ProblemThere was a problem that involved.docx

Problem
There was a problem that involved Paula Deen whereby she was
committing racism.
Customers' complained that she had used racial slurs in
referring to customers and also abusing them
She was also known to have mistreated her employees by
harassing them
The scandal led to a former employer suing her
Mistake
She admitted to the media that had once used a racial word
towards employees
Her way of admitting prompted the media to create a sensational
story which went out of proportion
The media hype led to the loss of millions of dollars and also a
ruined reputation of the firm
The mistake was how she admitted to the mistake and this
would have been avoided if communication had been done
correctly

Continuation
The miscommunication led to a fall of the business empire
almost within a short time
The problem would have been avoided by hiring a cooperate
communication manager to handle the issue
As a top person on the company hierarchy , she represented the
face of the company and therefore what she said and how she
said it had weight.
Lesson
Managers should be careful when facing the court of public
opinion because their intentions would not matter (Dowling
2007)
Companies should understand how the media work and also
how it interprets information
When going for press briefing concerning a crisis ,work on
winning them over
Top managers should work towards avoiding crisis rather then
damage control
*
Company communication responses
The company should organize an emergency crisis meaning to
have a common ground before calling the media
Train a team to handle a crisis
The meeting should give the deliberation to communication
managers to prepare the briefing

The briefing should then be read by the top manager or CEO
Company statement review
The manager should not have directly admitted to the mistake
(Coombs 2009)
The company should have been the first to reach out before the
media came calling on them
When a company faces such a crisis , managers should use
positive words and also accept liability
Continuation
For the Paula case, she should have let her PR department to
handle the problem
Top managers should have called another briefing to offer
apologies and control the damage
Paula made a mistake of blaming other forces instead of
focusing on addressing the crisis
Conclusion
Companies should have a crisis committee to handle a scandal
or crisis when it arises
There has to be a plan of response by management not just an
individual
The management should engage members of a PR team
especially when the media is involved
Managers should understand how the media works (Bernard
2009).

References Timothy, C.(2007). Crisis management and
communication. London: MacmillanDowling, S.(2007).
Business leadership. London: MacmillanBernard, I.(2009). The
business round table. Oxford: Oxford University PressHansen,
G.(2001). How to survive a crisis. Nairobi: Longman
http://www.youtube.com/watch?v=-cm9XUoo0w0
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chapter 11
Forms of Poetry
“Breathe-in experience,
breathe-out poetry.”
—Muriel Rukeyser, American Jewish poet,
a voice for feminism and social justice
cLu66049_11_c11_233-256.indd 233 11/8/10 5:32 PM
CHAPTER 11Section 11.1 Narrative Poetry
William Wordsworth’s observation that poetry is “the imagi-
native expression of strong feelings, usually rhythmic” implies
that poetry is likely to be written in numerous ways. Over time,
the conventions of narrative poetry and lyric poetry have
become most popular; specific
forms of narrative and lyric poetry are recognized across the
world’s cultures and used
by poets globally.
11.1 Narrative Poetry
Narrative poetry tells a story. Its grandest form, and perhaps the
oldest, is the epic, a story about momentous occurrences that
have universal significance. The Greek epics the Iliad and the
Odyssey, for example, trace Trojan War events and Ulysses’s
long journey home
after the war. John Milton’s epic Paradise Lost is a lofty story
about the fall of humankind from an

Edenic existence into a world of suffering.
Another form of narrative poetry is the ballad, a story that’s
sung. In ancient oral traditions, bal-
lads were used to celebrate shared experiences involving
adventure, war, love, death, and the
supernatural. Ballads still incorporate these themes and portray
situations in which violence and
betrayal occur. John Keats’s “La Belle Dame sans Merci,”
written in the 19th century, is a literary
ballad, not intended to be sung. It is patterned after earlier
popular ballads. Typically, the person
featured in a ballad, as in this case, is an adventurer, a romantic
figure. But the story here is being
told after a particular adventure has taken its toll. The knight-
at-arms is looking pale, haggard, and
woebegone. In true ballad style, the story is told without
background or much detail; the empha-
sis is on the action in a human dilemma, its outcome, and the
feelings it produces.
La Belle Dame sans Merci
John Keats (1819)
O what can ail thee, knight-at-arms,
So lone and palely loitering?
The sedge has wither’d from the lake,
And no birds sing.
O what can ail thee, knight-at-arms!
So haggard and so woe-begone?
The squirrel’s granary is full,
And the harvest’s done.
I see a lily on thy brow
With anguish moist and fever dew,

And on thy cheeks a fading rose
Fast withereth too.
Knight-at-arms:
medieval ideal of
manhood
Sedge: grasslike
plant
Having described
the knight’s down-
trodden condition,
the storyteller
proceeds to give
an explanation
in the knight’s
words.
5
The ballad’s
typical themes
of romance and
love are central in
Keat’s ballad.
10
cLu66049_11_c11_233-256.indd 234 11/8/10 5:32 PM

I met a lady in the meads,
Full beautiful—a faery’s child,
Her hair was long, her foot was light,
And her eyes were wild.
I made a garland for her head,
And bracelets too, and fragrant zone;
She look’d at me as she did love,
And made sweet moan.
I set her on my pacing steed,
And nothing else saw all day long,
For sidelong would she bend, and sing
A faery’s song.
She found me roots of relish sweet,
And honey wild, and manna dew,
And sure in language strange she said—
“I love thee true.”
She took me to her elfin grot,
And there she wept, and sigh’d full sore,
And there I shut her wild wild eyes
With kisses four.
And there she lull’d me asleep,
And there I dream’d—Ah! woe betide!
The latest dream I ever dream’d
On the cold hill’s side.
I saw pale kings and princes too,

Pale warriors, death-pale were they all;
They cried—“La Belle Dame sans Merci
Hath thee in thrall!”
I saw their starved lips in the gloom,
With horrid warning gaping wide,
And I awoke and found me here,
On the cold hill’s side.
And this is why I sojourn here,
Alone and palely loitering,
Though the sedge is wither’d from the lake,
And no birds sing.
This piece is in the public domain
15
20
25Manna: physical/
spiritual food
provided in the
wilderness in the
biblical story.
Literally, refers to
hoarfrost here.
elfin grot:
enchanted,
remote cave
full sore: suffering

30
35
Ballads often
include dreams.
In this dream,
betrayal and
tragic conse-
quences are inter-
woven into the
story.
40
The final image,
“And no birds
sing,” is an image
of total
desolation.
45
cLu66049_11_c11_233-256.indd 235 11/8/10 5:32 PM
“The Boxer” is a modern rock ballad. In several ways, its style

is strikingly different from Keats’s
style: its rhythm is irregular rather than repetitive; its stanzas
have varied lengths, whereas Keats’s
stanzas each have four lines. In “La Belle Dame sans Merci” the
second and last line in each stanza
rhyme; in “The Boxer” line-end rhyming is not used. But both
poems incorporate several charac-
teristics of the ballad tradition.
The Boxer
Paul Simon and Bruce Woodley (1968) Click here to listen:
http://www.youtube.com/watch?v=ky57Jo3-BaU
I am just a poor boy
Though my story’s seldom told
I have squandered my resistance
For a pocketful of mumbles
Such are promises
All lies and jests
Still, a man hears what he wants to hear
And disregards the rest
5
Responding and Reflection—Questions
Connecting
What traditional ballad characteristics are evident in this
ballad?
Considering
The closing stanza is almost identical to the opening stanza.
How does use of this tech-
nique contribute to the tone of the poem? What other
contributions are made through this
technique?

