Hello everybody. Let's go ahead and get started. Sam, did you move to Florida or away from Florida?
Now I'm confusing myself in my memory. Away from Florida. Okay, so you're okay. Where are you guys now though? In South Carolina.
Oh, so you weren't okay. But are you, North Carolina was gut, what, gut hit. Are you guys okay?
Yeah. Okay, okay. Because I know Autumn. They had a hard time.
Yeah. Can you believe Florida is getting hit again? What in the world? Like Tampa, the same exact area, is getting hit again today, like this week. So they're already closing schools.
So lots of my students can't and won't have electricity. And they're still cleaning up from the last one. It's crazy.
I don't ever remember there being so many hurricanes in that exact same spot. So anyway. All right.
Well, good. I'm glad you were not there, at least. Well, hey, everybody.
Hello, hello. And Knox, Tennessee, it didn't affect you where you are in Tennessee, right? We just lost power in there.
Okay, because you're, how far are you from like Gatlinburg and all that area? Not super far. Okay, okay. So, well, I'm glad you guys are okay.
Connor's in Missouri, G's in California, Kate's California. Tamara, where are you? I'm in California. You're in California. Okay.
And Katie, where are you? Texas. Oh, that's right.
We're both in Texas. So we're totally doing fine over here. Hopefully no hurricanes come up this way on the goal.
All right. Well, good. Well, I'm glad everybody's safe and sound. So let's go ahead and grab your book and let's dig in.
I know you guys, there's been some confusion about the reading assignments with... Different versions. And so that's why I tried to give it to you by book. I was like, OK, try and have this book finished. So we'll just see how far we get today.
And my goal is for you to have finished it by next week. OK, if you can't quite finish it before class, then don't stress about it. But, you know, you're in the next week.
We want to try and be finishing it up. So, oh, Shmuel is here. I didn't expect him to be here. Yay.
Everybody's here. OK, so. In our journal writing today, I ask you to reflect on something that occurred in book two.
So hopefully you've read this far. We see the novel is from the approach of Jim Burton, right? His perspective, his point of view.
But that's also, you know, that's good, except that it's very biased. It's a very biased perspective. We see things from his point of view. So.
Every now and then though, Catherine does something really cool and she puts in this little snippet of dialogue where we get to see how people really feel about Jim, right? Like what are the immigrant girls thinking about him? So especially as you see, we've moved from book one is his childhood into he's growing up now. We're beginning to get into the teen years. So you can see how the books kind of follow their growing up, the maturity, just like we saw in the yearling, that whole Bill Dung's Roman.
So they're in town and Jim is with the ice cream parlor in town and little tiny. What a name, isn't that funny? Soderball makes him angry because she suggests that his grandmother is going to make a Baptist preacher of him.
Again, we see the honesty, the prejudices, you know, and because she's pointing these out because that's legit how people were, right? And how they are today. So like, it wasn't like something we need to shy away from.
Because we see these, we need to say, hey, this is how people are. And, you know, try and change that and better ourselves. But not say, hey, we shouldn't read that. Because there are these innuendos and these prejudices and stereotypical language in here. Anyway, Tiny is then quoted as saying to Jim, I guess you'll have to stop dancing and wearing a white necktie then.
Won't he look funny, girls? So what is just that little snippet reveal about? how they perceive him. What insight do we get there?
Hey, Shmuel, glad you're here. Are you having internet issues today? No, it's just a computer. I'm not used to it.
Okay. Well, I'm glad you're here. Where are you? Oh, yeah, you're in Jersey.
Okay, you're good. Tamara, go ahead. Maybe the minute. they like meant it in an ironic way as if like um but to me like he's kind of like a he like like farms and like maybe like um it's more like a baptist preacher is more like it like a city like a city job like a more uh and it's ironic compared like he grows up in like the farm and then he would have like a city job so okay that you I didn't even think about that. But that is an interesting perspective because we are seeing them with the city life in this book.
We have that transition, that contrast, I mean, from, yeah, from being out on the prairie. Good point. Okay, Connor, what do you think?
It's like the country boy stereotype, like kind of backwater because he's like trying to be all cool and all this with these girls. But they're really just mocking him because they see what he's doing. and are not falling for it. Right.
And you can just hear her saying, won't he look funny, girls? I love it. Kate, what are you going to add?
