The poetry of Henry Wadsworth Longfellow : teacher's guide

National Endowment for the Arts

TEACHER'S GUIDE

THE POETRY OF

Henry Wadsworth

NATIONAL
ENDOWMENT
FOR THE ARTS

LU

READ

THE POETRY OF

Henry Wadsworth

Longfellow

TEACHER'S GUIDE

NATIONAL
ENDOWMENT
FOR THE ARTS

A great nation
deserves great art.

POETRY

The National Endowment for the Arts is a public agency dedicated to supporting
excellence in the arts — both new and established — bringing the arts to all Americans,
and providing leadership in arts education. Established by Congress in 1965 as an
independent agency of the federal government, the Endowment is the nation's largest
annual hinder of the arts, bringing great art to all 50 states, including rural areas, inner
cities, and military bases.

The Poetry Foundation, publisher of Poetry magazine, is an independent literary
organization committed to a vigorous presence for poetry in our culture. It has embarked
on an ambitious plan to bring the best poetry before the largest possible audiences.

FOUNDATION

Published by

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Sources

Calhoun, Charles C. Longfellow: A Rediscovered Life. Boston: Beacon Press, 2004.

Gioia, Dana. "On 'Paul Reveres Ride' by Henry Wadsworth Longfellow." © 1998 www.danagioia.net
Used with permission of the author.

Kennedy, X. J. and Dana Gioia, eds. An Introduction to Poetry, 1 1th edition. New York: Pearson/
Longman, 2005.

Irmscher, Christoph. Longfellow Redux. Urbana: University of Illinois Press, 2006.

— . Public Poet, Private Man: Henry Wadsworth Longfellow at 200. Harvard Library Bulletin, Vol. 1 7:
Num. 3-4. Fall-Winter 2006.

Longfellow, Henry Wadsworth. Henry Wadsworth Longfellow: Poems and Other Writings. Ed. J.D.
McClatchy. New York Library of America, 2000.

Acknowledgements

David Kipen, NEA Director of Literature, National Reading Initiatives

Sarah Bainter Cunningham, PhD, NEA Director of Arts Education

Writers: Dana Gioia and Erika Koss for the National Endowment for the Arts; "Longfellow's
The Song of Hiawatha" handout by Charles C. Calhoun

Editors: Molly Thomas-Hicks and Dan Brady for the National Endowment for the Arts

Graphic Design: Fletcher Design/Washington, DC

Image Credits

Cover Portrait: John Sherffius for the Big Read. Page iv: Courtesy of the Library of Congress.
Page 1: Dana Gioia, image by Vance Jacobs; John Barr, courtesy of the Poetry Foundation.
Inside back coven Courtesy of the Longfellow National Historic Site.

Table of Contents

Introduction 1

Suggested Teaching Schedule 2

Lesson One: Word Choice and the Value of a Dictionary 4

Lesson Two: Biographical Criticism

and the Speaker of a Poem 5

Lesson Three: The Sonnet 6

Lesson Four: Figurative Language 7

Lesson Five: Form, Rhythm, and Meter 8

Lesson Six: Allusions 9

Lesson Seven: Narrative Poetry, Meter, and Voice 10

Lesson Eight: Narrative Poetry and Characters 1 1

Lesson Nine: Analyzing a Poem's Context 12

Lesson Ten: What Makes a Great Poet? 13

Essay Topics 14

Glossary of Poetic Terms Used in the Lessons 15

Handout One: Longfellow and Mukiculturalism 16

Handout Two: The Landlord's Tale: "Paul Reveres Ride" 17

Handout Three: Longfellow's The Song of Hum Httha 18

Teaching Resources p)

NCTE Standards 20

Aftermath

When the summer fields are mown,
When the birds are fledged and flown,

And the dry leaves strew the path;
With the falling of the snow,
With the cawing of the crow,
Once again the fields we mow

And gather in the aftermath.

Not the sweet, new grass with flowers
Is this harvesting of ours;

Not the upland clover bloom;
But the rowen mixed with weeds,
Tangled tufts from marsh and meads,
Where the poppy drops its seeds

In the silence and the gloom.

—HENRY WADSWORTH LONGFELLOW

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Introduction

Welcome to The Big Read, an initiative from the National Endowment for the Arts.
Designed to revitalize the role of literary reading in American culture, The Big Read
hopes to unite communities through great literature, as well as inspire students to
become lifelong readers.

It is especially appropriate The Big Read includes poetry for the first time by
honoring Henry Wadsworth Longfellow, one of America's foremost and best-loved
nineteenth-century poets. The National Endowment for the Arts joins the Poetry
Foundation to create this new program to celebrate great American poets and the
historic sites associated with their lives and works. By celebrating poets and their
literary landmarks, the NEA and the Poetry Foundation not only bring poetry to a
broader audience, but also help preserve and promote local heritage and history.

This Teacher's Guide contains ten lessons to lead you through Henry Wadsworth
Longfellow's poetry. Longfellow was not only a major American poet, but he
was also one of the most influential figures in our national cultural history. In
unforgettable poetic language that appealed to millions of readers across all classes,
he helped create many of the songs, stories, characters, and images by which the
young United States knew itself.

Each lesson has five components: a focus topic, discussion activities, writing
exercises, vocabulary words, and homework assignments. In addition, we have
suggested essay topics, as well as handouts with more background information
about the poems, the historical period, and the author. All lessons dovetail with the
state language arts standards required in the poetry genre.

Finally, The Big Read Reader's Guide deepens your exploration with booklists,
timelines, and historical information. We hope these educational materials allow
you to have fun with your students while introducing them to the work of a great
American poet.

From the NEA and Poetry Foundation, we wish you an exciting and productive

school year.

Dana Gioia

Chairman

National Endowment for the Arts

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John Barr
President
Poetry Foundation

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1

Day One

FOCUS: Word Choice and the
Value of a Dictionary

Activities: Discuss the careful, studied choices
poets make when selecting words and the value of
understanding a word's various meanings. Look up
words in the poem "Aftermath." Write an essay
explaining the poem's literal and symbolic meanings.

Homework: From the Reader's Guide, read
Longfellow's biography and timeline (pp. 4-6) and
"Longfellow's Ballads and Lyric Poetry" (pp. 8-9).
Read Longfellow's sonnet "Mezzo Cammin."

2

Day Two

FOCUS: Biographical Criticism and the
Speaker of a Poem

Activities: Discuss the ways an understanding of
Longfellow's life enriches the reader's appreciation
of the poem, "Mezzo Cammin." Write an essay
reflecting on how these biographical details help us
understand the poem's imagery and themes.

Homework: Read Longfellow's sonnet "The Cross
of Snow."