Concluding
What emotion do you associate with the “withered sedge”
image, which appears twice?
Examine the other images of nature in the poem. What emotion
does each one express?
John Keats (1795–1821)
An English Romantic poet, he lived only 29 years, suffering
from tuber-
culosis at the end. His letters to Fanny Brawne, an 18-year-old
Londoner
he met in 1818, are filled with sensitive imagery that reflect the
search for
beauty and truth, which underlies his poems as well. Keats’ life
was dif-
ficult; he cared for his mother and his brother during their major
illnesses;
both died of tuberculosis in the last seven years of his life. His
epitaph
reads, “Here lies one whose name was writ in water.”
. Bettmann/CORBIS
cLu66049_11_c11_233-256.indd 236 11/8/10 5:32 PM
http://www.youtube.com/watch?v=ky57Jo3-BaU
When I left my home and my family
I was no more than a boy
In the company of strangers
In the quiet of the railway station

Running scared
Laying low, seeking out the poorer quarters
Where the ragged people go
Looking for the places only they would know
Lie-la-lie . . .
Asking only workman’s wages
I come looking for a job
But I get no offers
Just a come-on from the whores
On Seventh Avenue
I do declare,
There were times when I was so lonesome
I took some comfort there
Lie-la-lie . . .
Now the years are rolling by me
They are rocking evenly
And I am older than I once was
And younger that I’ll be, but that’s not unusual
No it isn’t strange
After changes more changes
We are more or less the same
After changes we are more or less the same
Lie-la-lie . . .
Then I’m laying out my winter clothes
And wishing I was gone,
Going home
Where the New York City winters
Aren’t bleeding me
Leading me,
going home
In the clearing stands a boxer
And a fighter by his trade

And he carries the reminders
Of ev’ry glove that laid him down
And cut him till he cried out
In his anger and his shame,
“I am leaving, I am leaving.”
But the fighter still remains
Lie-la-lie . . .
Copyright . 1968 Paul Simon and Bruce Woodley
Used by permission of the Publisher: Paul Simon Music
10
15
20
25
30
35
40
45
50
cLu66049_11_c11_233-256.indd 237 11/8/10 5:32 PM
There are many narrative poems that are not ballads. Gary

Soto’s “Oranges” is an example. These
poems—narratives in rhythmic form—are popular because they
appeal to the universal interest
in stories that lies deep within the human imagination.
Oranges
Gary Soto (1995)
The first time I walked
With a girl, I was twelve,
Cold, and weighted down
With two oranges in my jacket.
December. Frost cracking
Beneath my steps, my breath
Before me, then gone,
As I walked toward
Her house, the one whose
Porch light burned yellow
Night and day, in any weather.
A dog barked at me, until
Almost a “once-
upon-time” begin-
ning to the story
Winter setting and
the barking dog
are subtle, omi-
nous details.
5
10

Paul Simon (b. 1941)
Simon and his singing partner for “The Boxer,” Art Garfunkel,
attended
school together and grew up in New York City. They
copyrighted their
first composition in 1955, became widely recognized musicians
in the
1960s, split up in 1970, and Paul Simon has maintained a
successful solo
career since then. “The Boxer,” a folk rock ballad written in
1968, reflects
the turbulent mood and trials that characterized social change in
the
1960s.. Bettmann/CORBIS
Connecting
What traditional ballad characteristics are evident in this
ballad?
Considering
The poem’s story deals with things learned between the point of
leaving home (stanza 2)
and going home (stanza 5). What insights are associated with:
“pocketful of mumbles,”
“laying out my winter clothes,” “I am leaving, I am leaving,”
and the refrain “Lie-la-lie”?
Concluding
What contribution does the image of the boxer make to the
poem—besides providing its
title?
cLu66049_11_c11_233-256.indd 238 11/8/10 5:32 PM

She came out pulling
At her gloves, face bright
With rouge. I smiled,
Touched her shoulder, and led
Her down the street, across
A used car lot and a line
Of newly planted trees,
Until we were breathing
Before a drugstore. We
Entered, the tiny bell
Bringing a saleslady
Down a narrow aisle of goods.
I turned to the candies
Tiered like bleachers,
And asked what she wanted—
Light in her eyes, a smile
Starting at the corners
Of her mouth. I fingered
A nickel in my pocket,
And when she lifted a chocolate
That cost a dime,
I didn’t say anything.
I took the nickel from
My pocket, then an orange,
And set them quietly on
The counter. When I looked up,
The lady’s eyes met mine,
And held them, knowing
Very well what it was all
About.

Outside,
A few cars hissing past,
Fog hanging like old
Coats between the trees.
I took my girl’s hand
In mine for two blocks,
Then released it to let
Her unwrap the chocolate.
I peeled my orange
That was so bright against
The gray of December
That, from some distance,
Someone might have thought
I was making a fire in my hands.
From New and Selected Poems . 1995 by Gary Soto.
Used with permission of Chronicle Books LLC, San Francisco.
Visit www.ChronicleBooks.com
15
20
25
30
Crisis point in the
narrative, after
mounting
suspense 35
Resolution of the
crisis

Boy’s character
revealed through
his resourceful
actions. 40
45
50
Boy’s reflective
response from a
somewhat more
informed point of
view. A beginning
look back on
innocence.
55
cLu66049_11_c11_233-256.indd 239 11/8/10 5:32 PM
CHAPTER 11Section 11.2 The Limerick
Gary Soto (b. 1952)
He was born into a Mexican American family in Fresno,
California. A popular Chicano writer,
he has published several books of poetry, taught at the
University of California, and been a
resonant voice for social change.

