Study Guide 3

Study Guide in Teaching and Assessment of Literature Studies FM-AA-CIA-15 Rev.
0 10-July-2020
Module 3 – Teaching Poetry and Dramatic Poetry
Module No. 3
Teaching Poetry and Dramatic Poetry
MODULE OVERVIEW
Enumerated below are topics that you need to study in this module.
1) Review on the Genres of Poetry

2) Literary Devices
3) Fun Poetry
- Riddles
- Limericks
- Haikus
4) Shape Poems
5) Comprehending Poetry
6) Strategies in Teaching Poetry
- Reading Aloud
- Choral Reading
- Silent Reading
7) Literary Appreciation and Valuing in/of Poetry
8) Lesson Design in Teaching Poetry
9) Materials and Resources in Teaching Poetry
10) Assessment in Teaching Poetry
MODULE LEARNING OBJECTIVES
At the end of the lesson, the students will be able to:
a) adapt competency-based learning materials in teaching poetry which respond to the various linguistic,
cultural, socio-economic, and religious backgrounds of learners;
b) identify a range of assessment strategies in teaching poetry that address learners’ needs, progress, and
achievement which are consistent with the selected competencies;
c) craft a learning plan according to the English curricula that develops higher order thinking skills of learners
through the use of poetic texts; and
d) conduct a teaching demonstration of a developmentally-sequenced learning process using innovative
teaching principles, skills, and strategies for teaching poetry.
LEARNING CONTENTS
What is Poetry?
A poem is a composition that uses words to evoke emotions in an imaginative way. Although poetry
is a form of self-expression that knows no bounds, it can be safely divided into three main genres: lyric
poetry, narrative poetry, and dramatic poetry. POETRY is a form of literature that uses aesthetic and
rhythmic qualities of language. It evokes a concentrated imaginative awareness of experience or a specific
emotional response through language chosen and arranged for its meaning, sound, and rhythm.
PANGASINAN STATE UNIVERSITY 1

Study Guide in Teaching and Assessment of Literature Studies FM-AA-CIA-15 Rev. 0 10-July-2020
Genres of POETRY
LYRIC POETRY
Lyric poetry uses song-like and emotional words to describe a moment, an object, a feeling, or a
person. Lyric poems do not necessarily tell a story but focus on the poet’s personal attitudes and state of
mind. They use sensory language to set the scene and inspire emotions in the reader.
There are several types of poetry that one could classify as lyric poetry. They include:
• elegy - a reflective poem to honor the dead
• haiku - a seventeen-syllable poem that uses natural imagery to express an emotion
• ode - an elevated poem that pays tribute to a person, idea, place, or another concept
• sonnet - a descriptive fourteen-line poem with a specific rhyme scheme
When you read a lyric poem, you are transported to a different time or place. Writing lyric poems is an
effective way to illustrate your perspective and share a special moment with others.
Ode on a Grecian Urn

Here's an example of lyric poetry by English Romantic poet John Keats. This excerpt is taken from
"Ode on a Grecian Urn." Notice it doesn't tell a story, per se. Rather, it focuses on the speaker’s thoughts of
death and morality as he studies an urn.
"O Attic shape! Fair attitude! with brede

Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
"Beauty is truth, truth beauty,-that is all
Ye know on earth, and all ye need to know."
How Do I Love Thee (Sonnet 43)

Elizabeth Barrett Browning's famous poem "How Do I Love Thee" is another example of a lyric poem.
She focuses on the theme of love and uses figurative language to express its immeasurability.
"How do I love thee? Let me count the ways

I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace
I love thee to the level of everyday's
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love thee with the passion put to use
In my old griefs, and with my childhood's fait
I love thee with a love I seem to lov
With my lost saints, - I love thee with the breath,
Smiles, tears, of all my life! - and, if God choose,
I shall but love thee better after death."

NARRATIVE POETRY
A narrative poem tells a story. Also known as epic poetry, narrative poetry is often set to music as
ballads. Narrative poems are usually of human interest and include epics, or long stories.
Examples of poetry in this category include:

• allegory - a narrative poem that uses an extended metaphor to make a point
• ballad - narrative poetry set to music
• burlesque - a mock-epic poem that tells an ordinary story in a melodramatic way
• epic - a lengthy poem that tells a story of heroic adventures
If the story changes over the course of the poem, it’s a narrative poem. The rhyme scheme and meter may
change between narrative poems, but all narrative poems tell a story from the perspective of a third-person
narrator.
The Odyssey
Homer’s The Odyssey is one of the oldest and most famous epic poems. The epic is an example of
poetry that tells a story through poetic language. It tells the story of heroic (but cursed) Odysseus and his
crew as they battle monsters, outwit witches and make their way home to his waiting wife.
"SPEAK, MEMORY—
Of the cunning hero,
The wanderer, blown off course time and again
After he plundered Troy's sacred heights.
Speak of all the cities he saw, the minds he grasped,
The suffering deep in his heart at sea
As he struggled to survive and bring his men home
But could not save them, hard as he tried—
The fools—destroyed by their own recklessness
When they ate the oxen of Hyperion the Sun,
And that god snuffed out their day of return."
Paul Revere’s Ride

Henry Wadsworth Longfellow’s epic tale, “Paul Revere’s Ride,” tells the story of American Revolution
hero Paul Revere and his historic ride. It captures the tension of the night and the thrill of the early Revolution.
"Listen, my children, and you shall hea

Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-Five:
Hardly a man is now alive
Who remembers that famous day and year.
He said to his friend, “If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry-arch
Of the North-Church-tower, as a signal-light,—
One if by land, and two if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country-folk to be up and to arm."
DRAMATIC POETRY
Dramatic poetry, also known as dramatic monologue, is meant to be spoken or acted. Similar to

narrative poetry, dramatic poetry tells a story. You’re most likely to find dramatic poetry in the form of dramatic
(or even comedic) monologues or soliloquies written in a rhyming verse.
Many dramatic poems appear as:

• monologue - a speech given by one character to another, or by one character to the audience (also
known as dramatic verse when not in poetic form)
• soliloquy - a speech given by one character to himself or herself; a dramatic representation of inner
monologue
While narrative poetry is told by a narrator, dramatic poetry is written from the perspective of a character in
the story. Narrative poetry tends to set the scene and describe what's happening, whereas dramatic poetry
tends to lead with a main character entering the scene and speaking.
My Last Duchess
Here is an excerpt from the opening of Robert Browning's "My Last Duchess." It’s often used as an
example of dramatic monologue because it’s told from a character’s point of view.
"That's my last Duchess painted on the wall,

Looking as if she were alive. I call
That piece a wonder, now; Fra Pandolf's hands
Worked busily a day, and there she stands.
Will't please you sit and look at her? I said
"Fra Pandolf" by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, 'twas not
Her husband's presence only, called that spot
Of joy into the Duchess' cheek; perhaps
Fra Pandolf chanced to say, "Her mantle laps
Over my lady's wrist too much," or "Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat."
The Dream Called Life

Following is an excerpt from a dramatic poem titled "The Dream Called Life" by Pedro Calderon de
la Barca. The scene is immediately set with one word - dream. After that, we enter into a swirl of emotion as
the writer tells us a story.
"A DREAM it was in which I found myself.