I feel like everybody makes fun of Baptists for being like the white bread denomination of Protestants. So I feel like they're... Baptist University, I've never heard that. That is so hilarious.
Oh my goodness, that's so good. I feel like they're kind of, they're characterizing him as like a very American American. And whereas like they seem kind of like, they seem like foreigners.
Well, they are foreigners to him. They seem, they're very different from Jim. But then they see, they come to America and Jim's just like everybody else.
So he is, he would fit. Yeah. That's that stereotype. Yeah. See, it brings us back to the whole stereotypical.
Yeah. Yeah. Which we were talking a lot about. I think I'm going to skip over to that really quickly because we've been talking about her use of diction and word choice and dialect to really bring in that authentic portrayal. And we talked about stereotypes.
So we see stereotypes with the immigrants. That's an obvious one. We see the stereotypes with religion, with, you know, the bath.
We see the different denominations we see and the Mormons even remember with the sunflowers last week. We see so we see religious here that we see, of course, racism as well. So let's let's dive into that.
Let's that's the elephant in the room. Right. What are the racial attitudes we see with Jim when he comes to play the piano?
And I mean, this is a little tough to read, I think. What did you guys think about Willa Cather's descriptions? of Jim?
Did you find it a little harsh, a little too authentic maybe? Have you guys gotten that far? Tell me about Jim. Go ahead, Kate. Well, he obviously comes from a background of seeing slavery as more normal.
I don't know if he sees it as completely normal, but he definitely sees the division between white people and black people. But at the same time, he's kind of gracious with the, I'm not sure how to pronounce his name, but the pianist. He's kind of a little bit, he characterizes him very well.
He's like talking about how great of a musician he is. how happy he is how much life he brings to the party but at the same time he's kind of using these maybe they weren't slurs back then but they are kind of seeing his slurs now to describe him so exactly yeah and i do not i'm not going to read these aloud because they definitely are slurs today however you're right they they i think again she's just going for authenticity even though it's it's brutally honest in her description Bottom of page 74, we get a very vivid description of him. Connor, what were you going to add here? I was just going to add kind of like one of the descriptions. And I don't think, but like he says, he was always a prodigy who played barbarously and wonderfully. As piano playing was perhaps abnormal, whatever.
So it's like, he's kind of respecting him, but also being like, well, it's because he's black. Exactly. It's like the stereotype, you know.
about being, you know, that certain people, certain races, genders are good at certain things, right? Or exactly, exactly. But we see that he's not the only musical one. Who else is musical in the book? I asked you this on your assignment this week, literally a literary assignment.
What do you think the point of music is in this book? Why did she weave so much musicality in? Because we've got the harmonica, what is what, Peter or Pavel?
That's an interesting story, isn't it? Having the harmonica, we've got the violin with Mr. Shmierda. Like, what's the point of music, you think?
Shmiel, go ahead. I just wanted to answer the previous question. I think that the description of the...
Then... the Arlen is like um maybe a conflict between um authenticity and the author's own feelings which is why she he's like uh stereotyping and um like praising at the same time because she doesn't want to stereotype and she wants to have the authentic stereotype nature the stereotyping of the pioneers so it's like a conflict between her and her character yeah i think you're exactly right yeah she's because she talks about um how his mother loved him i did i love that description she loved him devotedly um but she's like but he was so ugly with the sunken eyes yeah i mean it was like because he was blind so it's not only um his color and race, it was also that he was physically disabled, right? Because he had a blindness, but yet she's telling us that he was so incredibly gifted, right?
So yeah. So why do you think she portrays him this way? And why do you think music is such an important part of her book? Why don't you guys think, have you thought about that? You got to ponder that one a little more.
Well, think about that. We can come back to that. Katie, what do you think?
Maybe with the music, she's showing that like everyone plays music and it's like, or like, like everyone gets it and how even different races and cultures and stuff. Go ahead. That was it. Oh, okay.
Yeah, like, yeah, that's a great point that it's universal, that music kind of brings everyone together. And it does because when they visit Peter and Pavel that and they can't speak the language, right? The Russian, they can sort of communicate a little bit. Their language is similar.
