NOTHING GOLD CAN STAY by Robert Frost
Nature's first green is gold,
Her hardest hue to hold.
Her early leaf's a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.
Thursday, October 21, 2010
Poetry Analysis Worksheet
Poetry Analysis Worksheet
What does the title mean?
Take a look at the title and reflect on what it means.
2. Put it in your own words
Read the poem two or three times. You will see something different each time you read the poem. Write a brief paraphrase of the poem. Highlight or list some of the words (nouns, verbs, phrases) that are important to understanding the poem.
3. What do you think the poem means?
Now think about the meaning of the poem, not just the obvious meaning of each word but what they mean beyond the literal. Do these words suggest something else?
Answer these questions and provide evidence—lines, words, phrases from the poem--for your answers:
• Who is the speaker of the poem? • What is he/she talking about?
• Why do you think the author wrote the poem?
• When is the poem happening and where is the poem happening?
• What is the poet’s attitude or tone in the poem?
• How does the poem shift from person to person or between different times or places?
Most poems tell us about a poet’s understanding of an experience so the beginning will be different then the end. The change or shift may be in feelings, language (slang to formal), or connotation (positive to negative). Explain how these shifts convey the poem’s message.
4. Poetic devices:
Identify different poetic devices and how they convey the poem’s message.
• Simile – comparison using like or as
• Metaphor – a direct comparison
• Personification – giving human qualities to nonhuman things
• Tone – what emotion does the speaker use as he talks
• Point of view – who is the telling the poem
• Imagery – creating pictures with words
• Alliteration – repeating the same letter
5. Theme
Identify the theme (central idea) of the poem. How does the theme convey the poem’s message?
6. Look at the title again
Now look at the title again. Do you now have a different interpretation of the title?
7. Begin preparing your analysis & your powerpoint
Copyright 2009 IRA/NCTE. All rights reserved.
ReadWriteThink materials may be reproduced for educational purposes.
What does the title mean?
Take a look at the title and reflect on what it means.
2. Put it in your own words
Read the poem two or three times. You will see something different each time you read the poem. Write a brief paraphrase of the poem. Highlight or list some of the words (nouns, verbs, phrases) that are important to understanding the poem.
3. What do you think the poem means?
Now think about the meaning of the poem, not just the obvious meaning of each word but what they mean beyond the literal. Do these words suggest something else?
Answer these questions and provide evidence—lines, words, phrases from the poem--for your answers:
• Who is the speaker of the poem? • What is he/she talking about?
• Why do you think the author wrote the poem?
• When is the poem happening and where is the poem happening?
• What is the poet’s attitude or tone in the poem?
• How does the poem shift from person to person or between different times or places?
Most poems tell us about a poet’s understanding of an experience so the beginning will be different then the end. The change or shift may be in feelings, language (slang to formal), or connotation (positive to negative). Explain how these shifts convey the poem’s message.
4. Poetic devices:
Identify different poetic devices and how they convey the poem’s message.
• Simile – comparison using like or as
• Metaphor – a direct comparison
• Personification – giving human qualities to nonhuman things
• Tone – what emotion does the speaker use as he talks
• Point of view – who is the telling the poem
• Imagery – creating pictures with words
• Alliteration – repeating the same letter
5. Theme
Identify the theme (central idea) of the poem. How does the theme convey the poem’s message?
6. Look at the title again
Now look at the title again. Do you now have a different interpretation of the title?
7. Begin preparing your analysis & your powerpoint
Copyright 2009 IRA/NCTE. All rights reserved.
ReadWriteThink materials may be reproduced for educational purposes.
Elements of Poetry - continued
Shift in poetry - A change that is often intentional
point of view, scenery, mood,...
Initial reaction
Title of the Poem
• Is the title's meaning obvious? For example, does it mention a single setting and action, such as W. S. Merwin's "The Drunk in the Furnace" or James A. Wright's "Autumn Begins in Martins Ferry, Ohio"?