And you that hail me now, then hailed me king,
In a brave palace that was all my own,
Within, and all without it, mine; until,
Drunk with excess of majesty and pride,
Me thought I towered so big and swelled so wide
That of myself I burst the glittering bubble
Which my ambition had about me blown
And all again was darkness. Such a dream

As this, in which I may be walking now,

Dispensing solemn justice to you shadows,
Who make believe to listen; but anon
Kings, princes, captains, warriors, plume and steel,
Ay, even with all your airy theater,
May flit into the air you seem to rend ..."
Literary Devices
A writer is limited in the materials he can use in creating his works: all he has are
words to express his ideas and feelings. These words need to be precisely right on
several levels at once:
• they must sound right to the listener even as they delight his ear
• they must have a meaning which might have been unanticipated, but seems to be the perfectly right
one
• they must be arranged in a relationship and placed on the page in ways that are at once easy to
follow and assist the reader in understanding
• they must probe the depths of human thought, emotion, and empathy, while appearing simple, self-
contained, and unpretentious
Work of literature is often read silently, but it must still carry with it the feeling of being spoken aloud, and
the reader should practice “hearing” it in order to catch all of the artfulness of one’s work.
the SOUNDS of words
Words or portions of words can be clustered or juxtaposed to achieve specific kinds of effects. The
sounds that result can strike us as clever and pleasing, even soothing. Others we dislike and strive to avoid.
These various deliberate arrangements of words have been identified.
Alliteration: Repeated consonant sounds at the beginning of words placed near each other, usually on the
same or adjacent lines.
Example: Peter and Andrew patted the pony at Ascot
Assonance: Repeated vowel sounds in words placed near each other, usually on the same or adjacent
lines. These should be in sounds that are accented, or stressed, rather than in vowel sounds that are
unaccented.
In the example above, the short A sound in Andrew, patted, and Ascot would be assonant.
Consonance: Repeated consonant sounds at the ending of words placed near each other, usually on the
same or adjacent lines. These should be in sounds that are accented, or stressed, rather than in vowel
sounds that are unaccented. This produces a pleasing kind of near-rhyme.
Example: boats into the past
Cacophony A discordant series of harsh, unpleasant sounds helps to convey disorder. This is often furthered
by the combined effect of the meaning and the difficulty of pronunciation.
Example: My stick fingers click with a snicker

And, chuckling, they knuckle the keys;

Light-footed, my steel feelers flicker
And pluck from these keys melodies.
—“Player Piano,” John Updike
Euphony: A series of musically pleasant sounds, conveying a sense of harmony and beauty to the language.
Example: Than Oars divide the Ocean,
Too silver for a seam—
Or Butterflies, off Banks of Noon Leap, plashless as they swim.
— “A Bird Came Down the Walk,” Emily Dickenson (last stanza)
Onomatopoeia: Words that sound like their meanings. In Hear the steady tick of the old hall clock, the word
tick sounds like the action of the clock, If assonance or alliteration can be onomatopoeic, as the sound ‘ck’ is
repeated in tick and clock, so much the better. Example: boom, buzz, crackle, gurgle, hiss, pop, sizzle, snap,
swoosh, whir, zip
Repetition: The purposeful re-use of words and phrases for an effect. Sometimes, especially with longer
phrases that contain a different key word each time, this is called parallelism. It has been a central part of
poetry in many cultures. Many of the Psalms use this device as one of their unifying elements.
Example: I was glad; so very, very glad.
Rhyme: This is the one device most commonly associated with poetry by the general public. Words that
have different beginning sounds but whose endings sound alike, including the final vowel sound and
everything following it, are said to rhyme. Example: time, slime, mime
Rhythm: Although the general public is seldom directly conscious of it, nearly everyone responds on some
level to the organization of speech rhythms (verbal stresses) into a regular pattern of accented syllables
separated by unaccented syllables. Rhythm helps to distinguish poetry from prose. Example: i THOUGHT i
SAW a PUSsyCAT.
Such patterns are sometimes referred to as meter. Meter is the organization of voice patterns, in terms of
both the arrangement of stresses and their frequency of repetition per line of verse.
the MEANINGS of words
Most words convey several meanings or shades of meaning at the same time. It is the writer’s job to
find words which, when used in relation to other words, will carry the precise intention of thought. Often, some
of the more significant words may carry several layers or “depths” of meaning at once. The ways in which
the meanings of words are used can be identified.
Allegory: A representation of an abstract or spiritual meaning. Sometimes it can be a single word or phrase,
such as the name of a character or place. Often, it is a symbolic narrative that has not only a literal meaning,
but a larger one understood only after reading the entire story or poem
Allusion: A brief reference to some person, historical event, work of art, or Biblical or mythological situation
or character.
Ambiguity: A word or phrase that can mean more than one thing, even in its context. Often, one meaning
seems quite readily apparent, but other, deeper and darker meanings, await those who contemplate the
poem.
Example: Robert Frost’s ‘The Subverted Flower’
Analogy: A comparison, usually something unfamiliar with something familiar.

Example: The plumbing took a maze of turns where even water got lost.
Apostrophe: Speaking directly to a real or imagined listener or inanimate object; addressing that person or
thing by name.
Example: O Captain! My Captain! our fearful trip is done…
Cliché: Any figure of speech that was once clever and original but through overuse has become outdated.
If you’ve heard more than two or three other people say it more than two or three times, chances are the
phrase is too timeworn to be useful in your writing.
Example: busy as a bee
Connotation: The emotional, psychological or social overtones of a word; its implications and associations
apart from its literal meaning.
Contrast: Closely arranged things with strikingly different characteristics. Example: He was dark, sinister,
and cruel; she was radiant, pleasant, and kind.
Denotation: The dictionary definition of a word; its literal meaning apart from any associations or
connotations. Caution must be exercised when using a thesaurus since substitution of a word can sometimes
destroy the mood, and even the meaning, of a poem.
Euphemism: An understatement, used to lessen the effect of a statement; substituting something innocuous
for something that might be offensive or hurtful. Example: She is at rest. (meaning, she’s dead)
Hamartia: A personal error in a protagonist’s personality, which brings about his tragic downfall in a tragedy.
This defect in a hero’s personality is also known as a “tragic flaw.”
Hubris: A extreme pride and arrogance shown by a character, which ultimately brings about his downfall.
Hyperbole: An outrageous exaggeration used for effect. Example: He weighs a ton.
Irony: A contradictory statement or situation to reveal a reality different from what appears to be true.
Example: Wow, thanks for expensive gift...let’s see: did it come with a Fun Meal or the Burger King
equivalent?
Metaphor: A direct comparison between two unlike things, stating that one is the other or does the action of
the other.
Example: He’s a zero; Her fingers danced across the keyboard.
Metonymy: A figure of speech in which a person, place, or thing is referred to by something closely
associated with it.
Example: The White House stated today that...; The Crown reported today that...
Nemesis: A literary device that refers to a situation of where the good characters are rewarded for their
virtues, and the evil characters are punished for their vices.
Oxymoron: A combination of two words that appear to contradict each other.

Example: a pointless point of view; bittersweet
Paradox: A statement in which a seeming contradiction may reveal an unexpected truth.

Example: The hurrier I go the behinder I get.

Personification: Attributing human characteristics to an inanimate object, animal, or abstract idea.

Example: The days crept by slowly, sorrowfully.
Pun: Word play in which words with totally different meanings have similar or identical sounds.
Example: Like a firefly in the rain, I’m de-lighted.
Simile: A direct comparison of two unlike things using “like” or “as.”