But even through that language barrier, music breaks that. Good point. Connor, what else? Also, the music would have kind of been like something. pretty easy that they could enjoyably do after like long days out in the fields and like you're they're out on the plane there's not much else to do and like I believe that Jim is like all bored of living there and then like the only enjoyment he can get is going to this dancing hall yeah so it's kind of like that entertainment side of it like a respite kind of yeah yes exactly and I do think it's funny speaking of what Kate said about the Baptist thing going back to the beginning you is the dance hall.
What a contrast that is with the dance hall. How is that a contrast? And with the stereotypes as well. Okay. You want to take that one?
And then Tamara had her hand raised too. Wait, can you repeat the question that you just asked? No, I have no idea what I just asked.
Okay. I think you said, why is... Oh my gosh, what did I just say, guys? We're talking about the dance hall.
How is the Baptist? Yeah. You're in that attitude of contrast to the dance hall.
Yeah, because you remember back then the Baptist could not dance or play cards or yeah, like that whole stereotypical, like you said. So yes, thank you, Shmuel, for reminding me what I said. Okay, who wants to tackle that one?
I don't know why your hands are raised. Do you want to answer that question, Tamara or Shmuel? Yeah.
Okay, go ahead. Go for it. I think that there was an example of this, but the dance hall is like the removal of all restraint, like the person who falls in love with one of the girls, and then he doesn't want him.
um because it's like below his rank so he goes on to marry someone else who's a widow who's six years older than him but i think like it symbolizes like this mingling of classes and it's like a sort of sketchy place and um like the church is like the opposite like everyone's decorously behaved like that you the church people are against the saloons um and so it's like the or so they want you to believe there's things that go on in the churches yeah yeah i know what you mean that contrast yeah i think you're exactly right and it's seen as evil it's seen as worldly in contrast yeah good tamra what do you want to add i was going to do the same thing as shmoole and um For Kitty's point, I do believe when she was talking about like the camp where they like the tent where they all danced, I do believe she said that like everyone could like join and dance together. And so like the music was like a moment of like sharing kind of like a Thanksgiving dinner kind of like together dancing. Yeah, I could bring them all together.
Yeah, I love that. I love that idea. I love that you guys thought about that. And who does somebody else want to add anything?
Okay. All right. Well, let's do our grammar because we have other things to do. And we're going to get back to our discussion. You guys, I love this class.
I, I can't, you know, I know I'm being recorded, but you guys really are my favorite class. All right, guys, what should we do on these two sentences? Wouldn't it be funny if there were no errors at all in this sentence?
Ha ha ha. So let's see. Connor, you want to take that one? I don't remember who I asked last week, but Connor, you can work on that one.
Tamra, you want to take the other one? And you guys can help them out. They can do the drawing and we'll see if they got it correct.
Can I help on the second one? Sure, please, please. It's so funny because when I was in school, you know, we used to like drawing on the chalkboard or the whiteboard.
And now you guys are drawing on Zoom and you think that's so cool. Or maybe you don't, I don't know. All right, let's see. Wouldn't it be funny if there were, uh-huh, and we really don't even like there were.
We can completely rework that, but it's okay. Wouldn't it be funny if there were no errors at all in the sentence? So what do we need to do at the end there?
Since it's an interrogative question. And that, uh-huh, good, Connor, good. Yeah, we don't need to overemphasize, yeah. And then sadly, I just cannot stop myself from inserting numerous errors into each of these sentences. Okay, there's something I'm missing.
I think I have a grammar illness. Okay, good. Tamara, I think you're close.
I think you're warm. If we're playing hot potato, yes, please fix that comma splice. Yes.
Good, good. We either have to make a new sentence or add a semicolon. And grammar, thank you, Connor, is A-R.
Yes, very good. Anybody see anything else? Personally, I don't like wouldn't.
I would like change it by would not, but I don't know if that's like correct or something. Well, funny you should mention that because it's not incorrect to use a contraction. That's totally fine. But it's a good point is that when you're writing academically, like for a literary analysis, you know, like when you're writing for school, you do want to avoid contraction. So that's a good reminder.
OK, I think we got everything. Any questions? You guys did a nice job. That one was pretty easy. Okay, so let's see.
I think we finished talking about the allegorical painting last week. We talked about this quote. In book one, I think we've talked about this.
