To Autumn

What?

• We focus on image, theme, language, rhythm, rhyme and anything else that strikes you as important in what many consider to be THE LAST POEM I EVER WROTE
• We do this over the course of two lessons, and conclude our studies on me FOR NOW

Task One:

• Grab a partner and join me outside. (You may not have noticed, but I am dangerously obssessed with quite interested in nature.)
• Use a suitable recording device (mobile phone?) to take some photos which you feel signify signs that Autumn is with us
• You will need to post these photos (your three favourite), writing between one and two lines of poetry for each one that you feel fits MY STYLE.
• Obviously the line of poetry you write should in some way be connected to the picture
• If you can use a rhythm and meter that I use in my poetry, you are a LEGEND
• Make sure you save your work - if you do not have time to post it all today, you can do so on Friday
• DO NOT read my poem on Autumn yet. That would be cheating...

Extra Questions on Ode on Melancholy

What?

• continue with your blog work, making sure you have updated blog entries in as much detail as possible
• f you finish early, you can answer these questions on my poem for EXTRA credits

Apologies for my absence today. It was a heavy weekend: the boys came round, Byron (hate that guy) and Shelley; we went to Lethe; we did some rosary-making with yew berries; we mucked around with beetles and owls. (I know, I know, I told you guys not to do that stuff. I'm sorry!) I'm a bit ill. I will return tomorrow with a new poem for us to devour.


Extra Questions on Ode on Melancholy

1) Some critics have condemned my poem as both "decadent" and "unhealthy". How could you support such a view? Write at least a paragraph and make sure you refer to the language I use.

2) Check out the original first stanza of the poem reproduced here. Why do you think I deleted it? How would it change your reading of the poem if it were included in the final version?

3) What's up with all the metaphors of tasting, eating, and feeding? What ideas are they helping me illustrate? Make sure you quote some of them to answer this...

4) There are a lot of images and metaphors to do with change, transience and impermanence in this poem—some of them are more obvious than others. How many can you find? What do they seem to have in common?

Ode on Melancholy (Part Deux)

What?

• We think about how the STRUCTURE helps develop my ideas in the poem
• We provide some further ANALYSIS
• You present some of your blog work for the rest of the class to steal 

TUESDAY'S HIGHLIGHTS

• Many of you commented on how I use elements from the world of nature in this poem. In the first stanza, the various items that may cause or symbolize "oblivion" are all natural (fruits, plants, insects). Again, human desires are intrinsically linked to the natural world.
• The religious reference to the "rosary" was noted. Carola decided it acts as a metaphor to suggest the speaker argues we should not let death or oblivion (symbolized by the poisonous "yew berries") become our 'religion'.
• Tomas and Sofia both noted the references to ancient myths (Greek, Egyptian...). Tomas argued I use these allusions to suggest that our desire for escape (oblivion, death, that kind of thing) is a universal facet of humankind- it has been with us for centuries.
• Ana drew our attention to the simile of the "weeping cloud", which we agreed works on a number of levels to suggest the qualities of melancholy to the reader. Again, notice how I use the natural world to explore human experience and emotion. Can you find examples from previous poems?? Yeah Mr White;yeah nature!
• Tomas commented on the use of assonance and sibilance in the second stanza: "feed deep, deep upon her peerless eyes." Here I manage to capture through sound something of the almost hypnotic attraction of the eyes of the "mistress".
• Many of you noted how, like my other poems, I am concerned with the transience of our lives, and the paradoxical nature of human experience: that pleasure causes pain (because it does not last), and that deep sadness is something to be embraced. Why does Keats argue we should embrace it? Can we find the answer in the last stanza??

Imagery in Ode on Melancholy

What?

• We explain briefly the conventions of lyric poetry
• We identify and explain the images I use in my second ode.
• We begin to find patterns (images, language, ideas, sounds, whatever) that connect the three poems studied so far.

Task One - THE LYRIC POEM

Firstly we need to remind ourselves about what lyric poetry is (because that´s the genre I write in!), and its conventions. Read this and this (if you want a more in-depth understanding), or this (if you just want the basics).

Be prepared to feed back what you have learnt about lyric poetry in five short minutes...








