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C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
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C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
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C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
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C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
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C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
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C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
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C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
C pelt session 3 (1)
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C pelt session 3 (1)


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  • 1. L ITERATURE F or Y OUNG L EARNERS Literature for Young Learners_C-PELT 2010
  • 2.
    • Session 3
    • Exploring Children's Literature
    • POETRY
    Literature for Young Learners_C-PELT 2010
  • 3. Training Outcomes
    • In this session, you will:
    • Identify a range of different forms of poems suitable for young children
    • Demonstrate an appreciation of poetic elements.
    • Discuss the criteria for selection of poems.
    Literature for Young Learners_C-PELT 2010
    • What is Poetry?
    • Poetry is the most compressed form of literature . It is creative writing in verse rather than in sentences. It is the expression of ideas and feelings through a rhythmical composition of imaginative and beautiful words selected carefully for their sonorous effects which can evoke great depth of feelings as well as provoke new insights
    • (Lynch-Brown & Tomlinson;2005
  • 5.
    • PART 2
  • 6.
    • Nursery rhymes
    • traditional verses
    • simple and brief stories
    • regular rhythm
    • handed down from one generation to the next
    • Example:
      • - Baa baa black sheep, have you any wool? Yes sir, yes sir, three bags full! One for the master, one for the dame, And one for the little boy who lives down the lane.
  • 7.
    • Limericks
    • popularised by Edward Lear (1864), originated in Limerick, Ireland
    • A rhymed humorous or nonsense poem
    • consist of five lines
    • set rhyme scheme of : a-a-b-b-a with a syllable structure of: 9-9-6-6-9.
    • Example:
    • There was a young lad from the city
    • In search of a lass who was pretty.
    • He found a real stunner
    • But she did a runner
    • Now he’s all alone – what a pity.
  • 8.
    • Ballad
    • poem that tells a story
    • considered a form of narrative poetry and has musical quality (can be sung or performed with or without music)
    • comprises 2 or 4 lines with 2 nd & 4 th lines rhyming
    • story of a ballad mostly deals with legends, folklores or love stories.
  • 9. Example:
    • The Ballad of a Bachelor
    • Listen, ladies, while I sing The ballad of John Henry King.
    • John Henry was a bachelor, His age was thirty-three or four.
    • Two maids for his affection vied, And each desired to be his bride,
    • And bravely did they strive to bring Unto their feet John Henry King.
    • John Henry liked them both so well, To save his life he could not tell
    • Which he most wished to be his bride, Nor was he able to decide.
    • Fair Kate was jolly, bright, and gay, And sunny as a summer day;
  • 10.
    • Marie was kind, sedate, and sweet, With gentle ways and manners neat
    • Each was so dear that John confessed He could not tell which he liked best.
    • He studied them for quite a year, And still found no solution near,
    • And might have studied two years more Had he not, walking on the shore,
    • Conceived a very simple way Of ending his prolonged delay—
    • A way in which he might decide Which of the maids should be his bride.
    • He said, "I'll toss into the air A dollar, and I'll toss it fair;
  • 11.
    • If heads come up, I'll wed Marie; If tails, fair Kate my bride shall be.“
    • Then from his leather pocket-book A dollar bright and new he took;
    • He kissed one side for fair Marie, The other side for Kate kissed he.
    • Then in a manner free and fair He tossed the dollar in the air.
    • "Ye fates," he cried, "pray let this be A lucky throw indeed for me!“
    • The dollar rose, the dollar fell; He watched its whirling transit well,
    • And off some twenty yards or more The dollar fell upon the shore.
  • 12.
    • John Henry ran to where it struck To see which maiden was in luck.
    • But, oh, the irony of fate! Upon its edge the coin stood straight!
    • And there, embedded in the sand, John Henry let the dollar stand!
    • And he will tempt his fate no more, But live and die a bachelor.
    • Thus, ladies, you have heard me sing The ballad of John Henry King
    • Ellis Parker Butler
  • 13.
    • Concrete Poetry/Shape poem
    • a poem which takes on the shape of its subject
    • if the subject of the poem was a human body, then the poem would be shaped like a human body.