• Does it imply multiple possibilities? For example, Jean Toomer's "Georgia Dusk," which refers to a time of day as well as to dark-skinned people.
• Does it strike a balance, as in Rita Dove's "Beulah and Thomas"?
• Is there an obvious antithesis, as with Robert Frost's "Fire and Ice"?
• Is there historical significance to the title? For example, Robert Lowell's "The Quaker Graveyard in Nantucket."
source (don’t go into shock): http://www.cliffsnotes.com/WileyCDA/LitNote/American-Poets-of-the-20th-Century-How-to-Analyze-Poetry-Title-of-the-Poem.id-11,pageNum-4.html
Style of the Poem
Into what category does the poem fit — for example, Carl Sandburg's imagism in "Fog" or Gwendolyn Brooks' epic "The Anniad"? Readers should apply definitions of the many categories to determine which describes the poem's length and style:
• Is it an epic, a long poem about a great person or national hero?
• Is it a lyric, a short, musical verse?
• Is it a narrative, a poem that tells a story?
• Is it a haiku, an intense, lyrical three-line verse of seventeen syllables?
• Is it confessional? For example, does it examine personal memories and experiences?
source (don’t go into shock): Read more: http://www.cliffsnotes.com/study_guide/literature/American-Poets-of-the-20th-Century-How-to-Analyze-Poetry-Style-of-the-Poem.id-11,pageNum-3.html#ixzz12zULqUUE
Tone
Paraphrase
Literal vs. Figurative Meaning
Paradox
point of view, scenery, mood,...
Initial reaction
Title of the Poem
• Is the title's meaning obvious? For example, does it mention a single setting and action, such as W. S. Merwin's "The Drunk in the Furnace" or James A. Wright's "Autumn Begins in Martins Ferry, Ohio"?
• Does it imply multiple possibilities? For example, Jean Toomer's "Georgia Dusk," which refers to a time of day as well as to dark-skinned people.
• Does it strike a balance, as in Rita Dove's "Beulah and Thomas"?
• Is there an obvious antithesis, as with Robert Frost's "Fire and Ice"?
• Is there historical significance to the title? For example, Robert Lowell's "The Quaker Graveyard in Nantucket."
source (don’t go into shock): http://www.cliffsnotes.com/WileyCDA/LitNote/American-Poets-of-the-20th-Century-How-to-Analyze-Poetry-Title-of-the-Poem.id-11,pageNum-4.html
Style of the Poem
Into what category does the poem fit — for example, Carl Sandburg's imagism in "Fog" or Gwendolyn Brooks' epic "The Anniad"? Readers should apply definitions of the many categories to determine which describes the poem's length and style:
• Is it an epic, a long poem about a great person or national hero?
• Is it a lyric, a short, musical verse?
• Is it a narrative, a poem that tells a story?
• Is it a haiku, an intense, lyrical three-line verse of seventeen syllables?
• Is it confessional? For example, does it examine personal memories and experiences?
source (don’t go into shock): Read more: http://www.cliffsnotes.com/study_guide/literature/American-Poets-of-the-20th-Century-How-to-Analyze-Poetry-Style-of-the-Poem.id-11,pageNum-3.html#ixzz12zULqUUE
Tone
Paraphrase
Literal vs. Figurative Meaning
Paradox
Wednesday, October 13, 2010
Assignments Over Poetry
ASSIGNMENT #2: for the first day of next week
READ:
Chapter 2: EMOTIONS - pages 19-38
Chapter 3: IMAGES - pages 39 - 70
ASSIGNMENT #3: for the second day of next week:
READ:
Chapter 5: SOUND - pages 109-128
Chapter 6: METAPHORS, SIMILES, & SYMBOLS - pages 145-176
READ:
Chapter 2: EMOTIONS - pages 19-38
Chapter 3: IMAGES - pages 39 - 70
ASSIGNMENT #3: for the second day of next week:
READ:
Chapter 5: SOUND - pages 109-128
Chapter 6: METAPHORS, SIMILES, & SYMBOLS - pages 145-176
Online Poetry: "The Raven" by Edgar Allan Poe
The Raven
by Edgar Allan Poe
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 visiter," I muttered, "tapping at my chamber door--
Only this and nothing more."