3

Day Three

FOCUS: The Sonnet

Activities: Discuss the structure of an Italian sonnet
compared to that of an English sonnet Write an essay
on how the sonnet form adds meaning to "The Cross
of Snow," or have students re-write the poem using
another poetic form.

Homework: Read Reader's Guide essays
"Introduction to Longfellow's Poetry" (p. 3) and
"Longfellow and Other Arts" (p. 14). Read "The
Children's Hour" and "The Bells of San Bias."

4

Day Four

FOCUS: Figurative Language

Activities: Discuss ways Longfellow employs simile,
metaphor, and personification. List the words in "The
Children's Hour" associated with a castle invasion.
Write two paragraphs on how a full understanding
of the poem depends on the reader noticing both its
literal and figurative qualities.

Homework Read "A Psalm of Life" and "The Wreck
of the Hesperus."

5

Longfellow's poems are in the public domain, and
free to print from the Poetry Foundation's web site:
www.poetryfoundation.org. Go to the Poetry Tool,
and search by the poet's name or each poem's tide.

Day Five

FOCUS: Form, Rhythm, and Meter

Activities: Discuss form and meter. Practice scansion.
Write an essay that examines contemporary songs
and how they employ meter, rhyme, and rhythm.

Homework Read "The Jewish Cemetery at
Newport" and "My Lost Youth."

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9

Day Six

FOCUS: Allusions

Activities: Examine important allusions in Longfellow's
poetry. Write an essay on how knowledge of
Longfellow's allusions can change the reader's
understanding of "The Jewish Cemetery at Newport"

Homework: Read Evangeline s prologue and Part
the First. List the characters and some of their
important traits.

7

Day Seven

FOCUS: Narrative Poetry, Meter, and Voice

Activities: Discuss the tradition of narrative poetry.
Examine unrhymed dactylic hexameter and scan
several lines of the prologue to Evangeline. Write a
short essay on Longfellow's use of the narrative form.

Homework: Read Evangeline, Part the Second and
Handout One, "Longfellow and Multiculturalism."
Trace Evangeline's journey across America.

8

Day Eight

FOCUS: Narrative Poetry and Characters

Activities: Discuss Evangeline's quest to find Gabriel. In
groups, discuss the places Evangeline travels and how
these places influence the reader's understanding of
the poem. Write an essay on Evangeline's character.

Homework: Read the Reader's Guide essay
"Longfellow's Tales of a Wayside Inn" (pp. 12-13) and
Handout Two. "The Landlord's Tale: 'Paul Revere's
Ride'." Read the prelude to Tales of a Wayside Inn, The
Landlord's Tale, "Paul Revere's Ride;" and Tlie Poet's
Tale, "The Birds of Killingworth."

Day Nine

FOCUS: Analyzing a Poem's Context

Activities: Discuss the historical and social context
of "Paul Revere's Ride." Write a short essay on how
the bird in "The Birds of Killingworth" might be
historically significant and symbolic.

Homework: Read the Finale of Tales of a Wayside Inn.

10

Day Ten

FOCUS: What Makes a Great Poet>

Activities: Explore the qualities of a great poet.
Discuss what Longfellow's poetry can teach us about
the concerns of his generation. Write an essay
illustrating a central theme in Longfellow's poetry.

Homework: Read Handout Three. "Longfellow's
The Song of Hiawatha." Write a paragraph about
Longfellow's legacy in the twenty-first century.

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Lesson One

FOCUS:

Word
and the
Value of a
Dictionary

VOCABULARY WORDS

From "Aftermath":

Aftermath, n.

1. A consequence, especially of
a disaster

2. A second growth in the
same season

Fledged, v. intr.

To grow the plumage needed

for flight

Rowen, n.

A second growth of grass or hay
in a season

Tufts , n. plural

A short cluster of elongated

strands, as of yarn, hair, or grass

Mead, n.

A meadow

Begin each day's lesson by reading the poem aloud in class.

Before a poem can be appreciated for its deeper meanings, it must first be
read literally. We often overlook words we can already define. Ralph Waldo
Emerson wrote in Nature, "Every word. . .if traced to its root, is found to
be borrowed from some material appearance. Right means straight, wrong
means twisted. Spirit primarily means wind', transgression, the crossing of
a line; supercilious, the raising of the eyebrow." Students should even look
up words that are commonly understood to understand better the careful,
conscious choices poets make. To develop your students' vocabulary, several
words from each lesson's assigned poems are already defined in the color
margins of this Teacher's Guide.

Discussion Activities

On the surface, Henry Wadsworth Longfellow's poem "Aftermath," published
in 1873, might seem simple and straightforward. However, much of its total
effect depends on a reader's knowing the literal — and in some cases, archaic —
meanings of a few words. Here, the most crucial word to understand is the
title. Like many seemingly abstract words, aftermath was originally a concrete
descriptive term that referred to the usually meager second growth of crop
in a field that had already been mowed that season — "math" being a word for
mowing that is rarely used today.

The poem "Aftermath" describes this activity of mowing the second growth in a
winter field, but Longfellow's treatment suggests symbolic interpretations as well.
He does not specify this subtext, so a reader can project his or her own meaning
into the poem. Longfellow's insight, though, is painfully clear: to revisit a scene of
the past can be devastating.

Define and discuss the meanings of several words in "Aftermath" (including, but
not limited to, the words in the column on the left). How does knowing the
exact meaning of these words add to both your literal and symbolic readings of
Longfellow's poem?

Writing Exercise

After reading the poem once, write a one-page essay explaining the poem's
meaning. Read the poem a second time with a focus on understanding the
meaning of one or two terms in the poem. Write a one-page essay to explain
how those terms are relevant to the meaning of the poem. Does it change your
first reading? Does it deepen your understanding of the poem?

23 Homework

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From the Reader's Guide, read Longfellow's biography and timeline (pp. 4-6) and
"Longfellow's Ballads and Lyric Poetry" (pp. 8-9). Then read Longfellow's sonnet
"Mezzo Cammin."

Some of this lesson's content is taken from An Introduction to Poetry, eds. X. J. Kennedy and Dana Gioia, I Ith
edition, and its accompanying instructor's manual.

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FOCUS:

Biographical
Criticism
and the
Speaker of
a Poem

VOCABULARY WORDS

From "Mezzo Cammin":

Parapet, n.

1. A low protective wall along
the edge of a raised structure

2. An earthen embankment
protecting soldiers

Indolence, n.

Habitual laziness; sloth

Blast, n.

1. A very strong gust of wind

2. A violent explosion

3. A sudden, loud sound

Cataract, n.

