Poetry Passage Reading

The Poetry Essay

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INTRODUCTION TO THE POETRY ESSAY

It's obvious to any reader that poetry is different from prose. And, writ-ing about each is different also. This chapter will guide you through theexpectations and processes associated with the AP Poetry section.

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What is the purpose of the poetry essay?

The College Board wants to determine your facility in reading and inter-preting a sustained piece of literature. You are required to understand thetext and to analyze those techniques and devices the poet uses to achievehis or her purpose.

The AP Lit exam is designed to allow you to demonstrate your easeand fluency with terminology, interpretation, and analysis. The level ofyour writing should be a direct reflection of your critical thinking.

The AP Lit exam is looking for connections between analysis andinterpretation. For example, when you find a metaphor, you should iden-t i fy i t and connect i t to the poet's intended purpose or meaning. Youshouldn't just l ist i tems as you locate them. You must connect them toyour interpretation.

Tip: Before beginning to work with an actual poem, read the reviewof processes and terms in the Comprehensive Review section of thisbook. You should also have completed some of the activities in thatsection.

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The Poetry Essay c /t

OF PROMPTS USED IN THE POETRY ESSAY

Not every poetry essay prompt is the same. Familiarizing yourself withthe various types is critical. This familrarity will both increase your con-fidence and provide you with a format for poetry analysis.

.okinds of questions are asked in the poetry essay?

Let's look at a few of the types of questions that have been asked in thepoetry essay on the AP Literature exam in the past:

o How does the language of the poem reflect the speaker's perceptions,and how does that language determine the reader's perception?

. How does the poet reveal character? (i.e., diction, sound devices,imagery, allusion)

o Discuss the similarities and differences between two poems. Considerstyle and theme.

o Contrast the speakers' views toward a subject in two poems. Refer toform, tone, and imagery.

r Discuss how poetic elements, such as language, structure, imagery,and point of view convey meaning in a poem.

o Given two poems, discuss what elements make one better than theother.

o Relate the imagery, form, or theme of a particular section of a poemto another part of that same poem. Discuss changing attitude or per-ception of speaker or reader.

o Analyze a poem's extended metaphor and how it reveals the poet's orspeaker's attitude.

o Discuss the way of life revealed in a poem. Refer to such poetic ele-ments as tone, imagery, symbol, and verse form.

o Discuss the poet's changing reaction to the subject developed in thepoem.

o Discuss how the form of the poem affects its meaning.

You should be prepared to write an essay based on any of these kindsof prompts. Apply these questions to poems you read throughout the year.Practice anticipating questions. Keep a running list of the kinds of ques-tions your teacher asks. Practice. Practice.

TIMINC AND PLANNING THE POETRY ESSAY

Successful writing is directly related to both thought and structure,and you will need to consider the following concepts related to pre-writing.

80 . The Poetry Essay

How should I plan to spend my time writing the poetry essay?

Remember, timing is crucial. With this in mind,, here's a workable strategyi.o

o 1-3 minutes reading and "working the prompt."o 5 minutes reading and making marginal notes about the poem. Try to

isolate two references that strike you. This may give you your openingand closing.

o 10 minutes preparing to write. (Choose one or two of the followingmethods that you feel comfortable with.)o Highlightingo Marginal mapping (see Chapter 4 for samples)o Key word/one word/line number outliningr Numer ica l c luster ing

o 20 minutes to write your essay, based on your preparationo 3 minutes for proofreading

WORKING THE PROMPT

It is important to understand that the quality of your essay greatly dependsupon you correctly addressing the prompt.

How should I go about reading the prompt?

As we did in the prose section, we will deconstruct a poetry essay promptfor you now. (This is the same question that is in the Diagnostic/Masterexam earl ier in this book.)

You should plan to spend 1-3 minutes careful ly reading the ques-tion. This will give you time to really digest what the question is askingyou to do.

Here's the prompt:

In "On the Subway," Sharon Olds brings two worlds into close proxim-ity. Identify the contrasts that develop both portraits in the poem anddiscuss the insights the narrator comes to as a result of the experience.Refer to such literary techniques as poetic devices, tone, imagery, andorganization.

