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English 106: Introduction to Poetry
Spring 2017 Syllabus
English 106-03: Introduction to Poetry Instructor: Dr. Michael Bedsole
Spring 2017 Email:
MW 2:00-3:15 Office: Curry 341; Mailbox: 3114
Classroom: MHRA 2209 Office Hours: Mon. and Wed. 12:00-1:30
(Or by appointment)
I: General Overview
Course Description:
Poetry is a near universal form of human discourse, present in almost every culture and every historical epoch. From epic poetry to lyric, from dramatic to narrative, from closed forms to open ones, poetry encompasses a number of diverse modes and reflects a variety of purposes. This course is intended to introduce you to multiple forms of poetry as well as the constitutive elements and formal techniques authors employ when constructing their poems. In the course of our studies, we will examine poetic structure and language, as well as certain perennial themes poets treat in their work (such as nature, the self, or love). Moreover, because poetry arises always within particular contexts, we will consider, too, the socio-historical and cultural matrices out of which these works emerge (primarily in our unit on periodization). Lastly, as literature is a product of human reactions and responses to the world, we will remain sensitive to the human elements in the works, acknowledging the existential component that underlies or motivates any given text.
Student Learning Outcomes (SLOs) for the GLT marker:
At the completion of this course, students will be able to:
1. Demonstrate orally, in writing, or by some other means a fundamental ability to use someof the techniques and/or methods of literary analysis. (LG1, LG3)
2. Identify and/or describe some of the various social, historical, cultural, and/or theoreticalcontexts in which literary texts have been written and interpreted. (LG3)
ThoseSLOslabeled (LG3) relateto UNCG’s Learning Goal #3forGeneralEducation, which says students will “Describe,interpret, and evaluate theideas, events, andexpressive traditions thathave shapedcollective andindividualhuman experiencethrough inquiryand analysis inthe diversedisciplinesofthe humanities, religions,languages, histories,and the arts.” (
ThoseSLOslabeled (LG1) relateto UNCG’s Learning Goal #1forGeneralEducation. This is the ability to “think critically, communicate effectively, and develop appropriate fundamental skills in quantitative and information literacies.” (
Required Texts:
Browning, Abigail, and Melissa Ridley Elmes. Lenses: Perspectives on Literature. 2nd ed., Hayden
-McNeil Publishing, 2015. (ISBN: 978-073807007-0)
Hunter, Paul J., Alison Booth, and Kelly J. Mays. The Norton Introduction to Poetry. 9th ed., Norton,
2007. (ISBN: 978-0-393-92857-0) (Available via UNCG Bookstore and via your online
bookseller of choice. Used Price: variable)
II: Class Expectations
General Expectations:
As college students, you are expected to conduct yourselves as adults. You must come each day prepared for class. This means bringing writing materials and copies of that day’s readings. If you come to class unprepared, I reserve the right to count you absent for that day. I expect professional, courteous behavior towards myself and your fellow classmates. This course is intended to encourage student involvement and dialogue. Inappropriate behavior detracts from this goal. Accordingly, I expect you to respect when others are speaking, and to listen and engage in the classroom conversation. Sleeping in class is unacceptable, as is engaging in non-class related activities, such as doing work for another class or pleasure reading. Cell phones/iphones or other hand-held devices must be turned off, as no texting or calls are allowed. If you text in class, I reserve the right to count you absent for the day. Laptop use is forbidden, except for students who have made prior arrangements with me. When in use, laptops may only be used for class-related activities. Any other use will result in the forfeiture of your ability to use a laptop in this class.
Behavior Tied to This Course:
Respect for others and their ideas is expected in this course. Therefore, disruptive and disrespectful behavior will not be tolerated, and action to deter it will be taken. The UNCG Disruptive Behavior Policy describes words and deeds as follows:
“Disruptive is behavior which the UNCG regards as speech or action which 1) is disrespectful, offensive, and/or threatening, 2) impedes or interferes with the learning activities of other students, 3) impedes the delivery of university services, and/or 4) has a negative impact in any learning environment. Disruptive behavior includes physically, verbally or psychologically harassing, threatening, or acting abusively toward an instructor, staff member, or toward other students in any activity authorized by the University. Disruptive behavior also includes any other behavior covered by the Student Conduct Code.”