I A descent of water over a
steep surface; a waterfall
2. Any furious rush of water

Examining an author's life can inform and expand a literary text.
Biographical criticism is the practice of analyzing a literary work through
the lens of an author's experience. Some poems depend on a reader's
knowledge of biographical facts. However, readers should be careful not to
assume that the speaker of a poem is necessarily the poet. When we read
a poem, one of our first questions should be: whose "voice" is speaking to
us? Sometimes a poet will create a persona, a fictitious speaker. This speaker
may not always be human. A speaker may be an animal or object, and good
poems have been written from perspectives as various as a hawk, a clock, or
a cloud.

Discussion Activities

Longfellow's sonnet "Mezzo Cammin" — a poem he wrote at age 35 but never
published during his lifetime — is especially suited to biographical criticism. In the
opening lines, the poet laments that he has not fulfilled "the aspiration of [his]
youth" — which, for Longfellow, was nothing less than to create verse that would
become as immortal as Shakespeare's. The second quatrain explains this failed
ambition was not because of "indolence," a pursuit of "pleasure," or "the fret / Of
restless passions," but because of "sorrow, and a care that almost killed."

The key biographical question of the sonnet is: What caused this sorrow? At the
beginning of 1835, Longfellow had just received a desirable new professorship
at Harvard, and his beloved wife, Mary, was expecting their first child. Together
they traveled to Scandinavia and Holland, where he studied Swedish, Finnish, Old
Icelandic, and Dutch. But on this trip, Mary suffered a miscarriage, and a resulting
infection led to her death. Longfellow was devastated. Several months later, he
wrote in a letter: "I have a void in my heart — a constant feeling of sorrow and
bereavement, and utter loneliness."

Q Writing Exercise

Examine the last six lines. Write a paragraph answer for each question: Why
might Longfellow capitalize "Past." comparing it to a city? How does he describe
this city? Does this city relate to Longfellow's life7 What does Longfellow suggest
by closing his sonnet with the strong image of Death "thundering from the
heights"? Conclude with one paragraph on how biographical details shed insight
on poems, using Longfellow as an example.

C3 Homework

Read Longfellow's sonnet "The Cross of Snow." What is the cross on his breast,
and what does it have to do with "the face of one long dead";

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FOCUS:

The Sonnet

VOCABULARY WORDS

From "The Cross of Snow":

Martyrdom, n.

Extreme suffering for a cause

Repose, n.

A state of restfulness

Benedight, adj.
Blessed

In the poetry of western Europe and America, the sonnet has attracted
more noteworthy poets than any other fixed form. A sonnet is a fourteen-
lined poem with a prescribed rhyme scheme and specific structure.
Originally an Italian form {sonnetto: "little song"), the sonnet owes much
of its prestige to Petrarch (1304-1374), who often wrote about his love
for the unattainable Laura. Soon after English poets imported the sonnet
in the middle of the sixteenth century, they worked out their own rhyme
scheme — one easier for them to follow than Petrarch's — often called the
English, or Shakespearean, sonnet.

Discussion Activities

A posthumously published sonnet, "The Cross of Snow" centers upon a beloved
woman who has died. One might assume this sonnet refers to the death of
Longfellow's first wife — as "Mezzo Cammin" does — except for two phrases:
"here in this room she died" and "these eighteen years." Mary died in a hotel
in Holland, but his second wife and the mother of their six children, Fanny
Appleton, died from a fire in their Massachusetts home, Craigie House, in 1861.
Longfellow's failed attempt to save Fanny, as well as her horrific death, absolutely
incapacitated him. He wrote "The Cross of Snow" on July 10, 1879, exactly
18 years after her death. The poet never remarried, and remained devoted to
poetry and to their five children (one daughter died as an infant) until the end of
his life in 1882.

"Mezzo Cammin" and "The Cross of Snow" are both Italian sonnets, also known
as Petrarchan sonnets. This kind of sonnet follows the rhyme scheme abba,
a b b a in the octave, or first eight lines. The sestet, or last six lines, adds new
rhyme sounds in various patterns. It may rhyme cdcdcd, cdecde, cdccdc
or in almost any other variation that doesn't end in a couplet. This two-part
organization helps the poet organize the poem's argument or ideas. For example,
the octave will often state the problem, and the sestet may offer a resolution.
Often a turn comes in line 9 that may or may not be solved by line 14. Ask your
students to identify each sonnet's turn. This is one way to trace a sonnet's main
idea as it moves through the octave to the sestet.

Writing Exercise

Write a one-page essay on how the sonnet form lends meaning to the poem
"The Cross of Snow." Or, if you have covered other poetic forms in your class,
have students re-write the poem using another poetic form. Does this allow
students to understand the ideal use of the sonnet form? Why or why not?

23 Homework

Read "Introduction to Longfellow's Poetry" (p. 3) and "Longfellow and Other
Arts" (pp. 14-15) from the Reader's Guide. Then read two of Longfellow's
ballads, "The Children's Hour" and "The Bells of San Bias." Pay attention to each
poem's literal meanings.

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Lesson Four

FOCUS:

Figurative
Language

Poets use figurative language to help the reader visualize arid experience
the events and emotions described in the poem. Imagery, a word or series
of words that refers to any sensory experience (sight, sound, smell, touch,
or taste), helps create a visceral experience for the reader. Some figurative
language asks us to stretch our imaginations, finding the likeness in
seemingly unrelated things. A simile is a comparison between two things
that initially seem quite different, but are shown to have a significant
resemblance. Similes employ a connective, usually "like," "as," or "than, or
a verb such as "resembles." A metaphor states that one thing is something
else in order to extend and expand the meaning of one of those objects. Bv
asserting that a thing is something else, metaphors create a close association
that underscores some important similarity. Personification is a figure of
speech in which a thing, an animal, or an abstract term (truth, death, the
past) takes on human qualities.

VOCABULARY WORDS

From "The Children s Hour":

Turret, n.

1. A tower-shaped projection on a
building

2. A tall wooden structure mounted
on wheels used in ancient
warfare to scale an enemy
fortress

Banditti, n. plural

Robbers, especially members of

a gang

Moulder, v. variant ofmolder
To turn to dust by natural decay

From "The Bells of Stni Bins":

Manifold, adj.

1. Many and varied; of many kinds

2. Having many features or forms

Austere, adj.

1. Severe in disposition

2. Strict in discipline

Fervid, adj.

I Marked by great passion

2. Extremely hot

Discussion Activities

"The Bells of San Bias" was the last poem Longfellow wrote, only a few weeks
before he died in 1882. When the poet lived in Spain for nine months in 1827. he
became reasonably fluent in Spanish. He never returned to Spain, nor did he ever
travel to Mexico, the location of this final poem. Titled after a small fishing village.
San Bias lies on the Pacific Coast between Puerto Vallarta and Mazatlan.

