1. Module 5 Live Lessons & Collaboration
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Welcome to
English III Live Lessons!
Module 5 Live Lessons & Collaboration
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2. Mrs. Pierce
Mrs. Krumbine

3. What is in Module 5?
5.00 Pretest 5.01 Hyphen & Syntax Quiz 5.02 Reading Poetry 5.03 The Art of Language 5.04 Understanding 20th Century Poetry 5.05 Analyzing 20th Century Poetry 5.06 Post Test 5.07 Discussion Based Assessment
We will be working toward completion of 5.02 & 5.05 today.

4. 5.02 Reading Poetry
Inferences: Meanings deciphered by the reader that may not be explicitly stated in the text.

5. “On the Pulse of Morning” by Maya Angelou
A Rock, A River, A Tree Hosts to species long since departed, Marked the mastodon, The dinosaur, who left dried tokens Of their sojourn here On our planet floor, Any broad alarm of their hastening doom Is lost in the gloom of dust and ages. But today, the Rock cries out to us, clearly, forcefully, Come, you may stand upon my Back and face your distant destiny, But seek no haven in my shadow. I will give you no hiding place down here. You, created only a little lower than The angels, have crouched too long in The bruising darkness Have lain too long Face down in ignorance. Your mouths spilling words Armed for slaughter. The Rock cries out to us today, you may stand upon me, But do not hide your face.
Link to Video/Audio Recording of Maya Angelou reading the poem:

6. Across the wall of the world, A River sings a beautiful song
Across the wall of the world, A River sings a beautiful song. It says, Come, rest here by my side. Each of you, a bordered country, Delicate and strangely made proud, Yet thrusting perpetually under siege. Your armed struggles for profit Have left collars of waste upon My shore, currents of debris upon my breast. Yet today I call you to my riverside, If you will study war no more. Come, Clad in peace, and I will sing the songs The Creator gave to me when I and the Tree and the rock were one. Before cynicism was a bloody sear across your Brow and when you yet knew you still Knew nothing. The River sang and sings on. There is a true yearning to respond to The singing River and the wise Rock. So say the Asian, the Hispanic, the Jew The African, the Native American, the Sioux, The Catholic, the Muslim, the French, the Greek The Irish, the Rabbi, the Priest, the Sheik, The Gay, the Straight, the Preacher, The privileged, the homeless, the Teacher. They hear. They all hear The speaking of the Tree. They hear the first and last of every Tree Speak to humankind today. Come to me, here beside the River. Plant yourself beside the River.

7. Each of you, descendant of some passed On traveller, has been paid for
Each of you, descendant of some passed On traveller, has been paid for. You, who gave me my first name, you, Pawnee, Apache, Seneca, you Cherokee Nation, who rested with me, then Forced on bloody feet, Left me to the employment of Other seekers –– desperate for gain, Starving for gold. You, the Turk, the Arab, the Swede, the German, the Eskimo, the Scot, You the Ashanti, the Yoruba, the Kru, bought, Sold, stolen, arriving on the nightmare Praying for a dream. Here, root yourselves beside me. I am that Tree planted by the River, Which will not be moved. I, the Rock, I the River, I the Tree I am yours –– your passages have been paid. Lift up your faces, you have a piercing need For this bright morning dawning for you. History, despite its wrenching pain Cannot be unlived, but if faced With courage, need not be lived again. Lift up your eyes upon This day breaking for you. Give birth again To the dream.

8. Women, children, men, Take it into the palms of your hands, Mold it into the shape of your most Private need. Sculpt it into The image of your most public self. Lift up your hearts Each new hour holds new chances For a new beginning. Do not be wedded forever To fear, yoked eternally To brutishness. The horizon leans forward, Offering you space to place new steps of change. Here, on the pulse of this fine day You may have the courage To look up and out and upon me, the Rock, the River, the Tree, your country. No less to Midas than the mendicant. No less to you now than the mastodon then. Here, on the pulse of this new day You may have the grace to look up and out And into your sister's eyes, and into Your brother's face, your country And say simply Very simply With hope –– Good morning.