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.
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 visiter entreating entrance at my chamber door--
Some late visiter entreating entrance at my chamber door;
This it is and nothing more."
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.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortals 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.
Back into the chamber turning, all my sour within me burning,
Soon again I heard a tapping something 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.
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.
Then the 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."
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."
But the Raven, sitting lonely on that placid bust, spoke only
That one word, as if its 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."
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.'"
But the Raven still beguiling all my sad soul 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."
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!
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."
"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."
"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."
"Be that 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 has 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."
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 shadows on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted--nevermore!
by Edgar Allan Poe
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 visiter," I muttered, "tapping at my chamber door--
Only this and nothing more."
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.
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 visiter entreating entrance at my chamber door--
Some late visiter entreating entrance at my chamber door;
This it is and nothing more."
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.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortals 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.
Back into the chamber turning, all my sour within me burning,
Soon again I heard a tapping something 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.
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.
Then the 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."
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."
But the Raven, sitting lonely on that placid bust, spoke only
That one word, as if its 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."
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.'"
But the Raven still beguiling all my sad soul 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."
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!
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."
"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."
"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."
"Be that 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 has 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."
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 shadows on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted--nevermore!
FB, You Tube & Poetry
Believe it or NOT, I'm always looking for ways to make English a little less borning. I know some students don't care for poetry, but it seems that some of our modern media helps to make it a bit more accessible. I requested help from my friends on FB in finding poems that have been in movies, like the ones we've watched: Robin Williams in DEAD POETS SOCIETY, "Invictus," from the movie of the same name, and "Charge of the Light Brigade" from THE BLINDSIDE.
One of my former students sent me this link, which I will post on the sidebar. :
http://poetmom.blogspot.com/2007/06/poetry-in-movies.html
I would like to find more links to poetry on the web, on youtube, or related media that would help this class and other classes enjoy poetry.
Please see what you can find and email the link to me or bring it to class. I really would love to see what you can find!
One of my former students sent me this link, which I will post on the sidebar. :
http://poetmom.blogspot.com/2007/06/poetry-in-movies.html
I would like to find more links to poetry on the web, on youtube, or related media that would help this class and other classes enjoy poetry.
Please see what you can find and email the link to me or bring it to class. I really would love to see what you can find!
Tuesday, October 12, 2010
Initial Poetry Assignment
READ: the Introduction – ix-xii; be ready to discuss the following:
Read “To The Reader” in The Poetry Reader’s Toolkit – pages ix – xii
a. What does it mean that poetry has been “mystified”?
b. Why is reading poetry NOT like watching television?
c. Terms from these pages (Glossary in the back of the book):
i. Connotation
ii. Images
iii. Concrete & Abstract
iv. Rhyme
v. Rhythm
vi. Assonance
vii. Alliteration
viii. Metaphor
ix. Simile
x. Symbol
READ Chapter One; be ready to discuss the following questions:
1. What did the author’s father mean when he said, “That was poetry” in reference to a quarterback’s play?
2. What is the difference between literal meaning and metaphorical meaning?
3. How can listening to music be similar to reading and understanding poetry?
4. Explain why PATIENCE may be the most important key in understanding poetry?
5. What is meant by the “speaker” of the poem & why is this important?
Read “To The Reader” in The Poetry Reader’s Toolkit – pages ix – xii
a. What does it mean that poetry has been “mystified”?
b. Why is reading poetry NOT like watching television?
