PowerPoint is that students can collaborate and work together, even on different computers with a simple URL address.

Demonstrate understanding of personification by creating and interpreting simple examples.

Demonstrate understanding of alliteration by creating and interpreting simple examples.

Standards Connection:

COMMON CORE ELA L.5.5. Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.

Materials:

Downloadable interactive PowerPoint sample - (for downloading instructions, click here)

Access to the following Web sites:

Pencils and paper

Downloadable "Idea Cards" cards - (PDF File)

Downloadable PowerPoint template

Computer lab access is a MUST

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A PowerPoint activity about alliteration and personification Grade Level: 3-5 Duration: Two class periods Objectives: Students will Create a PowerPoint show illustrating two types of figurative language. As an alternative, allow students to use an interactive online tool to create a similar slideshow presentation, using a site such as Zoho Show (reviewed here).

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This provides a link to the various themes within poetry. The students would be required to listen through different types of poetry within a theme that they choose, then write a poem of their own within that theme.

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Our archives have lots of poetry for you to explore and discover. You can get started by looking for your favourite poem using the search bar below, or by having a look through our list of poets, collections and interviews.

Poet

Adham Smart was born in 1992 and grew up in Cairo and London. He was three times a ...

Poet

Allan has written over 150 books for children, including classics such as Each Peach ...

Interview

School assemblies, football and folk songs are just some of the sources of inspiration ...

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Let's Explore Poets, Collections and Interviews | Children's Poetry Archive

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Our archives have lots of poetry for you to explore and discover. You can get started by looking for your favourite poem using the search bar below, or by having a look through our list of poets, collections and interviews. Poet Adham Smart was born in 1992 and grew up in Cairo and London.

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The link here provides an interview with a poetry author. It has several questions and recorded videos of their answers. The students would be required to watch the interviews and write a report about what they find.

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Interview

An Interview with Jackie Kay

Join Jackie Kay as she reveals the musical influences on her award-winning poetry, and passes on some of her tips for helping you put pen to paper.

Q

Q

Q

Q

Q

Q

Q

Q

Was there any advice which was helpful or inspirational when you started writing?

How much is music an influence on what you write?

What is the relationship between your speaking voice and the voice that appears on the page?

What do you do to make your writing go well?

How does a poem begin for you?

What made you start writing poetry?

When did you discover poetry?

Why is poetry important?

Copyright © 2021 All rights reserved. Charity No. 1093858. Registered No. 4336052

The Poetry Archive is a not-for-profit organisation with charitable status.

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An Interview with Jackie Kay | Children's Poetry Archive

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Interview Join Jackie Kay as she reveals the musical influences on her award-winning poetry, and passes on some of her tips for helping you put pen to paper. Q Q Q Q Q Q Q Q Was there any advice which was helpful or inspirational when you started writing?

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This link shows a grouping of poetry that can be read to students of younger grades. There are many reading levels. I think this would be great to use with students by then having them draw a picture that would go along with the poem we listen to.

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Collection

The bounce and rhyme collection is made especially for under 5s.

These poems were chosen for their rhythm and pace, and should have your little one bouncing along and enjoying the tempo and sound of the words. They cover lots of different themes, from bubbles to iguanas.

Enjoy the rhythms and bounce along!

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The Poetry Archive is a not-for-profit organisation with charitable status.

We use cookies to ensure that we give you the best experience on our website. We use cookies. Accept More info

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Bounce and Rhyme | Children's Poetry Archive

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Collection The bounce and rhyme collection is made especially for under 5s. These poems were chosen for their rhythm and pace, and should have your little one bouncing along and enjoying the tempo and sound of the words. They cover lots of different themes, from bubbles to iguanas.

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- Verse and rhythmic writing
- emphasizes imagery
- evokes emotional response from reader
- can be written or spoken

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Poetry relies heavily on language to evoke an emotional response from the reader. It allows students to have imaginative and elevated thoughts.