zilongwang/ReadingBank huggingface dataset:
If Advisory & Assistance services for proposal evaluation, HCA determination included in file FAR 37.204; AGAR 437.204 Services determined not subject to or exempt from the SCA are documented in the file as applicable FAR 22.1003-4 SOLICITATION PHASE If PBA, solicitation contains PWS, measurable performance standards, & performance incentives (where appropriate) FAR 37.601 HSPD-12/PIV requirements included in Spec/SOW/SOO/PWS if contractors will require routine access to federal facility in performance of any work and appropriate clauses included in solicitation FAR 4.13; PA 81C; and FAR 52.204-9 If PBA, solicitation contains either a PWS & QASP, or a SOO; or QASP is requested in conjunction with the response to the solicitation FAR 37.6, 46.2 and 46.4; AOP #23 SOO complies with minimum requirements at . . . FAR 37.602(c) If a SOO is used, offerors are required to prepare a PWS and QASP FAR 37.604 and 46.4 If work is to be done at a Government facility, solicitation includes 52.237-1, 52.237-2, and AGAR 452.237-71 if applicable FAR 37.110; AGAR 437.110(b) HSPD-12/PIV requirements included in Spec/SOW/SOO/PWS if contractors will require routine access to federal facility in performance of any work and appropriate clauses included in solicitation FAR 4.13; PA 81C; FAR 52.204-9 If contractor Key Personnel are required, solicitation includes appropriate clause AGAR 452.237-74 Advisory & Assistance services include appropriate Progress Reporting clause AGAR 452.237-76 If restrictions are necessary regarding release of information developed or obtained in connection with AGAR 452.237-75
Audit of contractor’s proposal FAR 49.107 and 49.303-3 Ref. 12.403(d)(1) for audit rights under commercial contracts Price/cost analysis FAR 49.106 and 49.201 Profit/Fee objective established in accordance with . . . FAR 15.404-4, 49.2, and 49.305 Pre-Negotiation Plan Settlement Negotiation Memorandum FAR 49.110 Certificate of Current Cost or Pricing Data (CCCPD) only) FAR 52.215-21 HCA’s waiver of CCCPD is in accordance with. . . FAR 15. 403-1(c)(4) Fair and Reasonable Pricing Determination FAR 15.402, 49.2, and 49.3 SF 30 properly completed and appropriate termination clause/authority is cited FAR 49.603 or 12.403 The settlement is in accordance with . . . FAR 49.109 Mod includes all information required by . . . FAR 49.603 Price changes defined using “From – To” format and other information is clear and concise on SF 30 Best Practice Mod contains contractor’s release FAR 49.603 Signed mod FAR 4.101 Mod is within the CO’s warrant authority FAR 1.602-1; PA 100D FPDS Contract Action Report: FAR 4.602 and 4.606
High-pitched sound Hand gestures or motions Discussion Questions Discussion Question Evidence-Based Response What components of a scary story were present in this story? How reliable is the narrator regarding his own sanity? Claim: Evidence: How does Poe use images and phrases to create an atmosphere of horror? Why does the killer confess? Does the heartbeat really tell the tale of murder? Claim: Evidence: What do you think Edgar Allan Poe wants the reader to know about life at the end of this story? Claim: Evidence:
Internal quality audits and resulting corrective actions 21.A.139 (b) 1. (xiv) 21.A.139 (b) 2. 21.A.158 Quality audit of processes Quality audit of product Quality audit remedial action procedure Quality audit personnel Planning for POA compliance audits The quality audit of processes shall cover also the audit of special processes if any. These are the audits procedures to cover the scope of Part 21 subpart G in order to prove the compliance with the regulation Work within the terms of approval performed at any location other than the approved facilities 21.A.139 (b) 1. (xv) Also called outlocated work. Work carried out after completion of production but prior to delivery, to maintain the aircraft in a condition for safe operation 21.A.139 (b) 1. (xvi) This is applicable only for complete aircraft. Issue of permit to fly and approval of associated flight conditions 21.A.139 (b) 1. (xvii) 21.A.165 (j) (k) This is applicable only for complete aircraft. Occurrence reporting 21.A.139 (f) 21.A.165 (e) (f) Control of critical parts 21.A.139 (b) 1. Appendixes Capability List If applicable
Continuing professional development GMC Area 7 clinical supervisor and educational supervisor GMC Trainee Doctor: para 6.3-6.9, 6.38-6.39 GMC Tomorrow’s Doctors: Para 5; Domain 5, para 88; Domain 6, para 128 AoME Professional Framework: Core values and Domains 2 and 5 HEA Professional standards Framework: A3, A4, A5, K1, K2, K3, K5, K6, V1, V2, V3, V4 What do I currently do in this area? What is the evidence that I do it? How could I improve or strengthen my work in this area? What obstacles or options have I? How will I know that I have done it? Professional Standards Framework Matrix Ensuring safe and effective care patient care through training 1 para 6.29-6.31 Para 5; Domain 1 para 26, 27, 28(e) Core values and Domains 2 and 4 A4, K2, V1, V4 Establishing and maintaining and effective environment for learning 2 para para 6.32-6.33 Para 5; Domain 71 para 150, 155, Domain 8 paras 159, 162,164, 166, 167 Core values and Domains 1 and 4 A4, K1, K2, K3, K4, K5, K6, V2, V3 Teaching and facilitating learning 3 para 6.29-6.31 Para 5; Domain 6 para 122, 128 Core values and Domains 2 and 4 A1, A2, A3, A4, A5, K2, K3, K5, K6,
V3, V4 Enhancing through assessment 4 para 6.29-6.31 Para 5; Domain 5 para 88; Domain 7 Core values and Domain 3 A3, K2, K3, V1, V4 Supporting and monitoring educational progress 5 para 6.3-6.9, para para 6.38-6.39 Domain 9 paras 171, 172 Core values and Domain 2 A3, A4, K1, K2, K3, V1, V2, V3,V4 Guiding personal and professional development 6 para 6.3-6.9 Domain 6 Core values and Domain 2 A3, A4, K1, K2, K3, V1, V2, V3,V4 Continuing professional development as an educator 7 para 6.3-6.9, 6.38-6.39 Para 5; Domain 5, para 88; Domain 6, para 128 Core values and Domains 2 and 5 A3, A4, A5, K1, K2, K3, K5, K6, V1, V2, V3, V4