The bells in this poem are certainly literal, singing a "strange, wild melody."
But what might Longfellow mean when he says they "are something more
than a name"? How might the bells also be interpreted as a metaphor for
the past? Summarize each stanza of this poem as a class, noticing each image,
metaphor, simile, or use of personification. As a class, identify several possible
interpretations of the poem's final lines: "The Past is deaf to your prayer; / Out of
the shadows of night / The world rolls into light; / It is daybreak everywhere."

^ Writing Exercise

The playful ballad "The Children's Hour" expresses Longfellow's affection for his
three young daughters: Alice, Anne Allegra. and Edith. At what point in the poem
does Longfellow begin to compare his study to a castle wall and his children to
"banditti" who invade his territory' List all the words in the poem associated
with a castle invasion. Write two paragraphs that explain how a full appreciation
of the poem depends on noticing both its literal and figurative qualities

r] Homework

Read "A Psalm of Life" and "The Wreck of the Hesperus ." Pay attention to the
tone and message of "A Psalm of Life." Summarize the plot of the dramatic story
told in "The Wreck of the Hesperus." How might the father be held responsible
for his daughter's death'

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Lesson Five

FOCUS:

Form,

Rhythm, and
Meter

VOCABULARY WORDS

From "A Psalm of Life":

Bivouac, n.

A temporary encampment

Sublime, adj.

1. Of high spiritual, moral, or
intellectual worth

2. Awe-inspiring

Main, n.

The open ocean; high sea

From "The Wreck of the
Hesperus":

Schooner, n.

A fore-and-aft rigged sailing vessel
having at least two masts, the
foremast of which is smallest

Helm, n.

The steering gear of a ship

Brine, n.

1 . The water of a sea or ocean

2. A large body of salt water

Smote, v. past tense of "smite"

1. To inflict a heavy blow on

2. To afflict retributively

Poems may be written infixed forms — traditional verse forms that require
certain predetermined structural elements of meter, rhythm, and rhyme, such
as a sonnet (Lesson Three) or a ballad. Not all poets write in form or meter,
but all poets employ rhythm. Scansion is the art of listening carefully to
the sounds of a poem and trying to make sense of it. This includes paying
attention to each poetic foot, each stressed or unstressed syllable, and — if
applicable — the poem's rhyme scheme. Most nineteenth-century poets,
including Longfellow, wrote primarily in fixed forms with identifiable
meters. Originally an oral verse form, ballads are often dramatic in their
subject matter and compressed in their narrative style.

Discussion Activities

When writing a ballad, a poet may employ many metrical variations and patterns
of rhyme. Ask students to compare the meter and rhyme of two ballads: "A
Psalm of Life" and "The Wreck of the Hesperus." In groups, ask students to scan
one whole poem, noting each line's stressed and unstressed syllables. How does
scanning a poem help students understand its meaning, especially where a poet
wishes to place emphasis?

When scanning a poem, use an accent (') over each stressed syllable and a breve,
or "little round cup" (~), over each unstressed syllable. Here are two examples:

w / \^

Tell me not, in mournful numbers,
Life is but an empty dream! —

-from "A Psalm of Life"

/ w

/ \s /

It was the schooner Hesperus, a

That sailed the wintry sea; b

And the skipper had taken his little daughter, c

To bear him company.

-from "The Wreck of the Hesperus'

Writing Exercise

Consider contemporary songs that you know. By scanning your favorite lines
explain how the writer employs meter, rhyme, and rhythm and explain how and
why the chosen rhythms might make the songs more effective.

[J] Homework

Read "The Jewish Cemetery at Newport" and "My Lost Youth." Look up at least
three words and try to find a definition that makes sense in light of the poem's
context.

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Lesson Six

FOCUS:
Allusions

VOCABULARY WORDS

From "The Jewish Cemetery
at Newport ":

Sepulchral, adj.

Of or relating to a burial vault

Mirk, n. archaic spelling of "murk"
Darkness or gloom

Anathema, n.

A vehement denunciation

Maranatha, n. Aramaic

An invocation meaning, "O Lord.

Come!"

Travail, n.

Tribulation or agony; anguish

From "My Lost Youth ":

Wharves, n. plural of "wharf
A landing place where ships may
tie up

Slips, n. plural

A docking place for a ship between

two piers

Bulwarks, n. plural

A wall or embankment raised as a

defensive fortification

Pallor, n.

Unnatural paleness

Poems will often make reference to a person, place, or thing that might
be unfamiliar or seem out of place at first. These allusions are often brief,
sometimes indirect, references that imply a shared set of knowledge
between the poet and the reader. They may appear in a poem as an initial
quotation, a passing mention of a name, or a phrase borrowed from
another writer — often carrying the meanings and implications of the
original. For example, in "The Children's Hour, the "Bishop of Bingen is
an allusion to a German legend.

Discussion Activities

Longfellow's ballad "The Jewish Cemetery at Newport" contains so many
allusions that a student might be tempted to give up. Most of the allusions refer
to Judaism, the Hebrew language, or Old Testament stories or names. Read the
poem out loud. Break up your class into four groups, asking each to research the
highlighted allusions in one of the stanzas indicated below. Then ask each group
to report its discoveries to the whole class. In light of these literary allusions,
what is the significance of the poem's final stanza?

"...the tablets of the Law, thrown down / And broken by Moses at the
mountain's base." (stanza 3)

"What persecution, merciless and blind, / Drove o'er the sea — that desert
desolate — / These Ishmaels and Hagars of mankind?" (stanza 8)

"All their lives long, with the unleavened bread / And bitter herbs of
exile and its fears, / The wasting famine of the heart they fed. / And slaked
its thirst with marah of their tears." (stanza 10)

"At every gate the accursed Mordecai / Was mocked and jeered, and
spurned by Christian feet." (stanza II)

Wj Writing Exercise

Using the collective research on the allusions in "The Jewish Cemetery at
Newport," write a short essay on how Longfellow's allusions broaden the
meaning of the poem. Be specific by explaining how the meaning has changed
with your new research. To focus this essay, do further research on one allusion
and describe how that allusion contributes to our understanding of the poem.

As an alternative, compare how allusions function in "The Jewish Cemetery at
Newport" and "My Lost Youth." Does Longfellow use allusions to equal effect in
both poems? Why or why not?

[^ Homework

Read Evangeline's prologue and Part the First (approximately 30 pages) Make a list
of the poem's characters and their most important character traits

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FOCUS:

Narrative
Poetry,
Meter, and
Voice

VOCABULARY WORDS

From the prologue of
Evangeline:

Primeval, adj.

Having existed from the beginning;

in the earliest state

Druids, n.

A member of an order of priests
in the ancient Celtic religion who
appear in legend as prophets and
sorcerers

Disconsolate, adj.
Seeming beyond consolation

Roe, n.