9. “One Today” by Richard Blanco
One sun rose on us today, kindled over our shores, peeking over the Smokies, greeting the faces of the Great Lakes, spreading a simple truth across the Great Plains, then charging across the Rockies. One light, waking up rooftops, under each one, a story told by our silent gestures moving behind windows. My face, your face, millions of faces in morning's mirrors, each one yawning to life, crescendoing into our day: pencil-yellow school buses, the rhythm of traffic lights, fruit stands: apples, limes, and oranges arrayed like rainbows begging our praise. Silver trucks heavy with oil or paper– bricks or milk, teeming over highways alongside us, on our way to clean tables, read ledgers, or save lives– to teach geometry, or ring-up groceries as my mother did for twenty years, so I could write this poem for all of us today.
Link to video/audio recording:

10. All of us as vital as the one light we move through, the same light on blackboards with lessons for the day: equations to solve, history to question, or atoms imagined, the "I have a dream" we keep dreaming, or the impossible vocabulary of sorrow that won't explain the empty desks of twenty children marked absent today, and forever. Many prayers, but one light breathing color into stained glass windows, life into the faces of bronze statues, warmth onto the steps of our museums and park benches as mothers watch children slide into the day. One ground. Our ground, rooting us to every stalk of corn, every head of wheat sown by sweat and hands, hands gleaning coal or planting windmills in deserts and hilltops that keep us warm, hands digging trenches, routing pipes and cables, hands as worn as my father's cutting sugarcane so my brother and I could have books and shoes. The dust of farms and deserts, cities and plains mingled by one wind–our breath. Breathe. Hear it through the day's gorgeous din of honking cabs, buses launching down avenues, the symphony of footsteps, guitars, and screeching subways, the unexpected song bird on your clothes line. Hear: squeaky playground swings, trains whistling, or whispers across café tables, Hear: the doors we open for each other all day, saying: hello, shalom, buon giorno, howdy, namaste, or buenos días in the language my mother taught me–in every language spoken into one wind carrying our lives without prejudice, as these words break from my lips.

11. One sky: since the Appalachians and Sierras claimed their majesty, and the Mississippi and Colorado worked their way to the sea. Thank the work of our hands: weaving steel into bridges, finishing one more report for the boss on time, stitching another wound or uniform, the first brush stroke on a portrait, or the last floor on the Freedom Tower jutting into a sky that yields to our resilience. One sky, toward which we sometimes lift our eyes tired from work: some days guessing at the weather of our lives, some days giving thanks for a love that loves you back, sometimes praising a mother who knew how to give, or forgiving a father who couldn't give what you wanted. We head home: through the gloss of rain or weight of snow, or the plum blush of dusk, but always–home, always under one sky, our sky. And always one moon like a silent drum tapping on every rooftop and every window, of one country–all of us– facing the stars hope–a new constellation waiting for us to map it, waiting for us to name it–together.

12. 5.02 Assignment
Respond to one of the following prompts in two to three paragraphs.
Citing textual evidence from "On the Pulse of Morning" and "One Today:"
describe some of the challenges facing the American people during the late 20th and early 21st centuries or
explain the effects of cultural diversity among the American people during the late 20th and early 21st centuries

13. “On the Pulse of Morning”
Let’s Find Citations describe some effects of cultural diversity among the American people in the late 20th and early 21st centuries
“On the Pulse of Morning”
“One Today”
Instruct students to go back to the poem and find citations. You may want to break students into 2 groups (1 group per poem)

14. MLA Citations
Example: In Maya Angelou’s “On the Pulse of Morning”, the narrator states “A Rock, A River, A Tree / Hosts to species long since departed…” (1-2). Or The narrator states, “A Rock, A River, A Tree / Hosts to species long since departed…” (Angelou 1-2).
This style of citation includes the author in the introductory portion of the quote
Use hyphen to separate lines
After the citation are the line numbers

15. Introduce the poem “One Today”
Paragraph 1 Introduce the poem “On the Pulse of Morning” Introduce the poem’s author, Maya Angelou Explain how the poem reflects the effects of cultural diversity Use citations to support your idea
Paragraph 2
Introduce the poem “One Today”
Introduce the poem’s author, Richard Blanco
Explain how the poem reflects the effects of cultural diversity
Use citations to support your idea

16. 5.05
Choose two poems and create a presentation explaining the ways in which the literary works were influenced by the events of this time period.
"Rhapsody on a Windy Night" by T.S. Eliot
"Mending Wall" by Robert Frost
"Stopping by Woods on a Snowy Evening" by Robert Frost
"The River Merchant's Wife: A Letter" by Ezra Pound
"The Red Wheelbarrow" by William Carlos Williams
"Languages" by Carl Sandburg
"Fog" by Carl Sandburg

17. Carl Sandburg
“Just as modern American drama had its beginnings in little theatres, modern American poetry took form in little magazines. Particularly important was Poetry: A Magazine of Verse, founded by Harriet Monroe in Chicago in The surrounding region soon became prominent as the home of three poets: Vachel Lindsay, Carl Sandburg, and Edgar Lee Masters.”
Discussed Carl Sandburg’s life and works; focus on Illinois
“Sandburg wrote of life on the prairies and in Midwestern cities in Whitmanesque free verse in such volumes as Chicago Poems (1916) and The People, Yes (1936).”

