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...

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?

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.