Tip: In the margin, note what time you should be finished with thisessay. For example, the test starts at L p.m. You write 1:40 in themargin. Time to move on.#

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The Poetrv Essav . 81

Here are three reasons why you should do a 1-3 minute careful analy-sis of the prompt:

1. Once you know what is expected, you will read in a more directedmanner.

2. Once you internahze the question:, you will be sensitive to the detailsthat will apply as you read the poem.

3. Once you know allthe facets that need to be addressed, you will be ableto write a complete essay that demonstrates adherence to the topic.

Do this now.Hrghlight, circle,, or underline the essential terms and ele-ments in the prompt. Time yourself. How long did it take you?

Compare our highlighting of the prompt with yours.

In "On the Subwa)'," Sharon Olds brings two worlds into close proxim-iry. Identify the contrasts that develop both portraits in the poem anddiscuss the insights the narrator comes to as a result of the experience.Refer to such literary techniques as tone, poetic devices, F[4geryr andorganization.

In this prompt, anything else you may have highlighted is extraneous.

No/c: \When the question uses the expression "such as," you are notrequired to use only those ideas presented; you are free to use your ownselectior-r of techniques and devices. Notice that the prompt requires morethan one technique. One wil l not be enough. You must use more thanone. If you fai l to use more than one technique, no matter how well youpresent your answer:, your essay will be incon-rplete.

Tip: See Chapter 9 to review terms, techniques, and poetic devicesnecessarv for analys is .

Finally, read the poem. Depending on your style and comfort level,choose one of these approaches to yoLlr reading:

Read quickly to get the gist of the poem.Reread, using the highlighting and marginal notes approach.Read slowly, as if speaking aloud. Let the structure of the poemhelp you with meaning. (See the terms enjambment and cdesurd rnthe glossary at the back of this book.)Reread to confirm that you understand the full impact of thepoem. Do your highlighting and make marginal notes.

Note: In both approaches, you must hrghlight and make marginalnotes. There is no way to avoid this. Ignore what you don't immediatelyunderstand. It may become clear to you after reading the poem. Practice.

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"'When I readpoetry out loud,it's easier for meto understand it."

-Jennifer L.-AP student

Practice. Concentrate on those parts of the poem that apply to what youhighlighted in the prompt.

There are many ways to read and interpret any poetry. You have tochoose your own approach and which specifics to include for support.Don't be rattled if there is leftover material.

'We've reproduced the poem for you below so that you can practice

both the reading and the process of deconstructing the text. Use high-lighting, arrows, circles, underlining, notes, numbers, and whatever youneed to make the connections clear to you.

Do this now. Spend between 8-10 minutes working the material. Donot skip tbis step.It is time well spent and is a key to the high score essay.

On the Subwayby Sharon Olds

The boy and I face each otherHis feet are huge, in black sneakerslaced with white in a complex pattern like aset of intentional scars. We are stuck onopposite sides of the car, a couple ofmolecules stuck in a rod of lightrapidly moving through darkness.He has the casual cold look of a mugger,alert under hooded lids. He is wearingred, like the inside of the bodyexposed. I am wearing dark fur, thewhole skin of an animal taken andused. I look at his raw face,he looks at my fur coat, and I don'tknow if I am in his power-he could take my coat so easily, mybriefcase, my life-or if he is in my power, the way I amliving off his life, eating the steakhe does not eat, as if I am takingthe food from his mouth. And he is blackand I am white, and without meaning ortrying to I must profit from his darkness,the way he absorbs the murderous beams of thenation's heart, as black cottonabsorbs the heat of the sun and holds it. There is

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no way to know how easy thiswhite skin makes my life, thislife he could take so easily andbreak across his knee like a stick the way his 30own back is being broken, therod of his soul that at birth was dark andfluid and rich as the heart of a seedlingready to thrust up into any available light

Now compare your reading notes with what we've done below.Yours may vary from ours, but the results of your note-taking should besimi lar in scope.