Task Two - MELANCHOLY

We are about to read what many believe to be the second poem in my classic sequence of jaw-droppingly good odes.( I wrote them all so close together that I can't remember the order.) And I'm dead so I can't tell you anyhow.

Before we do, I want you to consider how the term "melancholy" differs from "sadness. Again, be prepared to feed back what you have learnt. Two short minutes...?

(Weird image, no?)

Task Three - Reading the poem

• Look in your handouts or click this for the poem
• We read as a class
• Individually, select a short phrase or even a single word that you feel is in some way interesting, important, puzzling, connects to something you already understand about my work, connects to something you have read today, whatever...
• Jot down some notes as to why you have chosen it. We will use this as a basis for initial discussion about the poem. I expect EVERYONE to contribute. So there.

Task Four - Exploring Images

• In order to explore my use of images in this poem (synaesthetic or not), I want you to find two suitable images, OR CREATE them yourself, for EACH stanza.
• You must include for each image the line(s) from the poem that have inspired it.
• You must also include a fairly detailed explanation as to how the image works to create meaning in the poem. This is the difficult part. It is also the part I am most interested to read to ascertain your understanding of my poetry.
• You may wish to link the image to a particular concern of mine, you may connect it other poems, you may discuss the use of technical devices used in creating the image (metaphor, simile, sound patterns, etc).
• You will need to upload these to your blog (today if you have time, Friday if not).
• Work as a PAIR or ALONE. Good luck, Keatsians!

Ode on a Grecian Urn - the pyramid

Firstly, read the analysis activity we did not have time to complete last class.


After spending 30 minutes working on and discussing this - I suggest you keep a working doc of notes to upload later to your blog - we will move into pyramid groups.

THE PYRAMID
What are the most important things I understand about Ode on a Grecian Urn?

• In your groups you will take a big sheet of paper and create a 2D pyramid. Make it big
• Divide the pyramid into three sections
• At the base of the pyramid you will each add THREE post-its
• Each post-it will answer the question above (so you will each have to come up with three different answers
• After all post-its have been included, you will need to review them as a group. Which post-its seem to be similar. Can you organise them into different categories?
• In the middle of your pyramid you should write the different categories you have decided on, arranging relevant post-its under the appropriate category. Thus, you will be moving from SPECIFICS to GENERALIZATIONS
• Finally, at the top of your pyramid, decide on which category is most important out of the categories you have identified. Write it at the top. How did you agree? What criteria did you use to decide on the MOST IMPORTANT category? Be prepared to feedback to the class.

Some reflections on the Pyramid activity

• What have you learnt about the formation of generalizations?
• To what extent was a group necessary for this activity?
• What do you think you have learnt about leadership?

Synaesthesia in Ode on A Grecian Urn

We have discussed before my use of synaesthetic imagery.

What is it?

A literary term for an image that combines two or more of the senses or physical sensations normally considered as seperate (ie. sight, hearing, taste, touch, smell, temperature, weight, pressure, hunger, thirst, sexuality, and movement), that in other words attributes the traits of one sense to another.

Believe it or not, it is also a condition that around 1 in 2000 people have!

Synaesthesia in Ode on a Grecian Urn

"Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:"

The urn here is described in terms of its visual qualities ("flowery"), its ability to metaphorically speak to its audience and thus be heard ("express", "tale"), and how this appeals to taste ("sweetly").





Effects

Of course, it's no good just identifying my images. You must also explain what effects, or what functions they have in the poetry. It is your explanations of this that will truly show your understanding of my literature.

Firstly, and most obviously, this combining of sensations allows my poems to have a truly sensual flavour, appealing to the whole range of human sensations.


Secondly, consider the tenets of the Romantic movement, and how this may demonstrate them - the emphasis on unity, of a harmony involved in human experience and our perception of the world. Consider how my practice of synaesthesia may allow me to suggest this oneness of experience, the immediacy and completeness of our experiences with the world around us.
TASK

• Can you find another synaesthetic image in my poem, 
• quote it,
• explainwhat senses it refers to,
  and provide an explanation ofeffects? (Use what you have read above to help...)
• Upload it to your blog under the heading "Synaesthesia in Ode on a Grecian Urn" (including a suitable picture if you have time...