11.2 The Limerick
The limerick is another form of narrative poetry, a jingle
usually created with humorous intent. The limerick was
popularized in English literature by Edward Lear in his Book of
Nonsense in 1846. Ogden Nash is famously known in American
literature for his limericks.
Presently, the limerick appears primarily in children’s books.
Its structure consist of five lines: The
first two lines and the third and fourth lines have rhyming end
words, and the first and last lines
often end with the same word. In the second example below, the
ending word is a pun in addition
to being the same word that ends line one. A pun is created
when two separate sounds or mean-
ings of a word are aligned to create humor through a play on
words. An example is “We’re not sure
how worms reproduce, but we often find them in pears.”
Lady from Cork
Anonymous
There once was a lady from Cork
Who lived on a diet of pork;
She looked a bit chubby,
“Because,” said her hubby,
“She seldom will put down her fork.”
End-line rhym-
ing words: cork,
pork, fork/chubby,
hubby

Connecting
At what point did you feel yourself being drawn into the story
this poem tells? Did a par-
ticular experience in your own life draw you into the story?
Considering
What emotions are most evident in this poem? How are they
expressed?
Concluding
Oranges are identified three times in the poem: in the boy’s
pocket, on the store counter,
and in the boy’s hands. What does each of these instances
contribute to the story?
cLu66049_11_c11_233-256.indd 240 11/8/10 5:32 PM
CHAPTER 11Section 11.3 Lyric Poetry
Man from Nantucket
Anonymous
There once was a man from Nantucket
Who kept all his cash in a bucket,
But his daughter named Nan
Ran away with a man,
And as for the bucket, Nantucket.
Nantucket as a
pun means “a city
in Massachusetts”
and “Nan tuck
(took) it.”

5
Connecting
What tone is established by the familiar wording used in the
opening line of each poem?
Explain the benefits and limitations of this approach.
Considering
In the limerick form, lines 3 and 4 each have fewer syllables
than the other lines. What
effect on the rhythm does this create?
Concluding
Sometimes punning creates obscure connections between words
and lessens the intended
humor. Keeping this in mind, how suitable is the pun in the last
line of “Man from
Nantucket”?
11.3 Lyric Poetry
Lyric poetry is more subjective than narrative poetry. Usually
brief, a lyric poem expresses a poet’s thoughts and imagination.
Its melody and emotion create a dominant, unified impression.
Popularity of the lyric form rose as expressions of humanism
increased during
the Renaissance; lyrics were particularly popular in
Shakespearean England and reached their
prominence in English literature with the birth of Romanticism
in the early 19th century.
Here is an example, written in 1815 by the Romantic poet, Lord
Byron. Because beauty is an
abstract concept, it has to be approached subjectively. Byron
imagines a dark night with bright

stars and compares the beauty he sees in a particular woman to
the interwoven beauty (“tender
light”) of a starlit night. Light and darkness are combined in
this beautiful woman—magnificence
is evident in her features in exactly the right proportions, not
requiring adjustment by even “one
shade the more, one ray the less.”
She Walks in Beauty
Lord Byron (1815)
She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that’s best of dark and bright
Meet in her aspect and her eyes:
Thus mellowed to that tender light
Which heaven to gaudy day denies.
There is no punctuation, or pause, at
the end of the first line—because the
thought is carried over to the next line.
This technique is called enjambment.
Central impression of her represented
by a balance between light and dark.
Images in the second stanza provide
further details.
5
cLu66049_11_c11_233-256.indd 241 11/8/10 5:32 PM

CHAPTER 11Section 11.3 Lyric Poetry
One shade the more, one ray the less,
Had half impaired the nameless grace
Which waves in every raven tress,
Or softly lightens o’er her face;
Where thoughts serenely sweet express
How pure, how dear their dwelling place.
And on that cheek, and o’er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!
raven tress: dark hair
10
Rhythm of the two phrases in this
suggests her gracefulness
Rhythm emphasizes emotional
expressiveness
15
Awareness of her mental and
spiritual sensitivity; holistic view
Connecting
What tone is established in the opening of the poem? Byron

frequently sang this poem,
which was thought to be written in honor of a person he knew.
Which details contribute
to its musical quality?
Byron uses both “dark” and “light” contrasts to develop the
woman’s elegance and beauty.
Find examples of this technique.
Concluding
Think about these two phrases: “She is beautiful” and “She
walks in beauty.” What are the
connotations of each? What connections do you see between the
speaker’s observations in
the opening image of the poem and the observations made in the
last three lines?
Gordon, George, Lord Byron (1788–1824)
Lord Byron, a charismatic poet, famous initially after he
published
his romantic poem “Childe Harold’s Pilgrimage,” became
prominent
enough to be in the House of Lords. Yet, in his 36 years he was
often in
moral disgrace; his dishonor included marriage to his half sister
and vari-
ous romances. Literary characters patterned after his
melancholic, defi-
ant, searching characters are known as “Byronic heroes.” Byron
died on
his way to Greece to engage in a military encounter when his
brig sank.
Although his family sought permission for his burial in both
Westminster
Abbey and St. Paul’s Cathedral, it was not granted in either

place.
. Getty Images/Photos.
com/Thinkstock
cLu66049_11_c11_233-256.indd 242 11/8/10 5:32 PM
CHAPTER 11Section 11.4 The Sonnet
11.4 The Sonnet
The sonnet is a highly structured form of lyric poetry with
different specifications for the Italian (Petrarchan) sonnet and
for the English (Shakespearean) sonnet. Deriving its name from
an Italian word that means “little song,” the Petrarchan sonnet
originated in Europe
in the Middle Ages. Both sonnet versions have 14 lines and
usually the same meter, but each has
a different rhyme scheme and a different thought development
pattern, as illustrated in Tables
11.1 and 11.2 and the sonnets by John Milton and William
Shakespeare. You can readily see that
fitting thoughts and images into such a fixed structure is a
daunting task; Shakespeare apparently
didn’t mind it because he wrote 154 sonnets that we know of.
But first, here is an example of an
Italian-style sonnet by John Milton.
Table 11.1 Italian Sonnet Characteristics in “On His
Blindness”
• 14 lines
octave—first 8 lines

sestet—last 6 lines
• Change in thought at the end of the octave—
The octave presents the troubling matter of blindness and
resulting inability to work (John Milton
became blind in his forties).
The sestet offers a resolution: humble service in God’s eyes
may be sufficient.
• Rhyme scheme in the octave—
Lines 1, 4, 5, and 8 have rhyming end words
Lines 2, 3, 6, and 7 have rhyming end words
• Rhyme scheme in the sestet—
Lines 9 and 12 have rhyming end words
• Meter (rhythm pattern )—iambic pentameter—
A line with 10 syllables, arranged in a pattern in which an
unemphasized syllable is followed by an
emphasized one
• Iambic foot—
Consists of an unemphasized syllable followed by an
emphasized syllable. When five of these feet
are included in a line, the meter (rhythm) is identified as iambic
pentameter (see Figure 11.1).
ˇ / ˇ / ˇ / ˇ / ˇ /
“They al so serve who on ly stand and wait.”