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On the Subwayby Sharon Olds

used. I look at his raw face,

he looks at my fur coat, and I dolr'tknow if I am in his power-

he could take rny coat so easil) ' , m),briefcase, m)r life-Or if he is in my power, the way I am

ctppo.t.Ltion

The bc) and I face each otherHis feet are huge, in black sneakers -dalLlz

Ughf-laced with white in a complex pattern l ike aviolLncL.-set of inter-rtional scars. o. nr. ou.o ut-

no con'tno!:

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opposite sides of the car, a couple of 5.tide,s ct( the/"' i" ioiL|," ' molecules stuck i. a rocl ,f l ight !-Lgh.t. and. d"antz

apidly moving thr:ough darkness --I- me'txphon

;-He has the casual cold look of a rnugger.-na.juLtuton,.t (za,tme,tanhon----)

Lalert under hooded lids. He is weilring 'tungLca'(-,ALm4Lz ------

cUn ica.[-, au.tctp.ttlred. l ike the inside of the body ---

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ex l . losed. I arn wear ing c lar l< tur , thc-- -1 +whore skin of an anirnar taker.r and -f

hunting and 'slz'Lnning

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l iving off his l i fe. earing rhe sreak ---l_--- animax. imaga,tq-againhe does not eat, as if I am taking -J 20 hunting and 'slz,Lnning

the food from his mouth. And he is black -and I am white, ar.rd with.ut meaning or lnf r;:X*,trying to I must profit from his darknessthe way he absorbs the murderous beams of the - j udgmznta.L

84. The Poetrv Essav

rnat ion 's hear t . as b lack cot ton - - 2.5.LLcth,t and dantz) ==-=-==- ,;^i0.

- | absorhs the heat of the surr and holds i r . There is ' rL ' t t&L

-no way to know how easy thisUah.t and datttz4 |

Lwhite skin makes rny l ife, this l- su,i ltt

l i fe he could take so easily andi --,simiLe

lbreak across h is knee l ike a st ick thc wa), h is - " ' . \0I

nzdenznez to -) own back is being broken, the

,s.Lavahu? |- Lrod of his soul $at + !U4r wasla4ild .timi_Lz

Highlispointsyou'ueYou mprisedactuaL

o Animal imageryo Implied violenceo Shift in middle of poemo Similes

WRITING THE

Notice that we have ignored notes that did not apply to the prompt.Now choose the techniques that develop the contrasting portraits and

reveal the narrator's perceptions.In response to the prompt, we have decided that the techniques/devices

we will analyze are:

o Imageryo Poetic deviceso Organization

If you expand the above techniques/devices and the above categoriesinto interpretive statements and support those statements with appro-priate detai ls that you've already isolated, you wil l be writ ing a defendedessay.

OPENING PARAGRAPH

Your opening statement is the one that sets the tone of your essay andpossibly raises the expectations of the reader. Spend time on your firstparagraph to maximize your score.

Make certain that your topic is very clear. This reinforces the ideathat you ful ly understand what is expected of you and what you wil lcommunicate to the reader. Generally, identify both the text and the poetin this f irst paragraph.

nedenencz to ;f luid and r:ich as the heart of a seedling .(iqht anddi-'scn'LminaLL0n?-1t1sa4v to thrust uo into anv :rvailabl

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After you have marked the poem, review the prompt. \When you lookat your notes, certain categories will begin to pop out at you. These canbe the basis for the development of the body of your essay. For example:

o Light and dark imageryo Speaker's insightso Contrast in statuso Metaphors

.oHighlight thesepoints to see ifyou'ue done them.You may be sur-prised at what isactwally there.

The Poetry Essay o $$

Do tbis now.Take 5 minutes to write your opening paragraph for theprompt on page 80.'Write quickly, referring to your notes.

Let's check what you've written.

o Have you included the poet and title?o Have you addressed the portraits, contrasts, and insights?o Have you specifically mentioned the techniques you will refer to in

your essay?

Here are three sample opening paragraphs that address each of theabove criteria.