Create a detailed pictorial sketch or use 3D modeling software to document the best choice, based upon the design team’s decision matrix. Present a workable solution to the design problem. Unit 2: Materials and Structures (40 days) (14 Days) Understandings: Laws of motion describe the interaction of forces acting on a body. Structural member properties including centroid location, moment of inertia, and modulus of elasticity are important considerations for structure design. Static equilibrium occurs when the sum of all forces acting on a body are equal to zero. Applied forces are vector quantities with a defined magnitude, direction, and sense, and can be broken into vector components. Forces acting at a distance from an axis or point attempt or cause an object to rotate. In a statically determinate truss, translational and rotational equilibrium equations can be used to calculate external and internal forces. Free body diagrams are used to illustrate and calculate forces acting upon a given body. Knowledge and Skills It is expected that students will: Create free body diagrams of objects, identifying all forces acting on the object. Mathematically locate the centroid of structural members. Calculate moment of inertia of structural members. Differentiate between scalar and vector quantities. Identify magnitude, direction, and sense of a vector. Calculate the X and Y components given a vector. Calculate moment forces given a specified axis. Use equations of equilibrium to calculate unknown forces. Use the method of joints strategy to determine forces in the members of a statically determinate truss. (11 Days) Understandings:
A poem written by John Godfrey Saxe (1816-1887) It was six men of Indostan To learning much inclined Who went to see the Elephant (Though all of them were blind), That each by observation Might satisfy his mind The First approached the Elephant, And happening to fall Against his broad and sturdy side, At once began to bawl: "God bless me! but the Elephant Is very like a wall!" The Second, feeling of the tusk, Cried, "Ho! what have we here So very round and smooth and sharp? To me 'tis mighty clear This wonder of an Elephant Is very like a spear!" The Third approached the animal, And happening to take The squirming trunk within his hands, Thus boldly up and spake: "I see," quoth he, "the Elephant Is very like a snake." The Fourth reached out an eager hand, And felt about the knee. "What most this wondrous beast is like Is mighty plain," quoth he; "Tis Clear enough the Elephant Is very like a tree." The Fifth, who chanced to touch the ear, Said: "E'en the blindest man Can tell what this resembles most; Deny the fact who can, This marvel of an Elephant Is very like a fan!" The Sixth no sooner had begun About the beast to grope, Then seizing on the swinging tail That fell within his scope, "I see," quoth he, "the Elephant Is very like a rope." And so these men of Indostan Disputed loud and long. Each in his own opinion Exceeding stiff and strong, Though each was partly in the right, And all were in the wrong.
“Winter Cheer Fun” by Ayleen (1st grade) The day Santa came with the deer. Here I have Christmas cheer. Snow is going. Santa left. I slept. I really wanted to play in the snow. So Santa took me to the North Pole. I was making a snow tree. I would be a snow girl I’m delightful. I’ll have a picnic. “Winter is Cold” by Ian (1st grade) It is winter. It is cold. So I get under the blanket I’ll unfold. And I’ll go under the blanket so I don’t get cold. When I get warm, the blanket I will fold. There is lots of snow and the snow is ice cold.
For scarves and mittens and a beanie for your head. It’s fun to play in the sun But snow is better you know. Let’s put on our jackets and snow boots ‘Cause winter is such a big hoot. It’s December! It’s a good month to remember. I hope you’ll have fun time with your family members. Have a good winter, but now it’s time to go. I hope you have fun in all that snow!
Document justification for the objectives and targets which have been formulated; Justification of objectives and targets formulated shall be provided following guidance contained at EMP06. Justification is recorded within EMP06/F/01. Person responsible: Project Team Leader; The Project Team Leader is accountable for the completion of the POEMS. The Team Leader may choose to delegate the application of POEMS to an appropriate person or persons. Form EMP06/F/01 Setting Objectives and Targets; No change to content. This form is presented in a new style as it has been re-formatted to maintain consistency with ASEMS V3.0. Form EMP06/F/02 Environmental Objectives and Targets Register; No change to content. This form is presented in a new style as it has been re-formatted to maintain consistency with ASEMS V3.0. Form EMP06/F/03 Environmental Management Plan Record Sheet. EMP06/F/03 deleted. Its content is covered both within the reporting and within EMP06/F/01 and EMP06/F/02. EMP07 Operational Controls Operational Controls guidance is now provided at EMP08 To ensure that appropriate controls are developed (for testing, trialling, operation and disposal); EMP08 provides guidance for ensuring appropriate controls are developed. Check the controls when in place to ensure adequacy; EMP08 provides guidance for checking the adequacy of controls. Person Responsible: Project Team Leader; The Project Team Leader is accountable for the completion of the POEMS. The Team Leader may choose to delegate the application of POEMS to an appropriate person or persons. Form EMP07/F/01 Environmental Operational Control Index; Form EMP07/F/01 Environmental Operational Control Index is now This form is presented in a new style as it has been re-formatted to maintain consistency with ASEMS V3.0.