ˇ unstressed syllable
/ stressed syllable
Each iambic foot is underlined.
Figure 11.1 Iambic Pentameter
cLu66049_11_c11_233-256.indd 243 11/8/10 5:32 PM
On His Blindness
John Milton (1655) Click here to listen:
http://www.shmoop.com/consider-light-spent-
blindness/botw/resources?
d=http://www.youtube.com/watch?v=q0RrfIEmYj0
When I consider how my light is spent a
Ere half my days, in this dark world and wide, b
And that one talent which is death to hide, b
Lodged with me useless, though my soul more bent a
To serve therewith my Maker, and present a
My true account, lest he returning chide; b
“Doth God exact day-labor, light denied?” b
I fondly ask; but Patience to prevent a
That murmur, soon replies, “God doth not need c
Either man’s work or his own gifts; who best d
Bear his mild yoke, they serve him best. His state e
Is kingly. Thousands at his bidding speed c
And post o’er land and ocean without rest; d
They also serve who only stand and wait.” e

5
10
John Milton (1608–1674)
He was born in London and earned a master’s degree at Oxford.
In addi-
tion to writing poetry, he loved music and wrote political tracts.
He pub-
lished a treatise supporting divorce and was married three
times. He
completed Paradise Lost, the epic poem for which he is
renowned, after
he became blind. Through his various writings he was an
advocate for
education, Protestantism, the right to free speech and the
separation of
church and state. At one point he was imprisoned for his
advocacy.
.iStockphoto/Thinkstock
Table 11.2 English Sonnet Characteristics in Shakespeare’s
Sonnet 29
• 14 lines
First 12 lines are divided into three quatrains (stanzas
containing four lines).
Last two lines are a rhyming couplet (two lines with the same
number of syllables).
• Change in thought at the end of the last quatrain, line
12

The discouragement and low self-esteem shown in lines 1–12
are superseded by a sense of fulfill-
ment and satisfaction when a particular person’s love is
recalled.
• Rhyme scheme—
Lines 1 and 3 in each quatrain have rhyming end words.
Lines 2 and 4 in each quatrain have rhyming end words.
• Meter (rhythm pattern)—iambic pentameter
cLu66049_11_c11_233-256.indd 244 11/8/10 5:32 PM
Here is an example of an English-style sonnet by William
Shakespeare.
Sonnet 29
William Shakespeare (1609) Click here to listen:
http://www.uoguelph.ca/shakespeare/multimedia/
audio/wainwright.cfm
When, in disgrace with Fortune and men’s eyes, a
I all alone beweep my outcast state, b
And trouble deaf heaven with my bootless cries, a
And look upon myself and curse my fate, b
Wishing me like to one more rich in hope, c
Featured like him, like him with friends possessed, d
Desiring this man’s art, and that man’s scope, c
With what I most enjoy contented least, d

Yet in these thoughts myself almost despising, e
Haply I think on thee, and then my state, f
Like to the lark at break of day arising e
From sullen earth, sings hymns at heaven’s gate f
For thy sweet love remembered such wealth brings g
That then I scorn to change my state with kings. g
5
10
William Shakespeare (1564–1616)
Records show that he was baptized in Holy Trinity Church in
Stratford-
upon-Avon in 1564 and that he married Anne Hathaway at age
18. But
details of his life are sketchy. Arguably, he is the greatest
English-language
writer of drama and poetry. His epitaph reads:
Good friend for Jesus’ sake forbear,
To dig the dust enclosed here:
Blest be the man that spares these stones,
And curst be he that moves my bones.
© iStockphoto/
Thinkstock
Ozymandias
Percy Bysshe Shelley (1817) Click here to listen:
http://poetryoutloud.org/audio/16%20Track%2016.mp3

I met a traveller from an antique land
Who said: “Two vast and trunkless legs of stone
Stand in the desert. Near them on the sand,
Half sunk, a shattered visage lies, whose frown
And wrinkled lip and sneer of cold command
antique: ancient
desert: Sahara
Desert
visage: face
5
cLu66049_11_c11_233-256.indd 245 11/8/10 5:32 PM
http://www.uoguelph.ca/shakespeare/multimedia/audio/wainwri
ght.cfm
http://www.uoguelph.ca/shakespeare/multimedia/audio/wainwri
ght.cfm
Click here to listen:
CHAPTER 11Section 11.5 The Ode
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed.
And on the pedestal these words appear:
“My name is Ozymandias,1 King of Kings:
Look on my works, ye mighty, and despair!”
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare,
The lone and level sands stretch far away.

This piece is in the public domain.
10
1. An Egyptian king, also known as Ramses II, who was born in
1314 BCE and ruled Egypt for 66 years. He was a warrior
and a builder of temples and monuments. His colossal statue
was 57 feet tall. Sometime later it fell; eventually only pieces
remained. Its original inscription, according to the Greek
historian Diodorus Siculus, was “I am Ozymandias, King of
Kings.
If anyone would know how great I am and where I lie, let him
surpass one of my works.”
Percy Bysshe Shelley (1792–1822)
One of England’s most famous Romantics, he was a passionate
vision-
ary—poet, essayist, dramatist—who lived unconventionally and
argued
for social and intellectual changes. A strong believer in the
human spirit
as the source for unlimited progress, Shelley upheld concepts of
beauty
and grandeur in many of his works. He drowned on his way to
partici-
pate in a military venture in Greece at age 29.
com/Thinkstock
Connecting
Is “Ozymandias” written in Italian sonnet form or English

sonnet form? Explain.
Considering
What effect is created by Shelley’s use of alliteration in the last
two lines of the poem:
“boundless and bare” and “lone and level”? How does this
effect support the poem’s cen-
tral thought?
11.5 The Ode
The ode is a form of lyric poetry in which a single subject or
purpose is exalted in a serious, dignified way. Odes are
imaginative, expressed with a meditative, intellectual tone, but
do not have a prescribed pattern. Eleanor Farjeon’s poem might
have been called “An Ode to
Morning.” Its sparkling description of the beauty of morning is
also a meditation on the wonder
of morning, considered within a spiritual and theological
framework. Farjeon wrote the poem in
1931 to fit an old Gaelic tune, making it a song as well—one
that the singer Cat Stevens popular-
ized forty years later.
cLu66049_11_c11_233-256.indd 246 11/8/10 5:32 PM
CHAPTER 11Section 11.5 The Ode
A Morning Song
Eleanor Farjeon (1931/1957) Click here to listen:
http://www.youtube.com/watch?v=1TWd3skb-Rw
Morning has broken, like the first morning,
Blackbird has spoken, like the first bird:

Praise for the singing, praise for the morning,
Praise for the springing fresh from the word.
Sweet the rain’s new fall, sunlit from heaven,
Like the first dewfall, on the first grass:
Praise for the sweetness of the wet garden,
Sprung in completeness where his feet pass.
Mine is the sunlight, mine is the morning,
Born of the one light, Eden saw play:
Praise with elation, praise every morning,
God’s recreation of the new day.
“Morning Has Broken,” by Eleanor Farjeon. Reprinted by
permission of
Harold Ober Associates Incorporated. Copyright . 1957 by
Eleanor Farjeon.
Morning (or the first
morning in creation) is
the subject.
Judeo-Christian idea
that the world was spo-
ken into being by God
Imaginative details
suggesting perfection,
satisfaction
5
“Mine is the sunlight”

introduces a meditative
tone.
Eden: further refer-
ence to first morning in
creation
10
Eleanor Farjeon (1881–1965)
She began writing when she was seven and was widely
recognized
and received various awards for several volumes of stories,
poems, and
plays she wrote for children—which delightfully mocked the
behavior of
adults. In 1956 she received the Hans Christian Andersen Award
in recog-
nition for works in children’s literature. She maintained
friendships with
Robert Frost, Walter de la Mare, and other well-known poets.
Connecting
Which details in the poem besides the opening simile (“like the
first morning”) indicate
that the wonder of creation is being considered?
Considering
In the last stanza, the speaker seems to be internalizing the
experience of morning. What par-
ticular effects has the experience had on the speaker, and how

are they shown?
public domain
cLu66049_11_c11_233-256.indd 247 11/8/10 5:32 PM
Click here to listen:
http://www.youtube.com/watch?v=1TWd3skb-Rw
CHAPTER 11Section 11.6 The Elegy
11.6 The Elegy
The elegy is a lyric poem that expresses the poet’s thoughts
about death; it is usually initi-ated by the death of a person
highly regarded by the poet. The tone in the elegy is somber, as
the poet laments the loss of the person being remembered, but
may, depending on the
meditation of the poet, offer glimmers of hope—as this short
segment of Tennyson’s “In Memo-
riam” does. He wrote this elegy following the death of his poet
friend, Arthur Hallam, who died
suddenly at age 22. His reflection includes the possibility that
hope may be a sustaining factor in
the face of death, a resource both an individual and his
Victorian society might seek.
In Memoriam (section 54)
Alfred, Lord Tennyson (1850)
Oh, yet we trust that somehow good
Will be the final end of ill,
To pangs of nature, sins of will,
Defects of doubt, and taints of blood;

That nothing walks with aimless feet;
That not one life shall be destroy’d,
Or cast as rubbish to the void,
When God hath made the pile complete;
That not a worm is cloven in vain;
That not a moth with vain desire
Is shrivell’d in a fruitless fire,
Or but subserves another’s gain.
Behold, we know not anything;
I can but trust that good shall fall
At last—far off—at last, to all,
And every winter change to spring.
So runs my dream: but what am I?
An infant crying in the night:
An infant crying for the light:
And with no language but a cry.
Specifically, Tenny-
son was lament-
ing the loss of a
dear friend, but
he also laments
the uncertainty of
life in which loss
seems to prevail. 5
An accumulation
of images of loss
and uncertainty

cloven: sliced
10
15
Renewal of the
uncertainty and
lament stated at
the outset
20
cLu66049_11_c11_233-256.indd 248 11/8/10 5:32 PM
CHAPTER 11Section 11.6 The Elegy
Alfred, Lord Tennyson (1809–1892)
His life practically spans the 19th century. He served as Great
Britain’s
poet laureate during most of Queen Victoria’s reign; she
particularly
appreciated “In Memoriam.” Many of his other poems, some
noted for
their musical qualities, remain among those most quoted in the
English
language. Because of weak eyesight, Tennyson had great
difficulty read-
ing. This disability made writing difficult as well. As a result,
apparently,
he formed many of his poetic expressions in his head rather than

creating
them on paper with a pen.
. Bettmann/CORBIS
Considering
Locate the various contrasts that are used in the poem as a
means of illustrating hope and
purpose.
Concluding
Describe the difference in tone that is expressed in the last
stanza. What does this change
in tone imply?
Futility
Wilfred Owen (1920/1963) Click here to listen:
http://www.englishclub.com/listening/poetry-futility.htm
Move him into the sun—
Gently its touch awoke him once,
At home, whispering of fields unsown.
Always it woke him, even in France,
Until this morning and this snow.
If anything might rouse him now
The kind old sun will know.
Think how it wakes the seeds,
Woke, once, the clays of a cold star.
Are limbs, so dear-achieved, are sides,
Full-nerved,—still warm,—too hard to stir?
Was it for this the clay grew tall?
O what made fatuous sunbeams toil
To break earth’s sleep at all?

France: site of the
battlefield
5
10
clay: metaphor
comparing the
soldier’s body to
clay
fatuous; foolish
cLu66049_11_c11_233-256.indd 249 11/8/10 5:32 PM
CHAPTER 11Section 11.7 The Dramatic Monologue
11.7 The Dramatic Monologue
Elements that are essential in drama—conflict, action, and
characterization—are also essen-tial in the dramatic monologue.
But the element of dialogue or discourse is treated differ-ently.
In the dramatic monologue, only one person’s contribution to
the conversation is
revealed. Through it, a silent listener is identified, the
circumstances are made known, and the
thoughts, struggles, and nature of the speaking character are
laid bare. This process creates sharp
awareness of point of view, values, and tone. Often the tone is
ironic.

Because the dramatic monologue form allows exploration of
subjects through the mind of an
invented character, the poet is free to express a point of view
that is more extreme or exaggerated
than his or her own—as is the case in “My Last Duchess,”
where the speaker shows no remorse
whatsoever for having disposed of his wife. Robert Browning
used this form in the late 19th cen-
tury to explore, and attempt to influence, a number of social and
aesthetic subjects, analyzing
them through the minds of a different speaker in each case.
In “My Last Duchess,” Browning imagines the speaker to be the
Duke of Ferrara, a 16th-century
historical figure, who, it is believed, poisoned his wife in order
to marry someone better suited to
his social status. In the poem, the reader hears only one side of
a conversation between the duke
and the emissary who has come to make arrangements for the
new marriage. The duke is pointing
out his works of art and focuses on a painting of his deceased
wife, which normally is hidden by a
curtain. In the course of the duke’s comments and answers to
questions apparently asked by the
emissary (but not included), the reader gains insights into the
duchess’s flirtatious nature and the
duke’s response. The duke admits that he “gave commands” and
all her smiles stopped. As the
Connecting
Owen wrote this poem during World War I. Find images that
suggest his lament is about
both (a) the war and (b) the loss of one soldier in the war.