ASharon Olds in the poem, "On the Subway," presents a brief

encounter between two people of different races which leads to severalinsights of one part icipant. This is accomplished through olds's use ofpoetic devices, imagery, and imagination.

BThe observer and the observed. one has control over the other. In

her poem, "on the Subway," Sharon olds asks her readers to enter themind of a white woman who observes a young, black man as they traveltogether, neither knowing the other. Using poetic devices, imagery' andorganization, Olds takes the reader on a ride through the contrasts andimages that spark the imagination of the white onlooker.

C"And he is black and I am white" establishes the basic contrast and

cor-rf l ict ir-r Sharon Olds's poem, "On the Subway." Through imagery,organization, and poetic devices, Olds creates two contrasting por-traits. The narrator's confrontation becomes the reader's also as shereveals her troubling fears and insights through her images and com-ments concerning her encounter with the black youth.

These three introductory paragraphs identify the poet and the titleand clearly indicate an understanding of the prompt. Now, let 's norewhat is different about each.

Sample A is a straightforward, unadorned restatement of the prompt.It is correct, yet, lacks a writer 's voice. (If you are unsure of how to pro-ceed, this is the type of opening you may want ro consider.) This type ofopening paragraph will at least allow you ro get into the essay with as lit-tle complexity as possible.

Sample B immediately reveals the writer's confidence and maturewriting style. The prompt is addressed in a provocative and interestingmanner, Ietting the reader know the tone of the essay.

Sample C incorporates a direct quotation from the poem which indi-cates the writer is comfortable with citation. The writer also links thereader with the poem and feels confident that his or her judgments aboutthe encounter are supportable.

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WRITING THE

Note: There are many other types of opening paragraphs that coulddo the job as well. The paragraphs above are just a few samples.

Does your opening paragraph resemble any of these samples?

BODY OF THE POETRY ESSAYWhen you write the body of your essay, take only 15-20 minutes. Timeyourself and try your best to finish within that time frame.

Since this is practice, don't panic if you can't complete the essaywithin the allotted time. You will become more and more comfortablewith the tasks presented to you as you gain experience with this type ofquestion.

Obviously, this is where you present your interpretation and thepoints you wish to make that are related to the prompt.Use specific references and details from the poem.o Don't always paraphrase the original; refer directly to it.o Place quotation marks around those words and phrases that you

extract from the poem.I-Jse "connective t issue" in your essay to establish adherence to thequestion.o Use the repetition of key ideas from opening paragraph.. Try using "echo words" ( i .e., synonyms such as insight can

be inference/observation/perception; fear can be apprehension/insecurity).

o Create transitions from one paragraph to the next.

To understand the process, carefully read the following sample para-graphs. Each develops one of the categories and techniques/devices askedfor in the prompt. Notice the specific references and the "connective tis-sue." Also, notice that details that do not apply to the prompt have beenignored.

AThis paragraph develops poetic devices.

"Black sneakers laced with white in a complex pattern like a setof intentional scars" is the jarring simile Olds uses to establish therelationship between the woman and the "boy" on the subway.Immediately, the poetic device implies the bondage and pain of theoppressed minority and the deliberate complexity of race relations. Thisidea of interwoven lives is further developed by the metaphor that links

aO What should I include in the body of the poetry essay?t .

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The Poetry Essay r g7

both as "molecules stuck i ' a rod of l ight." The youth' however, ls com-p:rred to a repri le with "h'oded l ids," and al l the fear arrd reprlsionassociated with this creatLrre is transferred to the boy who isi iding histrue intentior-rs with such . look. The woman follows her fearful iisightswith st i l l another exrreme simile-worrying about ,, this l i fe he couljtake so easily and break across his knee l ike a st ick." Sti l l , she provesthe complexity of her tho,ghts by creating a sympathetic -.t"ph,r, t,,ponder "the r.d of his sorl-the heart ' f a seedling" yearning i. gro-in to the l ight .

B'fhis paragraplr develops imagery.

.

