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1 Click the mouse button or press the space bar to continue
UNIT 3, Part 1 The Energy of the Everyday Click the mouse button or press the space bar to continue

2 Click a selection title to go to the corresponding selection menu.
Unit 3, Part 1 MAIN MENU The Energy of the Everyday (pages 530–555) Click a selection title to go to the corresponding selection menu.

3 Selection Menu (pages 530–534)
Before You Read Reading the Selection After You Read Vocabulary Workshop

4 Click the picture to learn about the author.
BEFORE YOU READ Meet Robert Hayden Click the picture to learn about the author.

5 BEFORE YOU READ Connecting to the Poem In this poem, you meet a son remembering his father. In his recollection, the son gains a newfound understanding of his father’s love. Before you read the poem, think about the questions on the following slide.

6 BEFORE YOU READ Connecting to the Poem How often do you reflect on what your parents or family members do to show their love for you? How do you interpret and respond to their everyday gestures and manners?

7 BEFORE YOU READ Building Background Poet and teacher Robert Hayden dedicated his life to his craft and to working “closely with young people” in order “to encourage creative writing.” He researched and celebrated his heritage in his poetry. Hayden said, “I believe in the essential oneness of all people,” and his poems portray universal human concerns of loss and love. Hayden won many awards for his work and was the first African American to be named as the Library of Congress consultant in poetry, a position now called poet laureate.

8 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading The Energy of the Everyday As you read this poem, notice how Hayden captures the different moods and actions of his characters through vivid imagery.

9 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading Line and Stanza A line in a poem usually consists of a single word or row of words. A stanza is a group of lines forming a unit in a poem or song, and is similar to the paragraph unit in prose.

10 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading Line and Stanza Typically, stanzas are separated by a line of space. In this poem, note how the poet uses lines and stanzas to help convey ideas. As you read, try to determine the author’s focus and thematic intent of each stanza.

11 BEFORE YOU READ Analyzing Tone Tone refers to an author’s attitude toward his or her subject matter. A writer’s tone might project a variety of attitudes such as sympathy, objectivity, or humor. It may be conveyed through elements such as word choice, punctuation, sentence structure, and figures of speech.

12 BEFORE YOU READ Analyzing Tone When you analyze the tone of a selection, you deepen your understanding of the author’s message. Try to determine the speaker’s tone as you read Hayden’s poem.

13 BEFORE YOU READ Analyzing Tone Reading Tip: Asking Questions Use a chart like the one on the next slide to identify how the speaker uses description to achieve a certain tone. Fill in the circles with descriptions from the poem and note the tone conveyed.

14 BEFORE YOU READ Analyzing Tone

15 BEFORE YOU READ chronic adj. persistent; ongoing, especially of sickness or pain (p. 532) Chronic backaches made it difficult for my mom to garden. indifferently adv. not concerned about someone or something; without a preference (p. 532) When Mr. Tate spoke, his children listened indifferently, as they were not interested. Click a vocabulary term to listen to the definition.

16 BEFORE YOU READ austere adj. stern; severe in appearance; (p. 532) Micky’s austere expression let us know that he was pretty disappointed. Click a vocabulary term to listen to the definition.

17

18 READING THE SELECTION The Energy of the Everyday What details make the everyday actions described in the poem particularly vivid? Answer: You might mention imagery such as “the blueblack cold” or “cracked hands that ached” as particularly vivid.

19 READING THE SELECTION Reading Strategy Analyzing Tone Read the text highlighted in blue on page How do these five words from the speaker contribute to the tone of the poem? Answer: Some may say that this suggests a sad, regretful tone. Others may say that it shows the true nature of love: do something kind without getting anything in return.

20 READING THE SELECTION Viewing the Art Look at the painting on page How would you describe this man’s expression and mood? Compare and contrast them to the personal qualities conveyed by the speaker of the poem.

21 READING THE SELECTION Viewing the Art Answer: Observational and stoic. It reflects the speaker’s melancholic revelation of his father’s love.

22

23 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Respond Which one line or image from “Those Winter Sundays” most resonated with you? Explain. Answer: Answers will vary.

24 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret (a) What did the speaker’s father do on Sunday mornings in the winter? (b) As a child, did the speaker appreciate his father’s efforts? How do you know?

25 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret Answer: (a) He stoked the furnace to warm the room before waking his children. (b) No; he spoke indifferently to him.

26 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret (a) Why do you think the speaker spoke indifferently to his father? (b) In the third stanza, how has the father “driven out the cold”? Answer: (a) He took his father for granted. (b) The father provides warmth as well as love.

27 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret What does the speaker now understand that he did not understand before? Answer: Love is expressed in common, everyday gestures.

28 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate (a) How does the speaker personify the cold? (b) How does this reflect the son’s feelings? Answer: (a) By giving it shape and sound (b) Reflects the son’s indifferent, ungrateful feelings toward his father

29 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate (a) What do you think was Robert Hayden’s motive in writing this poem? (b) Who do you think he would most like to reach with this poem? Answer: (a) To point out the limited perspective children have of their parents (b) Children and adults who remember being children

30 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Connect The Energy of the Everyday In what ways does Hayden bring greater significance to the daily responsibilities a parent performs? Explain Answer: The poem asks the readers to examine the small, daily things people do for others.

31 AFTER YOU READ Line and Stanza Examining the contribution each line and stanza makes to the overall movement and thematic development of the poem can help you better understand the poet’s purpose and intention.

32 AFTER YOU READ Line and Stanza What is the specific focus of each separate stanza? How might the focus of the third stanza incorporate those of the first two Answer: First: father; second: speaker; third: interaction between the two

33 AFTER YOU READ Line and Stanza How does each line in the poem trace the speaker’s development as a person? Answer: The second and third stanzas trace his realization of his father’s love and his regret over not appreciating it.

34 Writing About Literature
AFTER YOU READ Writing About Literature Apply Theme In many of his poems, Hayden revisits the settings of his working-class Detroit childhood. Imagine a conversation between a child and his or her parent or guardian on such a winter morning.

35 Writing About Literature
AFTER YOU READ Writing About Literature In your conversation, the two can either bring up or avoid issues of gratitude and fear of anger. Write down this imagined conversation, including words, phrases, or images from the poem that made an impression upon you.

36 AFTER YOU READ Analyzing Tone Analyzing tone helps you better understand the message the poet tries to convey and the response the poet strives to elicit. Pay attention to word choice, repetition, and imagery used to convey a particular feeling. Review the descriptions in your chart to help you answer the following questions.

37 Answer: They reveal his lack of sympathy for his father.
AFTER YOU READ Analyzing Tone How do the speaker’s descriptions of the cold house mirror his attitude toward his father? Answer: They reveal his lack of sympathy for his father.

38 AFTER YOU READ Analyzing Tone Examine the speaker’s word choice. What does it tell you about the speaker and his father’s love? Answer: Love isn’t always demonstrative but sometimes subtle and quietly expressed.

39 AFTER YOU READ Practice Practice with Context Clues For each vocabulary word, use context clues to figure out its meaning. Think about which type of context clue helped you.