Considering
In what ways is the tone in the poem representative of the tone
expected in an elegy?
Concluding
How is the sun used symbolically in this poem?
Wilfred Owen (1893–1918)
He was born in England, served as a British soldier in World
War I, and
was killed in action one week before the war ended. Most of his
works
were published after his death, revealing his shockingly realistic
perspec-
tive on war. One of his most famous poems, “Anthem to
Doomed Youth,”
stands as an elegy for all who were victims in World War I.
Within the
British Empire alone, there were more than 900,000 military
. Bettmann/CORBIS
cLu66049_11_c11_233-256.indd 250 11/8/10 5:32 PM
poem ends, the two men leave the room to discuss the marriage
plans further. Through this one-
sided conversation—and a highly imaginative situation—
Browning is able to create an intriguing
narrative. But in doing so, he also subtly explores social issues
related to marriage, aristocratic

status, power, and egotistical behavior that were part of his own
culture.
My Last Duchess
Ferrara
Robert Browning (1842) Click here to listen:
That’s my last duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now; Fra Pandolf’s hands
Worked busily a day, and there she stands.
Will’t please you sit and look at her?
“Fra Pandolf” by design, for never read
Strangers like you that pictured countenance,
That depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so not the first
Are you to turn and ask thus. Sir, ’twas not
Her husband’s presence only, called that spot
Of joy into the Duchess’ cheek: perhaps
Fra Pandolf chanced to say “Her mantle laps
Over my lady’s wrist too much” or “Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat:” such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart—how shall I say?—too soon made glad,
Too easily impressed: she liked whate’er
She looked on, and her looks went everywhere.
Sir, ’twas all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule

She rode with round the terrace—all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men—good! but thanked
Somehow—I know not how—as if she ranked
My gift of a nine-hundred-years-old name
With anybody’s gift. Who’d stoop to blame
This sort of trifling? Even had you skill
In speech—(which I have not)—to make your will
Quite clear to such a one, and say, “Just this
Or that in you disgusts me; here you miss
Or there exceed the mark”—and if she let
The speaker points out a
portrait of his deceased
wife.
Fra Pandolf: The artist
who painted the Duchess’s
portrait 5
Apparently, the listener
asks the speaker to repeat
the name of the artist.
The listener is studying the
Duchess’s image and, like
others, is fascinated by her
appearance.
10
Complaints the speaker

had about the Duchess:
Each reveals the Duke’s
character.
15
She smiled too readily and
for anyone. 20
She did not respond to him
in a special way.
25
30
She did not appear to
respect his heritage.
35
His response and actions:
his actions further reveal
his character
cLu66049_11_c11_233-256.indd 251 11/8/10 5:32 PM
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and made excuse

—E’en then would be some stooping; and I choose
Never to stoop. Oh sir, she smiled, no doubt,
Whene’er I passed her; but who passed without
Much the same smile? This grew; I gave commands,
Then all smiles stopped together. There she stands
As if alive. Will’t please you rise? We’ll meet
The company below, then. I repeat,
The Count your master’s known munificence
Is ample warrant that no just pretence
Of mine for dowry will be disallowed;
Though his fair daughter’s self, as I avowed
At starting is my object. Nay, we’ll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me.
40
He did not intend
to “stoop,” to initi-
ate change.
He arranged her
death.
45
Speaker asks the
guest to accom-
pany him out of
the room, noting
his works of art as

they go.
50
Neptune and sea-
horse: a bronze
sculpture
55
Claus of Inns-
bruck: the person
who created the
bronze artwork
Robert Browning (1812–1889)
Born near London, he became one of the most popular Victorian
poets.
After his marriage, he and his wife, poet Elizabeth Barrett, lived
in Italy
for a number of years. He is remembered especially for his
dramatic
writing style and his mastery of the dramatic monologue form.
A well-
rounded person, Browning learned Greek, Latin, and French;
became an
accomplished pianist; and engaged in collecting books
throughout his
life.
com/Thinkstock

Connecting
Which images reflect the duke’s impressions of his wife? What,
apparently, were the duch-
ess’s outstanding characteristics?
Considering
Identify details in the poem that suggest (a) the duke’s power
and (b) his aesthetic and
cultured sensitivity. These attributes seem contradictory, yet
they are evident in the duke.
What message is Browning conveying about influence of
aesthetics and culture by devel-
oping the duke in this way?
Concluding
What message is Browning conveying about the limitations of
Victorian society by devel-
oping the duke in this way?
cLu66049_11_c11_233-256.indd 252 11/8/10 5:32 PM
CHAPTER 11Section 11.8 Haiku and Free Verse
11.8 Haiku and Free Verse
Haiku is a poetic form that had its beginnings in Japanese
culture, popularized by poet Masaoka Shiki in the late
nineteenth century. It has a compact 17-syllable structure, con-
sisting of three lines of five, seven, and five syllables,
respectively. Overall, a haiku poem
creates a clear picture that stimulates a distinct emotion or
spiritual insight. There is no rhyme

pattern in haiku. The poem below illustrates the sudden break in
imagery and tone in the final
line, which is typical of haiku.
A boy not ten years old
they are giving to the temple!
Oh, it’s cold!
The Apprentice Priestling, Masaoka Shiki. Translated by H. G.
Henderson.
From An Introduction to Haiku by Harold G. Henderson,
Doubleday and Company, 1958
Connecting
What action is occurring in the poem? From whose point of
view is it described?
Considering
Which aspects contribute most to the emotion of the poem?
Concluding
Do you think the people involved in the action of the poem
necessarily share the emotions
that the speaker conveys? Identify details in the poem that seem
to suggest that their emo-
tions are different from the speaker’s.
Masaoka Shiki (1867–1902)
Known by this pen name, his birth name was Masaoka
Tsunenori. He was
a popular Japanese poet and is recognized as the person who
introduced
the term haiku to replace earlier terms that described single

image poetry.
public domain
cLu66049_11_c11_233-256.indd 253 11/8/10 5:32 PM
CHAPTER 11Section 11.8 Haiku and Free Verse
Free Verse
Free verse is distinguished by its irregular rhythm. Its lines are
of varying lengths and lack rhyme.
Without the restrictions associated with other forms of poetry, it
offers great potential for spon-
taneity and is widely used by contemporary writers. William
Carlos Williams’s poem “The Red
Wheelbarrow” is an example of free verse. It also is considered
an Imagist poem. Williams was
part of a group of American poets in the early part of the 20th
century who moved away from use
of conventional forms and created artistic images in their poems
in order to suggest an idea rather
than convey it fully. They were influenced by the Japanese
haiku.
The Red Wheelbarrow
William Carlos Williams (1883–1963) See biographic
information in section 9.2.
so much depends
upon
a red wheel
barrow
glazed with rain