A Red, Red Rose BY O my Luve is like a red, red rose That’s newly sprung in June; O my Luve is like the melody That’s sweetly played in tune. So fair art thou, my bonnie lass, So deep in luve am I; And I will luve thee still, my dear, Till a’ the seas gang dry. Till a’ the seas gang dry, my dear, And the rocks melt wi’ the sun; I will love thee still, my dear, While the sands o’ life shall run. And fare thee weel, my only luve! And fare thee weel awhile! And I will come again, my luve, Though it were ten thousand mile. The Listeners BY ‘Is there anybody there?’ said the Traveller, Knocking on the moonlit door; And his horse in the silence champed the grasses Of the forest’s ferny floor: And a bird flew up out of the turret, Above the Traveller’s head: And he smote upon the door again a second time; ‘Is there anybody there?’ he said. But no one descended to the Traveller; No head from the leaf-fringed sill Leaned over and looked into his grey eyes, Where he stood perplexed and still. But only a host of phantom listeners
And bounced out of bed. “Nobody,” he said, As he kissed her Tenderly, “Nobody,” he said, As he slid down The banisters, “Nobody, My darling, Could call me A fussy man— BUT I do like a little bit of butter to my bread!” Macavity: The Mystery Cat by T S Eliot Macavity’s a Mystery Cat: he’s called the Hidden Paw— For he’s the master criminal who can defy the Law. He’s the bafflement of Scotland Yard, the Flying Squad’s despair: For when they reach the scene of crime—Macavity’s not there! Macavity, Macavity, there’s no one like Macavity, He’s broken every human law, he breaks the law of gravity. His powers of levitation would make a fakir stare, And when you reach the scene of crime—Macavity’s not there! You may seek him in the basement, you may look up in the air— But I tell you once and once again, Macavity’s not there! Macavity’s a ginger cat, he’s very tall and thin; You would know him if you saw him, for his eyes are sunken in. His brow is deeply lined with thought, his head is highly domed; His coat is dusty from neglect, his whiskers are uncombed. He sways his head from side to side, with movements like a snake; And when you think he’s half asleep, he’s always wide awake.
1. Name Mr. Artesian's one object in life. 2. Which two activities is he able to cut out all together? 3. What is Mr. Artesian's destination? 4. Is he an ignorant, tragic, or humorous character? Explain. 5. Using the definition of vertigo as a guide, explain the pun (a play on the sounds and meanings of words) in the last three lines of the poem. 6. Why might the poet have chosen the name "Mr. Artesian" for his character? APPLYING: Satire 1. Considering Mr. Artesian's goal in life, judge his final achievement. 2. What does Mr. Artesian's experience tell you about who and/or what Ogden Nash is satirizing? TONE Tone is the author’s, or speaker’s, attitude--stated or implied--toward a subject or an audience. Words such as bitter, joyful, sarcastic, bored, and amazed describe attitudes and tones. Any adjective that describes a person’s mental or emotional state works as a tone descriptor. For clues to the tone of a selection, look at its words and details. Birthday by M.T. Buckley Geronimo. I jumped into the world. No parachute. Bootless, falling into enemy territory 5 into the night (had my eyes closed). Didn’t take them long to find me. These suicide missions are all the same. Name? not yet. Unit? 82nd Newborn, ha ha. Slapped me around a bit 10 but I didn’t talk Made sure I wouldn’t escape. Sentenced me to life. I guess I deserved it. 1. By themselves, what tone do phrases like “enemy territory,” “suicide missions,” and “Slapped me around a bit” have? 2. Do you feel that the speakers’ overall tone is joking or serious? Explain your choice.
and entered the dusky hall. My feet on the clean linoleum left ghostly toes in the hall. 55 Where have you been? said my mother. Been riding, I said from the sink, and filled me a glass of water. What's that in your pocket? she said. Just my knife. It weighted my pocket 60 and stretched my dress awry. Go tie back your hair, said my mother, and Why Is your mouth all green? Rob Roy, he pulled some clover as we crossed the field, I told her. FIGURATIVE LANGUAGE Figurative language is language that is not used in a literal sense. It is not meant to be understood exactly as it appears. It depends largely on imaginative comparisons to express its meaning. It includes metaphor, simile, personification, hyperbole, understatement, and many others. Miss Rosie by Lucille Clifton When I watch you wrapped up like garbage sitting, surrounded by the smell of too old potato peels 5 or when I watch you in your old man’s shoes with the little toe cut out sitting, waiting for your mind 10 like next week’s grocery I say when I watch you you wet brown bag of a woman who used to be the best looking gal in Georgia 15 used to be called the Georgia Rose I stand up through your destruction I stand up
9. Argue why the tone of “The Unknown Citizen” is ironic. Use at least two pieces of evidence (direct lines or phrases from the poem) to support your answer. (Hint: When you are citing direct lines from a poem, instead of page numbers you use line numbers to indicate where you found the direct quote.) 1 2 3 4 ~Claim is missing or vague. ~Little or no analysis in terms of backing claims. ~Provides little or no evidence; response consists mainly of narration and/or repetition of content. ~Does not follow a clear organizational structure. ~Lacks sentence fluency. ~Demonstrates multiple spelling, punctuation and grammar errors. ~Does not follow MLA citation guidelines. ~Offers claim which is limited. ~Provides minimal analysis in terms of backing claims. ~Attempts to support position with evidence; however, evidence may be minimal, irrelevant, or inadequate. ~Inserts direct quotes. ~Attempts to follow a clear organizational structure ~Makes attempt to write with fluency and various sentence patterns. ~Demonstrates partial control of spelling, punctuation and grammar. ~Inconsistently uses MLA citation guidelines ~Offers a clear claim. ~ Provides analysis by backing claims. ~Supports position with relevant and credible evidence. ~Integrates direct quotes. ~Follows a clear organizational structure but may be missing conclusion. ~Incorporates various sentence patterns. ~Demonstrates control of spelling, punctuation and grammar. ~Consistently follows MLA citation guidelines. ~Offers precise and insightful claims. ~Provides thoroughly developed analysis by backing all claims. ~Supports position with compelling, relevant, accurate, and credible evidence. ~Expertly weaves direct quotes. ~Follows a clear organizational pattern and includes all parts of a paragraph. ~Expertly uses various sentence patterns for fluency ~Demonstrates expert control of spelling, punctuation and grammar. ~Expertly follows MLA citation guidelines.
