![]() We have analysed this beautiful evening poem here. It seems a rather straightforward poem, but, as with that other Frost poem, its simplicity is only on the surface, and is belied here by several things, including the sophisticated rhyme pattern Frost employs. This is one of the most perennially popular evening poems, so had to be included here!įrost called this poem ‘my best bid for remembrance’. ![]() One of Frost’s best-loved poems if not the best-loved (the rival would be ‘The Road Not Taken’), ‘Stopping by Woods’, like Hardy’s ‘The Darkling Thrush’, takes a wintry evening as its setting but goes further into the woods than Hardy did (who was merely leaning ‘upon a coppice gate’). Robert Frost, ‘ Stopping by Woods on a Snowy Evening’. With visions, alien to long streets, of Cytharea The poem is short enough to be reproduced in full here:Īlluring, Earth seducing, with high conceits Hulme wrote as an illustration of what he thought modern English poetry should be, following the French vers libre (or free verse) model.įew poets before Hulme had thought to compare the red sunset to the naked flesh of a mistress of King Charles II, but the unusual simile only makes his poem all the more arresting and his description of the evening sunset – as seen by a London-dweller – even more visceral and vivid. ![]() However, Housman seems to have borrowed the phrase from Shakespeare’s Macbeth (‘The gaudy, blabbing, and remorseful day / Is crept into the bosom of the sea’) – but what he does with the phrase is quite arresting and memorable here.Īlong with his more famous poem ‘Autumn’, this was one of the first two poems T. ![]() The last line of the poem gave Colin Dexter the title of his final Inspector Morse novel, The Remorseful Day in the books, Housman is Morse’s favourite poet. Okay, so the first two stanzas of this poem address the morning and daytime, but it’s for the sublime final stanza that we’ve included this poem here. Housman, ‘ How clear, how lovely bright’. The poem’s speaker leans upon a woodland gate and views the land around him as a symbol of the events of the nineteenth century, the ‘Century’s corpse outleant’ the speaker is made a part of the scene, not just a detached observer, as ‘outleant’ echoes the speaker’s own action at the start of the poem (‘I leant upon a coppice gate’).Ī thrush appears, and sings so joyfully that the speaker is convinced that the bird knows something he does not – that the thrush singing in the twilight knows of brighter days to come.Ħ. This might work well with a ‘consequences’ story frame: a framework of actions already written where pupils add in nouns taken from the image to make a story.This classic Hardy poem captures the mood of a winter evening as the sun, ‘the weakening eye of day’, sets below the horizon and gives way to dusk on New Year’s Eve. To stimulate creative writing: pupils could pick two or three elements of the picture and combine them to stimulate a story. To support reading of individual poems – the image can act as a visual reminder of topics, themes or narratives for students while they are completing work on poems To stimulate pre-listening discussion about what the poems might be about Using the images:Įach programme is accompanied by a composite picture inspired by the poems in that programme. Students can read the text of the poem before, during or after listening to the recording and there are suggestions in these notes for pre-, during-, and post- listening activities. You can listen to them in their entirety or listen to and focus on one poem at a time. The programmes can be used in a variety of ways. These poems are read by the actors Maxine Peake and Julian Rhind-Tutt. The final two programmes focus on classic poetry and include a selection of well-known poems often taught at Key Stage 2. Each of the first 6 programmes profiles a different contemporary children’s poet who introduces and then reads a selection of his or her work. There are eight programmes in this series.
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