A type of deer

List, v.

Archaic: listen, listen to

Narrative poems tell stories, draw characters and settings, shape plots, and
engage the reader — qualities that are also important for fiction writers. In
Western literature, narrative poetry dates back to the Babylonian Epic of
Gilgamesh (composed about 2000 B.C.) and Homer's epics the ///Wand
the Odyssey (composed before 700 B.C.).

Longfellow's four book-length poems — Evangeline: A Tale ofAcadie
(1847), The Song of Hiawatha (1855), The Courtship of Miles Standish
(1858), and Tales of a Wayside Inn (1863-73) — established his status as a
major poet. These narrative poems tell the untold story of a new nation, in
memorable lines of emotional power and vivid drama.

Discussion Activities

Read the Reader's Guide essay on Evangeline aloud with your class (pages 10-11).
The end of this essay notes that Evangeline is an extraordinary piece of literary
experimentation because of its meter: unrhymed dactylic hexameter (see glossary).
For about 500 years, English-language poets had been trying to make this meter
work in English — the ancient meter in which Homer (Greek) and Virgil (Latin)
wrote. Notice the scansion of Evangeline's opening lines:

This is the | forest pri|meval. The | murmuring | pines and the | hemlocks,

Bearded with | moss, and in | garments green, | indistinct | in the twilight...

In groups, ask your students to scan several lines from the prologue, paying
attention to the sounds and words that Longfellow emphasizes.

Writing Exercise

Narrated by the "murmuring pines and the hemlocks" and the ocean waves, the
poem opens with a mystery: where are the people in this seemingly idyllic place
called Acadie? Write a short essay to explain how Longfellow utilizes narrative
form to tell this story. Why might Longfellow begin his poem with the cry of the
forest? What effect does this have on the reader? What does this story convey
about America?

2] Homework

Read Evangeline, Part the Second (approximately 30 pages). Trace Evangeline's
journey across America as she searches for her beloved fiance, Gabriel. Map
the specific places across America where she travels. Then read Handout One,
"Longfellow and Multiculturalism," in this guide.

I 0 * THE BIG READ National Endowment for the Arts

FOCUS:

Narrative
Poetry and
Characters

Cultural and historical contexts give rise to dilemmas and themes that can
act as powerful forces within a literary work. Studying and appreciating the
details of setting can help readers understand a characters motivations. The
central character in a work of fiction is allied the protagonist. The protagonist
usually initiates the main action of the story and often overcomes a flaw
such as weakness or ignorance to achieve new understanding by the works
end. The protagonist's journey is enriched by encounters with characters
with different goals, motives, or beliefs. Often the antagonist opposes the
protagonist, barring or complicating his or her progress.

As a character, Evangeline seems like someone out of a m\th or fable. She
is certainly Longfellow's ideal of a patient, virtuous woman. In a century
of literature that usually featured a heroic male protagonist, Evangeline s
strength and determination cannot be underestimated: she searches for her
beloved Gabriel, and she chooses to hope for his return.

VOCABULARY WORDS

From Evangeline Part the
Second, Section 1:

Dirge, n.

A funeral hymn

Sylvan, adj.

Relating to woods or forests

Discussion Activities

Most of the poem describes Evangeline's search for Gabriel, which takes her all
over America: down the Mississippi River, across the Nebraskan prairie, into
the Ozark Mountains, through the forests of Michigan, and finally to Louisiana.
Break your class into groups, asking each to highlight one state or place where
Evangeline travels. Does the country itself become a character? Students should
pay attention to Longfellow's use of figurative language in these passages. You
might give students a blank U.S. map to enhance their understanding of her vast
journey.

^ Writing Exercise

Write a short essay to describe Evangeline's character. Answer the following
questions: What aspects of Evangeline's character seem unrealistic' Does she
have any flaws? What admirable qualities does she possess' What are her
motivations? Does she learn anything, or grow, by the poem's end? Use specific
passages to support your answer.

23 Homework

Read the Reader's Guide essay "Longfellow's Tales of a Wayside Inn" (pp. 12-13)
and Handout Two. "The Landlord's Tale: 'Paul Reveres Ride." Also read the
prelude to Tales of a Wayside Inn and summarize the key attributes of each
storyteller. Then read The Landlord's Tale. "Paul Reveres Ride'- and Vie Poet's Tale.
"The Birds of Killingworth "

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FOCUS:

Analyzing
a Poem's
Context

VOCABULARY WORDS

From "Paul Reveres Ride":

Belfry, n.

A bell tower

Muster, n.

A gathering of troops

Sentinel, n.

One that keeps guard

Alders, n.

A type of tree of the genus Alnus
having alternate simple toothed
leaves and tiny fruits in woody,
conelike catkins

Tales of a Wayside Inn was published in three installments between 1 863
and 1873. It is often said that the poem is an American retelling of
Chaucer's The Canterbury Tales. This long narrative poem begins with a
prelude that introduces a diverse group of storytellers — a Sicilian political
refugee, a Spanish Jew, a Norwegian musician, a youthful student, a broad-
minded theologian, and a tender-hearted poet. It comprises twenty-two
linked narratives with great variety of theme, meter, and tone. Longfellow's
tales are diverse also in subject matter, character, and historical reference.
The interludes between each story provide commentary from the other
listeners. In this way, the longer poem suggests that the stories we tell are
reflections of our own thoughts, dreams, and desires.

Discussion Activities

Read "Paul Revere's Ride" and the interlude that follows aloud with your class.
Ask your students to pay attention to the meter's galloping beat.

Longfellow would not have called himself a political man, but he abhorred slavery
and opposed the 1850 Fugitive Slave Law. He was a lifelong friend of lawyer
Charles Sumner, the congressman who was physically attacked on the Senate
floor by South Carolina congressman Preston Brooks after giving an anti-slavery
speech.

Discuss the importance of interpreting this poem's historical context (April 18,
1775) alongside its 1861 publication in The Atlantic Monthly. Use this opportunity
to teach your students some details about the Civil War. What ideas or lines
in "Paul Revere's Ride" suggest that Longfellow might be referring to the Civil
War? Why might he have set his poem during this earlier period? How might this
either enhance or hinder any point he might be trying to make about the Civil
War?

Writing Exercise

The only original tale in Tales of a Wayside Inn is titled "The Birds of Killingworth."
Certainly the birds are literal in the story, but there may be several figurative
interpretations as well. Write a short essay on how Longfellow's use of birds
might be related to his historical context. What might the birds represent? How
might Longfellow's original audience have interpreted the birds? How might we
today?

EJ Homework

Read the Finale of Tales of a Wayside Inn.