We're takin' calls off the wish line Making all your wacky wishes come true I wish I was little bit taller, I wish I was a baller I wish I had a girl who looked good I would call her I wish I had a rabbit in a hat with a bat and a '64 Impala I wish I was like six-foot-nine So I could get with Leoshi Cause she don't know me but yo she's really fine You know I see her all the time Everywhere I go, and even in my dreams I can scheme of ways to make her mine Cause I know she's livin phat Her boyfriend's tall and he plays ball So how am I gonna compete with that 'Cause when it comes to playing basketball I'm always last to be picked And in some cases never picked at all So I just lean upon the wall Or sit up in the bleachers with the rest of the girls Who came to watch their men ball Dag y'all! I never understood Why the jocks get the fly girls And me I get the hood rats I wish I was little bit taller, I wish I was a baller I wish I had a girl who looked good I would call her I wish I had a rabbit in a hat with a bat and a '64 Impala I wish I had a brand-new car So far, I got this hatchback And everywhere I go, yo I gets laughed at And when I'm in my car I'm laid back I got an 8-track and a spare tire in the backseat But that's flat And do you really wanna know what's really wack, What See I can't even get a date So, what do you think of that? I wish, I wish, I wish...
This is an application to vary a premises-based activity licence issued under the Protection of the Environment Operations Act 1997 (‘POEO Act’). A variation includes the substitution, omission or amendment of an existing condition, or attaching a new condition to a licence. If a licence holder wishes to seek a variation to licence conditions, this is the application form to fill in. The form provides for the following scenarios: undertaking a new scheduled activity or ceasing a scheduled activity deleting an activity covered by a water licence or adding a new activity to be covered by the licence changing the scale/capacity of an activity extending a scheduled development works licence to cover the next stage of the development works or converting it to a scheduled activity licence adding an environmental improvement program any other variations. To complete this form you may need the Guide to licensing prepared by the Environment Protection Authority (EPA) and available at and/or Waste Classification Guidelines which are available at . If you need help filling out the form, please contact your nearest EPA office from the list at the end of this form. Once completed and signed, the form should be sent to your nearest EPA office (as indicated at the end of this form). Licence to be varied Licence to be varied Licence number Name of current licence holder(s) Full name(s) of licence holder(s) ACN /ABN (if applicable) ACN: ABN: Changes to scheduled activities If you have stopped undertaking a scheduled activity that is covered by your current licence, or propose to commence a new scheduled activity, you should advise the EPA. For more details on changing your activity type, please refer to the EPA’s Guide to licensing. Adding a new scheduled activity Write down the short descriptions of the categories of scheduled activity you would like added to the licence for your premises. These are listed in Schedule 1 of the POEO Act available at . Description of scheduled activities Please attach extra page(s) if more space is needed.
personification: attribution of human qualities to inanimate objects. Example: "nox inducere terrīs /umbrās . . . parābat", as if nox could prepare, implying intend, an action. (Serm. 1.5) simile: comparison using like or as. Example: "ut iniquae mentis asellus", where Horace explicitly compares his attitude to that of a bad-tempered donkey. ( Serm. 1.9) synchysis: interlocked word order (abab), in which the "a" words and the "b" words are linked, with an interlocking effect. Example: "pressa purīs mella amphorīs". "pressa . . . mella" are intertwined with "purīs . . . amphorīs". (Epode 2) synecdoche: the part for the whole. Example: “latus depone sub laurū”, an invitation to a friend to sit down and drink with him: “latus”, flank or side, for the whole body. “Park your butt here!” (Odes 2.7)
Cat! by Eleanor Farjeon Cat! Scat! After her, after her, Sleeky flatterer, 5 Spitfire chatterer, Scatter her, scatter her, Off her mat! Wuff! Wuff! 10 Treat her rough! Git her, git her. Whiskery spitter! Catch her, catch her, Green-eyed scratcher! 15 Slathery Slithery Hisser, Don't miss her! Run till you're dithery, 20 Hithery Thithery Pftts! Pftts! How she spits! Spitch! Spatch! 25 Can't she scratch! Scritching the bark Of the sycamore tree, She's reached her ark And's hissing at me 30 Pftts! Pftts! Wuff! Wuff! Scat, Cat! That's 35 That! Silver By Walter de la Mare Slowly, silently, now the moon Walks the night in her silver shoon; This way, and that, she peers, and sees Silver fruit upon silver trees; One by one the casements catch Her beams beneath the silvery thatch; Couched in his kennel, like a log, With paws of silver sleeps the dog; From their shadowy cote the white breasts peep Of doves in silver feathered sleep A harvest mouse goes scampering by, With silver claws, and silver eye; And moveless fish in the water gleam, By silver reeds in a silver stream. Your World BY Your world is as big as you make it. I know, for I used to abide In the narrowest nest in a corner, My wings pressing close to my side. But I sighted the distant horizon Where the skyline encircled the sea And I throbbed with a burning desire To travel this immensity. I battered the cordons around me And cradled my wings on the breeze, Then soared to the uttermost reaches With rapture, with power, with ease!