water
beside the white
chickens.
5
Connecting
Because the title of the poem is “The Red Wheelbarrow,” do
you focus on the wheelbarrow
image immediately as you read, or are you more aware of a
landscape that includes the
red wheelbarrow?
Considering
In his free verse Williams places “wheel” and “barrow” on
separate lines and “rain” and
“water” as well. What effect do you think he creates in doing
this? Is the same effect cre-
ated by placing “white” and “chickens” on separate lines?
Concluding
The poem suggests that “so much” depends on the red
wheelbarrow. What might “so
much” refer to or include? Identify images in the poem that
relate to the idea of vital
relationships.
cLu66049_11_c11_233-256.indd 254 11/8/10 5:32 PM
CHAPTER 11Section 11.9 Summary

11.9 Summary
Chapter 11 emphasizes the unique ways that particular forms of
poetry are used to create clar-ity, variety, and purpose in poetic
expression. Specifically, it discusses narrative, lyric, and dra-
matic genres and provides examples of unique poetic forms
within each genre. These include
the ballad, the limerick, the sonnet, the ode, the elegy, the
dramatic monologue, and the haiku.
Some of these forms are demanding, requiring particular line
formations or a particular number
of lines or specific rhyme schemes. In these ways the form
serves as an organizational principle;
the form helps shape thought. Consequently, as demonstrated in
this chapter, it’s important to
identify the form of a poem you are reading. The form itself can
provide essential clues to the
poet’s intentions.
Key Literary Terms and Concepts Presented in This Chapter
Ballad: A story that is sung. In ancient oral tra-
ditions, ballads were used to celebrate shared
experiences involving adventure, war, love,
death, and the supernatural.
Dramatic monologue: A poem in which only
one person speaks to one or more silent listen-
ers, creating dramatic tension.
Elegy: A lyric poem that expresses thoughts
about death, usually initiated by the death of a
person highly regarded by the poet. The tone in
the elegy is somber.

English sonnet: A poem with 14 lines, three
quatrains and a couplet, a carefully developed
thought pattern, and the rhyme scheme abab,
cdce, efef, gg; Also called the Shakespearean
sonnet.
Enjambment: The continuation of a thought in
a line of poetry into the succeeding line, unin-
terrupted by punctuation.
Epic: A long narrative poem written in elevated
style and having a central heroic figure on
whose adventures significant patterns in a cul-
ture are established.
Free verse: Poetry in which lines have irregular
rhythm and lack rhyme.
Haiku: A Japanese poetic form with a compact
17-syllable structure, consisting of three lines
of five, seven, and five syllables, respectively. A
haiku poem creates a clear picture that stimu-
lates a distinct emotion or spiritual insight.
There is no set rhyme pattern in haiku.
Iambic foot: Consists of an unemphasized sylla-
ble followed by an emphasized syllable. When
a line has five of these feet, the meter is identi-
fied as iambic pentameter.
Iambic pentameter: A line with ten syllables,
arranged in a pattern in which an unempha-
sized syllable is followed by an emphasized one.
Italian sonnet: A poem with 14 lines, consisting
of an octave and a sestet, a carefully developed

thought pattern, and the rhyme scheme abba,
abba, cde, cde (or cd, cd, cd); also called the
Petrarchan sonnet.
Limerick: A form of narrative poetry, a jingle
usually created with humorous intent. Its struc-
ture consists of five lines: The first two lines and
the third and fourth lines have rhyming end
words, and the first and last lines usually end
with the same word.
Lyric poem: A brief poem that expresses feel-
ings and imagination; its melody and emotion
create a dominant, unified impression.
cLu66049_11_c11_233-256.indd 255 11/8/10 5:32 PM
CHAPTER 11Section 11.9 Summary
Meter: The rhythmic pattern in a line of poetry
created by stressed and unstressed syllables.
Octave: An eight-line stanza in a poem, the first
part of the Italian sonnet.
Ode: A form of lyric poetry in which a single
subject or purpose is exalted in a serious, digni-
fied way. Odes are imaginative and expressed
with a meditative, intellectual tone, but do not
have a prescribed pattern.
Pun: A pun is created when two separate
sounds or meanings of a word are aligned to
create humor; a play on words. For example,

consider: “We’re not sure how worms repro-
duce, but we often find them in pears.”
Rhyming couplet: Two lines of poetry with the
same number of syllables and having rhyming
end words.
Sestet: A six-line stanza in a poem, the last part
of the Italian sonnet.
Sonnet: A lyric poem with 14 lines. The Italian
sonnet and the English sonnet are the most
popular forms.
cLu66049_11_c11_233-256.indd 256 11/8/10 5:32 PM
Problem
There was a problem that involved Paula Deen whereby she was
committing racism.
Customers' complained that she had used racial slurs in
referring to customers and also abusing them
She was also known to have mistreated her employees by

harassing them
The scandal led to a former employer suing her
Mistake
She admitted to the media that had once used a racial word
towards employees
Her way of admitting prompted the media to create a sensational
story which went out of proportion
The media hype led to the loss of millions of dollars and also a
ruined reputation of the firm
The mistake was how she admitted to the mistake and this
would have been avoided if communication had been done
correctly
Continuation
The miscommunication led to a fall of the business empire
almost within a short time
The problem would have been avoided by hiring a cooperate
communication manager to handle the issue
As a top person on the company hierarchy , she represented the
face of the company and therefore what she said and how she
said it had weight.
Lesson
Managers should be careful when facing the court of public
opinion because their intentions would not matter (Dowling
2007)
Companies should understand how the media work and also
how it interprets information
When going for press briefing concerning a crisis ,work on

winning them over
Top managers should work towards avoiding crisis rather then
damage control
*
Company communication responses
The company should organize an emergency crisis meaning to
have a common ground before calling the media
Train a team to handle a crisis
The meeting should give the deliberation to communication
managers to prepare the briefing
The briefing should then be read by the top manager or CEO
Company statement review
The manager should not have directly admitted to the mistake
(Coombs 2009)
The company should have been the first to reach out before the
media came calling on them
When a company faces such a crisis , managers should use
positive words and also accept liability
Continuation
For the Paula case, she should have let her PR department to
handle the problem
Top managers should have called another briefing to offer
apologies and control the damage
Paula made a mistake of blaming other forces instead of

focusing on addressing the crisis
Conclusion
Companies should have a crisis committee to handle a scandal
or crisis when it arises
There has to be a plan of response by management not just an
individual
The management should engage members of a PR team
especially when the media is involved
Managers should understand how the media works (Bernard
2009).
References Timothy, C.(2007). Crisis management and
communication. London: MacmillanDowling, S.(2007).
Business leadership. London: MacmillanBernard, I.(2009). The
business round table. Oxford: Oxford University PressHansen,
G.(2001). How to survive a crisis. Nairobi: Longman
http://www.youtube.com/watch?v=-cm9XUoo0w0
25 points for Thesis + 1 Body paragraph
100 points for the final paper
Background:
You have presented on how one company responded to a public
relations crisis.
Now you will take your presentation—which introduced the
crisis and explained and evaluated the corporate response—and
write a persuasive essay that specifically argues what three (3)
strategies were most effective (or most ineffective) in the
company’s response?