Example: He’s as dumb as an ox; Her eyes are like comets.
Symbol: An ordinary object, event, animal, or person to which we have attached extraordinary meaning and
significance – a flag to represent a country, a lion to represent courage, a wall to symbolize separation.
Example: A small cross by the dangerous curve on the road reminded all of Johnny’s death.
Synecdoche: Indicating a person, object, etc. by letting only a certain part represent the whole.
Example: All hands on deck.
ARRANGING the words
Words follow each other in a sequence determined by the writer. Although in some ways these sequences
seem arbitrary and mechanical, in another sense they help to determine the nature of the text. These various
ways of organizing words have been identified.
Point of View: The author’s point of view concentrates on the vantage point of the speaker, or “teller” of the
story or poem. This may be considered the poem’s “voice” This is also sometimes referred to as the persona.
• 1st Person: the speaker is a character in the story or poem and tells it from his/her perspective (uses
“I”).
• 3rd Person limited: the speaker is not part of the story, but tells about the other characters through
the limited perceptions of one other person.
• 3rd Person omniscient: the speaker is not part of the story, but is able to “know” and describe what
all characters are thinking.
Line: The line is fundamental to the perception of poetry, marking an important visual distinction from prose.
Poetry is arranged into a series of units that do not necessarily correspond to sentences, but rather to a
series of metrical feet.
Verse: One single line of a poem arranged in a metrical pattern. Also, a piece of poetry or a particular form
of poetry such as free verse, blank verse, etc., or the art or work of a poet. A stanza is a group of verses.
Stanza: A division of a poem created by arranging the lines into a unit, often repeated in the same pattern of
meter and rhyme throughout the poem; a unit of poetic lines (a “paragraph” within the poem).
Stanza Forms: The names given to describe the number of lines in a stanzaic unit like couplet (2), tercet (3),
quatrain (4), quintet (5), sestet (6), septet (7), and octave (8).
Rhetorical Question: A question solely for effect, which does not require an answer. By the implication the
answer is obvious, it is a means of achieving an emphasis stronger than a direct statement.
Example: Could I but guess the reason for that look?; O, Wind, If Winter comes, can Spring be far behind?
Rhyme Scheme: The pattern established by the arrangement of rhymes in a stanza or poem, generally
described by using letters of the alphabet to denote the recurrence of rhyming lines, such as the ababbcc of
the Rhyme Royal stanza form.

Enjambment: The continuation of the logical sense — and therefore the grammatical construction — beyond
the end of a line of poetry. This is sometimes done with the title, which in effect becomes the first line of the
poem.
Form: The arrangement or method used to convey the content, such as free verse, ballad, haiku, etc. In
other words, the “way-it-is-said.”
• Open: poetic form free from regularity and consistency in elements such as rhyme, line length, and
metrical form
• Closed: poetic form subject to a fixed structure and pattern
• Blank Verse: unrhymed iambic pentameter (much of the plays of Shakespeare are written in this
form)
• Free Verse: lines with no prescribed pattern or structure — the poet determines all the variables as
seems appropriate for each poem
• Couplet: a pair of lines, usually rhymed; this is the shortest stanza
• Heroic Couplet: a pair of rhymed lines in iambic pentameter (traditional heroic epic form)
• Quatrain: a four-line stanza, or a grouping of four lines of verse
Fixed Form: A poem which follows a set pattern of meter, rhyme scheme, stanza form, and refrain (if there
is one), is called a fixed form.
• Epigram: a pithy, sometimes satiric, couplet or quatrain comprising a single thought or event and
often aphoristic with a witty or humorous turn of thought
• Epitaph: a brief poem or statement in memory of someone who is deceased, used as, or suitable
for, a tombstone inscription; now, often witty or humorous and written without intent of actual funerary
use
• Haiku: a Japanese form of poetry consisting of three unrhymed lines of five, seven, and five syllables.
These are very brief descriptions of nature that convey some implicit insight or essence of a moment.
Traditionally, they contain either a direct or oblique reference to a season
• Limerick: a light or humorous form of five chiefly anapestic verses of which lines one, two and five
are of three feet and lines three and four are of two feet, with a rhyme scheme of aabba.
• Pantoum: derived from the Malayan pantun, it consists of four-line stanzas with lines rhyming
alternately; the second and fourth lines of each stanza repeated to form the first and third lines of the
succeeding stanza, with the first and third lines of the first stanza forming the second and fourth of
the last stanza, but in reverse order, so the opening and closing lines of the poem are identical.
• Sonnet: a fourteen-line poem in iambic pentameter with a prescribed rhyme scheme; its subject was
traditionally love.
• Shakespearean Sonnet: a style of sonnet used by Shakespeare with a rhyme scheme of abab cdcd
efef gg
• Italian (Petrarchan) Sonnet: a form of sonnet made popular by Petrarch with a rhyme scheme of
abbaabba cdecde or cdcdcd
• Spenserian Sonnet: a variant of the Shakespearean form in which the quatrains are linked with a
chain or interlocked rhyme scheme, abab bcbc cdcd ee.
• Sonnet Sequence: a series of sonnets in which there is a discernable unifying theme, while each
retains its own structural independence. All of Shakespeare’s sonnets, for example, were part of a
sequence.
the IMAGES of words
People generally don’t respond very strongly to abstract words. Thus, use words which do carry strong visual
and sensory impact, words which are fresh and spontaneous but vividly descriptive. It is better to show the
reader than to merely tell him.
Imagery: The use of vivid language to generate ideas and/or evoke mental images, not only of the visual

sense, but of sensation and emotion. Literature uses words to evoke “images” that carry depths of meaning.
The writer’s carefully described impressions of sight, sound, smell, taste and touch can be transferred to the
thoughtful reader through imaginative use and combinations of diction. Related images are often clustered
or scattered throughout a work, thus serving to create a particular mood or tone.
Examples:
• Sight: Smoke mysteriously puffed out from the clown’s ears.
• Sound: He could hear a faint but distinct thump thump thump.
• Touch: The burlap wall covering scraped against the little boy’s cheek.
• Taste: The candy melted in her mouth and swirls of bittersweet chocolate and slightly sweet but salty
caramel blended together on her tongue.
• Smell: Cinnamon! That’s what wafted into his nostrils.
Fun POETRY
1. RIDDLES
A riddle is a question, a puzzle, a phrase, or a statement devised to get unexpected or clever
answers. It is a folklore genre as well as rhetorical device, often having veiled or double meanings. When
someone uses it as a puzzle or a question, it could be a thought-provoking challenge for the audience to
figure it out themselves, or it could be a funny comment intended to make the audience laugh.
Examples of Riddle
It is so fragile that if you say its name you break it, what is it?
Answer: It is silence.
I have a head, I have a tail, but I do not have a body. I am neither a lizard nor a snake. Then, guess what
am I?
Answer: I am a coin.
It can run and does not walk, has a mouth and does not talk, has a head and does not weep, has a bed
and does not sleep?
Answer: It is a river.
Something that falls and never breaks, and something breaks but never falls?
Answer: Day breaks and night falls.
My father is white but I am black, I am a bird without wings, flying to the clouds. I cause tears of mourning
in those who encounter me, but there is no reason for mourning because, once I am born, I am dissolved
into air. Can you guess who am I?
Answer: I am smoke.
TYPES OF RIDDLES
There are two main types of riddles:
Enigma – Enigmas are problems expressed in an allegorical or metaphorical language, requiring careful
thinking and ingenuity to solve them.
Conundrum – Conundrums are questions that rely on punning for creating effects in a question.
EXAMPLES OF RIDDLE IN LITERATURE

Example #1: Oedipus Rex (By Sophocles)
One of the most popular riddles in literature is the riddle of Sphinx, who asks questions of Oedipus.
Riddle: “What goes on four legs in the morning, on two legs at noon, and on three legs in the evening?”
Answer: Oedipus solves this riddle, giving right answer: it is man, who can crawl on his four legs as an
infant, and as an adult he walks on two legs, while he walks with a stick when he becomes old.
Example #2: Harry Potter and the Goblet of Fire (By J. K. Rowling)

During his competition in the Tri-Wizard Tournament, Harry had to answer a riddle posed by a Sphinx:
Riddle: “First think of the person who lives in disguise,

Who deals in secrets and tells naught but lies,
Next tell me what’s always the last thing to mend,
The middle of middle and end of the end?…
Which creature would you be unwilling to kiss?”
Answer: A spider.
FUNCTION OF RIDDLE
In written literature, riddles deceive the audience with their meanings. As far as a riddle’s purpose is
concerned, it explores questions with enough thoroughness to provide readers a clear view of major issues.
Riddles can generally be conversation-starters, or brain busters to get readers thinking, while in oral literature,
riddles serve as the competition of wits and skills and guessing games.
However, if the audience knows the answers they take pleasure in hearing them repeatedly. Gaming
riddles reveal the playful side of language in a manageable form. Besides, it is usually possible to draw
appropriate metaphors from good riddles.
2. LIMERICKS
A limerick is a poem that consists of five lines in a single stanza with a rhyme scheme of AABBA.
Most limericks are intended to be humorous, and many are considered bawdy, suggestive, or downright
indecent. The subject of limericks is generally trivial or silly in nature. Most limericks are considered “amateur”
poetry due to their short length and relatively simplistic structure. However, this does not take away from
reader enjoyment of this literary device.
Perhaps the most famous example of limerick begins with the line: There once was a man from
Nantucket. There are numerous limerick variations that begin this way, many of which are considered “dirty”
or inappropriate. However, here is an example of an appropriate version from 1902 by Dayton Voorhees:
There once was a man from Nantucket