poem compares the corpses of soldiers to a “dung heap”. Toller suggests that brave soldiers have become nothing more than rotten, cast off garbage. The dehumanizing effect is taken one step further as the speaker, obviously a soldier who experiences these horrible events, questions his very being, “Am I a beast, a murderous dog?” (l. 15). This metaphor, in the form of a rhetorical question, further asserts the tone suggesting disgust and disillusionment. The most impressive metaphor however, compares enemies to brothers who “embrace each other” (l. 11) in an ironic death grip that illustrates the destructive and horrible effects of war. These metaphors underscore the bitter tone of the poem. Imagery and figurative language are not the only devices at Toller’s disposal. One final method Toller uses to express a negative, depressing tone is the use of repetition and sound devices. In the first stanza, Toller utilizes consonance with a repeating ‘s’ sound that effectively mimics the gas that escapes from the dead bodies, “corpses [with] glazed eyes, bloodshot/…Brains split, guts spewed out/…poisoned by…stink” (ll. 2-4). This consonance emphasizes the mutilation of the corpses and further develops Toller’s negative tone. Repetition takes place in several instances, yet most impressively in the last stanza, “I see, I see” (l. 14). The speaker is now resigned to the horror that he has experienced in warfare and he repeats this realization as a sort of anguished cry. From its title until its last line, ‘murdered’, “Corpses in the Woods” by Ernst Toller uses a variety of poetic techniques to establish and develop a depressing tone of horror and disgust. The imagery of rotting corpses suggests the horror of the destructive battles the speaker has experienced. Impressive metaphors, both direct and implied, help to further develop the horror. Finally, the poetic sound devices and repetition of the entire poem establish the horrifying monotony of the destruction of warfare. Lyric poems such as “Corpses in the Woods” are perhaps the most effective methods artists have to effectively represent the horrible tone created by war.
Poetry in the High Holy Day Liturgy: The Art of the Piyyut Hazzan Rob Menes September, 2009 Introduction Historical Background Poetic Devices Structure in Liturgy Themes Examples Introduction HHD Services evolved from early rabbinic times Basic liturgy – required brachot – identified in Talmud (ca 550 CE) HHD service has both expanded and contracted through history Identified as “long” in Talmud Various machzorim differ enormously Why? Different traditions arose, particularly around singing Desire for more ecstatic expression Desire for additional aesthetic components Reluctance to reduce, only add External factors (oppression) altering the service Availability of printed machzorim Knowledge and culture of local congregations Most obvious changes are in the “non-statutory” additions – the poetry Piyyutim are “liturgical poems” – poems used for the religious service The poets, paytanim (from the Greek “makers”) appear anonymously as early as the 2nd cent, and named from the 5th cent. There are poems earlier, eg. Psalms, Song at the Sea, but not created for the service Historical Background Early liturgical poetry identified (eg from hekhalot literature), but not necessarily in common liturgy The “piyyut period” begins with Jose ben Jose, in Palestine, 6th cent. The piyyut structure becomes formalized “Avodot” Necessity of piyyutim, poems and songs, to replace prohibited readings and sermons – piyyutim replace sermons Classical piyyutim, 6-8th cent Yannai kedushta
Introduction to Poetry I ask them to take a poem and hold it up to the light like a color slide or press an ear against its hive. I say drop a mouse into a poem and watch him probe his way out, or walk inside the poem's room and feel the walls for a light switch. I want them to waterski across the surface of a poem waving at the author's name on the shore. But all they want to do is tie the poem to a chair with rope and torture a confession out of it. They begin beating it with a hose to find out what it really means. Billy Collins The Apple that Astonished of Press Copyright © 1988 by Billy Collins. All rights reserved. Reproduced by Poetry Daily with permission. How To Be a Poet (to remind myself) Make a place to sit down. Sit down. Be quiet. You must depend upon affection, reading, knowledge, skill — more of each than you have — inspiration, work, growing older, patience, for patience joins time to eternity. Any readers who like your work, doubt their judgment. Breathe with unconditional breath the unconditioned air. Shun electric wire. Communicate slowly. Live a three-dimensioned life; stay away from screens. Stay away from anything that obscures the place it is in. There are no unsacred places; There are only sacred places And desecrated places. ~ Wendell Berry ~ Poetry Journal/Grading Rubric 10 Goes beyond expectations; attention to detail shows 9-8 Meets expectations, could be a little more precise or 7 Deviates from expectations, needs attention to accuracy, 6-5 Deviates from expectations to a great degree 0 Is not done or is done so poorly it is unscorable
Coach to New Runner (EXAMPLE MIMIC POEM) Well, Runner, I’ll tell you; Life for me ain’t been an easy race, It’s had potholes, And merciless temperatures, And steep, endless hills, And no water in sight- Thirsty. But through it all, I keep shufflin’ along, And counting mile markers, And Carb loading, And sometimes holding back the tears, As the blisters keep on growing. So Runner, don’t you quit, Don’t you hide those running shoes in the closet, Just because you are tired. Don’t you stop trekkin, For I’m still pushing hard, I’m still running that race, And life for me ain’t been no easy race.
