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Short poems assignment

26. Respond with higher-order critical thinking to the following prompts about “The Heart” by Jill Alexander Essbaum.
1. Which line contains a figure of speech?
2. Is that figure a metaphor or a simile? Explain.
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28. Respond with higher-order critical thinking to the following prompts about “In Memoriam John Coltrane” by Michael Stillman.
1. Read the poem aloud. What devices of sound do you find in the poem? Try to explain what sound contributes to the total effect of the poem and how it reinforces what the poet is saying.
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29. Respond with higher-order critical thinking to the following prompts about “Full fathom five thy father lies” by William Shakespeare.
1. Read the poem aloud. What devices of sound do you find in the poem? Try to explain what sound contributes to the total effect of the poem and how it reinforces what the poet is saying.
Song: “Full fathom five thy father lies”
by William Shakespeare
(from The Tempest)
Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Nothing of him that doth fade,
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell:
Ding-dong.
Hark! now I hear them,—ding-dong, bell.
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30. Respond with higher-order critical thinking to the following prompts about “Virginia” by T. S. Eliot.
1. Read the poem aloud. What devices of sound do you find in the poem? Try to explain what sound contributes to the total effect of the poem and how it reinforces what the poet is saying.
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32. Respond with higher-order critical thinking to the following prompts about “Do not go gentle into that good night” by Dylan Thomas.
1. “Do not go gentle into that good night” is a villanelle: a fixed form originated by French courtly poets of the Middle Ages. What are its rules?
2. Whom does the poem address? What is the speaker saying?
3. Villanelles are sometimes criticized as elaborate exercises in trivial wordplay. How would you defend Thomas’s poem against this character,

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34. Respond with higher-order critical thinking to the following prompts about “Sestina” by Elizabeth Bishop.
1. A perceptive comment from a student: “Something seems to be going on here that the child doesn’t understand. Maybe some terrible loss has happened.” Test this guess by reading the poem closely.
2. In the “little moons” that fall from the almanac (line 33), does the poem introduce dream or fantasy, or do you take these to be small round pieces of paper?
3. What is the tone of this poem—the speaker’s apparent attitude toward the scene described?
4. In an essay, “The Sestina,” in A Local Habitation (U of Michigan P, 1985), John Frederick Nims defends the form against an obvious complaint against it:
A shallow view of the sestina might suggest that the poet writes a stanza, and then is stuck with six words which he has to juggle into the required positions through five more stanzas and an envoy—to the great detriment of what passion and sincerity would have him say. But in a good sestina the poet has six words, six images, six ideas so urgently in his mind that he cannot get away from them; he wants to test them in all possible combinations and come to a conclusion about their relationship.
How well does this description of a good sestina fit “Sestina”?

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