40 AFTER YOU READ Practice Every time Jane fidgeted, Grandmother gave her an austere, disapproving look. nervous stern warm

41 AFTER YOU READ Practice Mary suffered from chronic allergies until she finally got a prescription for a new medication. ongoing extreme occasional

42 AFTER YOU READ Practice Shipra did not care which movie we saw, so she reacted indifferently when I picked one. sadly happily without a preference

43

44 Selection Menu (pages 535–539)
Before You Read Reading the Selection After You Read

45 Click the picture to learn about the author.
BEFORE YOU READ Meet Billy Collins Click the picture to learn about the author.

46 BEFORE YOU READ Connecting to the Poem The following poem talks about seeing creatures in everyday objects. Before you read the poem, think about the following questions: What do you see when you look at clouds? Do you expect age or experience to change what you see?

47 BEFORE YOU READ Building Background Hamlet tells the story of the sensitive young prince of Denmark in the months after his father, the king, is murdered by his uncle Claudius. Hamlet resolves to murder Claudius as retribution. However, he spends much of the play thinking and soliloquizing rather than acting on his resolution. As a result of his reputation as a thinker, and not a doer, Hamlet has often been reimagined as the archetypal pensive, tormented male artist.

48 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading The Energy of the Everyday As you read this poem, pay attention to how creatures are seen in everyday objects and how the speaker reacts to them.

49 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading Enjambment Enjambment is the continuation of the sense of a sentence or phrase from one line of a poem to the next without a pause between the lines.

50 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading Enjambment The first line below is an example of enjambment: Many times I would be daydreaming on the carpet and one would appear next to me,

51 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading Enjambment Enjambment contrasts with end-stopped lines, in which the sense and the grammatical structure reach completion at the end of a line. Enjambment can occur in both metered and free-verse poetry.

52 BEFORE YOU READ Analyzing Structure Analyzing text structure involves identifying the order or pattern an author uses to present his or her ideas.

53 BEFORE YOU READ Analyzing Structure Many elements help to form the structure of a poem or literary work, including cause-and-effect relationships, chronological order, problem and solution, the repetition of certain rhetorical devices, and lists. As you read, identify the various ways in which Collins structures this poem.

54 BEFORE YOU READ Analyzing Structure Reading Tip: Noting Descriptive Words As you read the poem, note the words that Collins uses to describe the creatures he sees and the locations where he sees them.

55 BEFORE YOU READ submerged adj. hard to see; sunken (p. 537) The real plan was submerged in a mass of detail. bureau n. a chest of drawers for the bedroom; suitably (p. 537) Please put the clothes back in the bureau. melancholy adj. depressed; dejected (p. 538) The dark and rainy day created a melancholy mood in the school. Click a vocabulary term to listen to the definition.

56 BEFORE YOU READ grimace v. to make a face expressing disgust, disapproval, or pain (p. 538) The boy grimaced at his mother when she scolded. fissure n. a narrow crack (p.538) The earthquake caused a fissure in the earth. Click a vocabulary term to listen to the definition.

57

58 READING THE SELECTION The Energy of the Everyday Keep the following questions in mind as you read. What is the speaker’s perception of the everyday objects he describes? Does his perception change as the poem progresses? Answer: The objects seem to him to have life trapped inside them that is trying to escape. This perception seems to frighten or disturb him, even as an adult.

59 READING THE SELECTION Viewing the Art Look at the painting on page 537. In what ways is the painting similar to and different from the way the speaker in the poem “sees” creatures?

60 READING THE SELECTION Viewing the Art Answer: In both works, faces or creatures are seen where they really do not exist. Students may say that in the painting, many different objects function together to form a face, while in the poem, the speaker usually sees creatures in individual objects.

61 READING THE SELECTION Literary Element Enjambment Read the text highlighted in purple on page 538. How do these lines exemplify enjambment? Explain Answer: These lines exemplify enjambment because one line flows into the next without a pause.

62 READING THE SELECTION The Energy of the Everyday Read the text highlighted in tan on page 538. Why does the stone, an ordinary object, bother the speaker so much? Answer: The stone reminds the speaker of his fears as a child. The stone evokes memories and feelings, even though it is a lifeless object.

63

64 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Respond Describe your feelings about the creatures after reading the poem. Answer: Answers will vary.

65 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret (a) How does the speaker describe the “creatures” in the furniture? (b) Why do you think the speaker sees creatures in the furniture? Answer: (a) As trapped, frowning, and melancholy (b) The speaker imagines them because of the reflections or designs.

66 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret (a) How does the speaker react to the stone his companion finds on the beach? (b) Why do you think the speaker reacts in this way? Answer: (a) The speaker throws the stone into the water. (b) It reminds him of his childhood fears.

67 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate Does the speaker’s reaction to the stone seem rational? Explain. Answer: The speaker’s reaction is purely emotional, not rational.

68 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate (a) Can you identify with the speaker’s reaction in the poem? (b) How does Collins help you to identify with the experience? Answer: Answers will vary.

69 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate (a) Why do you think the speaker directly addresses his companion in the fifth stanza? (b) Is this technique effective? Explain your answer.

70 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate Answer: (a) Because he understands exactly what his companion sees (b) Yes, because it emphasizes the emotional reaction and helps show that the speaker’s past influences the present.

71 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Connect The Energy of the Everyday The everyday is usually considered non-threatening. In what ways has Collins made the everyday threatening? Explain.

72 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Connect The Energy of the Everyday Answer: Collins has made the everyday frightening by describing ordinary objects with words such as howling, twisted, and freakish.

73 AFTER YOU READ Enjambment Poets use enjambment to create a conversational tone and flow in their poems. Collins uses this technique in many lines in this poem.

74 Where does the poet use enjambment in the poem?
AFTER YOU READ Enjambment Where does the poet use enjambment in the poem? Answer: In stanzas 3, 4, 5, 6, 7, and 8.

75 How effective is the author’s use of enjambment? Explain.
AFTER YOU READ Enjambment How effective is the author’s use of enjambment? Explain. Answer: It creates a conversational tone.

76 Writing About Literature
AFTER YOU READ Writing About Literature Respond to Style Write a personal response to “Creatures.” In your essay, discuss what you liked or disliked about the poem. Also discuss your response to the style of the poem, including the first-person point of view, the word choice, and the effect of the last stanza. Be sure to give examples from the poem to support your opinions.

77 Writing About Literature
AFTER YOU READ Writing About Literature When you are finished with your draft, have your peer reviewer critique your essay and offer suggestions. Then, with these suggestions in mind, make revisions to your work. Finally, proofread your essay and edit it for mistakes in spelling, grammar, and punctuation.

78 AFTER YOU READ Analyzing Structure Structure is the order or pattern an author uses to present ideas. Cause and effect, chronological order, describing a problem and offering a solution, or listing information are all types of structures that Collins could have chosen.

79 AFTER YOU READ Analyzing Structure Describe the structure that Collins uses to organize the poem. Support your answer with examples. Answer: You may say that it is chronological, moving from the speaker’s childhood to an incident that occurs when he is an adult.

80 AFTER YOU READ Analyzing Structure How does the structure of the poem help you better understand its message. Answer: The structure emphasizes the poem’s themes by illustrating how the childhood fears in the first part of the poem affect the speaker’s adult behavior.