The irnages in the poent rrre predominilnt ly drarwn from the contrasthctwee. l ight and ciark. "Black sneakers," , .white luces,,, , ,rocl of l ightrapidly_n'roving throLrgh dirr l

BB . The Poetry Essay

Note: Look at the last sentence of Sample B on imagery: "Empha-thizing with the black youth, the narrator moves beyond her prejudicesand finds promise in the last three lines which see the dark being borninto the light. "

This final sentence would be fine as the conclusion to the essay. A con-clusion does not have to be aparagraph. It can be the writer's final remark,observation, or reference and may be only a sentence or two.

Do this now. Wrrte the body of your essay. Time yourself. Allow1,5-20 minutes to complete this task.

Tip: Again, sharing your writing with members of your class orstudy group will allow you to gain experience and to find a comfortzone with requirements and possibilities.

SAMPLE STUDENT ESSAYS

Following are two actual student essays followed by a rubric and commentson each.

Student Essay ATlp thnez ,sectiont o{ "0n the Subwa"q" bq Shanon 0.td,s axpnelsl thz comyt.(i-

ca.tzd ne,Lo.tionsl'vLp be.fuieen Cauca,siant and Adttiean-Ametricant, In tlp [itut ,sec.tiontlp au.tlwn ytne'sent's an exyso,si,tLon thnl conttta,ttt a wh,i,te pehaln wLth a bXnctz (X.Lnel | -13),In tlp Aecond, the ,sytealzelt begint to dzve.(-oyt tlv apytanznf. d,irspani,LLe) Ao tha,t inten-ne.taLLonthip,s energL (Une's 13-20). In tlp tlLi,tLd, the nanna,ton go-Lwr intight into hctwt[vU aezne i's neytne'senta,tive o$ AmwLean cu,Ltunz o.t Lange (.LLne,s 20-34) .

Tle inagottq O,tdA u.ae's in tlte (fnst aee,tion enplm,size,s tlw d.Ld{enence be-tweenthe wlvi.te u)oman who .Lt tlp nanna.ton and tLp ob'senven and the b.tactz boq, who i,sthe- obaetwed, a,L tlrcq nLde tlrc 'subwa-q. Tlte ahoot lp.U wennLng ane bLaelz "Xncedwi,th wlvLte" (.LLne 3) . TLp ,sytenlzen dextibe,s thz wlv(te zigzag,s a,t "intzntionaL acaia"(Une 4) . Tlte AIULE a,LLude- to the dUuLfuLnnLLon agaLnst the b,Lactz man bq wh,i,te aocie.tt1.Thz adlec.tive "intzntions.L" denote,t that wh,tte,s puLplue.[-A lmnn bX-aclz,s. Tlp inagecontna.tt's wluLte's wi,tlt b.Lack's: wh,Lte,s ilLa- powuLdu,L; b.Lackt ane,subaetvient. SimL[-anLt1,the tno ehanactetu ane de,tcnibed as baLng "atuclz on oppoui.te Aide,s" o[ tlte ,subwaqcan; theq anQ- Aepahqled ytetmanzntLq [nom eaclt othett (.(ine,s 4-5) . The de,seniption o( thecX-oth.Lng i's a tlvind contna,sLLng e.Lemznt. Hene, the bXnctz man.U "expo,sed," wlu(le- the,speafzett i's cove-tted in (un (Une 1l ) . TI,LU inage- nein(ottce,s the oytyto,si.tion be.tnezn thewhi-te u)oman and the blactz boq.

Tlp 'second aec.tion ALQ.E a" aluL|t in tone. (illpne the {inst,see.tion Lt eompo,szd o{lftt'Lte ythq'sieaL de'sen Ly:LLowt, tle 'szeond i's mone ,ph,t [-o'soytlvLca.[- and ind,Lca.tu thz'spealze,,t"s appttel+enlion. SL:z i's uncentnLn and wnrte,r tlla.t "I don'tl lznow id I an Ln