  • 14. Example
    • my
    • body
    • is
    • a
    • walking representation
    • the outward visual caption
    • of what it means
    • to be
    • me
    • from the
    • outside
    • looking
    • in
    • at times I hide
    • from you but mostly
    • what you see is
    • what you will get
  • 15.
    • Free Verse
    • an irregular form of poetry
    • does not follow any set pattern of rhyme, rhythm or verse structure
    • Example
    • As soon as Wolf began to feel That he would like a decent meal, He went and knocked on Grandma's door. When Grandma opened it, she saw The sharp white teeth, the horrid grin, And Wolfie said, ``May I come in?'' Poor Grandmamma was terrified, ``He's going to eat me up!'' she cried .
  • 16.
    • And she was absolutely right. He ate her up in one big bite. But Grandmamma was small and tough, And Wolfie wailed, ``That's not enough! I haven't yet begun to feel That I have had a decent meal!'' He ran around the kitchen yelping, ``I've got to have a second helping!'' Then added with a frightful leer, ``I'm therefore going to wait right here Till Little Miss Red Riding Hood Comes home from walking in the wood.'' He quickly put on Grandma's clothes, (Of course he hadn't eaten those). He dressed himself in coat and hat. He put on shoes, and after that He even brushed and curled his hair, Then sat himself in Grandma's chair. In came the little girl in red.
  • 17.
    • She stopped. She stared. And then she said,
    • ``What great big ears you have, Grandma.'' ``All the better to hear you with,'' the Wolf replied. ``What great big eyes you have, Grandma.'' said Little Red Riding Hood. ``All the better to see you with,'' the Wolf replied.
    • He sat there watching her and smiled. He thought, I'm going to eat this child. Compared with her old Grandmamma She's going to taste like caviar.
    • Then Little Red Riding Hood said, ``But Grandma, what a lovely great big furry coat you have on .''
  • 18.
    • ``That's wrong!'' cried Wolf. ``Have you forgot To tell me what BIG TEETH I've got? Ah well, no matter what you say, I'm going to eat you anyway.'' The small girl smiles. One eyelid flickers. She whips a pistol from her knickers. She aims it at the creature's head And bang bang bang , she shoots him dead. A few weeks later, in the wood, I came across Miss Riding Hood. But what a change! No cloak of red, No silly hood upon her head. She said, ``Hello, and do please note My lovely furry wolfskin coat.''
    • Roald Dahl
    • Limerick
    • Concrete Poetry/Shape poem
    • Nursery Rhyme
    • Free Verse
    • Ballad
  • 20.
    • PART 2
  • 21. ACTIVITY 2
    • Read the extract on page 5 and answer the questions below.
    • What are the basic elements of poetry?
    • Can poetry be related to real life? How?
  • 22. ACTIVITY 3 - Poetic Language
    • i. Sensory language/Imagery
    • ii. Sound patterns
    • iii. Figurative language
  • 23.   A . Sensory language/Imagery  
    • Words in a poems are carefully chosen to imply a range of ideas, images & feelings.
    • Each word implies & suggests more than it literally says.
    • Sensory language stimulates readers’ senses & reminds them of concrete experiences.
    • Poets continually search for fresh imagery to arouse the senses
  • 24.
    • Examples of sensory language:
    • Sense Imagery
    • Sight Fire-engine red, gigantic, elongated
    • Touch Soft, hard, rough
    • Sound Crunch, rumble, squeak
    • Smell Rotting leaves, wet dog, bread baking
    • Movement Hop, skip, trudge
    • Taste Sweet, Salty, bitter
  • 25.
    • Read the poem I love the Look of Words and identify the sensory images.
    • Complete the table on page 7
  • 26. SENSE IMAGERY Sight Popcorn leaps, popping from the floor, black skillet, Black words, white page Touch hot Sound Popping, snapping Smell Sweet smell of butter Movement Leaps, snapping, Rushing Sliding gobbles Taste buttered popcorn
  • 27. B. Sound patterns
    • Children learn the sound patterns of language before they learn words.