Oh, I wanted to dig in a little deeper on metonymy and synecdoche and see if you guys are really understanding it because those are sort of odd literary devices. And we will revisit them again in the spring when we talk about Wuthering Heights. So I kind of want you to start thinking about them and solidifying what they mean in your head and recognizing them.
Okay. So remember metonymy. means substituting one word for another word that's closely related.
Like if we say the suits are we're discussing, we're talking about the business people. It's like a word closely related to them or the White House representing the president. Synecdoche is a type of metonymy, but it's where you take a part of a thing to mean the whole thing itself. Like threads would mean all of your clothing, right?
Your threads. or lead to refer to the bullets, okay? Or mouths to feed is like feeding, it's one part, the mouth, but feeding the whole group of people, okay? So we use these all the time, but we don't really think about how to label them. So here are some tricky ones.
So let's see how you guys do. Let me put my little thing here so you just look at one at a time. Okay, so do you think The first one has an example.
Does it illustrate metonymy or synecdoche? Raise your hand when you know. You guys are going to think these are so easy.
And I was like, oh, I think they're challenging. So you'll probably get all of them. Yeah, raise your hand when you think you know.
And be ready to explain too. Jamil, your mind must just work so quickly. You barely even thought about it. You're like, boom, boom, boom.
I tutor a student like that. And it's like, before I can get the question out, like he knows the answer. I'm like, okay, I don't think that fast anymore. Let's see.
Jude, you've been very quiet today. Do you want to tackle this? I know your hand's not raised. Do you want to take a stab at it? We promise to support you and love you no matter what.
Now, we really, it's okay if you get it wrong, because we're all learning on this. So what do you think? Is that synecdoche or metonymy? I mean, I guess you could say it's metonymy, because they're all types of metonymy. But is it specifically one or the other?
It's synecdoche, because when it says synecdoche, it's a pressure. Because why? It says plutonium, whatever.
It's not. It's like plutonium is like the four, right? It's like describing the whole thing, not just like the spin planets. Okay.
Okay. Do you guys agree? Oh, no. We have dissension in our ranks. Okay, Jude, that was an awesome try.
And yes, I think you're on to something there. But it's not plutonium that we're looking at. It's a different word in a sentence.
Okay, Jude, what if I tell you we're looking at Sweden? See if you can hone in on that word and if that helps you. Shmuel, you had your hand raised first, so go ahead and tell us. Well, Sweden is a replacement for the Swedish government or the Swedish media or something.
So since it's a replacement, it's... It's... metonymy.
Yeah. Yeah. It's, it's representing even greater. It could be like everyone, you know, yeah.
That whole area of the world even. Yeah, exactly. It's representative. So it's not a part, but it's a replacement.
So that's metonymy. Very good. Okay.
What about this one? When I am done with this article, which that's a horrible way to say it. should be when I am completed or finished, not done.
You don't stick a fork in it and done. That's what you do with food. Okay.
When I am done with this article, I plan to hit the bottle. Wow. It just keeps getting better, doesn't it? Sam, you have been very quiet. You want to tackle this one?
Sure. I'm not even sure what hit the bottle means. I mean, take a drink of water. Yeah, of course. So I would say.
I don't think the Baptist would approve of that one. Let's just say that. I guess it's, it might be a, I'd say it's not synecdoche.
Well, we know it's definitely metonymy because everything that here is metonymy, but is it like a part? But is it a part or is it just a different word? It's actually a part because it's the bottle. referring to like the whole drink. Yeah.
Yeah. Like the whole, don't you guys think, would you guys say synecdoche on this one? Yeah.
Yeah. Good. I see.
I know you're like overthinking it like I did. It makes it challenging. Good thoughts though. Yes.
Okay. What about this one? Bow to the overwhelming crown. Make sure hands go up.
Tamara, what do you think on this one? The crown represents like either like the country or like just like the government or like the queen. Yes, I guess that's the king now.
Exactly. Yes, exactly. So that would be metonymy. Good.
You said it right. I was just going to say you can say the M word, but yes, metonymy. Yes. OK, last one. There are over 50 head of cattle in that strange and wild herd.
Oh my gosh, guys, how do you get it so fast? Like, I need time to process. Katie, Knox, do you want to try? I want to put you on the spot.
I know these are tricky. And clearly we've got some people in here that just can identify these immediately. What do you guys think? What stands out to you, Knox and Katie, like in this sentence that might be a substitute for something else? The head of cattle.