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lvi.,t ytowen. . olL i6 t+e is in mU frowehtt (Unat 14-15, 18), Such a LtatLment i's inpontantbecawse i,t i,tluatnate,s tLML tlp boundan Le,t be-twezn wh,i-te,t a.nd b.Lach's attz not a,s cLzan-cu.t a.t tlrcq maq ALen. Pen\wytl tlrc aysealzen bzgLnt to nza.(ize tLtaL the inagz o( tlrc,tub,senviznt bX,a"clz and thz pctwendu.L whi.te- pne,tznted in tlte, (fn'st aection od tlrc poemi.t Lnconnzct, TIrc rLLfrotilion o[ tLrc wond "LL(e" .U anothz,t wa"U tlp intencctnnectionbe.twezn tlrc tno chanactetu i,s dzve-X-opzd. TI,p natuta.ton cannot dzcide whe,tlpn he,twQnULL uAuLpS tLrc powen od tlte- b(,a"clz man o,L whe-thett luU potzntLa.[- a"ggne-t'sion u,sunp,shen powett, (.n-Lne,t 17, 19).

Tlp tone, agaLn, ,sh,L[ts Ln tLp tlLOLd 'szgmznt. He,rte, i.t i's c.LzuL tLmL tlte.tpzalzelt i,ttntllng to gaLn an undenttand,Lng od the neXalictnth,tp be.twzzn the wLvLtz wonLd and tlwto( tlw bX,aclz boq. At {in t, 'slrc nea.[.LzeA tlLat thzq anz dL[(enent bzcau.tz "he ia bLactzqnd I an uJhi-te" (.L-Lne,t 21-22). Thz ina.gz o$ thz "bX-acfz cotton" a,[.Lude,t to .t.Lavenq, onczago-Ln nz[etuvLng to thz aca,ia, on dUtinctionA, inpo,szd bq the whrtz 'sctcie-tq. Ve,t, attlrc end o[ thi,t azction, the d,L[de;nLncQA be-twee-n the two yteoyt.Lz ahQ- sthangoLqteconc.L[-zd. ThlA it accomyt.(i.tLrcd u.tLng tltz tzchruLclue od ,LLpa-ti-ti0n. lnttzad o[rcpoa,t-Lng a" wond a.t in the.tzcond azction, an imagz it nepeatzd, Line-a 29-31 atatetlnt the blaclz man cou'Ld hunt tl'te wh"Ltz t:)oma-n; hz cou.[-d "bnzalz [hett] a"cnost ILUlznze tlp waq h,i,s own baclz i.s baLng bnolzzn." In otho,tt t^)otLda, both whrte-t a"ndb.[,ach-t can hunt.; bctth zace,s can bz injunzd bq ei.then nzys,te,stion uL a"gg)Laa+Lon, and aotl'tet1 anz connzctzd thnough tLLafuL pa,Ln a"nd unnza'U-zed dneam.t.

Student Essay BIn tl'tz poLm "0n tLte Subwa.q" bq Shanon O.Ld.t, .tlrc contttatt's tlrc wontdl od an

ad[.tuenl. whrtz puuln and a ytoon b,Laclz fruAon. The tno peoysLe lnvz manq oppo,singchanactwLtica, and tl,tz au.thon wsaA Xrtahanq tzchruLquel auch aa tone, poe,tic devicet,and inagenq tct ytontnatl the'sz dL[[etrcnce-t. TLtz naanoton i's the whi-te u)oman, and.tlp nealizet how peop.Le ge.t ".ttuch" Ln ysXacea o[ docie,tq ba'sed on theit 'slz,Ln co.(.0n.The wond "atuctz" i,t nzpza,tzd tnicz to 'sttte,t.t tlvU idza.