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Lesson Ten

FOCUS:

What Makes
a Great

Poets articulate and explore the mysteries of our daily lives in the context of
the human struggle. The writer's voice, style, and use of figurative language
inform the themes and characters of the work. A great poem is a work
of art that affects many generations of readers, changes lives, challenges
assumptions, and breaks new ground.

Discussion Activities

Ask students to list the characteristics of a great poem. Put these on the board.
What elevates a poem to greatness? Then ask them to discuss, within groups,
other poems or songs they know that include some of the same characteristics.
Do any of these works remind them of any of Longfellow's poetry?

A great writer can be the voice of a generation. Does Longfellow have a
consistent voice throughout the poems you have studied? (Make sure to draw
a distinction between the voice of the poem's narrator and Longfellow's voice.)
What does this voice tell us about the concerns and dreams of Longfellow's
generation? How does Longfellow's depiction of the experiences and emotions of
the common person allow him to be a voice of his generation?

Writing Exercise

These ten lessons have highlighted several different kinds of Longfellow poems:
lyric poems, sonnets, ballads, and narrative poems. Using more than two
Longfellow poems to support your argument, write a short essay to illustrate
how a central theme emerges in Longfellow's work. Explain the theme in detail,
referring to specific lines to support your argument. Which poem illustrates the
theme most effectively and why?

23 Homework

Read Handout Three, "Longfellow's The Song ofHiawatlia". Write a paragraph
in response to this question: What would you say is Longfellow's legacy in the
twenty-first century'

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opics

The writing exercises in this guide provide you with possible essay topics, as do the six Discussion
Questions in the Reader's Guide. Advanced students can come up with their own essay topics, as
long as they are interesting and specific. Other ideas for essays are provided below.

For essays, students should organize their ideas around a thesis — that is, an argument or
interpretation — about the poem or poems in question. This statement or thesis should be focused,
with clear reasons to support its conclusion. The thesis and supporting evidence should be backed
by references to the text.

1 . Some of Longfellow's poetry contains allusions
to his life, but Longfellow remained skeptical
of poetry as a vehicle for self-revelation and of
poems written in first-person. In a letter, he
once called "I" the "objectionable pronoun."
Explain why Longfellow might make this
statement. In your essay, determine whether
Longfellow's poems are or are not biographical.
If you believe they are biographical, explain
how Longfellow might defend his statement

2. The sonnets "Mezzo Cammin" and "The
Cross of Snow" end with images of darkness
and ambiguity — atypical characteristics for
Longfellow's poetry. In "Mezzo Cammin," how
does the image of a journey convey the poem's
main idea? In "The Cross of Snow," how does
the image of a cross convey his lasting anguish?
Using these examples, explain how images
enhance meaning.

3. Evangeline tells the true story of a dispossessed
people. Biographer Charles C. Calhoun
suggests that the reunion between Evangeline
and Gabriel "stands for the bringing together
of all the scattered Acadians — indeed, of all
exiled peoples." Do you agree or disagree with
this statement? How relevant does Evangeline

remain when compared with twentieth- and
twenty-first century examples of racial and
religious persecution? Support your twentieth-
and twenty-first century examples by citing
research and valid sources.

4. The poet W.H. Auden said that "poetry makes
nothing happen." Research the popularity,
historic significance, and lasting cultural impact
of Longfellow's narrative poem Evangeline.

In the case of Longfellow's Evangeline, is
Auden's idea proved false? How important
are the Evangeline statues in Nova Scotia and
Louisiana? Use your answers to write an essay
about Longfellow's influence on culture and
history.

5. Longfellow biographer Charles C. Calhoun
describes "The Birds of Killingworth" as "one
of Longfellow's most Unitarian works" because
"its satire on Connecticut religious orthodoxy
still had considerable bite in the 1860s, despite
its colonial setting." Consider the poem's
religious context Is Longfellow making fun of,
supporting, or arguing with the clergy in this
tale?

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A glossary of some of the poetic terms used in the lessons is listed below.

Allusion: A brief, sometimes indirect reference in a
text to a person, place, or thing

Antagonist A character or force in a work of
fiction that opposes the protagonist and tries to
bar or complicate his or her progress

Ballads: Narrative poems that may be sung.
Originally an oral verse form, ballads were
traditionally passed from performer to performer
without being written down.

Dactyl: A metrical foot of verse in which one
stressed syllable is followed by two unstressed
syllables (e.g., tur-bu-lent or Ga-bri-el). It often
appears in children's songs and nursery rhymes,
as in "Hickory dickory dock." Evangeline is an
example of a poem written in dactylic hexameter.

Fixed forms: A traditional verse form that requires
certain predetermined structural elements of
meter, rhythm, and rhyme, such as a sonnet or
a ballad

Foot The basic unit of measurement in poetry.
Different meters are identified by the pattern
and order of stressed and unstressed syllables
in its foot. A foot can be two or three syllables,
depending on the meter.

Hexameter: A verse meter consisting of six
metrical feet, or six primary stresses, per line

Meter: A systematic rhythmic pattern of stresses
in verse

Persona: A fictitious speaker created by the poet

Protagonist The central character in a work
of fiction who usually initiates the main action
of the story and often overcomes a flaw such
as weakness or ignorance to achieve new
understanding by the work's end

Quatrain: A stanza consisting of four lines of verse

Rhythm: The pattern of stresses and pauses in a
poem

Rhyme scheme: The pattern of rhyme in an
individual poem or a fixed form, a rhyme scheme
is transcribed with small letters representing
each end rhyme — a for the first rhyme, b for the
second, and so on.

Scansion: A method of studying verse that
measures rhythms in a poem, scansion separates
the metrical feet, counts the syllables, marks the
accented ones, and indicates the pauses. Scansion
helps the reader understand the poet's handling
of rhythm, verse length, and sound.

Stanza: A unit of two or more lines of verse
with space breaks before and after, the stanza is
poetry's equivalent to a paragraph in prose.

Stress (or accent): A greater amount of force
given to one syllable in speaking than is given to
another

Tetrameter: A verse meter consisting of four-
metrical feet, or four primary stresses, per line
The Song of Hiawatlia is an example of a poem
written in trochaic tetrameter.

Trochee: A metrical foot of verse in which one
stressed syllable is followed by one unstressed
syllable

*AII literary definitions, both here and in the lessons, are taken from An Introduction to Poetry (I Ith edit»on). edited by X J Kennedy ar»d Dana
Gioia. or Handbook of Uterary Terms, edited by X J Kennedy. Dana doia. and Mark ftauertem (2005)

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HANDOUT ONE

Longfellow and Multiculturalism

Henry Wadsworth Longfellow would not have
used the word multicultural to describe himself,
but there is, perhaps, no other American poet who
deserves this adjective more than he.