Uh-huh. So what would that stand for? Cows. Yeah, like all of them. So it's a part.
So it would be everybody all together. Synecdoche. Yeah, very good.
You guys are awesome. All right. Well, try and observe that as you are continuing to read and go out throughout the year.
Okay, let me look and see where we are. I want to skip over here to talking a little bit, since we already talked a little bit about the book. A part of the book in chapter six, book two, part six, it's actually on page 73, if you want to go ahead and turn there, page 73. So Willa Cather actually puts a William Wordsworth, Woodsworth, here.
it should be, I think it's worth, it's Samuel Woodsworth. Yeah. A poem in there, in her story.
It's an allusion to an actual poem. And so I want us to not just gloss over this allusion. I want us to look at this. So you want to get your orange highlighter here on page 73, the paragraph that says, I remember, said Francis, it was the old oaken bucket.
cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me. Okay, who is Ole Iverson?
And why does she allude to this poem? We're going to read the poem here in a minute. But who is Ole Iverson?
Y'all remember? Hey. I think he's the man that was running the machine that the tramp or the homeless man killed himself in.
I forget exactly what family he's related to, but he was the one who had to pull the man out of the machine. Yes. So, yeah. Okay.
Yeah. Who else was going to? Does somebody else want to add something? Okay.
Okay. Um, yeah, so that's looking at chapter six in book two. So it says, let's see, I wonder if we should just start. I'm trying to think of where we can start reading. Okay, look at 72. I told him nobody wanted to drown themselves.
Oh, cattle, he says, you'll take care of your cattle and you ain't got no beer here. Let's see. Then he goes up to the machine and yells out to old Iverson.
Hello, partner. Let me up there. I can cut bands and I'm tired of tramp and I won't go no further.
I tried to make signs to old because I thought that man was crazy and might get the machine stopped up. But old, he was glad to get down out of the sun and chat. If he gets your neck and sticks to you, something awful when it's hot like that.
So old jumped down and crawled under one of the wagons for shade and the tramp got on the machine. He cut bands all right for a few minutes and then Mrs. Harling, he waved his hand to me and jumped headfirst right into the threshing machine after the weed. I began to scream and the men run to stop their horses.
But the belt had sucked him down. And by the time he got her stop. He was all beat and cut to pieces.
He was wedged and so tight that it was a hard job to get him out, and the machine ain't never worked right since. Was he clear dead, Tony, we cried? Was he dead? Well, I guess so.
There now, Nina's all upset. We won't talk about it. Don't cry, Nina.
No old tramp won't get you while Tony's here. Miss Harlan spoke up sterling. Stop crying, Nina, or I'll send you upstairs when Antonia tells us about the country.
Did they never find out where he came from, Antonia? No, ma'am. He had been. So do you not think they have the worst stories like the Peter Pavel and then this one? Like, oh, my goodness.
Again, with the authenticity, like they have all these stories from their old countries, too. OK, so Antonia is telling this story about a tramp who shows up at the Iverson farm. and eventually kills himself because he throws himself into the thrashing machine, right? And so the unnamed man has like no possessions, but he's only carrying a book, a copy of a poem from the, it was actually not a book, it was a newspaper article that had the Samuel Woodworth's poem, The Old Wooden Bucket, I can't get it right, Oak and Bucket.
So why is that significant? Why would Willa Cather? Cather put that in her book.
Okay. So remember an illusion is a reference to another work or another time period. Okay.
That would have been familiar to them. And it has a message. So I'm going to send you guys the link so that you can pull it up on your screen. Here's the old open bucket.
And here is. I want you to pull up both of these documents on your end. This is how we're going to analyze poetry.
If you've had them before, you know the process. If you haven't, this will be new to you. But we use the TP-CAST, typecast is what I call it, for poetry analysis.
It helps us. This is really good if you're going to go into AP classes or take AP exams later on because they'll have you do a lot of poetry analysis. And so you use this mnemonic, T-P-C-A-S-T-T.
So that you can analyze a poem super easily. So it stands for looking at the title. So you always start by reading the title. So like if you're on an SAT test and you're having to do this poetry analysis, when they ask you questions about it, start with the title. Don't overlook the title.