81 AFTER YOU READ Practice Practice with Word Parts Use your knowledge of roots, as well as your knowledge of prefixes and suffixes, to pick the best definition for each of the boldfaced vocabulary words on the following slides.

82 She submerged herself in the pool very slowly.
AFTER YOU READ Analyzing Structure She submerged herself in the pool very slowly. swam washed immersed

83 Yao felt melancholy for weeks after the fight.
AFTER YOU READ Analyzing Structure Yao felt melancholy for weeks after the fight. angry gloomy unkind

84 Erin grimaced while taking out the trash.
AFTER YOU READ Analyzing Structure Erin grimaced while taking out the trash. made a face grinned flexed

85 The dropped plate had a small fissure.
AFTER YOU READ Analyzing Structure The dropped plate had a small fissure. dent stain crack

86

87 Selection Menu (pages 540–545)
Before You Read Reading the Selection After You Read

88 Click the picture to learn about the author.
BEFORE YOU READ Meet Theodore Roethke Click the picture to learn about the author.

89 BEFORE YOU READ Connecting to the Poem In “The Waking,” the speaker expresses ideas about life, death, knowledge, and self-awareness. Before you read the poem, think about the following questions: Do you have a personal philosophy of life that you believe in or follow? What reminds you of the connection between human beings and nature?

90 BEFORE YOU READ Building Background The form of poetry known as the villanelle derives its name from a type of Italian rustic song. The shape of the villanelle was established by the work of the French poet Jean Passerat, who died in Critics compare the popularity once enjoyed by Passerat’s villanelles to that of popular songs today.

91 BEFORE YOU READ Building Background Villanelles are nineteen lines long. They have five stanzas of three lines each, followed by one stanza of four lines. The first line of the first stanza is repeated as the last line of the second and fourth stanzas. The third line of the first stanza is repeated as the last line of the third and fifth stanzas. These two repeated lines are repeated once more at the end of the poem.

92 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading The Energy of the Everyday As you read “The Waking,” notice what Roethke suggests about the value of everyday life.

93 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading Meter and Rhythm Meter is a regular pattern of stressed and unstressed syllables that gives a line of poetry a predictable rhythm. Rhythm gives poetry a musical quality, adds emphasis to certain words, and helps convey a poem’s meaning.

94 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading Meter and Rhythm Examining meter and rhythm can help you understand a poem’s meaning and appreciate its aural quality. As you read the poem, try to determine its meter and the effect of its rhythm.

95 BEFORE YOU READ Analyzing Mood The mood is the emotional quality of a literary work. A writer’s choice of language, subject matter, setting, and tone—as well as sound devices such as rhyme and rhythm—contribute to creating mood.

96 BEFORE YOU READ Analyzing Mood Understanding the mood will help you appreciate a writer’s state of mind. While reading this poem, try to determine the mood of the individual lines and of the poem as a whole to help you better understand the poet’s meaning.

97 BEFORE YOU READ Analyzing Mood Reading Tip: Finding Examples Use a chart like the one on the next slide to record examples of language, subject matter, setting, tone, and sound devices that create a strong mood.

98 BEFORE YOU READ Analyzing Mood

99

100 READING THE SELECTION The Energy of the Everyday Keep following questions in mind as you read. What is your place in nature? Is nature a guiding principle in your life? Answer: Answers will vary. You will probably not think of nature as a guiding principle in your life, more as something external that should be respected and conserved.

101 READING THE SELECTION Reading Strategy Analyzing Mood Read the text highlighted in blue on page What emotion is conveyed by this image? Answer: You may say happiness or joy.

102 Answer: He capitalizes ground. He makes it seem sacred.
READING THE SELECTION The Energy of the Everyday Read the text highlighted in tan on page 542. How does Roethke make the ground seem important? Answer: He capitalizes ground. He makes it seem sacred.

103

104 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Respond (a) Is this an uplifting poem? Explain. (b) How can you apply this poem to your own life?

105 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Respond Answer: (a) You may say that it is uplifting because it talks about living life freely and intuitively. (b) You may say that you could take life more slowly, noticing the sanctity of things as simple as the ground and a tree.

106 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret (a) How does the speaker “take” his waking? (b) What do you think the speaker means by this recurring phrase? Answer: (a) Slowly (b) He lives life slowly but purposefully, noticing beauty in the simplicity of nature.

107 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret (a) Identify two lines that address learning or thinking. (b) What ideas about knowledge do these lines express?

108 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret Answer: (a) ”We think by feeling. What is there to know?” and “I learn by going where I have to go.” (b) Thought is a product of emotion and knowledge is gained through living, instead of theorizing.

109 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret (a) What climbs up a winding stair? (b) In your opinion, why did the poet include this image? Answer: (a) The lowly worm (b) It conveys humility.

110 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate (a) What is “another thing” that nature has to do “to you and me,” according to stanza 5? (b) Explain the advice we are given in line 14. How is it related to the refrain “I learn by going where I have to go”?

111 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate Answer: (a) Naturally we will die. (b) Appreciate the world around us and learn from it

112 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate In your opinion, what attitude does the speaker express toward nature? Answer: The speaker shows respect for nature and its mystery and ability to teach us.

113 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate “What falls away is always.” Do you agree with this statement? Explain. Answer: Some may agree because we always remember what we’ve lost. Others may disagree because once something is gone, it leaves our memory.

114 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Connect The Energy of the Everyday (a) Roethke seems to be expressing a philosophy of how people should live their lives. What is this philosophy? (b) Would you follow this philosophy? Explain.

115 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Connect The Energy of the Everyday Answer: (a) Life should be taken slowly so that we notice the importance of mundane things. We should live by feeling, and learn by living. (b) Some might like its guidelines for living, while others might not like its emphasis on emotion over thought.

116 AFTER YOU READ Meter and Rhythm The basic unit of meter is the foot. The length of a metrical line can be expressed in terms of the number of feet it contains (see Literary Handbook). The meter in “The Waking” is iambic pentameter, the most common meter in English poetry.

117 AFTER YOU READ Meter and Rhythm In iambic pentameter, the predominant foot, or unit of rhythm, is the iamb. An iamb is an unstressed syllable followed by a stressed syllable. There are five feet in each line of iambic pentameter. The following lines from “The Waking” are an example of iambic pentameter.

118 Meter and Rhythm I wake to sleep, and take my waking slow.
AFTER YOU READ Meter and Rhythm I wake to sleep, and take my waking slow. I feel my fate in what I cannot fear. I learn by going where I have to go.

119 AFTER YOU READ Meter and Rhythm Copy the next stanza in the poem and mark the meter as modeled on the previous slide. Answer: You should copy the stanza and mark it using iambic pentameter.

120 AFTER YOU READ Meter and Rhythm How might the meter and rhythm be important to the meaning of the poem? Answer: They are consistent, like a heartbeat. This promotes living by feeling the rhythms of nature.

121 AFTER YOU READ Review: Stanza As you learned on page 531, a stanza is a group of lines that form a unit in a poem or song. A stanza in a poem is similar to a paragraph in prose.