Quoth the Raven, 'Nevermore.' 'Be that word our sign in parting, bird or fiend,' I shrieked, upstarting- 'Get thee back into the tempest and the Night's Plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken!- quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door!' Quoth the Raven, 'Nevermore.' And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon's that is dreaming, And the lamplight o'er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted- nevermore! Name(s) ________________________________________________ Mrs. Zupo Directions: Write your FINAL assigned stanza translations for “The Raven” on the lines below; use BLUE/BLACK ink. Label the stanza # in the space provided. Stanza # ______
I was angry with my foe: I told it not, my wrath did grow. And I waterd it in fears, Night & morning with my tears: And I sunned it with smiles, And with soft deceitful wiles. And it grew both day and night. Till it bore an apple bright. And my foe beheld it shine, And he knew that it was mine. And into my garden stole, When the night had veild the pole; In the morning glad I see; My foe outstretched beneath the tree. I Knew a Man By Sight By: Henry David Thoreau I knew a man by sight, A blameless wight, Who, for a year or more, Had daily passed my door, Yet converse none had had with him. I met him in a lane, Him and his cane, About three miles from home, Where I had chanced to roam, And volumes stared at him, and he at me. In a more distant place I glimpsed his face, And bowed instinctively; Starting he bowed to me, Bowed simultaneously, and passed along. Next, in a foreign land I grasped his hand, And had a social chat, About this thing and that, As I had known him well a thousand years. Late in a wilderness I shared his mess, For he had hardships seen, And I a wanderer been; He was my bosom friend, and I was his. And as, methinks, shall all, Both great and small, That ever lived on earth, Early or late their birth, Stranger and foe, one day each other know. Invitation to Love By: Paul Laurence Dunbar Come when the nights are bright with stars Or when the moon is mellow; Come when the sun his golden bars Drops on the hay-field yellow. Come in the twilight soft and gray, Come in the night or come in the day, Come, O love, whene’er you may, And you are welcome, welcome. You are sweet, O Love, dear Love, You are soft as the nesting dove. Come to my heart and bring it rest As the bird flies home to its welcome nest. Come when my heart is full of grief Or when my heart is merry; Come with the falling of the leaf Or with the redd’ning cherry. Come when the year’s first blossom blows, Come when the summer gleams and glows, Come with the winter’s drifting snows, And you are welcome, welcome.
The moon slept in the night sky. The star is winking at me. A hyperbole is any extravagant statement or exaggeration for effect. Hyperbole is used as a figure of speech. Examples of hyperboles: I could sleep for a year! I’m so hungry I could eat a horse. Identify whether the following sentences use a hyperbole (H) or personification (P): The flames called out their names. After shoveling snow I was so tired I couldn’t move. The clock told us it was time to go. She hit the ball all the way to Pittsburgh. The wind whispered to the trees. It was so cold her car laughed at her when she tried to start it. After the dance my feet were killing me. All day long I worked my fingers to the bone. Allusions An allusion is a reference to well-known characters or events from literature, history, or another field of knowledge. Writers use allusions to add imagery and emotion into their writing. For example, a writer could say, “He has the Midas touch when picking stocks.” King Midas was a famous character from Greek Mythology whose touch turned items into gold. Read the sentences below and explain their meaning based on the allusion in each sentence. Research the meaning of any allusions that are unfamiliar to you. 1. Because of the determination of its people, the country rose like a phoenix from the ashes of revolution. a. What is a phoenix? __________________________________________________________________________
Follow the example below: “Poem” by Author The poem “Title” by Author was a narrative poem with ten stanzas. The rhyme scheme reminded me of a horse clopping along a pathway. The poet used internal rhyme as well, which added to the euphony of the poem. She/he used similes, such as….., and personification saying…, which made me think of …… The overall theme of the poem was… since it made me think of ……. I thought of … when I read them/ or This poem reflected my life since I thought of…. *Do not include Shel Silverstein or Dr. Seuss in your choices. 3. Choose one of the poems in which you have written a reflection and write 100 words of it on your poetry handout in which to memorize and present to the class. 4 3 2 1 Title Page The Title Page is very creative and neat and invites the reader to read the reflections. The Title Page is somewhat neat but lacks creativity and color. The Title Page needs some improvement even though it states its purpose The Title Page lacks your name and is not neat and creative. Contents: Reflections of ten poems The paragraphs have correct forms with the poem and poet listed. They clearly and concisely follow the directions of explaining the poems using poetic elements. You included a personal reflection with each poem. One of your reflections was not complete and/or one did not a followed the required formats. Two or three of your reflections were not complete and/or did not follow the required formats. More than three of your reflections were not complete, and/or they did not follow the required formats. Grammatical conventions All paragraphs have correct punctuation and grammar. Most paragraphs have correct punctuation and grammar. There are several spelling, punctuation, and grammar mistakes. Most paragraphs need corrections in punctuation and grammar.