Thz na"jon d,L[[ettzncz be,fi,ozon tlrc tuo pzopLz i,s obviou.t.Lq thai,,L,sla,Ln co.Lon. TI;LEone- d,L[dettLncL cauaeA manq a.tytec-t's ctd eacLt frQluon'.t .(ide to bz unLLtzz thz ot[pn"s. Thzwhrtz u)oman i's abovz tlp b!-a.ctz man in the qe's o(1 much o[ ,socie-tq. Tlrc natuLaton,state,t tLM.t "uJi,tllout meawLng on tnqing to 1 mu,st ytno[it dnon luLt dantzne,s.s." TILU iAbalica,U,q 'sa"qing tha,t tlrc b(-aclz man i,t Uving in a whrtz man'a won[d, wltette- luU ,skinco.Lon a.Lonz hal givzn luLn a y:nzd}po'si,tion in the w1e,s o[ manq. Thi-t idza ia [Mf.hQlL,suytysontzd whzn tlp 'spzatzen tl,vLnk's "Tlp)tz i's no wa,q to lznow how za.tq tlr,U wbi-tz .tlz,Lnmalze,t mq Udz." )X-dA u.te's thz [o.LLowing .sini,[-e to .show thz b.Lactz mqn'a 'si.tua.tion:" . hL ab,sonb,s tlp munde,'tou.t bzant o[ the- natrion'a heah,t , a.t b.[-aclz cof,ton ab'sonb'stLrc lrc.al. od thz Aun and lrc.Ld.t i,t."

Anotlp,t contna,at. tlLaf. ia in tlrc pozn i's tlrc nat^)nea,s od tlv bLa.clz man vesttu.t thz'sLteltetted and ne(fned .Loolz od tlp wh).te- woma.n. )X-d,s u.tet a .siniLe to de,sen Lhz thz nzdthat tLp bLactz qou.th i,s wzaning: "Lilze- thz iwtidz o[ tle bodq expo.tzd." Thz whrtz

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A,s a nQ'su,Lt o{ th,U expwLznce, thz nli)utuL nea.LLze,t that tlplte .r.,s a ba,bnce odpol^)Ql and contnol be.tween hen and the qoung man. She ne.a,.{izeA tllat at tine,s, andin celtta,Ln,srtua.tiont, 'she nulea, wh,LLe in otlpnt the bLaclz man doe,s. HuL li(e, hel"enAieh" I-L62, can bz talzen anaq bq the bXnclz qou.th. Who lnd tle ytowen on the tnaLn?Tlv big, Athong, naw blaclz m&n orL tlv wealzett, but nLchen, wlv(Je woman? Soc,Le,tq hn,sgiven the whrte u)oman a da.Lse ALwsL od 'supetionLtq and aecunrtq. S/'z,U pnotzctzd bqwea,Lth, hen iob, and he-tt poAseAALonA, butwlpn a.[-one on the,subwaq t^ri-th tlLUbXneh man, Ahe 6ee.Ls denn. Sle i's eondnonted bq hen own vu.Lne,,tabi,[.rtq. Thz bLaclzqouth who i's being bnolzen bq aocie.tq can bnealz thz wh,Lte tiloman who i,a ,socie,tq.

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Stt

ao RATTNG THE STUDENT ESSAYS"Euen thowghI hate doing it,my writing reallyimproues whenI spend the timereuising whatI'ue written."

-Mike T.-AP student

Let's take a look at a set of rubrics for the poetry essay.A 9 essay has all the qualities of an 8 essay, and the writing style is

especially impressive, as is the interpretation and/or discussion of thespecifics related to the prompt and poem.

An 8 essay will effectivel)' and cohesivel)' address the prompt. It willcite appropriate devices called for in the question. And, it will do so usingappropriate evidence from the poem. The essay will indicate the writer'sability to interpret the poem andlor poet's attitude toward the subject ina clear and mature style.

A 7 essay has all the properties of a 6, only with more complete, well-developed interpretation and/or discussion or a more mature writingstyle.

A 6 essa)' adequately addresses the prompt. The interpretation and/ordiscussion is on target and makes use of appropriate specifics from thetest. But these elements are less fully developed than scores in the 7,8, or9 range. The writer's ideas are expressed with clarity, but the writing mayhave a few errors in syntax and/or diction.

A 5 essay demonstrates that the writer understands the prompt. Theinterpretation/discussion is generally understan dable but is limited oruneven. The writer's ideas are expressed clearly with a few errors in syn-tax or diction.