122 AFTER YOU READ Review: Stanza The stanzas in “The Waking” form a villanelle, a 19-line structure divided into five tercets, or three-line stanzas, and one quatrain. (The quatrain is the last stanza.) The most unusual characteristic of the villanelle is its use of refrains, or repeated lines.

123 AFTER YOU READ Review: Stanza While Roethke adheres to the demands of the villanelle, he varies the form slightly to avoid stiffness. For instance, in places he uses slant rhyme, rhyme in which the words rhymed sound similar but do not rhyme exactly (as in jackal and buckle).

124 AFTER YOU READ Review: Stanza Partner Activity Meet with a partner to discuss the stanzas and refrains of “The Waking.” With your partner, answer the questions on the following slides.

125 AFTER YOU READ Review: Stanza How does Roethke vary the refrains in “The Waking”? Provide an example. Answer: The words are dark and mysterious, but the line conjures the image of someone facing darkness triumphantly.

126 AFTER YOU READ Review: Stanza (a) Why would modern poets choose to write in so limited and demanding a form as the villanelle? (b) Why is the villanelle form appropriate to the subject of “The Waking”? Answer: (a) Its rhythmic, musical form is appealing. (b) Its rustic tradition is fitting for promoting appreciation for everyday things.

127 AFTER YOU READ Analyzing Mood Mood is a broader term than tone, which refers to the attitude of a speaker or author toward the subject matter of a work. Mood also differs from atmosphere, which is concerned mainly with the physical qualities that contribute to a mood, such as time, place, and weather.

128 AFTER YOU READ Analyzing Mood Mood is the emotional quality that the work conveys to the reader. The mood of a literary work can be consistent or can change over the course of the piece.

129 AFTER YOU READ Analyzing Mood “I feel my fate in what I cannot fear.” What mood is created by this line? Answer: The words are dark and mysterious, but the line conjures the image of someone facing darkness triumphantly.

130 AFTER YOU READ Analyzing Mood Over the course of the poem, does the mood shift? Chart the mood in each stanza of the poem to determine your answer. Use the chart on the next slide as a guide.

131 AFTER YOU READ Analyzing Mood

132 AFTER YOU READ Analyzing Mood Answer: The mood varies a little. stanza 3: joyful, respectful stanza 4: mysterious stanza 5: humble, encouraging stanza 6: hopeful

133 AFTER YOU READ Academic Vocabulary Here are two words that will help you think, write, and talk about the selection. hypothesis n. a statement or guess made for the purpose of testing and evaluating simulate adj. to imitate the look and/or feel of something

134 Academic Vocabulary Practice and Apply
AFTER YOU READ Academic Vocabulary Practice and Apply From this poem, do you think Roethke would support the composing and testing of hypotheses as a means of learning? Explain.

135 Academic Vocabulary Practice and Apply
AFTER YOU READ Academic Vocabulary Practice and Apply Answer: He would not support hypothesizing as a way to learn. He believes in learning by living.

136 Academic Vocabulary Practice and Apply
AFTER YOU READ Academic Vocabulary Practice and Apply According to the poem, can humans simulate their own reality, or are they dependent on the world as it is? Explain. Answer: Humans cannot simulate reality; they are dependent on what nature gives them.

137 Writing About Literature
AFTER YOU READ Writing About Literature Explore Author’s Purpose An author’s purpose in writing a piece of literature can usually be found in the poem’s meaning or message.

138 Writing About Literature
AFTER YOU READ Writing About Literature Write a one- or two-page analysis of Roethke’s purpose in writing “The Waking.” Use evidence from the poem to defend your position. Before you begin your draft, use a web like the one on the following slide to gather the supporting evidence.

139 AFTER YOU READ

140 Writing About Literature
AFTER YOU READ Writing About Literature In the center oval, write a phrase that describes the author’s purpose. In the ovals above the author’s purpose, write down individual quotes that relate to the purpose, taking care to write them down accurately.

141 Writing About Literature
AFTER YOU READ Writing About Literature In the ovals below the author’s purpose, write down any impressions or ideas that strike you as you read. Once you have completed the web, begin your draft.

142 Writing About Literature
AFTER YOU READ Writing About Literature After you complete your draft, meet with a peer reviewer to assess each other’s work and to provide constructive criticism. Then proofread and edit your draft for errors in spelling, grammar, and punctuation.

143 AFTER YOU READ Learning for Life Start a journal to collect advice you come across about living a happy life. Include poems, quotations, anecdotes, and advice you’ve heard from friends, family, and people who inspire you. For each bit of advice, be sure to include details about the source as well as the date you discovered the advice.

144 Roethke’s Language and Style
AFTER YOU READ Roethke’s Language and Style Using Infinitives In “The Waking,” Roethke uses simple verb forms, called infinitives, to express the simplicity of his philosophy of life. In particular Roethke uses the infinitive form: the root of a verb plus the word to. Infinitives generally express the idea of action.

145 Roethke’s Language and Style
AFTER YOU READ Roethke’s Language and Style Notice Roethke’s repeated use of infinitives throughout the poem: “I wake to sleep, and take my waking slow. I feel my fate in what I cannot fear. I learned by going where I have to go.”

146 Roethke’s Language and Style
AFTER YOU READ Roethke’s Language and Style Also notice that Roethke takes care not to “split” his infinitives, or put a word or phrase between to and the root of the verb.

147 Roethke’s Language and Style
AFTER YOU READ Roethke’s Language and Style For example, the sentence I wanted to not go home contains a split infinitive. The sentence could be corrected by writing it as I wanted not to go home. Whenever possible, you should avoid using split infinitives in your writing.

148 Roethke’s Language and Style
AFTER YOU READ Roethke’s Language and Style Activity Make a list of Roethke’s infinitives. What do these verbs have in common? Which are repeated? What clues do these words give you to Roethke’s purpose and the meaning of the poem?

149 AFTER YOU READ Revising Check Infinitives The correct use of infinitives is important to consider when revising your writing. With a partner, go through your analysis of Roethke’s purpose and make sure you have correctly used infinitives. Where possible, simplify your verb constructions by using infinitives. When using infinitives, try to avoid splitting them.

150

151 Selection Menu (pages 546–549)
Before You Read Reading the Selection After You Read

152 Click the picture to learn about the author.
BEFORE YOU READ Meet Jean Toomer Click the picture to learn about the author.

153 BEFORE YOU READ Connecting to the Poem How do you feel about the possibility of machines performing human jobs? Before you read the poem, think about the questions on the following slides.

154 How do feelings and compassion differentiate people from machines?
BEFORE YOU READ Connecting to the Poem Do you think that machines and technology have diminished the need for human contact? Explain. How do feelings and compassion differentiate people from machines?

155 BEFORE YOU READ Building Background The Harlem Renaissance, also known as the “New Negro Movement,” was a period of great creativity and artistic output among African Americans. Harlem, an African American community in New York City, provided a location for this unprecedented artistic movement to flourish. Artists and writers of the movement often focused on the African American experience in the United States. Writers such as James Weldon Johnson and Langston Hughes were among several African Americans from this period whose works became popular within the mainstream culture.

156 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading The Energy of the Everyday As you read “Reapers,” notice how Toomer endows a seemingly ordinary event with new energy and emotion.