Understanding Ode on A Grecian Urn

Today's lesson will be in two parts:

1) Reflect on our work last class, what we have learnt about my poem. We will consider my USE OF LANGUAGE in more detail too.

2) Change, edit, upload video, photos, comments etc to your own blogs. In short, try to ensure your blogs are up to date, with all tasks completed.

Part One
 We will read my poem again as a class.

Keep in mind some of your thoughtful and perceptive comments last class:

• Isabel mentioned that the speaker seems to idolize the urn, but is also rather resentful of it, especially in the last stanza (the "Cold Pastoral!"). His mood changes a lot. There is AMBIVALENCE. Why?

• Rocio alluded to the PERMANENCE of the urn's art in contrast to the TRANSIENCE of our own lives. (This may have been inspired by my own life - my relationship with Fanny, which was cut short by my illness and death less than two years after writing this: with death coming ever closer, we begin to appreciate how mutable - and how FINITE - our world truly is)
• Many of you noticed my use of nature in the poem, again used to explore themes of transience (the trees shedding their leaves, for instance).

Task 1 - Reflection on your mock urns.
Take another look at those inspired pieces of art you have created. Bask in their brilliance; marvel in their miraculous form; perspire in their power; etc.

Now grab a "critical friend" - someone you may not necessarily usually work or talk to. Discuss the following for TEN MINUTES and be prepared to feed back to class. (Keep a record of your notes - I will want you to upload your comments along with your photos/video of the urns in Part 2!!)

• a) What elements of my poem do you think you understand more after completing the urn task? (This could be aspects of language, images, metaphors, similes, development of ideas, sounds, whatever...). Explain.

• b) Has the urn task raised any questions or doubts about my poem that you would want answered? What are they?

• c) What skills were important for you to use in order to complete the task successfully (which you all did, by the way. The way you worked was very impressive...)?

Task 2 - Further close analysis

Equipped with an initial understanding of the poem and some of its main concerns, we must now look deeper as to how I use LANGUAGE and STYLE to present ideas. So get your thinking hats on as we enter what lies "BETWEEN THE LINES"...

Jot down ideas as you reread the poem and think about the poem. Add your notes to your blog...


STANZA ONE
(We will look at this one together before I leave you to work unaided)

Why is the urn compared to a " still unravish'd bride"?

• "still" has two meanings - "motionless" or "remaining in time". Time and motion are two concepts that the poem explores throughout.
• "unravish'd" means unspoiled - a bride yet to lose her virginity; similarly, the urn and the scenes it represents are "unspoiled" by the passage of time.

Explain the term "sylvan historian"(l.3)

• The urn is a "Sylvan historian" because it records scenes from a culture lived long ago (ancient greeks); and because it is bordered with leaves, as well as having scenes of the countryside within.
• Is it paradoxical that the urn, a "bride of quietness", can tell its stories "more sweetly than our rhyme" (meaning the poem itself)?
• The gentleness of the term "sylvan historian" and his "flowery tale" told "sweetly" do not prepare us for the wild sexuality of lines 8-10. (Another contrast!)

What change in viewpoint occurs in lines 8-10?

• The short questions and frequent repetitions inject pace into the poem. Notice how the speaker moves from contemplative observer to emotionally-involved participant with these breathless questions. (We have another contrast - that of the participant vs the observer). You may want to think about how I develop this idea throughout, and what it might suggest about the audience's relationship with "Art" in general...

STANZA TWO

Your turn to provide some answers to these burning questions... 

In lines 1-4 I contrast the ideal (in art, love, and nature) and the real - the "heard melodies"; which does my speaker seem to prefer at this point? How can you tell?

Is the idea of unheard pipes an oxymoron?

In lines 5-10 we begin to sense a negative undercurrent to the ideal, to frozen time. How do I use language to help convey this negativity?

Ode on a Grecian Urn

WHAT?

• Understand the tensions and conflicts presented in the poem
• Understand HOW I present these tensions/conflicts
• Understand how Keats uses rhythm and meter to create effects (review of last class)

HOW?

