Wednesday January 3 "The Raven" by Edgar Allan Poe day 2

                                   Can you name the figurative language device?

Coming up: assessment on semi-colons and commas on Monday, January 8; vocabulary quiz on Wednesday, January 10.
In class: Please turn in your notebook with your sentences from yesterday. If you were absent, make sure to complete the work from Monday's blog; there is no handout. How to use colons, why a raven?,  new vocabulary (class handout/ copy below); listening to James Earl Jones read "The Raven" (take out your copy.)
Homework: silently read "The Raven", underlining any words with which you are unfamiliar.

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When to use a COLON

       

1. Before formally introducing a list (*An independent clause must precede the colon.) Incorrect Between two independent clauses when the second explains or expands the first Before a formal appositive (*An independent clause must precede the colon) Incorrect . Between hour and minute / chapter and verse (Bible) Now you try! Careful! 1. He set up an animal clinic there were none in his city.  2. My duties at Pet Haven were as follows checking in,  scheduling, labeling ,cleaning up,and billing. 3. We had to wake up 745, making sure we could read  Ephesians 28. 4. The score was tied the game went into  overtime.  5.He opened two more clinics: one north of the city and  another in the poorest section of the city.  6. He promised to reform a few days later he forgot  everything.  7. Ingrid, a shortstop, made the team, but Joe,  her cousin, did not make the cut. 8.Here are the classroom rules raise your hand before speaking  respect each other listen to one another. 9. The ratio of male to female in the group is 32. 10. The American flag has three colors red, white,  and blue. The Raven as performed by James Earl Jones

Why a raven?

1. Ravens are one of the smartest animals.

When it comes to intelligence, these birds rate up there with chimpanzees and dolphins

2. Ravens can imitate human speech.

In captivity, ravens can learn to talk better than some parrots

3. Europeans often saw ravens as evil in disguise.

In France, people believed ravens were the souls of wicked priests, while crows were wicked nuns. In Germany, ravens were the incarnation of damned souls or sometimes Satan himself. In Sweden, ravens that croaked at night were thought to be the souls of murdered people who didn’t have proper Christian burials

 4.Ravens are extremely playful.

They have been observed in Alaska and Canada using snow-covered roofs as slides. In Maine, they have been seen rolling down snowy hills. They often play keep-away with other animals like wolves, otters, and dogs.

5. Ravens have been featured in many myths
Cultures from Tibet to Greece have seen the raven as a messenger for the gods. Celtic goddesses of warfare often took the form of ravens during battles. 

 6. Ravens do weird things with ants.
They lie in anthills and roll around so the ants swarm on them, or they chew the ants up and rub their guts on their feathers.

7. Ravens use “hand” gestures.
    It turns out that ravens make “very sophisticated nonvocal signals,” according to researchers. In other words, they gesture to communicate. A study in Austria found that ravens point with their beaks to indicate an object to another bird, just as we do with our fingers.

8. Ravens are adaptable.
Evolutionarily speaking, the deck is stacked in the raven’s favor. They can live in a variety of habitats, from snow to desert to mountains to forests.

9. Ravens show empathy for each other.
Despite their mischievous nature, ravens seem capable of feeling empathy. When a raven’s friend loses in a fight, they will seem to console the losing bird

10. Ravens roam around in teenage gangs.

Ravens mate for life and live in pairs in a fixed territory. When their children reach adolescence, they leave home and join gangs, like every human mother’s worst nightmare. 

“The Cask of Amontillado” by Edgar Allan Poe  vocabulary words  QUIZ on Wednesday. January 10

1.     cask (noun)….a cylindrical container that holds liquids

2.     to venture (verb)…to proceed somewhere despite the risk of possible dangers

3.     vow (noun); to vow (verb)- a promise or to promise

4.     avenge (verb)- to take action for a perceived wrong

5.     to preclude (verb)- to make possible, especially beforehand

6.     impunity (noun)- exemption from punishment or loss

7.     wont (noun)- one’s usually way of doing something, an established custom

8.     to accost (verb)- to approach or speak to someone aggressively

9.     to abscond (verb)- to run away, usually taking something or someone along

10.                        feeble (adjective)- pathetically lacking in effort

Tuesday, January 2 "The Raven" by Edgar Allan Poe day 1

Learning Targets: 

1. I can cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain.

2. I can determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text.

3. I can analyze the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed).

4. I can determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone.

5. I can analyze how an author's choices concerning how to structure specific parts of a text  contribute to its overall structure and meaning as well as its aesthetic impact.

Essential Question: How has the American  Edgar Allan Poe developed ideas of Romanticism in his poem "The Raven"?

Coming up: assessment on semi-colons and colons on Monday, January 8

In class: Semi-colon review;

we are still looking at works under the umbrella of Romanticism, specifically in terms of the imagination. 

Today we'll listen and read the American Edgar Allan Poe's "The Raven"  Class handout / copy below

Take out your notebooks. On a clean page, write your MLA heading; then comment on the following using complete sentences
1. Bad things usually happen at night.
 2. It is not what you can see, but what you cannot that is the most frightening. 
3. Both the time of day and the time of year can affect your mood. 
4. Fear is a learned emotion. 