Who kept all his cash in a bucket.
But his daughter, named Nan,
Ran away with a man
And as for the bucket, Nantucket.
POETIC STRUCTURE OF LIMERICK

Though limericks are often humorous poems, their structure is straightforward with strict
compositional elements. These poems consist of exactly five lines, arranged in a single stanza, with the
rhyme scheme AABBA. Since limericks are composed with the same structure and pattern, this separates
them from other forms of poetry and makes them easily recognizable.
With traditional limericks, the first, second, and fifth lines feature the same verbal rhythm, rhyme, and
have seven to ten syllables. The third and fourth lines must rhyme (differently from the rhyme of lines one,
two, and five), feature the same rhythm, and have five to seven syllables.
Limericks follow anapestic meter, which consists of two unstressed syllables followed by a stressed,
third syllable. Lines one, two, and five feature three anapests and lines three and four feature two anapests.
EXAMPLES OF LIMERICKS BY EDWARD LEAR

Edward Lear, a nineteenth century British poet, is perhaps the most well-known writer of limericks–
though he did not originate this poetic form. As a nod to the genre “literary nonsense,” Lear published a

collection of 117 limericks in 1846, entitled A Book of Nonsense. Lear intended his limerick poetry to be
humorous and silly, while still adhering to the strict structure of this literary device. Here are some examples
of limericks made popular by Edward Lear:
There was an Old Man in a tree,

Who was horribly bored by a Bee;
When they said, ‘Does it buzz?’
He replied, ‘Yes, it does!’
‘It’s a regular brute of a Bee!’
There was an Old Man with a beard,

Who said, “It is just as I feared! —
Two Owls and a Hen,
Four Larks and a Wren,
Have all built their nests in my beard.”
3. HAIKU
Haiku is a Japanese form of poetry that consists of short, unrhymed lines. These lines can take
various forms of brief verses. However, the most common structure of haiku features three lines of five,
seven, and five syllables, respectively. A haiku poem generally presents a single and concentrated image or
emotion. Haiku is considered a fixed poetic form and is associated with brief, suggestive imagery intending
to evoke emotion in the reader. Though this poetic form originated in Japan during the thirteenth century, it
is also a significant element of English poetry, especially in its influence on the Imagist movement of the early
twentieth century.
Because of the haiku form’s brevity as well as fixed verse and syllabic pattern, it leaves little room
for anything more than the presentation of a single and focused idea or feeling. Therefore, haiku poems are
allusive and suggestive, calling upon the reader to interpret the meaning and significance of the words and
phrases presented. For example, here is a haiku written by Issa, a Japanese poet, and translated by Cid
Corman:
only one guy and

only one fly trying to
make the guest room do
This haiku creates an image of a man and a fly in the same room. The phrase “guest room” is clever
in that it implies that both the guy and the fly are welcome temporarily and neither have ownership of the
room. This evokes a humorous response and sense of enforced coexistence between man and nature in
shared space. Though the poem consists of a single image, presented with simple phrasing, it evokes humor
and inspires thought and interpretation for the reader.
COMMON EXAMPLES OF POETIC IMAGES IN HAIKU

Historically, haiku is associated with describing the seasons and their changes. In fact, traditional
haiku feature kigo, which is a word or phrase that specifically indicates a particular season. This supports the
brevity of the form as well as reference to the time of year. Many poets focus on the natural world and its
seasonal changes as subject matter for haiku through the use of nature themes and imagery, which evoke
corresponding emotions.
Here are some common examples of poetic images in haiku:
• cherry blossoms
• wisteria
• moon and its phases
• cold (ice, snow, etc.)

• Trees and boughs

• rain
• flowers and petals
• insects (butterflies, bees, caterpillars, etc.)
• birds (herons, swallows, etc.)
• forest animals
• water (dew, pond, etc.)
• light (twilight, dawn, candlelight, etc.)
• fruit
• garden
• landscapes (mountains, forests, seas, etc.)
STRUCTURE OF HAIKU
Traditionally, a haiku is a Japanese poem featuring three lines and consisting of simple, yet impactful,
words and phrases. This language is structured in a pattern of 5-7-5 moras. Moras are rhythmic sound units
that are comparable to syllables. When translating Japanese haiku to English or other languages, the balance
between syllable count and meaning of words and phrases is complex. Japanese haiku feature 17 total
sounds, or on, which some English translators argue is closer to 12 syllables rather than 17 total. On are not
the same as syllables in English and are therefore counted differently, leading to translation discrepancies
as to whether 17 English syllables effectively represent haiku.
In addition, Japanese haiku are written in one line, unlike the form with two line breaks that is featured
in most English translations. Japanese haiku often feature kireji (a “cutting word”) that creates a pause or
break in the rhythm of the poem, rather than a line break. Kireji may be used to juxtapose images.
Overall, the common structure of most haiku poems is:

first line: 5 syllables
second line: 7 syllables
third line: 5 syllables
This 5-7-5 pattern and structure means that a haiku poem, as a rule, consists of three lines and 17 total
syllables.
HAIKU WRITING
It may seem that writing haiku is simple due to the brevity of the form or by meeting the syllable count
and pattern. However, this art form requires careful choices in language and the order of words to create
effective imagery, evoke an emotional response from the reader, and allow for deeper interpretation and
meaning. Here are some elements to keep in mind when writing haiku:
SUBJECT MATTER
When determining the subject matter for haiku poetry, it’s important to focus on singular images and
smaller details. Nature themes are prevalent in this Japanese art form. Nature makes for interesting and
beautiful subjects in terms of seasonal changes and the way our human senses interpret the natural world
around us. Haiku poetry is effective in its portrayal and reflection of simple and natural elements of daily life.
LANGUAGE AND WORDING

It’s important for poets, when writing haiku, to utilize short phrases that evoke strong images and
emotions for the reader. In this case, it’s beneficial to consider the Japanese tradition of kigo. This allows the
poet to choose images that symbolize a season and therefore set the mood and tone of the poem with a
select few words. For example, a poet can utilize the phrase “tender snowflakes” to represent winter and
indicate a cold, perhaps peaceful, setting. This can evoke feelings of calm and quiet for the reader.

In addition to careful use of language and wording to create an effective haiku, it’s important for poets
to consider using punctuation or a “cutting word” (kireji) for implementing meter and rhythm in the poem.
EXAMPLES OF HAIKU IN LITERATURE

Haiku is a style of lyric poetry that usually features intense emotion or a vivid image of nature. This
is traditionally designed to lead to spiritual insight for the reader. This type of verse is considered a fixed
poetic form, with three unrhymed lines in the pattern of five, seven, and five syllables, respectively.
Contemporary poets occasionally vary the syllabic count and/or pattern in haiku.
Here are some examples of haiku in literature and their significance:
Example 1: The Falling Flower (Moritake)
What I thought to be
Flowers soaring to their boughs
Were bright butterflies.
In this poem, Moritake utilizes the phrase “flowers soaring to their boughs” as kigo, an indication of the
spring season when plant life is blooming. In the third line of the poem, the poet establishes that the flowers
are actually bright butterflies, reinforcing the warmth and renewal of spring. Additionally, in mistaking the
butterflies for flowers and then realizing the actuality, the poet emphasizes the themes of balance, beauty,
and relationships in nature. This perception allows the reader to witness this change in imagery and actuality,
as the poet does. As a result, this haiku is significant in its representation of the natural world and the way it
is interpreted by humans.
Shape POEMS
Shape Poetry is also associated with Concrete Poetry-

Shape is one of the main things that separate prose and poetry. Poetry can take on many formats,
but one of the most inventive forms is for the poem to take on the shape of its subject. Therefore, if the
subject of your poem were of a flower, then the poem would be shaped like a flower. If it were of a fish, then
the poem would take on the shape of a fish. ><<<*>
Shape and Concrete Poetry go hand-in-hand; however, Concrete or Visual Poetry don’t have to take
on the particular shape of the poem’s subject, but rather the wording in the poem can enhance the effect of
the words such as in this line:
A shape poem is a poem that takes on the shape of the thing you're writing about. So, if you wanted
to write a poem about an apple, you could write it inside of the outline of an apple, or you could write a short
poem and make the words the outline of the apple.
It's a simple way to spark your creativity. Just pick an object - any object - and write about it. Then,
take those words and form them into your shape. Let's look at a few examples together.