• Make a mock Grecian Urn, like the one which inspires the speaker in my poem using the evidence given in the poem, and the materials at hand
• Discuss our growing understanding of the ideas I present to the reader, after completing the Urn task

 READING AND DISCUSSION

1) First let's read my poem. 

2) You may want to remind yourself what an ode is, and how us romantics created our own new kind of ode. 

3) To begin with,  can you find anything which suggests why my speaker in this poem seems to be so moved by the Grecian Urn he describes??

MAKING THE URN

• In your assigned groups, you will use paper, scissors, glue, the bowls I give you (which you can use as support to create a suitable shape for your paper urn), pens, colours, selotape, etc to replicate the urn my speaker describes
• To do this well will require a CLOSE READING of the stanzas which describe the artwork on the urn, UNDERSTANDING the references I am making, and VISUALIZING the images described
• You have a limited amount of time, so TEAMWORK and DIVISION of tasks will be vital
• Remember there are many different scenes and characters described, so you will need to PLAN your design carefully beforehand to ensure everything will all fit on your urn
• As you read closely, I would like you to further consider the effects the urn has on the speaker in my poem, and will expect you to FEED BACK to the class about this after completing your urn
• Some tensions and conflicts I raise in the poem which you might like to consider as you create your urn are:
• the frozen images on the urn vs the dynamic life portrayed
• the human/changeable vs the immortal/permanent
• participation vs observation
• life vs art

Rhythm and Meter in La Belle Dame Sans Merci

What?
Establish how I cleverly subvert the traditional ballad form in La Belle Dame Sans Merci

Why?
So we begin to appreciate that FORM and CONTENT work together to create and extend meaning in literature.


Let´s start by hearing some of your readings of my poem. Lovely...

La Belle Dame Sans Merci

 Aims of today's class (Tuesday, 15th April):

• show how our investigations last week help us to understand today's poem

The poem of mine you will explore today is a ballad entitled "La Belle Dame Sans Merci"

Task 1: Discuss - what do you expect from a poetic ballad? (your work in the treasure hunt last week should hopefully give you some ideas). Feedback to the class.

Task 2: We will read the poem as a class. (You can use the link or the handout provided.)

Task 3: PLACEMATS - an exercise which will help generate discussion on the poem and synthesize key ideas you have:

• Before discussing the poem AT ALL, you will move into your "placemat" groups. 
• In your group, you will sit with a large piece of blank paper separated into sections.
• You will not discuss the poem with your group yet, but will write down your individual comments, thoughts, questions, and ideas on the poem in your section. You will write for four minutes on this, WITHOUT DISCUSSION.
• After the time is up, you will be able to share your comments with the others in your group.
• In the middle of your "PLACEMATS" there is a section to fill in. Here, you should put any major conclusions on the poem your group has come to, after sharing your thoughts. (For example:
• What ideas did members of your group agree on? 
• What seems striking and important about this poem? 
• What themes does it seem to address? 
• How does it seem to reflect the literary movement of the time? 
• How does it seem to reflect aspects of my life that you have investigated?)
• Remember: you can record thoughts and ideas using words and/or images: sometimes images help us to clarify our ideas better than words...
• When you have done this a spokesperson from each group will explain the group's findings of the poem (the centre of your placemats).

Groups:

Shelley´s Nightmares

Francisco
Josefina
Isabel
Jazmin
Carola

Byron's Broads
Valentino
Joaquin
Milagros
Ana

Coleridge's Coven
Rocio
Sofia
Thomas
Florencia

The John Keats Treasure Hunt

What?
In your first double lesson, you will all go on a virtual "treasure hunt" to find precious nuggets of information about 

• John Keats
• the context in which he writes
• his poetry
• EXT: how he fits into the IB Literature course

How?
1) You will work in pairs, using your own research skills to search for the required data on this marvel of modern information technology, the internet, as well as making a few trips downstairs to the library. (Hint: you will be able to find much of the info by using the "useful websites" on this blog!) 

2) You will then collate the information in a suitable way, perhaps using a word document to make notes as you go along.

3) Individually, you will have to post all the material on your very own John Keats blog, having created the blog using www.blogger.com, following the instructions on that website.