For the entire policy, go to
Academic Integrity:
“Academic integrity is founded upon and encompasses the following five values: honesty, trust, fairness, respect, and responsibility. Violations include, for example, cheating, plagiarism, misuse of academic resources, falsification, and facilitating academic dishonesty. If knowledge is to be gained and properly evaluated, it must be pursued under conditions free from dishonesty. Deceit and misrepresentations are incompatible with the fundamental activity of this academic institution and shall not be tolerated” (from UNCG’s Academic Integrity Policy). To ensure that you understand the university’s policy on academic integrity, review the guidelines and list of violations at <
In addition, you must always properly document any use of another’s words, ideas, images, or research both in the text and in a Works Cited/Bibliography. Failure to properly document is a form of plagiarism and may earn a zero on an assignment.
I expect you to abide by the Academic Integrity Policy. Should you not, you risk severe penalties. Students found plagiarizing papers, cheating on tests or class assignments, or failing to properly document sources will receive a zero for the work, and depending upon the exact nature of the violation, may receive a zero for the course. Should any student choose to plagiarize, cheat, or fail to properly document sources a second time, that student will receive a zero for the course.
Attendance Policy:
You are expected to be present and punctual for each class. Entering the room after class has begun is distracting and detracts from the learning experience. Do not come to class if you will be more than ten minutes late. This will count as one of your absences. Also, three tardies will equal one absence. You are allowed up to three absences. Each absence after three will result in your final class grade being lowered by half a letter grade, no matter the reason for your absence. Per department policy,missing six classes will result in a zero for the course. This is not intended to be punitive, but merely to reinforce the importance of class attendance. If you do miss class, it is your responsibility to discover what class assignments, handouts, or discussion points you may have missed. I do not accept late work due to absences (or any other reason). You are, by state law, allowed two excused absences due to religious holidays, which do not count toward your total allowed three absences. If you plan to miss class because of your faith, you must notify me in writing at least 48 hours prior to your absence. Note: Other than religious exemptions, this attendance policy does not differentiate between “excused” and “unexcused” absences; thus, it is the student’s responsibility to plan for absences within the policy concerning program fieldtrips, athletic events, work-related absences, advising sessions, minor illnesses, family and/or friend events, etc. For this English course, the College Writing Program’s attendance policy supersedes any other.
If you have extenuating circumstances such as a death in the family, chronic illness/injury requiring prolonged medical treatment, prolonged psychological issues, etc., you should make the instructor aware of these as soon as possible and keep him or her informed until you are able to return to class. You are also encouraged to contact the Dean of Students Office ( which can review documentation and notify multiple instructors on your behalf, especially if personal reasons prevent you from properly doing so yourself. You should be aware, however, that assistance from this Office does not change the outcome of the instructor’s decision in any particular class.The Dean of Students office is located on the second floor of the Elliott University Center (EUC).
III: Assignments
Assignments:
Student assessment will consist of a number of components, including a 5 page paper, two major exams, short (and pop) quizzes, out-of-class and in-class writing assignments, free-writes, and participation. As this is a literature course, you may expect a good deal of reading, all of which you are expected to keep up with throughout the semester. Late work will not be accepted for any reason. If you are absent on a day that a quiz is given, you will not receive credit for that quiz.
Exams [SLOs 1-2]:
You will have two exams this semester, the midterm and a final. The first of these exams will focus predominately on the formal elements of poetry and the poems we read in light of those elements. The final will focus in part on the topics, themes, and literary historical periods we cover during the second half of the course, but will also contain cumulative material drawn from the entire semester. Each exam will contain short and long answer, as well as identification exercises. Identification questions will ask you to identify various aspects of a passage (i.e., provide the speaker, poetic context/setting, author, source text, and significance).
Course Paper [SLOs 1]:
For this course, you will write a five page (1700 words) literary analysis on one of our readings. Your paper will be organized around a central thesis, which you will work to support by drawing on relevant evidence from the text under analysis.This essay is intended to give you practice applying the poetic concepts and literary approaches we discuss in class. All essays must be typed and submitted in MLA format. Use Times New Roman 12 point font, and make sure to double space. I do not accept papers via email. We will discuss this process in more detail as the semester unfolds.
Multiple Short Writing Assignments/Quizzes [SLOs 1-2]:
In addition to these exams, you will be responsible for numerous short writing assignments. Some of these will be in-class, others out-of-class, some group driven, others based on your individual reflections. These responses will consist of 150-250 word mini-essays based on our readings. Sometimes I will provide questions/prompts for you to consider; other times, I will encourage your spontaneous reflections on a given text. In addition to these assignments, be prepared for pop quizzes based on our readings or discussions. In addition to ensuring that you stay caught up with the readings, these assignments will help foster class discussion by allowing you the opportunity to reflect on our readings. As such, I will not often make specific comments on these assignments, but will rather invite you to discuss your reflections with the class.
