On Teaching Poetry, Part II
I taught my annual poetry unit at the beginning of the semester and have already blogged a little about it here. In that post I posted these key questions:
The key to teaching poetry is answering the question how. How can we help our kids get inside a poem? How can we help them admire (even if they do not necessarily like) the games poets play with language? How can we help them respect poetry even if they do not understand it? (“On Teaching Poetry“)
A lot of teachers take one of two conventional (and mistaken) approaches: have the students read easy, crappy poems, or have them read classical poems and force them to try to get some meaning out of it. I have chosen another approach.
Being a UD grad, I’m all about the Western Tradition and legit poetry. But I’m also all about respecting where my kids are and acknowledging the fact that, for most of them, poetry is pretty boring. So instead of teaching what a poem is about or even why a poet wrote it, I teach them to ask the question how.
The first thing the kids need to learn when encountering poetry is the difference between tone and mood. Why? Because recognizing tone and mood in conversation, in writing, in emails, in text messages, in any type of human communication is a basic life skill. If you can’t identify tone and mood, then you miss out on 99% of the meaning in any given sentence you read.
Tone is how the speaker feels about what he is saying. It is his attitude.
Mood is how the speaker is trying to make the audience feel about what he is saying.
I ask them, “Have you ever met someone who has a hard time picking up on sarcasm?”
They always say yes. “That person, who cannot pick up on a sarcastic tone, unfortunately misses most of the meaning.”
I then give a real life example. I walk up to Charlie and I say with sincerity and a bright smile, “Hey, Charlie, you did a great job in class today!”
Then I ask, “How does that make you feel, Charlie?”
“Uh.. good, miss,” he replies.
“Great. Because I used a sincere or kind tone, I created a positive or happy mood in Charlie. But I could easily say the exact same words and create a totally different meaning.”
I walk up to Charlie again, this time with a bored and annoyed expression on my face. “Hey, Charlie. You did a great job in class today.” I make the sarcasm as evident as possible.
Then I ask, “How does that make you feel, Charlie?”
“Uh… kinda bad, actually…”
“Exactly. This time I used a sarcastic tone and that created a hurt or slightly depressed mood.”
So then we start to apply those terms to poems – usually simple Billy Collins poems first. Ask questions like, “Okay, what do you think the speaker’s tone is in stanza 1 – positive or negative? What words or images made you say that?”
Starting with the generic terms positive or negative really helps the kids at first. After they determine if the tone is positive or negative, they can more easily find a stronger tone word like “sad” or “furious” or “calm”.
So then we work on what I call “Tone and Mood Maps.” Basically, the kids get a poem with plenty of space in the margins. Then we go through the poem stanza by stanza and put a plus sign + or minus sign – next to each stanza. Then, once we have mapped out basic positives and negatives, then we go back through the poem again and try to determine a tone word and a mood word for each stanza. Like so:
The next step is to put them in the place of the poet. Oftentimes students take for granted how difficult it is to write a poem. So I have them write their own “Introduction to Poetry” modeled after Billy Collins’ poem of the same name. The above picture shows one of these poems that was afterwards annotated by the student for tone and mood. Here is another one. The poem is worth reading!
And I really like the way this student models her poem after both Collins’ and Marianne Moore’s “Poetry”:
Approaching poetry this way changes the question from what does a poem mean to how does a poem mean.
Which, in the end, is a much more meaningful question. It prevents the student from making assumptions about the poet’s intent, and instead forces him to watch what the poet actually does in the poem.
Even if I present them with (gasp!) a real poem, they can find a way into the poem through the tone and mood. Like this student, who wrote admirably about Robert Frost’s “The Road Not Taken”. Here’s his second body paragraph:
Throughout the second and third stanzas of the poem, Frost tells of many similarities between the two roads. However, he twists and controls language in these stanzas using an appealing tone to help the speaker convince the readers that the second road was the correct one to choose and kindle in them a desire for it. After looking at one road for a while, the speaker “took the other, as just as fair,/ And having perhaps the better claim,/ Because it was grassy and wanted wear,/ Though as for that the passing there/ Had worn them really about the same” (6-10). This is what makes this poem difficult to understand. As a result of the appealing tone that the speaker uses, the reader is led to experience an intrigued mood and get caught up in the appeal of the second path, but forget that it is the same as the first.
I love that this kid is comfortable admitting that this poem is “difficult to understand”. He doesn’t pretend to get the whole thing and turn it to some carpe diem cliche, like most people do when they read Frosts’ poem. Instead, he just describes how the poem means by analyzing the tone and the mood.