Example #1:
My Body
my
body
is
a
walking representation
the outward visual caption
of what it means
to be
me
from the
outside
looking
in
at times I hide
from you but mostly
what you see is
what you will get
Example #2:
Broken Car
What can I do with

a car that doesn't go
Can I find some way to fix it
How long will it be before I can go again
Can the car even be fixed or is it hopeless
I can't take a bus to work they aren't around
Stranded No Money
Damned Things
Comprehending POETRY
Poetry serves as an eye-opener for people about the occurrence of everything around us. Through
poetry, we can appreciate the world by the use of author’s style and choice of words.
Why do we need to comprehend poems?

• Poetry influences our view about the society.
• Understanding the meaning can re envision our imaginative thoughts.
• It can help us understand the significance of words.
• It increases our reading comprehension.
How do we comprehend poems?
1. Read the poem at least twice
Questions to consider:
o Is the poem meant to be read fast or slow?
o Are the lines meant to be short or long?
o What is your first idea about the poem’s message?

2. Relate the title

o How is the title related to the poem?
o Does the title imply multiple possibilities?
o Does the title of the poem let you paint a picture of the setting, time frame or action?
o Does the title immediately change how you think about it?
3. Connect with the speaker
o Who tells the poem?
o Does the poem give any clues about the speaker’s personality, the point of view, age, or gender?
o To whom does the speaker addressing the poem?
o Does the speaker seem attached or detached from what is said?
4. Analyze the mood and tone
o What do you think is the mood of the poem? How about the tone?
o Does the attitude of the speaker affect the whole poem?
o Does the tone let you switch your impression about the poem?
5. Paraphrase
o Do we need to condense some lines?
o Are there figurative languages used by the author?
o What are the figurative languages used in the poem?
o What simpler words can be replaced on each figurative language?
6. Identify the theme
o What is the main idea/subject of the poem?
o What do you think is the theme of the poem?
o Are there details of the story that helps you recognize the theme? What are those?
o Does the theme affect your first impression of the poem’s message?
7. Synthesize
o Does your impression change after going through the process?
o What is your final conclusion about the poem?
Key Aspects and Guiding Questions for Poetry Analysis

After forming a general impression of the poem, it is necessary to progress from the comprehension to the
appreciation level. For a more in-depth analysis of a poem, you should examine the following seven aspects
in greater detail. Some guiding questions are provided below to guide you to notice and identify the features
under each aspect.
1. Content/Subject and Theme(s)
o Does the title give you an idea of what the poem may be about?
o What is the poem about? What concept and ideas is the poem exploring? What is the writer’s view
on this subject?
o Can you summarize the main idea of the poem or paraphrase it in a few sentences?
o Are there messages or ideas that are repeatedly stated in the poem to draw the reader’s attention?
o Are the themes and messages implicitly or explicitly stated in the poem? How are the ideas organised
in the poem? Are they developed in a straightforward manner to a conclusion? Is there a shift or
turning point in its development? If yes, when and why does the shift take place?
2. Speaker, Tone and Voice
o Who is the speaker of the poem?
o Is the speaker the poet or a character/persona the poet takes on?

o Who is the speaker speaking to?

o What is the tone of voice adopted?
o What is the speaker’s attitude towards the subject in the poem?
o Does the poem sound happy or sad when you read it aloud?
o Can any of the adjectives of feelings and emotions listed below describe the tone and voice of the
speaker?
Positive Negative Others
Appreciative Aggressive Apologetic
Calm Angry Bold
Cheerful Annoyed/irritated Cautious
Comforting Anxious/agitated Firm
Content Apprehensive Ironic
Devoted Bitter Mysterious
Delightful Confused Nostalgic
Enthusiastic Cruel/harsh/hurtful Regretful/remorseful
Excited Defeated Religious
Joyful Depressed/melancholic Sarcastic
Loving Devastated Secretive
Optimistic Disappointed Sentimental
Passionate Guilty
Sincere Hostile
Supportive Hopeless
Sympathetic Indifferent/apathetic
Warm Lonely
Pessimistic
Resentful
Threatening
Troubled
Worried
3. Setting and Atmosphere

o Where and when is the poem set? Does the setting create any prevailing feeling in the poem?
o Does the setting affect the mood of the speaker?
o Can any of the adjectives listed below describe the mood and atmosphere of the poem?
Positive Negative Others
Uplifting Bleak Solemn
Light-hearted Confining Quiet
Harmonious Dark
Idyllic Desolate
Peaceful Gloomy/sombre
Serene Grim
Warm Heavy
Welcoming Lonely
Pensive
Scary/eerie/spooky
Tense
4. Form and Structure

o Does the poem follow a regular poetic form (e.g. sonnets, ballads, haiku) or stanza form (e.g.
quatrains)?
o Is the regularity in the form and structure broken in any part of the poem? How and why?
o Do the lines end with a completion of a thought or closed punctuation (i.e. end-stopped lines) or flow

without pause from one to the next (i.e. enjambment, run-on lines)?
o How do the form and structure contribute to the development of ideas and themes in the poem?
5. Sound Effects
o What sounds are frequently used in the poem?
o Is there a rhyming pattern/rhyme scheme in the poem? Are there any examples of internal rhymes?
o What is the rhythm of the poem? Can you identify the meter of the poem or a pattern of stressed and
unstressed syllables?
o Does the poet use any sound devices (e.g. alliteration, assonance, consonance, onomatopoeia)?
What effects do the devices create and how do they help to present the themes of the poem?
6. Poetic Devices
o Does the poet use imagery in the poem? What senses (i.e. sight, hearing, smell, taste, touch) are
appealed to?
o Does the poet use poetic techniques such as similes, metaphors, personification, metonymy or other
figurative language such as symbolism in the poem?
o What effects do the devices create and how do they help to present the themes of the poem?
7. Diction/Word Choice/Use of language
o How would you characterize the language and diction in the poem? Is there a tendency to use a
particular kind of language (e.g. colloquial/formal/slangy/archaic expressions, polysyllabic/mono-
syllabic words, foreign terms or indigenized varieties of English)?
o Is there any unusual use of language (e.g. inverted order of words, coined words) that breaks the
conventions and rules?
o Are there any lines or words that stand out in the poem (e.g. repeatedly used or incongruous with
the rest of the poem)?
o Is there any significance to the capitalization and spelling of words?
o What effects does the choice of language create?
Ten Steps to Analyse a Poem

When reading a new poem, it is important to identify the main ideas and the techniques used to present
them. The diagram below shows the ten steps that take a reader to comprehend and explore the stylistic
features of a poem.