157 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading Rhyme and Rhyme Scheme Rhyme is the repetition of the same stressed vowel sounds and any succeeding sounds in two or more words. End rhyme occurs at the ends of lines of poetry, while internal rhyme occurs within lines.

158 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading Rhyme and Rhyme Scheme Slant rhymes occur when words include sounds that are similar but do not rhyme exactly. Rhyme scheme is the pattern that end rhymes form in a stanza or in a poem. As you read, try to determine the effect of the rhyme and the rhyme scheme found in Toomer’s poem.

159 BEFORE YOU READ Analyzing Rhythm and Meter Poets utilize rhythm and meter to enhance the musical quality and meaning of their work. While reading “Reapers,” analyze the meter, the regular pattern of stressed and unstressed syllables, and rhythm, which can be either regular (with a predictable pattern of meter) or irregular, in order to understand what the poet wants to express.

160 BEFORE YOU READ Analyzing Rhythm and Meter For example, the repetitive beat of the poem illustrates the image of the workers swinging the scythes in a consistent rhythm.

161 BEFORE YOU READ Analyzing Rhythm and Meter Reading Tip: Visualizing Listen to the “beat” of the poem while it is being read aloud. Visualize the images that the author is trying to portray through the rhythm. Use a graphic organizer like the one on the following slide to help you determine what images you visualize and how they affect your understanding of the poem.

162 Analyzing Rhythm and Meter
BEFORE YOU READ Analyzing Rhythm and Meter

163 Click a vocabulary term to listen to the definition.
BEFORE YOU READ reapers n. machines or people that cut grain for harvesting (p. 548) The reapers worked in the fields all day. scythes n. cutting implements made of a long, curved single-edged blade (p. 548) The men used scythes to cut through the long wheat in the fields. Click a vocabulary term to listen to the definition.

164 Click a vocabulary term to listen to the definition.
BEFORE YOU READ hones n. whetstones or similar tools used to sharpen knives and other types of blades (p. 548) They used hones to make the knives razor-sharp. Click a vocabulary term to listen to the definition.

165

166 READING THE SELECTION The Energy of the Everyday While you read the poem, keep the following question in mind. Why would a poet write about such an ordinary event? Answer: Poets see the unusual in usual activities. They use activities that readers can easily picture to explore more abstract themes.

167 READING THE SELECTION The Energy of the Everyday Read the text highlighted in the tan on page How do these lines add meaning to an otherwise ordinary object?

168 READING THE SELECTION Answer: You may say that Toomer is showing how machines lack the control and sensitivity that humans have. The machine continues cutting, even after injuring the rat, while humans may have shown awareness of or even sympathy for an injured living creature.

169

170 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Respond What are your feelings about farm machinery after reading the poem? Answer: Answers will vary.

171 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret (a) Describe in your own words what the reapers do. (b) What attitude do the reapers seem to have toward their work? Answer: (a) Use scythes to cut down weeds (b) Matter-of-fact and deliberate

172 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret (a) What happens to the field rat in the poem? (b) Why do you think Toomer includes this incident? Answer: (a) The mower runs over it. (b) To show that the machines lack human sensitivity

173 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret (a) What sound does the injured rat make? (b) What effect does this sound have as you read the poem? Answer: (a) It squeals. (b) It makes the reader uncomfortable, feeling the rat’s suffering.

174 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate (a) What connections do you see between the reapers and the horses? (b) Why do you think Toomer links the reapers and the horses in this way? Answer: (a) Both are black. (b) To show how the field work dehumanizes the men

175 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate (a) How does the rhythm of this poem reflect its content? (b) If the poem did not have this kind of rhythm, would it have the same impact? Explain.

176 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate Answer: (a) The rhythm reflects the swinging of the reapers’ scythes. (b) No, because the poem would lose the sense of tedious routine that the reapers face each day.

177 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate (a) What do you think is Toomer’s purpose in writing this poem? (b) Do you think Toomer accomplishes his purpose in the poem? Explain.

178 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate Answer: (a) To contrast humans and machines to show that machines are a poor substitute for human labor (b) You may say yes because of how he structured the poem as comparison.

179 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Connect The Energy of the Everyday How does the meter of “Reapers” add to the reader’s sensory experience of “the everyday”? Answer: The meter simulates the rhythm of the workers’ scythes swinging motion. Toomer also uses meter and rhythm to copy the sound that a machine might make through a repeated pattern of sounds.

180 AFTER YOU READ Rhyme and Rhyme Scheme Toomer uses a particular rhyme and rhyme scheme to achieve a certain purpose. Rhyme scheme is designated by the assignment of a different letter of the alphabet to each new rhyme. For example, in the first four lines of Toomer’s poem “Georgia Dusk,” the rhyme scheme is abba:

181 Rhyme and Rhyme Scheme The sky, lazily disdaining to pursue a
AFTER YOU READ Rhyme and Rhyme Scheme The sky, lazily disdaining to pursue a The setting sun, too indolent to hold b A lengthened tournament for flashing gold, b Passively darkens for night’s barbeque[.] a

182 AFTER YOU READ Rhyme and Rhyme Scheme These lines also contain end rhyme (“hold,” “gold”) and internal rhyme (“tournament,” “indolent”).

183 AFTER YOU READ Rhyme and Rhyme Scheme What kind of rhyme does “Reapers” have? Explain. Answer: End rhyme

184 AFTER YOU READ Rhyme and Rhyme Scheme What is the rhyme scheme of “Reapers”? How is it important to the poem? Answer: aabbccdd; It creates a consistent sense of rhythm, like the reapers’ labor.

185 AFTER YOU READ Literary Criticism Critic Motley Deakin remarks that “the general effect of [Toomer’s] poetry is a loosening of poetic structures, a movement towards prose.” Evaluate this idea by rewriting “Reapers” as prose. When you are finished, decide whether you agree with this critic’s analysis. Why or why not?

186 Poets often try to convey meaning through meter and rhythm.
AFTER YOU READ Analyzing Meter and Rhythm Poets often try to convey meaning through meter and rhythm. Describe the rhythm of “Reapers.” Answer: The rhythm is plodding and repetitive.

187 How do you think the rhythm is important to the meaning of the poem?
AFTER YOU READ Analyzing Meter and Rhythm How do you think the rhythm is important to the meaning of the poem? Answer: The rhythm reflects the mechanical nature of the farm work.

188 Answer: Answers will vary.
AFTER YOU READ Analyzing Meter and Rhythm Try reading the poem with a different rhythm. Does this change the poem’s effect? Explain. Answer: Answers will vary.

189 AFTER YOU READ Practice Practice with Synonyms Choose the synonym for each vocabulary word from “Reapers.”

190 AFTER YOU READ Practice reapers harvesters slaves

191 AFTER YOU READ Practice scythes knives machines

192 AFTER YOU READ Practice hones whetstones steel

193

194 Selection Menu (pages 550–556)
Before You Read Reading the Selection After You Read

195 Click the picture to learn about the author.
BEFORE YOU READ Meet Pablo Neruda Click the picture to learn about the author.