Usually on the SAT also in the little byline area. They'll give you like information about the author or maybe background of the poem. Don't skip over that because they'll ask about that and it can give you some insights.
And then you paraphrase it. So remember paraphrasing, putting it in your own words and your own style. Because a lot of times when you are faced with a poem, it's written in words that you have no idea.
You don't understand them. So you need to break it down and try and put it in your own words so that you can start like getting it. And then.
And I don't expect you to do every single line. Sometimes you can group them by stanza or every couple of lines, depending on how the poem's written. C is for connotation.
That's just a big word for what do the words mean? Okay. Why did the author use certain words? Why did the author use figurative language?
Why did the author use certain punctuation? This is the stylistic stuff. Okay.
So. not the literal definition of words, but what is our connotation? What do we get from it? What's the meaning, the deeper meaning there behind? And then A is for author's attitude, which we know is tone.
Okay. Tone is huge. That's attitude. So does the author, not the mood, not how it makes you feel, but what is the author, you know, how does the author feel about the subject? he or she is writing about?
How does the author feel about a character? How does the author feel about, you know, what words do they use to reveal their attitude? Okay, S is for shifts. Every poem is going to have a shift, okay, if it's well written. So there's going to be some kind of turn, some kind of flip in the poem, whether it's the actual subject matter changes, the point of view changes.
The punctuation changes. It changes tenses, verb tenses. There's always going to be some kind of shift.
Maybe a change in dialect or diction or even irony. There can be a shift of some sort. So I want you to look for the shift and then go back and revisit the title again.
Does the title hold a deeper meaning for you now? Has it changed in meaning since you first looked at it? Is it what you thought it was going to be about? And then you end with the last T, which is the important theme. Okay, what is the author trying to say?
Okay, so what are you supposed to walk away pondering after analyzing it? So T-P-C-A-S-T-T for poetry analysis. Okay, so let's read the poem together. And then I'm going to let you get into pairs, and I want you to work with a partner and analyze the old oaken bucket. And as you're analyzing it, I also want you to think about how does this relate to my Antonia?
Why did Willa Cather put this in? What does this illusion tell us about the characters or the plot? Why is it an important part of the story? Okay, here we go.
Okay. How dear, and poetry is meant to be read aloud, so I'm going to read it aloud. How dear to my heart are the scenes of my childhood, when fond recollection presents them to view, the orchard, the meadow, and the deep tangled wildwood, and every loved spot which my infancy knew, the widespreading pond and the mill which stood by it, the bridge and the rock where the cataract fell.
Okay, that's the waterfall, cataract. um the cot the small house of my father the dairy house nigh it near it and even the rude bucket which hung in the well the old oaken bucket the iron bound bucket the moss covered bucket which hung in the well that moss covered bucket i hailed as a treasure for often at noon when returned from the field i found it the source of an exquisite pleasure you The purest and sweetest that nature can yield. How ardent I seized it with hands that were glowing.
And quick to the white pebbled bottom it fell. Then soon with the emblem of truth overflowing. And dripping with coolness it rose from the well. The old oaken bucket. The iron bound bucket.
The moss covered bucket. Arose from the well. How sweet from the green mossy brim to receive it. As poised on the curb, it inclined to my lips. Not a full blushing goblet could tempt me to leave it, though filled with the nectar that Jupiter sips.
And now far removed from the loved situation, loved or left, the tear of regret will intrusively swell as fancy reverts to my father's plantation and sighs for the bucket. which hangs in the well, the old oaken bucket, the iron bound bucket, the moss covered bucket, which hangs in the well. Isn't that cute?
Isn't that sweet? I love that poem. So hopefully listening to that, you were thinking, oh, I get how it relates to my Antonia.
Hopefully you have some ideas there. So I'm going to put you with your partner and you have both documents. So what I want you to do is go through the TP cast and you can just type it in a document if you'd like. So you can show the class, you can screen share or you can just jot it down in notes and talk to us about it. But I want you to go through each of these.
And in addition, tell us why this illusion. What does it have to do with the book, the story? OK, so everybody know what to do. Any questions, comments?
Okay, I'm going to put you in rooms. Wait, could I ask a question? Yeah, sure.
Do you want us to paraphrase it all line by line? Or you do not have to paraphrase it line by line. You can do like every stanza because we don't have all sorts of time. That's a good question. Let's see.