A 4 essay is not an adequate response to the prompt. The writer'sinterpretation/discussion of the text indicates a misunderstanding, anoversimplification, or a misrepresentation of the given poem. The writermay use evidence that is not appropriate or not sufficient to support theinterpretation/discussion.

A 3 essa)' is a lower 4 because it is even less effective in addressing theprompt. It is also less mature in its syntax and organrzation.

s

The Poetry Essay r g'l

A 2 essa)' indicates The writer- . ^ r r v v v r r l v rmay.misread the quesrion, only summ arize tie po..rrl*Jdevelop the

required interpretation/discussion, or simply ignore the prompt and writeabout anorher topic altogether. The writing may also L.k orgu' izationand control of language and syntax. (Nore:\o matter ho* good a sum-mary is, it will never rate more than a 2.\

#A 1 essa)' is a lower:.2 because it is even more simplistic, disorganized,

This is a high range essay (9-g) for rhe fol lowing reasons:o A sophist icated, indirect indication of the task of the prompt and orga_

nization.o Tightly constructed and thorough discussion of the contrasts and

opposit ion in the poem.o Effective analysis tf i-"g..y ( l ines 1-13, 1S_17).o Effective and coherent discussion of tone.. Understanding of the subtlet ies of tone (l ines 19_21).t

_s-r-fn"t support for assertions and interpretations (lines 22-29).o Effective analysis of l i terary techniques (l i 'es 11, 33-.34,36-3g).This high-ranking essay is subtle, cor-rcise, and on target. There is

nothing that takes away frorn the writer's focus. Each paragraph growsout of the previous one, and the reader always kn"*, i"h.r. the authoris taking him or her. The syntax, diction,

".rd org"., ization are mature

ano conndent.

This is a middle-range essay (7-6-s) for the folrowing reasons:o Clearly identif ies the task, the poem, and poet.o states the techniques thar wil l te discussei in the essay.o Lacks a transit ion to the body of the essay (l ines 6_7).o Provides an adequate discussion of the insights of the speaker ( l ines23-2s).o cites appropriate specifics ro support the thesis of the essay (lines 14-16).o uses standard style, diction, and structure, but does not reflect a

sophis t icated or mature wr i ter .o Attempts a universal statement within a rather repetitive and summary_like conclusion (lines 31-34).

, Y!il: adhering to the prompr, this midrange essay is an adequate firstdraft. It shows promise bui.o-er-dangerously"clore io p"r"pt rasing lines.

Student Essay A

Student Essay B

Tip: The essayapproach each

is really a f irst draft. Theessay with this in mind.

readers know this and


How about shar-ing these sampleswith members ofyour class or studygroup and dis-cussing possibleresponses.

The analysis is basic and obvious, depending on only one device, that ofsimile. The writer hints at the subtleties but misses the opportunity torespond to further complexities inherent in the poem.

No/e: Both essays have concluding paragraphs which are repetitiveand mostly unnecessary. It is best to avoid this type of ending.

Tip: Try a little reverse psychology. Now that you are thoroughlyfamiliar with this passage, construct two or three alternate Ap levelprompts. (\Walk a l i t t le in the examiner's shoes.) This wil l help yougain insight into the process of test-making. Perhaps, as extra prac-t ice, you would l ike to try one or two of these alternative questionsas enrichment.

RAPID REVIEW

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o

o

o

Need a Quick Review? Spend a minure or rwo reading through . . .that ' l l do.

o Review terms and techniques in Chapter 8.o Become familiar with types of poetry questions (prompts).o Highlight the prompt to make certain you are aware of required tasks.

Time your essay careful ly.

Read the poem a couple of t imes.

Spend sufficient time "working the poem" before writing.

Mark up the poem.

create a strong opening paragraph, includi'g prompt information.

Refer often to the poem for concrete details and quotes to supporr yourideas.

Always stay on topic.

Avoid simply paraphrasing.

Include transit ions and echo words.

Practice-vary the prompt and your response.

Consult the models and rubrics for self-evaluation.

Share ideas with others.

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Documents

Poetry Passage Reading