c. Terms from these pages (Glossary in the back of the book):
i. Connotation
ii. Images
iii. Concrete & Abstract
iv. Rhyme
v. Rhythm
vi. Assonance
vii. Alliteration
viii. Metaphor
ix. Simile
x. Symbol
READ Chapter One; be ready to discuss the following questions:
1. What did the author’s father mean when he said, “That was poetry” in reference to a quarterback’s play?
2. What is the difference between literal meaning and metaphorical meaning?
3. How can listening to music be similar to reading and understanding poetry?
4. Explain why PATIENCE may be the most important key in understanding poetry?
5. What is meant by the “speaker” of the poem & why is this important?
Monday, October 4, 2010
Essay Topics - # 3
The THings They Carried - Essay Topics #3 - DUE: THE FIRST DAY OF CLASS, the week of October 11, 2010; length: approximately 800 words. (About 3 pages, 12 pt. font, MLA format)
1. The Importance of Storytelling to the Men of Alpha Company.
Storytelling is vital to all of the characters in Tim O’Brien’s The Things They Carried. What stories are told by Mitch Sanders, Rat Kiley, Jimmy Cross, Tim O’Brien (the soldier/character)? What benefit comes to each man from telling stories? In what way are these men “saved” by their stories? Who is the one man who is unable to tell stories? What happens to him? What does this suggest about the power of storytelling?
2. Guilt as a Motivating Factor in the Lives of the Men of Alpha Company.
How does guilt enter the lives of Jimmy Cross, Tim O’Brien, Norman Bowker, Rat Kiley, Dave Jensen, Curt Lemon? Why is shame or guilt so difficult? In what way does guilt compel each man to make emotional, rather than logical decisions? How does storytelling help relieve some of the guilt?
3. The Things They Carried as a Metaphor of Life.
Discuss the concept of war as a metaphor for life; that is, in what way is all life a war? How are they comparable? How do the female characters remind the reader that this is a novel about facing the struggles and obstacles of life? What happens to innocence? Which episodes from the novel best illustrate human nature and stress which are a part of all human life?
4. “Truth” in The Things They Carried
The Greek philosopher and playwright Aeschylus said, “In war, truth is the first casualty.” Tim O’Brien’s novel, The Things They Carried is very much concerned with the truth of war. How does O’Brien distinguish between the “happening-truth” and the “story-truth”? Which is more important? Why? How does storytelling—the use of fiction—allow for a greater sense of truth than factual reporting might? What are the pervading truths of this novel? (Support with textual evidence.)
1. The Importance of Storytelling to the Men of Alpha Company.
Storytelling is vital to all of the characters in Tim O’Brien’s The Things They Carried. What stories are told by Mitch Sanders, Rat Kiley, Jimmy Cross, Tim O’Brien (the soldier/character)? What benefit comes to each man from telling stories? In what way are these men “saved” by their stories? Who is the one man who is unable to tell stories? What happens to him? What does this suggest about the power of storytelling?
2. Guilt as a Motivating Factor in the Lives of the Men of Alpha Company.
How does guilt enter the lives of Jimmy Cross, Tim O’Brien, Norman Bowker, Rat Kiley, Dave Jensen, Curt Lemon? Why is shame or guilt so difficult? In what way does guilt compel each man to make emotional, rather than logical decisions? How does storytelling help relieve some of the guilt?
3. The Things They Carried as a Metaphor of Life.
Discuss the concept of war as a metaphor for life; that is, in what way is all life a war? How are they comparable? How do the female characters remind the reader that this is a novel about facing the struggles and obstacles of life? What happens to innocence? Which episodes from the novel best illustrate human nature and stress which are a part of all human life?
4. “Truth” in The Things They Carried
The Greek philosopher and playwright Aeschylus said, “In war, truth is the first casualty.” Tim O’Brien’s novel, The Things They Carried is very much concerned with the truth of war. How does O’Brien distinguish between the “happening-truth” and the “story-truth”? Which is more important? Why? How does storytelling—the use of fiction—allow for a greater sense of truth than factual reporting might? What are the pervading truths of this novel? (Support with textual evidence.)
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