As a young man studying for his first university
position, Longfellow was immersed in European
languages and literature, including classic Greek
and Latin. But after several long trips to Europe,
he realized that America was an extraordinarily
diverse country that was being populated by
thousands of new immigrants, who brought with
them different languages, histories, and religions.
Longfellow knew that any account of what it
means to be American would have to include these
various groups. This sweeping international vision
is evident throughout his life's work.

Longfellow began his literary career as a translator
of an astonishing range of poetry. He had a deep
knowledge of poetic forms, meter, and European
literature. His 1839 poetic debut, Voices of the
Night, announced his mastery of European poetic
traditions, as it contained more than twenty
translations from Spanish, French, German, and
Danish. He could speak and read eight languages,
and he could fluently read at least four more. He
continued to translate verse until his death, most
notably as the first American to translate Dante's
The Divine Comedy.

What is often overlooked is Longfellow's
originality as an anthologist. At a time when
reading world literature was not a popular
American interest, Longfellow began collecting,
editing, and publishing a 31 -volume set of poetry
called Poems of Places (1876-79). In arranging
each small volume by country, he created a kind
of poetic travelogue. For example, if you wanted

to travel to Italy, you had three volumes from
which to choose. Places he never went — such as
Russia and Africa — got one volume each; even
Polynesia and Afghanistan were included. In a
radical editorial choice for the nineteenth century,
poems by women were included alongside poems
by men — rather than appearing in a separate
anthology, or, as would have been expected, not
appearing at all.

Throughout his narrative poetry, Longfellow
explored a wide range of American experiences.
With The Song of Hiawatha (1855), Longfellow
became the first writer in English to borrow
Native American legends and folklore respectfully.
In Evangeline: A Tale ofAcadie (1847), he
remembers — when America had all but
forgotten — that the Louisiana Cajuns were once
the Acadians from Nova Scotia before the British
Empire dispossessed them of their land. And Tales
of a Wayside Inn ( 1 863-73) comprises a full cast
of international characters, including a Norwegian
musician, a Spanish Jew, and a Sicilian teacher.

Longfellow's subjects are not Greek gods, medieval
knights, or upper-class ladies. In poems such as
"The Village Blacksmith," Longfellow portrays
ordinary people with dignity. His friend Charles
Dickens inspired him to write a collection of
abolitionist poems, Poems on Slavery (1842),
long before the abolitionist movement gained
prominence in America. Longfellow is not only
pan of American literature, he helped craft the
narrative of American history.

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HANDOUT TWO

The Landlord's Tale: "Paul Revere's Ride"

"Paul Reveres Ride" depicts a complicated
historical incident embedded in the politics of
Revolutionary America and retells it with narrative
clarity, emotional power, and masterful pacing.
From the poem's first publication, historians have
complained that Longfellow distorted the actual
incident. But Longfellow's goal was not scholarly
precision; he wanted to create a stirring patriotic
myth. He took Paul Revere, a regional folk hero
hardly known outside Massachusetts, and made
him a national icon. The new Revere became the
symbolic figure who awakens America to fight for
freedom.

Longfellow was a master of narrative pacing. His
description of Revere's friend climbing the Old
North Church tower displays the poet's ability to
make each moment matter. By slowing down die
plot here, Longfellow builds suspense and adds
evocative physical details that heighten the moods.
(Decides later Hollywood would discover the same
procedures.) Reaching the belfry, the friend startles
"the pigeons from their perch. [Tie man pauses
to look down .it the church graveyard — an image
that prefigures the deadly battle to be fought the
next day. This lyric moment of reflection provides
a false sense of calm before the explosive action that
will follow.

The historical Revere was one of main riders,

but Longfellow understood the powerful appeal
of the single heroic individual who makes .1
decisive impact — another narrative lesson not
lost on Hollywood. Longfellow's Revere is not a
revolutionary organizer; he is a man ol action. \s
SOOIl as he sees the first lantern, he springs into the
saddle, though he is sman enough to wail foi the
Second light before he rides off.

Longfellow's galloping triple meters create a
thrilling sense of speed, and the rhetorical device
of stating the time of night when Revere enters
each village adds a cumulative feeling of the rider's
urgency. The last two stanzas also demonstrate
Longfellow's narrative authority. As the poet makes
the sudden but clear transition from Revere's arrival
in the town of Concord to the following day's
conflict, Longfellow masterfully summarizes the
Battle of Concord in onlv ciciht lines, and he asks
the listener to collaborate in completing the story.

The final stanza returns to the image of Revere
riding through the night. By this time, the
galloping Revere acquires an overtry symbolic
quality. He has become a timeless emblem
of American courage and independence. I he
relevance of this patriotic symbol would not haw
been lost on Longfellow's original audience in
1861 — the mostly New England Yankee readers ot
the Boston-based The Atlantic Monthly. Longfellow
mvthologi/es the Revolutionary \\ ar, but his
poem addresses a more immediate crisis the
impending break-up of the Union. Published
a few months before the ( Confederate att.uk on
Fort Sumter initiated America's bloodiest war.
"Paul Revere's Rule w.is 1 ongtcllow S reminder
to New Lnglaiuleis ol the courage then ana
demonstrated in forming the Union. The authoi
intentions were overtly political to build public
resolve to fight slavery and protect the I nion — but
he embodied his message in .1 poem compellingly
told m purely narrative terms.

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HANDOUT THREE

Longfellow's The Song of Hiawatha

Encouraged by the remarkable success of
Evangeline, Longfellow set out in the early 1850s
to write another long narrative poem. This time
he turned to an obvious epic subject for any
North American writer — the legends and tales of
the Native Americans who had first settled the
continent.

Growing up in Maine in the 1820s, Longfellow
met some of the few Native Americans who
had survived there, and as a Harvard professor
he talked with the young Ojibway writer and
preacher Kah-ge-ge-gah-bowh (also known as
George Copway), who visited Boston in 1849.
While Native American languages fascinated
Longfellow, his view was similar to many of his
white contemporaries: the tribal peoples were a
vanishing race soon to disappear or be absorbed
into the dominant white society. As a keen student
of national epics, he was determined to preserve
"the ballads of a people" before they became lost
forever.

Longfellow had recently discovered the national
epic of Finland, the Kalevala, and he borrowed
some of its subject matter and its distinctive
meter — the famous "tom-tom" beat or, to use the
technical term, trochaic tetrameter. In his reading
about Native Americans in Michigan, the poet
was especially intrigued by the Ojibway hero
Manabozho, a shaman-trickster figure, whom
he reshaped into a more sympathetic and peace-
loving hero. Longfellow gave him the name of
an Iroquois lawmaker, Hiawatha — a name that
would soon be world-famous (though few readers
of the poem here or abroad followed Longfellow's
suggestion that it should be pronounced "Hee-a-
wa-tha").

