Blog Assignment #18: "A Blessing" Imitation

Assignment: After reading James Wright's "A Blessing," write an animal-inspired poem in which your observation and/or interaction with an animal teaches you something or brings about an emotional response (positive or negative) of some kind. Your muse can be any kind of animal (domesticated, wild, an animal whose story made it into the news, etc.).

In terms of construction, take your cue from Wright's poem:

1. Your poem should be 24 lines long.
2. In terms of content for each line, try to reproduce the poetic move made by Wright. For example, the first line explains the setting. Thus your poem should clue the reader in on setting. Likewise, lines 18 and 19 are physical description of the animals. Therefore, your lines 18 and 19 should provide physical description of the animal or animals.
3. Finally, pay attention to line length and any metrics (number of syllables) Wright is using and try to use them as your own.

Blog Assignment #17: **Extra Credit**

Assignment: For 5 points extra credit (above and beyond the 10 points of extra credit possible, according to the syllabus), respond to one or more of questions below.  In particular, I'm interested in the effect of the allusions a reader finds within the poem, "The Love Song of J. Alfred Prufrock."

Length Requirement: equivalent to one MLA-format, typed, and double-spaced page

Due Date: no later than 12/3 before midnight. That gives you the opportunity to work on it during Thanksgiving Break, if you so choose.

1.  Read the translation of the quotation in Italian from Dante's Inferno that serves as our epigraph, and return to it once you have finished the whole poem. Why do you suppose T.S. Eliot wants to begin the poem this way? How is the damned soul speaking his secrets from the flames of hell in a similar situation to J. Alfred Prufrock? How is the audience of that damned soul (Dante's persona) in a similar situation to the audience listening to J. Alfred Prufrock's frantic confessions?
2.  Explain the biblical allusion to John the Baptist in lines 81-82.
3. Explain how Prufrock is connected to Lazarus in lines 94 et passim? How does this reference to coming back from the dead also connect with Dante and the initial epigram at the beginning of the poem? 
4.  What do we make of Prufrock's protest that he is not "Prince Hamlet"? Why is it ironic or appropriate that Prufrock thinks of Hamlet as his epitome of a great hero? (Think back to Hamlet's nature in Hamlet....)
5. Who or what is "The Eternal Footman"? Why is this footman or servant snickering at Prufrock?

Blog #156: Can Poetry Matter?

Assignment:  Given our in-class discussion about poetry's place in pop cutlure, wherein I was angling hard to establish that poetry is firmly entrenched in areas of our lives that extend beyond classrooms, I'm wondering how you all are feeling about the genre. Does poetry have a place? Does it matter? Would you read it or expose yourself to it if you weren't exposed to it via English teachers? Is it alive? Is it dying? Can it be revived or made more interesting or applicable to the average Joe?

Before responding, I'd like you to read Dana Gioia's essay, "Can Poetry Matter?" (See link below).  After reading, I'd like you to respond to Gioia's argument either sympathetically (agreement) or in opposition. Even if you do agree with the author, use your own original reasoning and evidence from personal experience and observation in order to make your point.

Aim for around 250 words, which is the equivalent to a typed and double-spaced 1-page document.

You can find Gioia's essay HERE: http://danagioia.net/essays/ecpm.htm

Blog Assignment #15:Everyday Iambic Conversation

Assignment:  You've been told so far that the iambic foot (u /), an unstressed syllable followed by a stressed syllable, is the pattern of everyday speech. Robert Frost, especially, showcases this idea--that even when we are having simple conversations which are not meant to be especially poetic or flowery or of elevated diction, our natural conversation rhythms fall within that pattern.

We talk essentially in iambic pentameter.

I'd like you to prove (or disprove) that theory. Here's how. Sometime between now and when the blog entry is due, I'd like you to go to a public place and capture word-for-word a conversation you overhear. Perhaps this is a teacher's lecture. Perhaps this is a conversation among dorm mates.Maybe you decide to write down a conversation you and your mother have. Maybe you record a fight between you and your sweetheart. You get the picture.

Be as thorough as you can in getting as many direct quotes as you can. This won't work if you are simply summarizing a conversation.

Then....

Type up that conversation within this blog space and put it to the test. Scan the conversation. Try to assess where unstressed and stressed syllables go.

Do the work of the scansion in the space of your blog entry.

p.s. I suppose this would also work if you wanted to capture some dialogue from a the local or national news, a political speech, a movie or a TV show. If you're diametrically opposed to playing spy to your unsuspecting friends, family, loved ones, teachers, etc., then you are welcome to snag something via media.

Let's aim for at least 14 lines/sentences to analyze.

Here are some examples of iambic pentameter (or close to it) overheard in daily conversation:


"I went and threw my uke so he fell
and hit the mat with a god damned bang."


"This choc-filled bun is wonderfully yum"

"I wait and wait: my mobile didn't ring."

"The dogs were running up and down the stairs."

"I can't believe she's *always* late, and then
she goes and does it yet again..."

"I try and try but nothing's going right
My boss is hurting not helping my confidence."