Oral Poem Oral Poem Error free recited fluently without hesitation. The audience could hear you well. You were error free and spoke loudly; however, you stumbled and recalled several times. You need prompting, and made some mistakes. The audience had to strain to hear you. You hesitated and made several mistakes with the audience not able to hear you. Total points =____________________ Name ____________________________________ Terms/Definition & Example from Text Analysis and Purpose 1. alliteration- A poetic device where the first consonant sounds in words or syllables are repeated. 2. allusion -indirect or brief references to well-known characters or events 3. analogy - finding a commonality between things that are not alike 4. assonance -The repetition of similar vowel sounds. 5. blank verse -Unrhymed verse that has the same meter (rhythm).
The poet reveals the character in the poem through his use of … (e.g. diction, sound devices, imagery, allusion) The two poems contrast in form, tone or imagery, as one is….and the other is… Heaney uses …language to emphasize the notion of… The poet provides two different aspects of… Each poem use extended metaphor to represent…The metaphors…and... reveal(s) the speaker's attitude about…which is… The use of…reveal the poet’s strong connection to his cultural heritage, as well as his preoccupation with… The structure of the narrative reflects the poet's changing reaction to … (subject) and creates a contrast between… Heaney employs … [technique] in order to establish … The word … suggests … The …tone of the poem is created through the use of … Lines …can be interpreted to mean … because … In lines …, the speaker is asserting … In lines …, the speaker is portrayed as …through the author’s use of … . In lines …, the poem shifts from … to …. …in line … symbolizes … because … In lines …, the effect of the metaphor comparing … to … is …. In lines …, the author juxtaposes … and … in order to suggest... The main point of line/stanza … is to …. The two poems reflect… Both poems are characteristic of Heaney’s use of… Although …and …contrast in the way Heaney uses …and …, they are similar in the way they …
My Hometown By Bruce Springsteen Please listen to the following song on YouTube. Once you have listened, look at the lyrics and annotate the poem/song to the best of your ability (5) I was eight years old and running with a dime in my hand Into the bus stop to pick up a paper for my old man I'd sit on his lap in that big old Buick and steer as we drove through town He'd tousle my hair and say son take a good look around this is your hometown This is your hometown This is your hometown This is your hometown In `65 tension was running high at my high school There was a lot of fights between the black and white There was nothing you could do Two cars at a light on a Saturday night in the back seat there was a gun Words were passed in a shotgun blast Troubled times had come to my hometown My hometown My hometown My hometown Now Main Street's whitewashed windows and vacant stores Seems like there ain't nobody wants to come down here no more They're closing down the textile mill across the railroad tracks Foreman says these jobs are going boys and they ain't coming back to your hometown Your hometown Your hometown Your hometown Last night me and Kate we laid in bed talking about getting out Packing up our bags maybe heading south I'm thirty-five we got a boy of our own now Last night I sat him up behind the wheel and said son take a good look around This is your hometown YouTube Eric Church’s My Hometown. Note any similarities you may find. (5)
rain in both poems, eg: • in the first, the writer does not like the rain. He finds it dull, damp, grey and sodden and he doesn’t like being kept inside. In the second, he loves the rain; he finds it ‘beautiful’ after all the heat • Brian Lee sees rain as miserable and shows how it stops people from doing things like games. Longfellow thinks rain is good because it gives water. He describes it as beautiful and welcome. Brian Lee as grey • the first poem makes you feel depressed and it makes you think rain is bad, boring and miserable: ‘sodden leaks, grey, damp, smother.’ The second poem makes you feel happy and it makes you think that rain is beautiful: ‘clatter, tramps, beautiful, roars, swift, gushes.’ Award 2 marks for answers that see a difference of opinion about the rain and make at least one specific contrast involving any one of the following points: • welcome / unwelcome rain • positive / negative vocabulary • effect on author / reader: happiness / misery • cite contrasting quotations • reason for effect on author / reader: endless rain / long-awaited rain. For example: • they each think differently. One likes the rain, one does not. The writer who has written ‘Rain’ probably often gets rain and never gets sun, while the other writer is the opposite and the writer who has written ‘Rain in Summer’ has probably had a long drought and thinks it’s wonderful to see rain again while the other one is just bored with the rain • in the first poem, the effect of the rain makes you feel miserable and dull. It’s described as if there are no good things to do but in the other one, it’s exciting and a relief • in the ‘Rain’ poem it says ‘it’s grey outside, inside me it’s grey’ but in ‘Rain in Summer’ it says ‘How beautiful is the rain!’ Award 1 mark for answers that make a simple negative / positive contrast between the two poems, eg: • in one poem the poet likes the rain, in the other he did not • because they both have different things happening. One likes it, the other doesn’t. up to 3 marks
Ben Johnson, “To the Immortal Memory and Friendship of the noble Pair, Sir Lucius Cary and Sir H. Morison” THE TURN Brave infant of Saguntum, clear Thy coming forth in that great year, When the prodigious Hannibal did crown His rage with razing your immortal town. Thou looking then about, Ere thou wert half got out, Wise child, didst hastily return, And mad'st thy mother's womb thine urn. How summ'd a circle didst thou leave mankind Of deepest lore, could we the centre find! THE COUNTER-TURN Did wiser nature draw thee back, From out the horror of that sack; Where shame, faith, honour, and regard of right, Lay trampled on? The deeds of death and night Urg'd, hurried forth, and hurl'd Upon th' affrighted world; Sword, fire and famine with fell fury met, And all on utmost ruin set: As, could they but life's miseries foresee, No doubt all infants would return like thee. THE STAND For what is life, if measur'd by the space, Not by the act? Or masked man, if valu'd by his face, Above his fact? Here's one outliv'd his peers And told forth fourscore years: He vexed time, and busied the whole state; Troubled both foes and friends; But ever to no ends: What did this stirrer but die late? How well at twenty had he fall'n or stood! For three of his four score he did no good.