Participation [SLOs 1-2]:
This is a discussion-based course. You must come to class each day prepared to contribute to discussion, which means that you must not only stay caught-up with our readings, but must be prepared to speak about them as well. Make sure that you’re highlighting passages as you read. Jot down questions that you have or observations that you make as you go along. If you engage with our poems at home, that will better ensure that you are able to engage with your classmates here. Free writes are generally considered a part of your participation grade, although I may from time to time collect these and grade them as short writing assignments.
Grading Rubric:
Midterm Exam: 25%
Final Exam: 25%
Paper: 20%
Multiple Short Writing Assignments/Quizzes: 20%
Participation: 10%
Grading Scale:
A+ 97.0 and above
A 93.0-96.9
A- 90.0-92.9
B+ 87.0-89.9
B 83.0-86.9
B- 80.0-82.9
C+ 77.0-79.9
C 73.0-76.9
C- 70.0-72.9
D+ 67.0-69.9
D 63.0-66.9
D- 60.0-62.9
F Below 60
IV: Other
Accessibility Resources and Services:
Students with documentation of special needs should arrange to see me about accommodations as soon as possible. If you believe you could benefit from such accommodations, you must first register with the Office of Accessibility Resources and Services on campus before such accommodations can be made. The office is located on the second floor of the Elliott University Center (EUC) in Suite 215, and the office is open 8am to 5pm, Monday – Friday. Telephone: 334-5440; email: .
The Writing Center:
If you feel you need assistance for any aspect of writing, from outlines to polished drafts, Writing Center consultants are always available to work with you one-on-one. Along with your questions, please make sure to bring a hard-copy of your work with you to each session.
Location: MHRA 3211
Phone: 334-3125
Website:
Student Conferences:
I welcome conversations with students. If you have concerns or questions about our coursework or readings, feel free to meet with me during my office hours (M/W 12:00-1:30) or by appointment. Of course, I’m always available by email, but please give me twenty-four to forty-eight hours to respond to you. If I have not replied to your message after forty-eight hours, then please re-send the message.
V: Course Schedule
C: Canvas
N: Norton Introduction to Poetry
L: Lenses: Perspectives on Literature
*This schedule is subject to change.
*Additional readings may be assigned
*Short writing assignments will be scheduled throughout the semester.
Day / In-Class / ReadingsWeek 1 / Part I: Formal Elements
Wed., Jan. 18 / Course Overview: Syllabus What is Poetry?: Reading Strategies, Movements, Terms, and General Definitions
Week 2
Mon., Jan. 23 / Tone / L: “Poetry: Introduction” (11-17), “Style, Voice, and Tone” (117-121)
N: “Tone” (27)
N: Blake’s “London” (33), Arnold’s “Dover Beach” (104), Owen’s “Dolce et Decorum Est” (310), Robert Lowell’s “Skunk Hour” (59)
Wed., Jan. 25 / Speaker/Voice / N: “Speaker” (68),
N: Browning’s “My Last Duchess” (329) and “Porphyria’s Lover” (529), Hardy’s “The Ruined Maid” (68), Wordsworth’s “She Dwelt among the Untrodden Ways” (78), Brook’s “We Real Cool” (91)
Week 3
Mon., Jan. 30 / Setting and Situation / L: “Setting, Atmosphere, and Mood” (123-126)
N: “Situation and Setting” (93)
N: Amy Lowell’s “The Lonely Wife” (334), Frost’s “Stopping by Woods on a Snowy Evening” (543), Stevens’ “Anecdote of the Jar” (517)
C: Mary Oliver’s “The Black Walnut Tree”
Wed., Feb. 1 / Imagery and Symbol / L: “Metaphor, Simile, and Imagery” (129-137), “Symbolism” (139-150)
N: “Picturing: The Languages of Description” (153-155)
N: Pound’s “In a Station of the Metro” (567),Williams’ “The Red Wheelbarrow” (142),Blake’s “The Tyger” (56), Wilbur’s “The Beautiful Changes” (157), Emily Brontë’s “The Night-Wind” (108), Paul Laurence Dunbar’s “Sympathy” (536)