Strategies in Teaching POETRY
1. READING ALOUD
Reading aloud means just that-reading aloud. When we read to students, we take advantage of the
fact that until about the eighth grade, young people have a "listening level" that significantly surpasses their
reading level. When we read aloud to students, we engage them in texts that they might not be able to read.
In the process, we expand their imaginations, provide new knowledge, support language acquisition, build
vocabulary, and promote reading as a worthwhile, enjoyable activity. All students, from pre-school through
high school, can benefit from being read to. Listening to a fluent, expressive, and animated reader can help
students make connections between written and spoken language.
Why is it important?
o The single most important activity you can do to build the knowledge students require for eventual
success in reading is to read aloud to them (Anderson et al. 1985).
o Students can listen on a higher language level than they can read, so reading aloud makes complex
ideas more accessible to students and exposes them to vocabulary and language patterns that are
not part of their everyday speech. This, in turn, helps students understand the structure of books
when they read independently (Fountas and Pinnell 1996).
o Reading aloud is the foundation for literacy development. It is the single most important activity for
reading success (Neuman, Copple, and Bredekamp 2000).
o The reader's pauses and emphases allow students to better understand the phrasing and fluency of
the language and to hear new vocabulary and the way the words are used (Fountas and Pinnell
1996).
o Listening to others read helps students develop key understanding and skills, such as an
appreciation for how a story is written and familiarity with book conventions, such as "once upon a
time" and "happily ever after" (Neuman et al. 2000).
ALL STUDENTS
To become lifetime readers, students of all ages need role models who are readers. By getting
excited about books, taking time to read to students, and sharing your interest in books, you inspire students
by showing them the positive effects of reading. The discussions, memories, and time you spend reading
with students can help them gain a desire to read for pure pleasure.
ELEMENTARY STUDENTS
Reading aloud to students, regardless of their reading ability, provides them with the understanding
that print has meaning and can tell a story. Young students can become familiar with the phrasing,
expression, and flow of sentences in stories or texts that are read aloud to them.
A student's listening level, the level of text that he or she can understand when it is read aloud, is far
above the reading level until about eighth grade. When students listen to a text that is above their reading
level, they comprehend more difficult and interesting material and broaden their vocabulary. Fourth-grade
students can understand texts written on a seventh-grade level, and these texts are most often more
interesting and complex than those students can read on their own. For example, five- and six-year-olds
usually enjoy listening to Charlotte's Web, even though it is written on a fourth-grade reading level.

MIDDLE- AND HIGH-SCHOOL STUDENTS

Reading aloud to middle- and high-school students can motivate them to read, enticing them with
good storytelling and providing a model of excellent reading, phrasing, expression, and pronunciation.
Reading aloud to students whose second language is English can help them to make connections between
written and spoken language.
If students follow along as you read aloud, they can see how the pauses in speech match the
punctuation and structure of written sentences. This connection can also be reinforced by reading students'
writing aloud to determine whether the written phrases and sentences flow as they should. This should be
done in a safe environment with students' permission, and students should be encouraged to read their own
writing aloud to determine if revisions are needed.
Provide experiences for students to listen to fluent, expressive, and animated readers. Reading aloud
also provides a good forum for dialogue and interpretation. There are many texts, such as poetry, speeches,
and plays, that are meant to be read aloud and can take on a new meaning when performed. Encourage
students to choose a particular character when reading Shakespeare aloud, and discuss how the text can
become more powerful, meaningful, and entertaining when read aloud as opposed to when it is read silently.
2. CHORAL READING
Choral reading is a reading strategy that encourages children to read aloud as a group, as the name
suggests. It’s a great activity for children who lack a bit of confidence when it comes to reading, as they will
get mutual support from the rest of the group and the teacher. Choral reading is also a great way for children
to have access to an example of good reading from the teacher and even the other children in the class.
Choral reading is a literacy technique that helps students build their fluency, self-confidence, and
motivation in reading. During choral reading a student, or a group of students reads a passage together, with
or without a teacher. Choral reading can be done individually, in small groups, or as a whole class. According
to Reading Rockets (n.d.), there are three main reasons why choral reading is beneficial, and they include:
• It provides a model of fluency
• It improves sight word recognition
• It allows practice and support
How Does Choral Reading Work?

Choral reading is all about providing children with an example of good reading techniques and
encourages them to read as either a large or small group or alongside a teacher. In some ways, this reading
strategy shares some similarities with guided reading activities. There is a collaborative element to choral
reading and lots of opportunities to get support from peers and teachers.
Choral reading works by children following along with the example you set when reading aloud,
enabling them to strengthen and improve their existing skills in reading. The teacher models a framework
that supports children to feel confident reading a piece of writing out loud. This reading strategy also works
by encouraging children to work together as a group to read a piece of written text out loud, giving children
confidence through safety in numbers and motivating them to pay extra attention to how they’re reading.
There are a few different ways you can use the choral reading approach with your children. If it’s
your first time having a go at choral reading, a call and response structure would be a good way to introduce
the activity. In this case, choral reading works by providing children with a clear example of how a text should
sound when read aloud. They will then have the opportunity to mimic and practise the example set to them,
which will be valuable to developing fluency and sight word recognition skills. This technique is very similar
to echo reading, so if you think that this would work better for your children perhaps give it a go.
Once children have got the knack for choral reading, you can move on to reading as a whole group

with the teacher’s support. With call and response a lot of it is mimicry, but without this children will need to
work together to set the pace and stick together with the passage they’re reading from. This will further work
to help children with their fluency as they will need to think more carefully about how they read in this group
setting.
Leading on from this, choral reading also works by dividing the group of children into smaller groups
and giving them specific lines of a text to read. This will encourage deeper engagement and an awareness
of how the process of reading a piece of written text works. Children will once again need to work
collaboratively to read and communicate the words in front of them for everyone to understand.
You can definitely adapt choral reading to use it with children individually who might need a bit of
extra support with their reading development. By working alone with the teacher, the child will have extra
support and more time to sound out words they may find difficult. In turn, the teacher will be able to effectively
monitor the child’s progress and identify any strengths or weaknesses with their reading skills. This is where
the supportive aspect of choral reading comes into play and crosses over with guided reading, which is
another great reading strategy to consider using.
Benefits of Choral Reading to Children

We’ve covered a few of the benefits of choral reading to children, but you’ll be wanting some more
detail about the different areas of children’s reading development that this strategy helps to target! Take a
look at the list below before we expand on them further.
o Strengthens children’s fluency and accuracy

o A good exercise for letter and word recognition
o Engages children with different language devices, grammar and text structure
o Gives children the opportunity to put their reading skills into practice
You’ll have gathered by now that choral reading is a brilliant strategy for many reasons, by its role in
improving children’s fluency and accuracy when reading is a big one. The action of reading out loud gives
children the chance to actively sound letters and words out and practise other skills involved with intonation,
pace and volume. These are all things that contribute to a child reading fluently and accurately. The way that
children read out loud is also a fairly accurate representation of how they read in their own heads. By following
the example given by the teacher, as well as working with other children to read coherently as a group,
children will be able to seamlessly apply skills practised in choral reading to their own independent reading
later on.
For young children, they’ll also be able to use choral reading to build on some of their core Phonics skills.
We’ve already talked about sounding out letters and sounds, but choral reading is a really effective exercise
for this which will help gain confidence. With the modelling that comes with choral reading, children will gain
a better understanding of letter and word recognition and will also strengthen the decoding process. All these
things will, in turn, improve children’s skills in other areas like reading and spelling.
By reading out loud with this strategy, children will also gain a better understanding of the role that
different language and grammatical devices play. For example, when the group pauses when they read a full
stop, this will help reinforce the purpose and use of a full stop in written texts. The same can be said for the
improved understanding children will have of how storybooks and their structure works, as reading out loud
helps to solidify the experience of reading.
More than anything, though, choral reading gives children the chance to put their practical reading skills
to the test! An extra level of effort is required when reading out loud and collaboratively and children’s skills
will develop further with this process. The peer-support aspect is also a really helpful component of this
strategy for children who lack some confidence in their skills and aren’t yet ready to read independently.