When?
You will have all of this  lesson AND Friday's lesson to hunt for the treasure!

You will need to submit your finished treasure hunt on your own John Keats blog (having set up the blog using blogger.com by 9.30am, Tuesday 8th April).



Let The Treasure Hunt begin...
 (Note: Each section should be a new blog post in your blog!)


SECTION 1 - BIOGRAPHY

1) Find a suitable picture of me  to upload to your blog post. (Try to pick a flattering one, ok?)


2) Create a brief timeline of my life, including

•  birthdate, 
• important events in my life, 
• when I wrote famous poems, 
• a quote from me when I became ill.
• deathdate, 

At least eight different brief entries in your timeline!



3) Find a suitable picture of my sweet girl Fanny Brawne.
Give a brief explanation (no more than two sentences)  IN YOUR OWN WORDS as to why she was important in my life.

4) Find a letter that I wrote to Fanny Brawne in which I declare my love for her from a book of my letters downstairs in the library. 

• Take a picture of the letter. 
• Quote underneath or highlight in some way THE SENTENCE WHICH DECLARES MY LOVE.

5) Find the letter in a book in the library I wrote  to Charles Brown on  30th November, 1820. 

• Take a photo of the first page. 
• Underneath the photo, explain in two sentences who Charles Brown is/my relationship with him.
•  Also, quote the final THREE SENTENCES of the letter (before "God bless you!) 
• Try not to cry... 

SECTION 2 - CONTEXT

1) Find an image on the web which in some way (symbolically or literally) represents the Romantic Period. 

• Save the image
• Explain how it does.
• Give rough dates (in years) for the beginning and end of the Romantic period in English literature. 

2) Find ONE HISTORICAL EVENT (clue: allez!) that had a major impact in shaping the Romantic era.

•  Explain briefly what it is and how it did this. 
• Find a picture that in some way depicts this event. 
• Label it.

3) Provide brief diagram or bullet points outlining some of the key characteristics of Romanticism. You may find this useful. Or this.


4) Find a painter from my time known for his/her associations with Romanticism. 

• Find a painting of theirs in a book in the library (hint: look in The History of Art section). 
• Take a photo of it. 
• Label it with painter, title, date of production
• Then try to recreate a "living" version of it here or at home (you may need friends or family to act as models).  Take a photo of your living painting and post it next to the original picture.

5) Find a pictures of a rival of mine: Lord Byron. 

• Save it.
• Label it.
• Can you explain in two or three sentences IN YOUR OWN WORDS why we disliked each other??

SECTION 3 - POEMS

1) Give a brief, bullet-pointed explanation of what an Ode (in poetry) is.
List all the Odes I wrote, including the first line for each one, and the date (roughly) they were written. 

2) Select four themes I deal with a lot in my poetry that you find interesting. 

• List the themes.
• Find at least two poems of mine that include each theme. 
• (You could include a quotation from each poem that seems to allude to the theme).

3) I take great pride in my synaesthetic images. 

• Can you briefly explain IN YOUR OWN WORDS what these are? 
• What function(s) do they perform in my poems?
• Give the example from the link on Isabella, explaining the sensory images it combines.

4) What is a poetic ballad? 

• Give a brief definition IN YOUR OWN WORDS.
• Find my ballad entitled La Belle Dame Sans Merci.
• Perform a dramatic reading of it.
• Record the audio.
• Upload the audio file to your blog! 
• (If you have time, you could make it a video recording instead.)
• Find a suitable image to go with the reading.

Welcome to Northlands John Keats' Blog

 We're Live!
Hello and welcome! Cue trumpet fanfare and drum rolls...Northlands Keats' Blog is now up and running. This will be a valuable resource for helping you keep up to date with the course, sharing information, ideas and work.

How To Use the Blog?

A new post will be added each week. It will therefore be useful if you check out the blog every Monday - you will then be able to prepare appropriately. Each post will be labelled so you will be able to find relevant past lessons when needed.

You will also be able to find helpful resources, such as sites which give biographical details about the man himself, as well as analysis of his poems.

You will need to create your own Keats Blog to publish your work, thoughts and ideas. We'll make a link to your blog here. More on that on Friday.