Listening to "The Raven": https://www.youtube.com/watch?v=bLiXjaPqSyY (4:40)

REVIEW

When to use a SEMICOLON

1. Between independent clauses not joined by coordinating conjunctions     (for, and, nor, but, or, yet, so)  2. Between independent clauses joined by a  conjunctive adverb   3. Between independent clauses containing internal punctuation  -even when the clauses are joined by coordinating   conjunctions. The Raven by EDGAR ALLAN POE  (first published 1845) 1.     Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore—     While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. “’Tis some visitor,” I muttered, “tapping at my chamber door—             Only this and nothing more.” 2.      Ah, distinctly I remember it was in the bleak December; And each separate dying ember wrought its ghost upon the floor.     Eagerly I wished the morrow;—vainly I had sought to borrow     From my books surcease of sorrow—sorrow for the lost Lenore— For the rare and radiant maiden whom the angels name Lenore—             Nameless here for evermore. 3.      And the silken, sad, uncertain rustling of each purple curtain Thrilled me—filled me with fantastic terrors never felt before;     So that now, to still the beating of my heart, I stood repeating     “’Tis some visitor entreating entrance at my chamber door— Some late visitor entreating entrance at my chamber door;—             This it is and nothing more.” 4.       Presently my soul grew stronger; hesitating then no longer, “Sir,” said I, “or Madam, truly your forgiveness I implore;     But the fact is I was napping, and so gently you came rapping,     And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you”—here I opened wide the door;—             Darkness there and nothing more. 5.       Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before;     But the silence was unbroken, and the stillness gave no token,     And the only word there spoken was the whispered word, “Lenore?” This I whispered, and an echo murmured back the word, “Lenore!”—             Merely this and nothing more. 6.      Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before.     “Surely,” said I, “surely that is something at my window lattice;       Let me see, then, what thereat is, and this mystery explore— Let my heart be still a moment and this mystery explore;—             ’Tis the wind and nothing more!” 7.      Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately Raven of the saintly days of yore;     Not the least obeisance made he; not a minute stopped or stayed he;     But, with mien of lord or lady, perched above my chamber door— Perched upon a bust of Pallas just above my chamber door—             Perched, and sat, and nothing more. 8.     Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore, “Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, Ghastly grim and ancient Raven wandering from the Nightly shore— Tell me what thy lordly name is on the Night’s Plutonian shore!”             Quoth the Raven “Nevermore.” 9.     Much I marvelled this ungainly fowl to hear discourse so plainly, Though its answer little meaning—little relevancy bore;     For we cannot help agreeing that no living human being     Ever yet was blessed with seeing bird above his chamber door— Bird or beast upon the sculptured bust above his chamber door,             With such name as “Nevermore.” 10.                     But the Raven, sitting lonely on the placid bust, spoke only That one word, as if his soul in that one word he did outpour.     Nothing farther then he uttered—not a feather then he fluttered—     Till I scarcely more than muttered “Other friends have flown before— On the morrow he will leave me, as my Hopes have flown before.”             Then the bird said “Nevermore.” 11.                      Startled at the stillness broken by reply so aptly spoken, “Doubtless,” said I, “what it utters is its only stock and store     Caught from some unhappy master whom unmerciful Disaster     Followed fast and followed faster till his songs one burden bore— Till the dirges of his Hope that melancholy burden bore             Of ‘Never—nevermore’.” 12.                     But the Raven still beguiling all my fancy into smiling, Straight I wheeled a cushioned seat in front of bird, and bust and door;     Then, upon the velvet sinking, I betook myself to linking     Fancy unto fancy, thinking what this ominous bird of yore— What this grim, ungainly, ghastly, gaunt, and ominous bird of yore             Meant in croaking “Nevermore.”   13.  This I sat engaged in guessing, but no syllable expressing To the fowl whose fiery eyes now burned into my bosom’s core;     This and more I sat divining, with my head at ease reclining     On the cushion’s velvet lining that the lamp-light gloated o’er, But whose velvet-violet lining with the lamp-light gloating o’er,             She shall press, ah, nevermore!   14.  Then, methought, the air grew denser, perfumed from an unseen censer Swung by Seraphim whose foot-falls tinkled on the tufted floor.     “Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee     Respite—respite and nepenthe from thy memories of Lenore; Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”             Quoth the Raven “Nevermore.”  15.   “Prophet!” said I, “thing of evil!—prophet still, if bird or devil!— Whether Tempter sent, or whether tempest tossed thee here ashore,     Desolate yet all undaunted, on this desert land enchanted—     On this home by Horror haunted—tell me truly, I implore— Is there—is there balm in Gilead?—tell me—tell me, I implore!”             Quoth the Raven “Nevermore.”  16.   “Prophet!” said I, “thing of evil!—prophet still, if bird or devil! By that Heaven that bends above us—by that God we both adore—     Tell this soul with sorrow laden if, within the distant Aidenn,     It shall clasp a sainted maiden whom the angels name Lenore— Clasp a rare and radiant maiden whom the angels name Lenore.”             Quoth the Raven “Nevermore.” 17.    “Be that word our sign of 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.”   18.  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 lamp-light 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!