The 22 cantos, or books, of Hiawatha's song tell
the story of the childhood and young adulthood
of a god-like hero — strong enough to wresde
monsters and demons, gentle enough to woo
and win the beautiful maiden Minnehaha.
(Her name, says the poet, means "Laughing
Water," and you can still visit "her" waterfall in
Minneapolis, Minnesota, today.) Raised by his
grandmother Nokomis, the young Hiawatha
learns the ways of the world from forest animals,
then teaches his own people to plant corn and
establish a civilization. Most important, he teaches
them picture-writing, so that memory of their
accomplishments will never fade.

The final cantos of the poem grow darker and
darker. (By 1855 — the poem's publication date —
Longfellow was deeply troubled with the growing
sectional strife over slavery that would soon lead
to the Civil War.) Famine strikes Hiawatha's
people, Minnehaha dies, and soon the "Black
Robes" (Catholic French Canadian priests) appear,
marking the end of Hiawatha's culture. He paddles
his canoe into the sunset and disappears.

The Song of Hiawatha became instantly famous,
eventually the best-selling long poem in
American literature. It was a favorite recitation
piece for several generations of Americans, and
it inspired public festivals, songs, symphonies,
cantatas, paintings, cartoons, and commercial
advertisements. Also one of the most widely
parodied poems in the world, The Song of
Hiawatha remains one of Longfellow's most
memorable and recognizable works.

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Henry Wadsworth Longfellow's Poetry

Web site

The most comprehensive collection available of
Longfellow's poetry is Henry Wadsworth Longfellow. Poems
and Other Writings, edited by J.D. McClatchy, published
in hardback by the Library of America (2000). It includes
selections from thirteen of Longfellow's collections of
poetry, the unabridged Evangeline and The Courtship of Miles
Standish, and a chronology of the poet's life.

Paperback versions of Longfellow's verse include Henry
Wadsworth Longfellow. Selected Poems with an introduction
by Lawrence Buell (New York Penguin, 1 988) and
Evangeline and Selected Tales and Poems with an introduction
by Horace Gregory (New York: Signet, 2005).

An unabridged version of Tales of a Wayside Inn is published
by Longfellow's Wayside Inn (Sudbury, MA: 1 995).

Visit the Poetry Tool at www.poetryfoundation.org for a
biography and bibliography of Longfellow, along with many
of his poems.

Landmarks

There are three American landmarks devoted to
Longfellow. Each organization's Web site will provide both
teachers and students with additional biographical material,
lesson plans, and images.

www.hwlongfellow.org

The Maine Historical Society preserves Longfellow's
childhood home in Portland, Maine, now called the
Wadsworth-Longfellow House.

Selected Books about Longfellow
and His Poetry

Calhoun, Charles C. Longfellow. A Rediscovered Life. Boston:
Beacon Press, 2004.

Gale, Robert L. A Henry Wadsworth Longfellow Companion.
Westport, CT: Greenwood Press, 2003.

www.nps.gov/long

The National Park Service maintains the home Longfellow
occupied from 1837 to 1882 in Cambridge. Massachusetts,
as the Longfellow National Historic Site.

www.wayside.org

Longfellow's Wayside Inn was originally known as Howe's
Tavern. Located in Sudbury. Massachusetts. Longfellow
visited the tavern in 1 862.

Henry Wadsworth Longfellow and His Portland Home.
Portland, ME: Maine Historical Society. 2004

Irmscher. Christoph. Longfellow Redux. Urbana: University of
Illinois Press, 2006.

Longfellow. Henry Wadsworth. The Letters of Henry
Wadsworti) Longfellow. Ed. Andrew Hilen. 6 vols. Cambridge.
MA: Belknap. 1 966-82.

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National Council of Teachers of English (NCTE) Standards*

1 . Students read a wide range of print and
non-print texts to build an understanding of
texts, of themselves, and of the cultures of
the United States and the world; to acquire
new information; to respond to the needs
and demands of society and the workplace;
and for personal fulfillment. Among these
texts are fiction and nonfiction, classic and
contemporary works.

2. Students read a wide range of literature from
many periods in many genres to build an
understanding of the many dimensions (e.g.,
philosophical, ethical, aesthetic) of human
experience.

3. Students apply a wide range of strategies
to comprehend, interpret, evaluate, and
appreciate texts. They draw on their prior
experience, their interactions with other
readers and writers, their knowledge of
word meaning and of other texts, their
word identification strategies, and their
understanding of textual features (e.g., sound-
letter correspondence, sentence structure,
context, graphics).

4. Students adjust their use of spoken, written,
and visual language (e.g., conventions, style,
vocabulary) to communicate effectively with a
variety of audiences and for different purposes.

5. Students employ a wide range of strategies as
they write and use different writing process
elements appropriately to communicate with
different audiences for a variety of purposes.

6.

7.

8.

9.

Students apply knowledge of language
structure, language conventions (e.g., spelling
and punctuation), media techniques, figurative
language, and genre to create, critique, and
discuss print and non-print texts.

Students conduct research on issues and
interests by generating ideas and questions, and
by posing problems. They gather, evaluate, and
synthesize data from a variety of sources (e.g.,
print and non-print texts, artifacts, people) to
communicate their discoveries in ways that suit
their purpose and audience.

Students use a variety of technological and
information resources (e.g., libraries, databases,
computer networks, video) to gather and
synthesize information and to create and
communicate knowledge.

Students develop an understanding of and
respect for diversity in language use, patterns,
and dialects across cultures, ethnic groups,
geographic regions, and social roles.

1 0. Students whose first language is not English
make use of their first language to develop
competency in the English language arts and to
develop understanding of content across the
curriculum.

1 1 . Students participate as knowledgeable,
reflective, creative, and critical members of a
variety of literacy communities.

12. Students use spoken, written, and visual
language to accomplish their own purposes
(e.g., for learning, enjoyment, persuasion, and
the exchange of information).

* This guide was developed with NCTE Standards and State Language Arts Standards in mind. Use these standards to guide and develop
your application of the curriculum.

20 ' THE BIG READ National Endowment for the Arts

NATIONAL
ENDOWMENT
FOR THE ARTS

'Lives of great men all remind us
We can make our lives sublime,

And, departing, leave behind us
Footprints on the sands of time...

—HENRY WADSWORTH LONGFELLOW
from his poem "A Psalm of Life"

The Big Read is an initiative of the National
Endowment for the Arts designed to restore reading
to the center of American culture. Longfellow educational
materials are made possible through the generous
support of the Poetry Foundation.

A great nation deserves great art.

FOUNDATION

www.NEABigRead.org