    • Sound patterns appear to be instrumental in children’s acquisition of language.
    • The sounds of poetry attract young children, who realize early on that words have sounds as well as meanings .
  • 28.
    • “ They love to rhyme words, to read alliterative tongue twisters, to laugh at funny-sounding names”. (Fleishchman, 1986, p.553)
    • Sound patterns are a delight to the ear of everyone, young & old.
    • Rhyme, alliteration, onomatopoeia & assonance are several devices commonly used by poets to achieve these sound patterns & are often combined to give sound effects to a poem.
  • 29.
    • Rhyme
    • refers to the sound of the ending part of the word, not necessarily the spelling
    • End rhymes – last word in every other line will rhyme
    • Internal rhymes - words within the line will rhyme
  • 30.
    • Poem to mud
    • Poem to mud- Poem to ooze- Patted in pies, or coating the shoes. Poem to slooze- Poem to crud- Fed by a leak, or spread by a flood. Wherever, whenever, whyever it goes, Stirred by your finger or strained by your to es, There’s nothing sloppier , slipperier , floppier, There’s nothing slickier, stickier, thickier, There’s nothing quickier to make grown-ups sick ie r, Trulier coolier, Than wonderful mud .
    • Zilpha Keatley Snyder
  • 31.
    • Rhythm
    • the repetition of stress within a poem
    • it is the entire movement or flow of the poem as affected by rhyme
    • makes the poem memorable and enjoyable, especially when chanted in unison.
  • 32.
    • Song of the Train
    • Clickety-clack,
    • Wheels on the track,
    • This is the way
    • They begin the attack:
    • Click-ety-clack,
    • Click-ety-clack,
    • Click-ety, clack -ety,
    • Click-ety
    • Clack.
    • Clickety-clack,
    • Over the crack,
    • Faster and faster
    • The song of the track:
    • Clickety-clack,
    • Clickety-clack,
    • Clickety, clackety,
    • Clackety.
    • Clack.
    • Riding in front,
    • Riding in back,
    • Everyone hears
    • The song of the track:
    • Clickety-clack,
    • Clickety-clack,
    • Clickety, Clickety,
    • Clackety
    • Clack.
    • David Mcord
  • 33. Alliteration
    • the repetition of the same consonant sounds at the beginning of a word to create a desired effect or emphasis.
    • The Tutor
    • A t utor who t ooted t he flute T ried t o t each t wo young t ooters t o t oot.     Said t he t wo t o t he t utor,     "Is it harder to toot, or T o t utor t wo t ooters t o t oot?"
    • Carolyn Wells
  • 34. Onomatopoeia
    • A word that imitates the real-world sound it represents.
    • appeal to our sense of hearing and they help bring a description to life.
  • 35.
    • Washing Day
    • A washing machine
    • A sploshing machine
    • Splish, splash, splosh
    • Whenever I use my washing machine
    • It s plishes and splashes
    • All over the floor,
    • It splashes and sploshes
    • As far as the door.
    • I get in into muddles
    • And step into puddles,
    • I don’t think I’ll use it
    • Any more.
    • Anne English
  • 36. Assonance
    • The repetition of similar vowel sounds, within a phrase .
    • The same vowel sound is heard repeatedly within in a line or a few lines of poetry.
  • 37.
    • Don’t Ever Seize a Weasel by the Tail
    • You should never squ ee ze a w ea sel
    • for you might displ ea se the w ea sel,
    • and don’t ever s ei ze a w ea sel by the tail.
    • Let his tail blow in the breeze;
    • if you pull it he will sneeze,
    • for the weasel’s constitution tends to be a little
    • frail.
    • Yes the w ea sel wh ee zes ea sily;
    • the w ea sel fr ee zes ea sily;
    • the weasel’s tan complexion rather suddenly
    • turns pale.
    • So don’t displ ea se or t ea se a w ea sel,
    • squ ee ze or fr ee ze or wh eez e a w ea sel
    • and don’t ever s ei ze a w ea sel by the tail.