196 BEFORE YOU READ Connecting to the Poem The following poem pays homage to a pair of socks that Pablo Neruda treasures. Before you read the poem, think about the questions on the following slide.

197 How do material objects in your possession become important to you?
BEFORE YOU READ Connecting to the Poem How do material objects in your possession become important to you? Of your prized possessions, which is most valuable to you? Why?

198 BEFORE YOU READ Building Background Traditionally, odes are long, lyrical poems that often use seven- and eleven-syllable rhythms. Odes are categorized by their expression of noble and dignified feelings. They also typically exalt their subject matter. Pablo Neruda, who once said, “My poetry became clear and happy when it branched off towards humbler subjects and things,” satisfied only part of this definition. While Neruda’s odes do famously celebrate their subjects, they do not flaunt the lofty style characterized by traditional odes. Rather, they sing the praises of the ordinary, the fundamental, and the essential.

199 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading The Energy of the Everyday As you read “Ode to My Socks,” try to appreciate the narrator’s reverence for his socks, an everyday item. Focus, too, on the significance of the ideas and images flanking the ode’s subject.

200 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading Free Verse Free verse is poetry without a fixed pattern of rhyme, meter, line length, or stanza arrangement. Traditional rules of form are often replaced with techniques such as repetition and alliteration to generate the poem’s musical configurations.

201 Setting Purposes for Reading
BEFORE YOU READ Setting Purposes for Reading Free Verse As you read, notice how the unrestrained feel of the free verse form affects the way in which Neruda communicates his ideas.

202 BEFORE YOU READ Monitoring Comprehension When you paraphrase, you restate a text’s meaning in your own words. Questioning a text involves asking yourself about the relevance of a given selection. Monitoring comprehension by paraphrasing and questioning can help you better understand a work.

203 BEFORE YOU READ Monitoring Comprehension Reading Tip: Keeping Track of Your Understanding After reading “Ode to My Socks” once, revisit each stanza individually. As you complete a stanza, paraphrase it and ask yourself questions about its meaning. Use a chart to record your use of paraphrasing and questioning.

204 Monitoring Comprehension
BEFORE YOU READ Monitoring Comprehension

205 BEFORE YOU READ immense adj. immeasurable; vast; huge (p. 553) I felt immense pleasure in presenting the student with the scholarship. decrepit adj. ruined with age; depleted (p. 553) The decrepit bus did not look safe. Click a vocabulary term to listen to the definition.

206 BEFORE YOU READ sacred adj. worthy of reverence (p. 553) The archaeologist eagerly uncovered the sacred texts. remorse n. distress stemming from the guilt of past wrongs (p. 553) The sobbing prisoner showed remorse in court. Click a vocabulary term to listen to the definition.

207

208 READING THE SELECTION The Energy of the Everyday Think about the following questions while reading. How does the narrator convince the reader of his socks’ importance? Why might he be interested in exalting a pair of socks?

209 READING THE SELECTION Answer: He describes their softness, beauty, and usefulness. He appreciates simplicity and encourages the reverence of ordinary things.

210 READING THE SELECTION Reading Strategy Monitoring Comprehension Read the text highlighted in blue on page 553. How might you paraphrase this line? Answer: Answers will vary, but may be similar to “extremely colorful socks.”

211 READING THE SELECTION The Energy of the Everyday Read the text highlighted in tan on page 553. What kind of schoolboy impulse is the author trying to convey here? Answer: The hunting or seizing impulse that schoolboys seem to have with objects that fascinate them.

212 READING THE SELECTION Literary Element Free Verse Read the text highlighted in purple on page 553. What elements of free verse does the writer use here? Answer: Varied line length, no set meter, and use of alliteration.

213

214 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Respond Has Neruda’s tribute to his socks affected how you feel about your socks? How has it affected your feelings about material possessions in general? Answer: You might say that sentimental value is greater than materialistic value.

215 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret (a) What has the speaker called his feet ? (b) Why might the speaker choose to represent feet in so many ways? Answer: (a) Fish; sharks; blackbirds; cannons; decrepit firemen (b) The images are not beautiful and contrast with the beautiful socks.

216 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret (a) In lines 18–24, how does the speaker perceive his feet? (b) In lines 39–40, why do you think the speaker compares his feet to “two decrepit firemen”?

217 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret Answer: (a) As cold and uninviting, like fish or sharks (b) Decrepit firemen are ineffective against a blaze, and the narrator’s feet aren’t up to facing “that woven fire” of the socks.

218 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret (a) According to the speaker, which two types of people hoard things? (b) From where might this temptation to hoard come?

219 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Recall and Interpret Answer: (a) Schoolboys with fireflies and learned men with sacred texts (b) The temptation seems to be innate and universal, since these two examples are of vastly different groups: carefree schoolboys and learned men. The author might suggest that concealing beautiful things is a natural impulse.

220 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate How well has Neruda expressed the meaningfulness of these socks? Explain. Answer: You should refer to Neruda’s reverential descriptions of the socks using content from the poem.

221 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate (a) Using specific examples, explain how Neruda has veered from the traditional form of an ode. (b) Why do you think Neruda chose to break with tradition in writing this ode?

222 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate Answer: (a) You may cite such straight–forward examples as “my feet were two fish made of wool” or “two socks as soft as rabbits.” (b) To relay ideas in a more natural, accessible way

223 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Analyze and Evaluate How might Neruda’s decision to summarize his ode in the last stanza affect the reader’s interpretation of its ideas? Answer: The summary increases reader confidence in interpreting the poem.

224 Responding and Thinking Critically
AFTER YOU READ Responding and Thinking Critically Connect The Energy of the Everyday Neruda is known for his praise of the ordinary. What examples best illustrate this characteristic in “Ode to My Socks?” Explain. Answer: The poem’s subject, socks, is a celebration of the ordinary, as are other objects present in the ode, like a friend knitting socks and twilight.

225 AFTER YOU READ Free Verse With free verse, a writer is not bound by form or arrangement. An author may embark upon the subject matter with less regard for traditional form.

226 AFTER YOU READ Free Verse Rather, the writer has freedom to arrange the lines and stanzas according to sound, the importance of ideas, appearances, or any other criteria the author personally chooses. The free verse Neruda uses in his odes has been praised for creating “a river of print flowing down the page.”

227 AFTER YOU READ Free Verse Which lines in “Ode to My Socks” would you say are the most unconventional? Explain. Answer: You might cite very short lines and lines that use very simple diction, since this is a key difference between Neruda’s odes and conventional ones.

228 AFTER YOU READ Free Verse How do the varied line lengths affect the recitation of the poem? Answer: It causes the reader to pause in the middle of thoughts that would usually require no pause.

229 AFTER YOU READ Review: Structure As you learned on pages 528–529, structure is the distinct order or arrangement used to present a writer’s ideas. Ideas may be presented in a variety of ways, including chronologically, according to relevancy, or in order of importance.

230 AFTER YOU READ Review: Structure Group Activity With a group of two or three classmates, analyze the structure of “Ode to My Socks.” Assign one stanza to each student for evaluation.

231 AFTER YOU READ Review: Structure Once all group members have examined a stanza, record your group’s findings in a chart similar to the one on the next slide. Use the left-hand column to indicate the stanza number. Use the right-hand column to describe the stanza’s structure.