18. How does the speaker feel about this fog?
“Fog” by Carl Sandburg
What is the setting?
How do you know?
How does the speaker feel about this fog?
The fog comes on little cat feet. It sits looking over harbor and city on silent haunches and then moves on.
Discuss the probable “big city” setting. How does the narrator “feel” about the fog?

19. Robert Frost
“Two New England poets, Edwin Arlington Robinson and Robert Frost, who were not noted for technical experimentation, won both critical and popular acclaim in this period. Like Robinson, Frost used traditional stanzas and blank verse.”
“The best-known poet of his generation, Frost, like Robinson, saw and commented upon the tragic aspects of life…Frost memorably crafted the language of common speech into traditional poetic form, with epigrammatic effect.”
Discuss Frost especially is depiction of rural New England life and focus on common speech. What events would he have lived through that may have influenced his writing?

20. “Stopping By Woods on a Snowy Evening”
What is the setting?
How do you know?
How is the speaker feeling?
Stopping by Woods on a Snowy Evening Whose woods these are I think I know. His house is in the village though; He will not see me stopping here To watch his woods fill up with snow. My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake The darkest evening of the year. He gives his harness bells a shake To ask if there is some mistake. The only other sound's the sweep Of easy wind and downy flake. The woods are lovely, dark, and deep. But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.
How is this setting different from Sandburg’s?

21. What events occurred in the early 20th century that may influence these writers?
WW I, The Great Depression, WWII, The Cold War, The Korean War, The Vietnam War; Equal rights movement, Inventions such as the televisions, washing machines, mass air travel, etc.

22. Let’s look again at the poetry and see if we can find some citations to help support our ideas.
The fog comes on little cat feet. It sits looking over harbor and city on silent haunches and then moves on.
Note the personification of the fog as it “sits looking / over the harbor and city /on silent haunches / and then moves on” (Sandburg 3-6).
Discuss the possibility of a destruction of innocence or the effects of industrialization in the city.

23. Is the death literal? Is he mourning the death of something else?
Stopping by Woods on a Snowy Evening Whose woods these are I think I know. His house is in the village though; He will not see me stopping here To watch his woods fill up with snow. My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake The darkest evening of the year. He gives his harness bells a shake To ask if there is some mistake. The only other sound's the sweep Of easy wind and downy flake. The woods are lovely, dark, and deep. But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.
Some people interpret this poem being about death. What evidence supports this?
Is the death literal? Is he mourning the death of something else?
Possible interpretations include the death of nature due to development, the death of society as a result of conflict, the death of oneself due to a movement away from nature.

24. MLA Citations
Example: In Carl Sandburg’s poem “Fog”, the narrator states “The fog comes / on little cat feet” (1-2). Or The narrator states, “The fog comes /on little cat feet” (Sandburg 1-2).
This style of citation includes the author in the introductory portion of the quote
After the citation are the line numbers
Use hyphen to separate lines

25. Let’s put it all together
Find 2 images (1 per poem)
Write an explanation of how each poem is influenced by 20th century events.
Include citations for added strength
Create a multimedia presentation (examples include powerpoint, prezi, etc.)
Remind students to set prezi to private.

26. Complete your 5. 02 paragraphs and 5
Complete your paragraphs and 5.05 multimedia presentation and submit to your teacher.
Be sure to go back and complete any other assignments in module 5 that include quizzes and written work.
Schedule your module 5 DBA with your teacher as soon as you are ready.
If you need collaboration credit (1 per semester), stick around for one additional assignment.

27. Collaboration Reflection
In a complete sentence, please share the date and time of the session you attended, as well as the teacher/moderator's name.
In 3-5 sentences, please discuss your specific contributions to the collaboration you attended. What were your comments in the chat box and whiteboard, and did you share any information over the microphone with the group?
In 3-5 sentences, please discuss how your attendance in the collaborations improved your English 3 assessment submissions. How did the session help you better understand the content? Please specifically state at least one thing you have learned from the collaboration.
Briefly describe what a collaboration is in your opinion?
Please discuss how interacting with your classmates enhanced your English 3 virtual experience.
Thank you for attending today’s
Live Lesson Collaboration Session.
Please respond to the following questions
and submit your responses for the
Collaboration Assignment in the course.
You may answer directly in the student
comment section, or upload this document.
You must submit these responses to earn
credit for your attendance.