Take a stance: Is/was the company EFFECTIVE in its crisis
response or INEFFECTIVE in its crisis response? You must
choose and give three reasons for your stance.
Writing Prompt
After a major disaster or crisis, a company often has to rebut the
negative stories about it in the press and present itself and its
response as positively as possible.
In this writing assignment, you will apply both the research you
have done for your Individual Presentation: Corporate Crisis
AND the analytical skills that you used in Writing Assignment:
Analyzing the Annual Report to analyze a company’s
communication strategies to respond to a crisis and attempt to
regain its reputation.
You will review and analyze your chosen company’s crisis
response, asserting and giving evidence of the three most
effective OR ineffective techniques/strategies that worked/did
not work to repair the company’s reputation.
Essentially, you will choose one of these prompts:
1) You will review and analyze the chosen company’s crisis
EFFECTIVE response actions, ones that worked well, making
reputation repair successful
OR
2) You will review and analyze the chosen company’s crisis
INEFFECTIVE response actions, ones that did not work well
and made the company’s reputation repair unsuccessful.

You will reference (where applicable) the Coombs’s article
“Crisis Management and Communications”
Breaking down the tasks of writing this paper—READ
CAREFULLY
1. Read and review the information sources on your chosen
crisis. Understand what happened, how it happened, and the
consequences. You cannot understand a corporate response
without understanding for what a company is held responsible.
BEFORE you make your choice of what are most effective or
ineffective actions, analyze deeply the company response.
Here are some GUIDING QUESTIONS to help you analyze
what the company said and did:
For example, look at how the company describes its actions.
What kind of language does it use? How does it describe itself?
a. What is the response (document/website/video) trying to
persuade you to think?
b. How does the company’s response refer to the crisis itself?
Indeed does it directly refer to it? Are there uses of
euphemisms? Does the response avoid mentioning the crisis or
the reason for its response?
c. How does the language influence the impression you get of
the company?
d. How does the company describe itself and its response to the
crisis?
e. What ‘story’ is the company trying to tell?
f. What kinds of images does the company use in its response
materials—why? How do these images affect how you feel
about the company?
g. Can you find a primary message being communicated? If so,
how and why does the company focus on this message?

h. Are there glaring mis-steps in the company’s communications
after the crisis?
2. Now that you have analyzed the company response, connect
its response to Coombs and other pertinent readings. For
example: What do the company’s words/actions/messages
attempt to do for the company?
· Justify itself in some way?
· Place blame on another company, organization, or person?
· Highlight its generosity and responsibility? Making it seem as
if compensation was the company’s idea?
· Demonstrate a commitment to improving its practices?
· Remind stakeholders of the good the company has done?
· Focus on the good the company is doing in this crisis?
· Focus on the repair efforts and thus de-emphasize the damage?
· Show positive images?
3. Now, decide on the company’s three most effective OR
ineffective responses.
Craft an essay that makes a strong claim that either (a) asserts
the three most effective responses/actions or (b) asserts the
three most ineffective responses/actions, giving specific
evidence of why those actions were effective or not effective.
Make sure to use specific evidence to back up your claims.
Write a structured essay that has the following:
1. INTRODUCTION: The introduction sets up the context of
this analysis. This includes briefly outlining what happened, the
purpose of the response, and a thesis statement.
2. ASSERTIVE THESIS: A strong thesis in the introduction
paragraph must assert what you are going to argue in your
paper.
3. “TOPIC SENTENCE-DRIVEN” PARAGRAPHS: Body

paragraphs must each have a strong topic sentence that asserts
one thesis claim.
4. UNIFIED PARAGRAPHS: All body paragraphs must only
use evidence that supports the topic sentence claim—no topic
drift.
5. PARAGRAPHS THAT USE RELIABLE OUTSIDE
SOURCES to contextualize argument.
6. PARAGRAPHS THAT USE DETAILS/DATA/SPECIFICS as
evidence to support topic sentence claim. Don’t just summarize
data from your sources: give examples, analyze them, and
explain how and why your chosen company uses them as a crisis
communication strategy.
7. CONCLUSION that ECHOES & ELABORATES: Conclude
by echoing your thesis statement and discussing briefly whether
your company’s response has been effective. Go forward from
the crisis and assert/explain how the company is affected now,
in the wake of the crisis and repair attempt.
***** IMPORTANT TO REMEMBER! *****
Make sure your each of your individual topic claims has a
strong specific rationale. For example—
· Johnson & Johnson’s reputation repair was successful because
preemptively recalling 31 million bottles of Tylenol showed it
was willing to sacrifice financially to ensure public safety.
· Johnson & Johnson’s reputation repair was successful because
its CEO James Burke, demonstrated open communication and
transparency by discussing the company’s crisis response on
major TV shows such as 60 Minutes and Phil Donahue.
Formatting Requirements—READ CAREFULLY
1. Cite all sources using APA Style. An APA style guide is
posted on Blackboard, or can be found at
www.fox.temple.edu/bcc under “Writing Resources”. (Only the

citations need to be in APA style; the paper itself does not need
to be written in APA style.)
2. No more than 4 pages
3. 12 point Times New Roman or Calibri font, double spaced
(for double spacing, you will need to change the default setting
on MSWord).
4. Your header should be RIGHT JUSTIFIED and SINGLE
SPACED – see example bolded below
Student Name
BA 2196 Section (identify)/Instructor Name
Writing Assignment: Crisis Communication
5. EDIT YOUR PAPER
Review your paper for concise language (See the “Make Your
Language Concise” and “More on Grammar” Skills Sheets
posted on Blackboard). Also review your paper for effective
claims and persuasion (See the “Quick Tips for Effective
Claims” Skills Sheet posted on Blackboard).
You will turn in both an EXPANDED OUTLINE (for review and
feedback) and a FINAL, POLISHED VERSION.

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