232 AFTER YOU READ Review: Structure

233 AFTER YOU READ Monitoring Comprehension Monitoring comprehension can help you gain a deeper understanding of a poem and its meaning, especially in an unconventional poem like this Neruda ode.

234 AFTER YOU READ Monitoring Comprehension Use the strategies of paraphrasing and questioning to help you uncover meaning. A good way to monitor your comprehension is to paraphrase the entire selection and then ask yourself questions about what elements are most important.

235 Paraphrase the events in “Ode to My Socks.”
AFTER YOU READ Monitoring Comprehension Paraphrase the events in “Ode to My Socks.”

236 AFTER YOU READ Monitoring Comprehension Answer: A friend brought the narrator a pair of knitted socks, sewn with her own hands. When he slipped the socks on, he could not believe how soft they were. After this, the narrator started comparing them to a lot of different things, including his own feet. He was tempted to hide the socks but decides not to, figuring that he has been doubly blessed with something both beautiful and useful.

237 What, do you think, is the most important aspect of this poem?
AFTER YOU READ Monitoring Comprehension What, do you think, is the most important aspect of this poem? Answer: You might say the simplicity of style and tone—as well as that of the subject matter—is the most important aspect because it makes it more accessible and widens the audience for poetry.

238 AFTER YOU READ Practice Practice with Word Parts Identify the correct word part for each vocabulary word on the following slides. Use a dictionary if you need help.

239 What is the prefix in immense?
AFTER YOU READ Practice What is the prefix in immense? -se mens im-

240 AFTER YOU READ Practice What part of decrepit is a prefix that usually means “out of” or “away from”? crep -it de-

241 What is the root of sacred?
AFTER YOU READ Practice What is the root of sacred? -red acre sacr

242 What is the root of remorse?
AFTER YOU READ Practice What is the root of remorse? mors re- -se

243 AFTER YOU READ Academic Vocabulary These words will help you think, write, and talk about the selection. compatible adj. able to exist together amicably fluctuate v. to waver; to move backward and forward or up and down

244 Academic Vocabulary Practice and Apply
AFTER YOU READ Academic Vocabulary Practice and Apply How does Neruda make the stanzas of “Ode to My Socks” compatible? Answer: The stanzas adhere to a free verse form that brings out a musical quality of the words.

245 Academic Vocabulary Practice and Apply
AFTER YOU READ Academic Vocabulary Practice and Apply How does Neruda make the lines fluctuate? Answer: With varying lengths

246 Writing About Literature
AFTER YOU READ Writing About Literature Analyze Genre Elements “I confess that to write with simplicity has been my most difficult undertaking.” These sentiments, expressed by Neruda, seem to contradict the nature of a traditional ode.

247 Writing About Literature
AFTER YOU READ Writing About Literature A traditional ode has four general qualities: an ode uses and describes exalted, intensified emotions; it elevates its subject matter in a noble manner; it uses complex stanza forms; and it embodies the musical qualities of lyric poetry. Write a one- to two-page essay that analyzes Neruda’s use of genre elements in “Ode to My Socks.”

248 Writing About Literature
AFTER YOU READ Writing About Literature Before you draft your essay, record on the chart on the next slide examples in which Neruda uses the genre elements and those where he does not.

249 AFTER YOU READ

250 Writing About Literature
AFTER YOU READ Writing About Literature Once your draft is complete, ask a peer reviewer to evaluate your work. Then proofread and edit your draft for errors in spelling, grammar, and punctuation.

251 AFTER YOU READ Performing With a classmate, deliver a performance of “Ode to My Socks.” Through pantomiming and recitation, relay the events and emotions illustrated in the poem to your classmates. Decide who will read the poem and who will act out the speaker’s words.

252 AFTER YOU READ Performing Demonstrate your creativity by adding lighting, music, and slides to your performance, or present a simple pantomime version with just words and meaningful movement.

253 Neruda’s Language and Style
AFTER YOU READ Neruda’s Language and Style Using Adjectives Throughout “Ode to My Socks,” Neruda uses adjectives efficiently and eloquently to express the qualities of his socks.

254 Neruda’s Language and Style
AFTER YOU READ Neruda’s Language and Style Consider his use of adjectives in the following example: I resisted the mad impulse to put them into a golden cage . . .

255 Neruda’s Language and Style
AFTER YOU READ Neruda’s Language and Style Neruda strikes a balance between using enough adjectives for the reader to appreciate his subject and not crowding his poem with description.

256 Neruda’s Language and Style
AFTER YOU READ Neruda’s Language and Style Consider how the poem would be different without any adjectives. I resisted the impulse to put them into a cage . . .

257 Neruda’s Language and Style
AFTER YOU READ Neruda’s Language and Style Then think about how the poem would be different it Neruda had overused adjectives: I, wise, resisted the mad impulse to put them into a gilded, golden cage . . .

258 Neruda’s Language and Style
AFTER YOU READ Neruda’s Language and Style In each example, under- or overusing adjectives alters the desired image.

259 Neruda’s Language and Style
AFTER YOU READ Neruda’s Language and Style Activity Create a two-column chart to analyze the adjectives in “Ode to My Socks.” In the first column, list the adjective. In the second column, determine how important you think each adjective is: low, medium, or high.

260 Revising Check: Adjectives
AFTER YOU READ Revising Check: Adjectives Choosing appropriate adjectives to describe nouns will help you clarify your writing. Review your essay about genre elements in “Ode to My Socks.” Determine the relevance of each adjective you used in your essay and make any changes that you deem necessary.

261

262 Recognizing Homonyms and Homophones
VOCABULARY WORKSHOP Context Clues Recognizing Homonyms and Homophones “. . . with cracked hands that ached / from labor in the weekday weather made / banked fires blaze.” —Robert Hayden, from “Those Winter Sundays” Connecting to Literature In this excerpt from his poem about his father, Robert Hayden uses the word banked, meaning not “stored for safe keeping” nor “steeply inclined,” but rather, “covered with ashes to burn slowly.” Vocabulary Workshop

263 Recognizing Homonyms and Homophones
VOCABULARY WORKSHOP Context Clues Recognizing Homonyms and Homophones Words like banked that sound and are spelled alike but have different meanings are called homonyms. Words like weather and whether, which sound alike but are spelled differently, are called homophones. Vocabulary Workshop

264 Recognizing Homonyms and Homophones
VOCABULARY WORKSHOP Context Clues Recognizing Homonyms and Homophones Although homonyms and homophones can be confusing, the context, or setting, in which the word appears usually provides clues to the word’s meaning. From Hayden’s use of banked to describe fires and our own knowledge of them, we can determine which definition he means. Vocabulary Workshop

265 Recognizing Homonyms and Homophones
VOCABULARY WORKSHOP Context Clues Recognizing Homonyms and Homophones Part of the reason why English is difficult for many non-native speakers to learn is because of its many homophones. On the next slide is a list of some common ones. Vocabulary Workshop