3. SILENT READING
Reading silently improves students’ understanding because it helps them concentrate on what they
are reading, rather than the pronunciation of individual words. When we read silently, we can form mental
pictures of the topic being discussed. Also, we do not need to read one word at a time. When you encourage
your students to read silently, you are helping them develop the strategies they need for reading fast, and
with better comprehension. This is called reading efficiency, and it will help your students to read any text
with maximum attention to meaning.
Silent reading also helps develop the skills of reading for a purpose, as the focus is on understanding
the content without the additional burden of having to pay attention to pronunciation.
Objectives of silent reading

The objectives of silent reading are:
1) To enable the students to read silently, without making any kind of sound but not moving even their
lips, so that others are not disturbed.
2) To enable the students to teach them to read speedily, easily and fluently.
3) To enable the students to not only read but also to comprehend or understand things, ideas or
meanings side by side.
4) To expand the reading vocabulary of the students.
5) One of the most important objectives of silent reading is to develop in the students the way to enjoy
and recreate themselves. According to Ryburn, “ The aims of silent reading are pleasure and profit;
to be able to read for interest and to get information.”
Literary Appreciation and Valuing of Poetry
LITERARY APPRECIATION DEFINITION

o Ogenlewe (2006) posits that ‘literary appreciation refers to the evaluation of works of imaginative literature
as an intellectual or academic exercise.’ In this process the reader interprets, evaluates or classifies a
literary work with a view to determining the artistic merits or demerits or such a work.
o Donelson and Nilsen (2009) echo this sentiment and add that it is the process by which one ‘gauges one’s
interpretive response as a reader to a literary work’. This means that the reader is able to gain pleasure
and understanding for the literature, understand its value and importance and admire its complexity.
o Literary appreciation focuses on the adequate grasp of the definitions and applications of traditional
literary devices such as plot, character, metaphor, setting and symbolism which may be encountered
within texts.
o Margaret Early’s Stages of Growth in Literary Appreciation determines that the personal attitudes,
reading and observing skills are all part of literary appreciation. Stages which readers go through are
added unto without dropping the previous stages. Thus, literary appreciation is a lifelong process.
However, occasionally students are ill-equipped to handle transition from childhood literature to
adolescent literature and fail at establishing literary appreciation. This may occur as a result of a student’s
late or early cognitive maturity. As teachers, we must understand that in order to appreciate literature
students must experience pleasure from their reading. Transaction reading journals and literature circles
can be helpful as students can document their progress and reflect on them. They should be provided
with a forum to respond to literature in the classroom, discuss personal responses, ideas and deductions
with other students. This will also allow them to make text to text connections.
According to Donelson and Nilsen (2009), literary appreciation occurs in seven stages.
Level 1: Pleasure and Profit (literary appreciation is a social experience)
Level 2: Decoding (literacy is developed)
Level 3: Lose yourself (reading becomes a means of escaping)
Level 4: Find yourself (discovering identity)
Level 5: Venture beyond self (‘going beyond me’, assessing the world around them)
Level 6: Variety in reading (reads widely and discusses experiences with peers)

Level 7: Aesthetic purposes (avid reader, appreciates the artistic value of reading)
Great VALUES of Literature

o Entertainment
o Mastering of English Language
o Emotional Relief
o Social Control
o Literature also functions as a means of direct experience
o Literature Mirrors Life
o Literature is a reservoir of culture
o Literature Serves As Historical Document/ Social Document
o Finally, Literature is also a means of education and enlightenment
Lesson Design in Teaching Poetry
Poetry is a literary work in verse. It is a writing of graceful expression, great beauty, a piece of art with
emotional sincerity or intensity. It is a way to understand how language and symbol system work. It is worthy
of expression of emotions deep feelings and aesthetics or a sense of what is beautiful about the world.
Poetry is a medium through which the poets express their emotion and thought with a musical tone of
words. According to Wordsworth, poetry is, "the spontaneous overflow of powerful feelings recollected in
tranquility". Poetry has two kinds of subject matter – that which is supplied by the external objects, such as
deeds, events and the things we see around us and that which is supplied by the poet's own thoughts and
feelings. The former gives rise to objective poetry, the latter to subjective. In the first, it is about what he has
seen or heard; in the latter, he brings to bear his own reflections upon what he has seen or heard.
TEACHING POETRY. In teaching poetry, much depends on the selection of the poem. The teacher should
choose any easy poem suiting the age of the pupil. The teacher should select the known poem of known
poet and known background. The subject matter should appeal to the children. The rhythm and words should
cater to the child’s taste. Young children love rhymes and rhythms so the teacher should resort to nursery
rhymes and story type poems. In higher classes, the poems should be narrative but some descriptive and
reflective poems can also be included.
Selection of poems.
o Only those poems should be selected with are up to the mental level of the learners.
o The short poems should be given preference over long ones.
o The nursery rhymes are the most suitable for the young children.
o The poems which are philosophical and contain deep ideas should be kept for the senior students.
o The rhythmic poems appeal more to the children because they can be memorized easily by them.
o Only poem of that type should be selected which have a universal appeal.
o Principles of teaching poem.
The following principles should be kept in mind while teaching a poem.

o Model recitation by the teacher is very essential because it helps in attracting the students towards
the poem. They are able to grasp the meaning contained in the poem.
o Detailed explanation of lines or ideas should be avoided.
o The verbal peculiarities of the language should not be described.
o Paraphrase of the poem should be avoided. It should be put in the form of prose.
o The teacher should try to bring enthusiasm and zeal into the teaching of the poem.
o As far as possible, the poem should be taught as a whole.

How to Teach a Poem.

Introduction of the poem must be brief and to the point. There is no need to introduce the life of the
poet in the very beginning. After finishing the poem, a brief idea of the poet can be given. The teacher should
recite the poem with the pupils’ books closed. If they keep their books open, they concentrate more on seeing
words than on listening but we know ‘poetry is an art of eh eye’. In other words ‘poetry is sound not sight’.
The teacher should spend more time in reading. The teacher reads the poem often but this time with
pupils keeping their books open. After this the teacher should explain the difficult words, tone etc, very clearly
precisely. Too lengthy language explanations, combinations, structures etc should be avoided as it mars the
beauty of poetry. After this silent reading by the students starts. This is to prepare them for answering the
queries to test their comprehension. The testing should be done by asking them about particular words, lines
and thought of some stanza. Then, both the teacher and the students together recite the poem with rhyme
and rhythm in order to catch the music of the poem.
Materials and Resources in Teaching Poetry

Web sites:
Poetry Foundation: This site, the source of Poetry magazine, is dedicated to discovering, sharing and
celebrating the best poetry has to offer. Teachers can browse poems and thousands of poets and get full
bios and more. The site also features up-and-coming poets as well as current news and events.
Poetry Out Loud: Access plenty of teaching resources such as lesson plans, tips, class schedules and
guides. Watch videos of poets reading their poetry, find advice on reciting poems and more.
Poetry Teachers: Find tips on teaching students how to write and perform poetry and get excited about the
art form. The site offers books on poetry teachers can purchase at a low price, and educators also can get
help bringing authors to their classrooms.
The Poetry Archive: This site aims to make a wide assortment of poetry accessible to a large audience.
Here, users can find funny, sad, inspirational and other types of poems. Teachers can play audio of poems,
study poetry, and get teaching guides on all types of poetry.
Shmoop: Explore resources on a number of subjects, including poetry. The site helps teachers effectively
define poetry and offers hundreds of poems that come fully equipped with an introduction as well as a "Why
Should I Care?" section.
Apps:
Poetry Daily: Users are introduced to a new poem each day and have the ability to archive and save their
favorite poems. Teachers can show students a number of different poems by different authors and in different
genres.
Shakespeare: William Shakespeare is considered one of the best poets of all time. With this app, users can
explore all of his works while learning the definitions of unknown words and getting help with unfamiliar
passages.
Verses: Students can save poem and lyric ideas, tweet poems and use the built-in rhyming dictionary to look
up rhymes, near-rhymes and more.
Poetry Everywhere: Inspire students by accessing short videos of poets reading their own works.
American Poetry: Search a library of 5,000 poems by 50 of America's most famous poets including Robert
Frost, Edgar Allan Poe, Langston Hughes, Emily Dickinson and others.
You may access the resources above in this link: https://www.educationworld.com/a_lesson/tech-resources-

teaching-poetry.shtml
Additional resources for teaching poetry are available in this link: https://www.edutopia.org/blog/national-
poetry-month-teacher-resources-matt-davis