POETRY FORM  FORM - the appearance of the words on the page  LINE - a group of words together on one line of the poem  STANZA - a group of lines arranged together A word is dead When it is said, Some say. I say it just Begins to live That day.
FREE VERSE POETRY  Unlike metered poetry, free verse poetry does NOT have any repeating patterns of stressed and unstressed syllables.  Does NOT have rhyme.  Free verse poetry is very conversational - sounds like someone talking with you.  A more modern type of poetry.
NEAR (or SLANT) RHYME  a.k.a imperfect rhyme, close rhyme  The words share EITHER the same vowel or consonant sound BUT NOT BOTH ROSE LOSE  Different vowel sounds (long “o” and “oo” sound)  Share the same consonant sound
CAESURA  Caesura - A strong pause within a line of verse.  The following stanza from Hardy's "The Man He Killed" contains caesuras in the middle two lines:  He thought he'd 'list, perhaps, Off-hand-like--just as I-- Was out of work-had sold his traps-- No other reason why.
ENJAMBMENT  Enjambment- the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza.  On the next slide are a few lines from Keats' Endymion which demonstrate how enjambment works:
Sound Devices Meaning Examples Rhythm A pattern of beats; repetition of sounds or syllables, can follow a regular pattern or it can be loose and conversational. DOU-ble, / DOU-ble / TOIL and / TROU-ble; FI-re / BURN, and / CAL-dron / BUB-ble. ( by Shakespeare Accent is on first syllable on each word sets up the rhythm. Repetition Repeating a sound, word, phrase, line or group of lines. Down, down, down into the sea Row, row, row your boat End Rhyme Rhyme that occurs at the end of different lines of poetry. As I was walking down the street Grumbling about my aching feet Internal Rhyme Rhyme that occurs within a line of poetry Falling leaves whirl twirl Rhyme Scheme A regular pattern of end rhymes. Each rhyming sound is given a different letter. A stanza or group of lines might have a rhyme scheme of “abab”. This means that lines 1 and 3 rhyme and lines 2 and 4 rhyme Alliteration The repetition of consonant sounds at the beginning of a word within the same line. The spelling does not have to be the same. Peter Piper picked a peck of pickled peppers Rhonda’s wrinkles rarely saw a hat. Connor’s kittens cuddled. Consonance The repetition of consonant sounds at the end of words within the same line. Tick tock Hot got Running and ripping Assonance The repetition of vowel sounds within the same line. Go low and slow below the ridge Lazy days, daisies lay Onomatopoeia The use of words that sound like what they mean. Buzz, pop, boom, swoosh, slurp, howl, hiss.
November/December 2011 Monday Tuesday Wednesday Thursday Friday 15 Poetry Introduction Poetry Splash Essential Vocabulary Essential Questions Homework: Read : “Undertaker” by Patricia Smith 16 Free Verse/Annotating “Hanging Fire” Homework: Read “Mentor” by Thomas Murphy; “Wheels” by Jim Daniels; “The Meadow” by Kate Knapp; “In the Well” by Andrew Hudgins; “Otherwise” by Jane Kenyon; “Lesson” by Forest Hamer; “My Life” by Joe Wenderoth; “Hate Poem” by Julie Sheehan; “Before the World Intruded” by Michele Rosenthal; “Kyrie” by Tomas Transtromer; “End of April” by Phillis Levin 17 Theme Analysis Analysis TP-CASTT Homework: Read “We Real Cool” by Gwendolyn Brooks 18 SGA Rhythm “We Real Cool” Homework: Read “I’m Alive, I Believe in Everything” by Lesley Choyce; “On Turning Ten” by Billy Collins; “Heredity” by Thomas Hardy; “Conceit” by DH Lawrence; “Lost” by David Waggoner; “My Life” by Joe Wenderoth; “I’m Nobody” by Emily Dickinson; “Ode to Family Photographs – Will You Know Us?” by Gary Soto; “Alone” by Maya Angelou 21 Comparing Themes in Poems (Self Identity Poems) Homework: Read “adam thinking” by Lucille Clifton; “Please Fire Me” by Deborah Garrison; “Halley’s Comet” by Stanley Kunitz; “Jump mama” by Kurtis Lamkin; “Riding into California” by Shirley Geok-lin Lim; “Yesterday” by W.S. Merwin; “X” by Amiri Baraka 22 Playing with Words Author’s Word Choice Homework: Read “Identity” by Julio Noboa Polanco; “My Papa’s Waltz” by Theodore Roethke; “Young” by Anne Sexton; “In Memoriam” by Lord Alfred Tennyson; “Ode to Family Photographs” by Gary Soto; “We Real Cool” by Gwendolyn Brooks; “Eviction” by Lucille Clifton; “The Highwayman” by Alfred Noyes; “The Negro Speaks of Rivers” by Langston Hughes 23 NO SCHOOL – THANKSGIVING BREAK WORK ON POETRY PROJECT 24 NO SCHOOL – THANKSGIVING BREAK WORK ON POETRY PROJECT 25 NO SCHOOL – THANKSGIVING BREAK WORK ON POETRY PROJECT