Okay. Are we good? Okay.
Oh, wait, I got to put one more in. Okay. There we go. Go for it. Oh, how long?
Let's see. 15 minutes. Let's start with 15 minutes.
You guys can come back when you're finished. We'll see how far we get. All right. They probably don't know that I closed it. OK, so how did you guys do?
Starting with the title. They should be back here in just a second. What did you say at the beginning? What did you think of when you first saw the title of this poem? Samuel?
Sam pointed out that the old wooden bucket sounds like the title to an ode, because it's not like something like, I don't know, Shakespeare's Sonnet No. 15. It sounds like this. wooden bucket will be the subject of an ode. Okay. Yeah, I think you're right. I think it does sound ode-like.
So an ode usually means that you love something dearly and it's special to you. It's precious in some way, kind of like you guys wrote, some of you wrote the ode to the watering hole, right? And the yearling. Okay, good.
What about C? T or P paraphrasing. It was pretty easy to put into your own words, right?
So just kind of go through. So somebody give me, let's see. We've got what? Three stanzas and we've got three groups.
So group one, girls, give me kind of like the synopsis of stanza one. What's stanza one about? Stanza one is more about his childhood. Good.
Yeah, go ahead. He doesn't address the bucket like immediately. He talks about his childhood, like the landmarks of his childhood.
And he's sort of just introducing the subject. He's like kind of saying like, once upon a time, back in my day, I had this bucket. And then that's how he leads into the rest of the poem. Yeah. And I love how he says, and every love spot, which my infancy knew that, that whole growing up out there and loving every part of it.
Connor and Jude, what about stanza two? What is that one about? It's, I think it's like, it's about how he would come home from his work in the fields and drink from this bucket at the well.
And it's very flowery and kind of over-exaggerative. Yeah, he really loves this bucket because what's in the bucket? Water. That's what he loves, right?
And the bucket is what's holding this liquid gold, right? Good. Okay, and then Knox, Samuel, and Schneel, what is the point of stanza three? What's it saying?
I think it's kind of just saying that it's showing how he is almost regretting having to leave the bucket, which he pries so dearly. I mean, he's kind of... At the end there, he's thinking about how it probably is just still hanging almost like in loneliness without him.
It also ties it back into the present. Like the first stanza went like, oh, my memories. And then the second stanza explained what memories he had, his most important memories.
And the third stanza brings it back to the present. Yes. So did you see the shift?
Skipping ahead in our analysis, where was the shift? I saw a couple of shifts. Okay.
The first one was in the first stanza when it shifted to the bucket. And the second one was when it shifted from the lonely bucket to the bucket that was its treasure. And then there's a shift from... how he linked the bucket to the now situation.
Reminiscing about it. Yeah. Yeah.
Connor, did you see another shift? No, it's just he's basically covered it. But specifically, it's right with the and now, like the and because he's like changing the subject.
Yeah. And did you guys see what words stood out to you to convey this love or the Holy Grail, as Jude said, of the bucket? I just realized it's time to go.
And I don't want to keep you guys over. Okay. Keep your notes.
Can you? can you save these two? I can always send you the links again, but save those two links if you can and your notes.
And we will reconvene next week about this because I want us to discuss this poem a lot more. But I also want you guys on page 98, make note of this. We're going to talk about that plow I mentioned when we first started reading this book that relates to the theme, the best days of the first to flee. And what was the symbolism there? You read that at the end of book two, I believe on page 98, towards the end of book two.
So we're going to finish the poem. We're going to discuss the symbolism. And you guys keep reading, okay?
Books three through five are short. So go ahead and finish it if you absolutely can. And I want you to bring me your favorite passage from the book next week.
I want you all to share your favorite passages, something you really... liked. It may be funny or beautiful or whatever you liked about it or stood out to you. And I want you to be able to tell me what is Jim's old oaken bucket?
Like how does this poem relate and the symbolism behind the plow? I think that's it. Does anybody have any questions about any assignments or anything going on?
Everybody doing okay? Wonderful discussion as usual. Remember your groups.
I don't think we'll forget them. It's pretty small class. So we will we will reconvene next week.
Then y'all have a great week. Happy reading. And we'll see you next week.
Bye. Great job. Thank you.
Bye. Thank you.