Assessment in Teaching Poetry
Ways to Assess Poetry
Poetry Portfolios
Portfolios are a good way to assess poetry in the middle school classroom if the process is as important as
the final product. Portfolios do take time to compile and complete, so this method is best used when poetry
writing spans a grading period, semester or entire course. Portfolios allow room for creativity, process and
mechanics, while representing the student’s whole body of work. The evaluator is generally able to see where
the student started and the growth the student achieves by the end of the project. Portfolios also typically
take into account a student’s perception of his work as well as the teacher’s evaluation and are quite
comprehensive.
Teacher and Peer Conferences

Conferencing is another method used to evaluate student poetry. Whether peer-to-peer or teacher-to-
student, conferencing provides a window of insight into the intention of the student poet. Quite often,
discussing a student’s writing with him personally allows him the opportunity to explain creative liberties,
variations in conventions and the purpose of the poem. Understanding the student’s intent and showing
interest in his work allows the teacher to assess properly the student’s poetry based on his abilities and
achievements. This technique may be used in conjunction with portfolios or as a standalone method.
Journaling
Journaling serves several purposes: reflection, critical thinking and connection. When completed as a
reflection of progress, journaling allows students to review where they started and track their improvements.
Journaling also encourages students to think critically about their work. They also provide a space for
experimentation with new poetic and writing techniques. For the assessor, journals provide invaluable
information to depict just how much the student has retained, his motivations for writing and tangible,
measurable data. Journals may be used to evaluate oneself or as one element of a larger assessment. Many
forms of journals exist: diary-style, reflective journals, double-entry journals, dialogue journals between
teachers and students, and reader-response journals.
Rubrics and Assessment Lists

Rubrics, a type of rating scale, are a structured approach to assessing students’ poetry and focus on
assessing a pre-determined set of criteria. A holistic rubric focuses on the work as a whole, provided that
mistakes in part may exist without compromising the overall integrity of the piece. Analytical rubrics are
generally more specific and contain several criteria that are being rated simultaneously. Due to their focus
and clarity, many teachers find rubrics a helpful and functional assessment tool. Similarly, an assessment
list, presented as a checklist, may include the elements that will be assessed or the steps necessary to
complete a task. Assessment lists may or may not be attached to a numerical score. Both methods benefit
teachers and students of poetry as the expectations are clear and the scores are based on measurable
criteria.
LEARNING ACTIVITY 1
Name: ___________________________________________ Student No. _______________________

(Surname, Given Name, MI)
Note: Upon submitting your activity, follow this name format: SG3_Learning Activity 1
Instructions: Discuss some ideas by providing necessary information needed. Be guide by the rubric below.
5 points will be given for each item.

1. As a feature language educator, which of the following mentioned strategies in teaching poetry is the
best for your learners? Elaborate your answer.
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
2. How could poetry help to develop language skills among learners?

_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
3. Identify 1 poetry and explain how you will teach this in your language class using one
approach/strategy. Be specific on details.
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
LEARNING ACTIVITY 2
Name: ___________________________________________ Student No. _______________________

(Surname, Given Name, MI)
Note: Upon submitting your activity, follow this name format: SG3_Learning Activity 2
Pair Making Learning Plan in Teaching Poetry (focusing on Completeness, Appropriate Approach Used,
and Facilitative Process).
Instructions: In pair, you will create a learning plan in teaching poetry. You can use the provided samples
found in your EL 107 class as your reference/guide. Rubric (as provided below) will be used to evaluate
your final output.

REFERENCES
Examples of Poetry Genres: Major Styles Explained. Retrieved at

https://examples.yourdictionary.com/examples-of-poems.html
https://literarydevices.net/riddle/
http://www.shadowpoetry.com/resources/wip/shape.html
https://www.scribd.com/presentation/503297617/Chapter-3-Comprehending-Poetry
Reading aloud. Retrieved at https://www.teachervision.com/reading-aloud/reading-aloud
Choral Reading. Retrieved at https://www.twinkl.com.ph/teaching-wiki/choral-reading
Definition of Literary Appreciation. Retrieved at

https://englishfeeding.wordpress.com/2017/03/16/definition-of-literary-appreciation/
https://education.seattlepi.com/ways-assess-poetry-middle-school-classroom-6287.html

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Study Guide in Teaching and Assessment of Literature Studies FM-AA-CIA-15 Rev.

Module 3 – Teaching Poetry and Dramatic Poetry

Teaching Poetry and Dramatic Poetry

1) Review on the Genres of Poetry

MODULE LEARNING OBJECTIVES

At the end of the lesson, the students will be able to:

PANGASINAN STATE UNIVERSITY 1

Module 3 – Teaching Poetry and Dramatic Poetry

Ode on a Grecian Urn

"O Attic shape! Fair attitude! with brede

How Do I Love Thee (Sonnet 43)

"How do I love thee? Let me count the ways

PANGASINAN STATE UNIVERSITY 2

Module 3 – Teaching Poetry and Dramatic Poetry

Examples of poetry in this category include:

Paul Revere’s Ride

"Listen, my children, and you shall hea

PANGASINAN STATE UNIVERSITY 3

Module 3 – Teaching Poetry and Dramatic Poetry

Many dramatic poems appear as:

"That's my last Duchess painted on the wall,

The Dream Called Life

"A DREAM it was in which I found myself.

PANGASINAN STATE UNIVERSITY 4

Module 3 – Teaching Poetry and Dramatic Poetry

As this, in which I may be walking now,

the SOUNDS of words

PANGASINAN STATE UNIVERSITY 5

Module 3 – Teaching Poetry and Dramatic Poetry

And, chuckling, they knuckle the keys;

the MEANINGS of words

Analogy: A comparison, usually something unfamiliar with something familiar.

PANGASINAN STATE UNIVERSITY 6

Module 3 – Teaching Poetry and Dramatic Poetry

Hyperbole: An outrageous exaggeration used for effect. Example: He weighs a ton.

Oxymoron: A combination of two words that appear to contradict each other.

Paradox: A statement in which a seeming contradiction may reveal an unexpected truth.

PANGASINAN STATE UNIVERSITY 7

Module 3 – Teaching Poetry and Dramatic Poetry

Personification: Attributing human characteristics to an inanimate object, animal, or abstract idea.

Simile: A direct comparison of two unlike things using “like” or “as.”

ARRANGING the words

PANGASINAN STATE UNIVERSITY 8

Module 3 – Teaching Poetry and Dramatic Poetry

the IMAGES of words

PANGASINAN STATE UNIVERSITY 9

Module 3 – Teaching Poetry and Dramatic Poetry

EXAMPLES OF RIDDLE IN LITERATURE

PANGASINAN STATE UNIVERSITY 10

Module 3 – Teaching Poetry and Dramatic Poetry

Riddle: “First think of the person who lives in disguise,

There once was a man from Nantucket

POETIC STRUCTURE OF LIMERICK

EXAMPLES OF LIMERICKS BY EDWARD LEAR

PANGASINAN STATE UNIVERSITY 11

Module 3 – Teaching Poetry and Dramatic Poetry

There was an Old Man in a tree,

There was an Old Man with a beard,

only one guy and

COMMON EXAMPLES OF POETIC IMAGES IN HAIKU

PANGASINAN STATE UNIVERSITY 12

Module 3 – Teaching Poetry and Dramatic Poetry

• Trees and boughs

Name: _____________________ Student No. _

Name: _____________________ Student No. _