    • Jack Prelutsky
  • 39. Simile
    • a form of comparison that asks us to picture one thing as being similar to another
    • often uses connectives such as ‘like’, ‘as’, ‘than’ or verbs such as ‘seems’ ‘resembles’ or ‘appears’
  • 40.
    • COW
    • The cow
    • Coming
    • Across the grass
    • Moves
    • Like a mountain
    • Toward us;
    • Her hipbones
    • Jut
    • Like sharp
    • Peaks
    • Of stone,
    • Her hoofs
    • Thump
    • Like dropped
    • Rocks:
    • Almost
    • Too late
    • She stops .
    • Valerie Worth
  • 41. Metaphor
    • a form of comparison, but instead of saying something is like something else, metaphor says that something is something else.
    • Examples:
    • Spill
    • the wind scatters
    • a flock of sparrows-
    • a handful of small change
    • spilled suddenly
    • from the cloud’s pocket
    • Judith Thurman
  • 42. Personification the giving of human qualities to animals, objects or abstract concept
    • The Wind
    • In spring, the wind’s a sneaky wind,
    • A tricky wind,
    • A freaky wind,
    • A wind that hides around the bends
    • And doesn’t die , but just pretends :
    • So if you stroll into a street
    • Out of a quiet lane,
    • All of a sudden you can meet
    • A smallish hurricane.
    • And as the grown-ups gasp and cough
    • Or grumble when their hats blows off,
    • And housewives clutch their grocery sacks
    • While all their hairdos come unpinned…
    • We kids-each time the wind attacks-
    • Just stretch our arms and turn our backs,
    • And then we giggle and relax
    • And lean against the wind .
    • Kaye Starbird
  • 44. IDENTIFY THE POETIC DEVICES POETIC DEVICE ELEMENTS Listen to the Rain The Apple’s Song Sound Devices Alliteration Assonance Onomatopoeia Rhyme Rhythm Figurative Language Simile Metaphor Personification
  • 45. POETIC DEVICE ELEMENTS Listen to the Rain The Apple’s Song Sound Devices Alliteration pitter-patter splish and splash and splatter topsy-turvy roaring rain mishy mushy muddy r ound and r ound d izzy d issolve Assonance pitt e r-patt e r roar i ng pour i ng h u rl e y-b u rl e y l a sh i ng gn a sh i ng lightn i ng-flash i ng s o und i ng p o und i ng m u shy m u ddy p u ddle r o und and r o und d i zzy d i ssolve Onomatopoeia thunder-crashing pounding roaring rain Nil Rhyme End rhymes - refer to poem (words underlined) Internal rhymes - refer for poem (words in bold) Free verse – no rhyme Rhythm Has a patterned flow to the sound No patterned rhythm Figurative Language Simile Nil Nil Metaphor Nil peel me, curling round and round till I burst out cold and white from my tight red coat Personification Nil The apple has been given human qualities (refer to the underlined lines)
  • 46. The Value of Poetry for Children
    • What is the value of introducing poems to children? Discuss in your groups and note your ideas
    • Read the text on page 16. Compare it with your list and comment
  • 47. Benefits Of Reading And Learning About Poetry
    • "When you immerse your students in rich, lively poetry, you introduce them to intense, concise, skillfully crafted language “ Fountas and Pinnell (2001)
    • Enables students to appreciate the sound and imagery of language
    • Invites students to understand and view themselves and their world in new ways
    • Enriches students' lives as they discover words, sound, and rhythm in unique, creative ways
    • Captures the essence of meaning in the sparest of language
  • 48.
    • Through poetry, children may discover the power of words.
    • provides enjoyment
    • provides children with knowledge about concepts in the world around them: size, numbers, colours, and time
    • encourages children to appreciate language and to expand their vocabularies.
  • 49.
    • helps children identify with people and situations.
    • poetry expresses moods familiar to children and helps children understand and accept their feelings
    • poetry grants children insights into themselves and others, developing their sensitivity to universal needs and feelings.
  • 50. Selecting Poetry for the Classroom
    • With reference to the questions on the Criteria for Evaluating Poetry on page 17; decide which of the six poems on pages 18 – 22 would be suitable for your students. Give reasons for your choice.
  • 51.