Week 4
Mon., Feb. 6 / Sound/Language / L: “Poetry: Sound Imagery” (18-25)
N: “Language” (129), “Metaphor and Simile” (165-166), “The Sounds of Poetry” (199-200)
N: 199-207, Amy’s Lowell’s “Aubade” (180), Hopkins’ “The Windhover” (552), Shakespeare’s [That time of year thou mayst in me behold] (166), Emily Dickinson’s [Wild Nights—Wild Nights] (182)
Wed., Feb. 8 / Structure / L: “Poetry: Poetic Form” (26-27), “Poetic Forms” (329-337)
N: Shakespeare’s “Shall I compare thee to a summer’s day” (173), Donne’s “Batter my heart” (174), Dylan Thomas’ “Do Not Go Gentle into That Good Night” (275), Milton’s [When I consider how my light is spent] (266), Whitman’s “A Noiseless Patient Spider” (66), all haikus (391-394)
Week 5
Mon., Feb. 13 / Structure continued,
Writing a Literary Analysis / N: E.E. Cummings’ [l(] (281), Herbert’s “Easter Wings” (284), Whitman’s “I Hear America Singing” (580), Anne Sexton’s “The Fury of Overshoes” (13)
Wed., Feb. 15 / Putting it all together: The Longer Poem / N: Eliot’s “The Love Song of J. Alfred Prufrock” (538)
Week 6
Mon., Feb. 20 / Genre: epic and lyric / N: Paradise Lost, Book I excerpts (150-153),Whitman’s “Song of Myself section 1 (82), Anne Bradstreet’s “To My Dear and Loving Husband” (18), Yeats’ “The Lake Isle of Innisfree” (591)
Wed., Feb. 22 / Genre: dramatic and (non-epic) narrative / N: Browning’s “Soliloquy of the Spanish Cloister” (73), Anonymous “Sir Patrick Spens” (242), Felicia Dorothea Hemans’ “Casabianca” (317)
Week 7
Mon., Feb. 27 / Catch-up and Review
Wed., Mar. 1 / Midterm
Week 8 / Part II: Topics and Themes
Mon., Mar. 6 / Love Poetry / N: Elizabeth Barrett Browning’s “How do I love thee” (2), Linda Pastan’s “love poem” (4), Jarold Ramsay’s “The Tally Stick” (3), Marlowe’s “The Passionate Shepherd to His Love” (390), John Donne’s “The Flea” (97)
Wed., Mar. 8 / Self / N: Frost’s “The Road Not Taken” (542), Audre Lorde’s “Hanging Fire” (79), Sylvia Plath’s “Mirror” (86), D.H. Lawrence’s “I Am Like a Rose” (189)
Week 9
Mon., Mar. 13 / Spring Break: No Classes
Wed., Mar. 15 / Spring Break: No Classes
Week 10
Mon., Mar. 20 / Nature / N: Mary Oliver’s “Singapore” (126), Derek Walcott’s “Dry Season” (517), Thomas Hardy’s “The Darkling Thrush” (548), Wordsworth’s “Tintern Abbey” (587)
C: Wordsworth’s “I Wandered Lonely as a Cloud”
Wed., Mar. 22 / The City / N: Thom Gunn’s “A Map of the City” (125), Walcott’s “Midsummer” (124), John Bancks’ “A Description of London” (159)
C: Carl Sandburg’s “Chicago,” Frost’s “Acquainted with the Night”
Week 11
Mon., Mar. 27 / War Poetry / N: Richard Lovelace’s “Song: To Lucasta, Going to the Wars” (325), Randall Jarrell’s “The Death of the Ball Turret Gunner” (178)
C: Wilfred Owen’s “Strange Meeting,” Sandburg’s “Grass,” Li Po’s “Nefarious War”
Wed., Mar. 29 / Case Study: William Blake / N: “Holy Thursday” (528), “The Lamb” (385) (from Songs of Innocence)
C: “Introduction” “The Echoing Green,” and “The Chimney Sweeper” (from Songs of Innocence)
N: “Holy Thursday” (528) (from Songs of Experience)
C: “Introduction,” “The Garden of Love,” “The Chimney Sweeper” (from Songs of Experience)
Week 12 / Part III: Periodization and Historical and Cultural Contexts
Mon., Apr. 3 / Case Study: Emily Dickinson / N: Dickinson: [Because I could not stop for Death—] (531), [I stepped from Plank to Plank] (532), [We do not play on Graves] (532), [The brain—is wider than the Sky—] (519), [She dwelt her pretty words like Blades—] (533)
Wed., Apr. 5 / English Poetry Prior to Romanticism / C: “Caedmon’s Hymn,” “The Seafarer,” “Deor,” “The Ruin,” “The Wife’s Lament,” “Bonny Barbara Allan,” Wyatt’s “Whoso List to Hunt,”