266 Recognizing Homonyms and Homophones
VOCABULARY WORKSHOP Context Clues Recognizing Homonyms and Homophones ate/eight right/rite/write for/for/four row/roe here/hear scent/sent/cent higher/hire site/sight/cite its/it’s some/sum morning/mourning their/there/they’re none/nun to/too/two one/won wholly/holy/holey Vocabulary Workshop

267 Recognizing Homonyms and Homophones
VOCABULARY WORKSHOP Context Clues Recognizing Homonyms and Homophones Exercise Use context clues to decide which homonym or homophone belongs in each sentence. Use a dictionary if you need help. Father (passed / past) him a pair of freshly shined shoes. Vocabulary Workshop

268 Recognizing Homonyms and Homophones
VOCABULARY WORKSHOP Context Clues Recognizing Homonyms and Homophones Exercise Use context clues to decide which homonym or homophone belongs in each sentence. Use a dictionary if you need help. The fire kept out the cold (whether / weather). Vocabulary Workshop

269 Recognizing Homonyms and Homophones
VOCABULARY WORKSHOP Context Clues Recognizing Homonyms and Homophones Exercise Use context clues to decide which homonym or homophone belongs in each sentence. Use a dictionary if you need help. The warmth helped (heel / heal) their chilled bodies. Vocabulary Workshop

270 Recognizing Homonyms and Homophones
VOCABULARY WORKSHOP Context Clues Recognizing Homonyms and Homophones Exercise Use context clues to decide which homonym or homophone belongs in each sentence. Use a dictionary if you need help. It counteracted the loneliness of the (night / knight). Vocabulary Workshop

271 Recognizing Homonyms and Homophones
VOCABULARY WORKSHOP Context Clues Recognizing Homonyms and Homophones Exercise Use context clues to decide which homonym or homophone belongs in each sentence. Use a dictionary if you need help. He did not (know / no) how to express his feelings to his father. Vocabulary Workshop

272 Recognizing Homonyms and Homophones
VOCABULARY WORKSHOP Context Clues Recognizing Homonyms and Homophones Vocabulary Terms To help you understand the meaning of a homonym you come across in a reading passage, carefully examine the sentence in which the word appears and the surrounding sentences. The context should provide clues to the word’s meaning. Vocabulary Workshop

273 Unit 3, Part 1 BELLRINGER What are some different ways that parents demonstrate love for their children? Those Winter Sundays Bellringer

274 Is losing the power to imagine a necessary hazard of growing up?
Unit 3, Part 1 BELLRINGER What fears did you have as a child? How did these fears change as you grew older? How can you explain these changes? Is losing the power to imagine a necessary hazard of growing up? Creatures Bellringer

275 Unit 3, Part 1 BELLRINGER Let the wind take you where it will Look before you leap What is the difference in philosophy between these two sayings? With which one do you agree? The Waking Bellringer

276 Where do poets get their ideas?
Unit 3, Part 1 BELLRINGER Where do poets get their ideas? Reapers Bellringer

277 Unit 3, Part 1 BELLRINGER What makes ordinary items such as a belt, a piece of fruit, or a mug special? Ode to My Socks Bellringer

278 Unit 3, Part 1 BELLRINGER OPTION TRANSPARENCY Click on the image to see a full version of the Bellringer Option Transparency. Those Winter Sundays Bellringer Option

279 Unit 3, Part 1 BELLRINGER OPTION TRANSPARENCY Click on the image to see a full version of the Bellringer Option Transparency. Reapers Bellringer Option

280 Unit 3, Part 1 BELLRINGER OPTION TRANSPARENCY Click on the image to see a full version of the Bellringer Option Transparency. Ode to My Socks Bellringer Option

281 Why did the speaker’s father hands ache?
CHECKPOINT QUESTIONS Why did the speaker’s father hands ache? from labor in weekday weather from getting the fire going from polishing too many shoes from chopping and splitting firewood Checkpoint

282 What did the father do for his son, the speaker?
CHECKPOINT QUESTIONS What did the father do for his son, the speaker? helped him dress polished his shoes made him breakfast helped him settle an argument Checkpoint

283 CHECKPOINT QUESTIONS What did the creatures in the wallpaper and porcelain lamp seem to know? all the creatures on the dark bottom of the sea all the names of the speaker’s friends all the secrets of a secretive boy all the speakers dreams Checkpoint

284 CHECKPOINT QUESTIONS What expression does the speaker’s friend think is on the face on the stone? pain loneliness sadness sympathy Checkpoint

285 What does the speaker say the face on the stone is doing?
CHECKPOINT QUESTIONS What does the speaker say the face on the stone is doing? making terrible noises causing nightmares for the speaker scaring little children bothering beachgoers and ruining everyone’s summer Checkpoint

286 How does the speaker feel his fate?
CHECKPOINT QUESTIONS How does the speaker feel his fate? in what he cannot fear in what he cannot dream in what he cannot see in what he cannot learn Storytelling Checkpoint

287 Why would the speaker “take his walking slowing”?
CHECKPOINT QUESTIONS Why would the speaker “take his walking slowing”? he wants to more time to sleep he wants to be like a worm climbing slowly he wants to experience life as fully as possible he wants to hear the sounds of his dancing feet Storytelling Checkpoint

288 What do the reapers use to sharpen their scythes?
CHECKPOINT QUESTIONS What do the reapers use to sharpen their scythes? weed cutters field rocks steel blades horns, or stones tools The Summer People Checkpoint

289 What happens after the scythe injures the field rat?
CHECKPOINT QUESTIONS What happens after the scythe injures the field rat? The reapers continue cutting. The reapers try to help the field rat. The scythe breaks. The reapers cry. The Summer People Checkpoint

290 Who brought the speaker a pair of socks?
CHECKPOINT QUESTIONS Who brought the speaker a pair of socks? a shepherd a fireman Maru Mori a school boy The Summer People Checkpoint

291 Why did the speaker this his feet were unacceptable?
CHECKPOINT QUESTIONS Why did the speaker this his feet were unacceptable? because the socks were so handsome because his feet were so dirty because he had no use for the socks because he walked barefoot The Summer People Checkpoint

292 What temptation did the speaker resist?
CHECKPOINT QUESTIONS What temptation did the speaker resist? to return the socks to save the socks somewhere to put his shoes on over the socks to sell the socks for money The Summer People Checkpoint

293 Unit 3, Part 1 Literary Terms Handbook Test-Taking Skills Handbook
REFERENCE Literary Terms Handbook Test-Taking Skills Handbook Reading Handbook Daily Language Practice Transparencies Foldables Writing Handbook Grammar and Writing Workshop Transparencies Business Writing Language Handbook

294 Unit 3, Part 1 To navigate within this Presentation Plus! product:
HELP To navigate within this Presentation Plus! product: Click the Forward button to go to the next slide. Click the Previous button to return to the previous slide. Click the Section Back button to return to the beginning of the section you are in. If you are viewing a feature, this button returns you to the main presentation. Click the Home button to return to the Chapter Menu. Click the Help button to access this screen. Click the Speaker button to listen to available audio. Click the Speaker Off button to stop any playing audio. Click the Exit button or press the Escape key [Esc] to end the chapter slide show. Presentation Plus! features such as the Reference Handbook, Literature Online, and others are located in the left margin of most screens. Click on any of these buttons to access a specific feature. Help


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