Keats and Frost AP Literature Essay Prompt




AP English Literature and Composition
Free-Response Questions

suggested time—40 minutes.
This question counts as one-third of the total essay-section score.

Read the following two poems very carefully, noting that the second includes an allusion to the first. Then write a well-organized essay in which you discuss their similarities and differences. In your essay, be sure to consider both theme and style.



I. Bright Star by John Keats

Bright star! would I were steadfast as thou art --
Not in lone splendor hung aloft the night,
And watching, with eternal lids apart,
Like nature’s patient, sleepless Eremite*
The moving waters at their priest-like task
Of pure ablution round earth’s human shores,
Or gazing on the new soft-fallen mask
Of snow upon the mountains and the moors--
No -- yet still steadfast, still unchangeable,
Pillowed upon my fair love’s ripening breast,
To feel for ever its soft fall and swell,
Awake for ever in a sweet unrest,
Still, still to hear her tender-taken breath,
And so live ever -- or else swoon to death.  
                                    —John Keats
*hermit


II. Choose Something Like a Star by Robert Frost

        O Star (the fairest one in sight),
        We grant your loftiness the right
        To some obscurity of cloud --
        It will not do to say of night,
(5)   Since dark is what brings out your light.
        Some mystery becomes the proud.
        But to be wholly taciturn
        In your reserve is not allowed.
        Say something to us we can learn
(10) By heart and when alone repeat. 
        Say something! And it says, ‘I burn.’
        But say with what degree of heat.
        Talk Fahrenheit, talk Centigrade.
        Use Language we can comprehend.
(15) Tell us what elements you blend.
        It gives us strangely little aid,
        But does tell something in the end.
        And steadfast as Keats’ Eremite,
        Not even stooping from its sphere,

(20)  It asks a little of us here.
        It asks of us a certain height,
        So when at times the mob is swayed
        To carry praise or blame too far,
        We may choose something like a star
        To stay our minds on and be staid.
—Robert Frost*


 


Sample Free-Response Student Essay #1

Keats “Bright Star” and Frost’s “Choose Something Like a Star” although similar in their address to a star differ in form, tone and theme. The latter contains an illusion to the former which brings Keats’ themes into the poem. In order to compare these poems it is necessary to look carefully at their themes and constructions. “Bright Star” is a sonnet in traditional iambic pentameter. Its tone is elegiac as it celebrates the woman’s beauty and his love for her in his plea for steadfastness. The poem opens with an apostrophe to the star which calls our attention to his plea. The verbs “would” and “were” indicate his wish to be like the star whom he addresses as “thou.” The star is “hung” in the night, a pleasant image, and he uses a simile to compare it with Eremite, a hermit, who presumably sat apart from the world watching. The eyelids of this star (the star is given anthropomorphic qualities) are eternally apart -- always watching, “patiently” and “sleeplessly.” Keats then enumerates what this star watches. It watches water -- which is also steadfast as indicated by the comparison “priest-like.” The waters that surround the land Keats says are performing ablutions or cleansings and blessings on the land. The star also gazes upon the snow. He uses the metaphor of snow as a “mask” (more personification) as it hides the mountains and moors. The “m” alliteration emphasizes the falling of the snow. The repetition of “of” underlines the parallel structure and idea of the two scenes the star regards. The rhythm of this 2nd quatrain is slow and peaceful like the scene. Then Keats puts a “No -- “ which interrupts this peaceful rhythm; he does not want to look at pastoral scenery but at his lover. The “still steadfast, still unchangeable” emphasizes the fact that this constancy is similar to that of the star regarding the earth. The poet wishes to be lying on his lover’s breast which he implies is like a pillow and describes as “ripening” which emphasizes her fertility. Line 11 has a rhythm of a “fall and swell” like her breathing. He will be in a state of “unrest”, yet a happy one. The repetition of “still” underlines his intense desire and the “t” alliteration the tenderness of her breath. The final line sets up a contrast and the hyphen divides it. He will live forever this way, or else he will die in a “swoon” -- a faintness of overwhelming love. Either way he spends eternity faithful and steadfast to his lover. The rhyme in the final 2 lines adds to his summing-up quality of the couplet where he expresses his main theme -- to be as steadfast to her as a “bright star” is to the countryside.

Frost’s poem is quite different. The form is a bit freer, the poem is written in 25 lines of octosyllables with a conversational tone and a varying rhyme scheme. Frost too looks to the star to be steadfast, although in his case it is steadfast in moral or political beliefs, not in love. Similar to Keats’ poem, Frost begins with an apostrophe, and adds to it “(the fairest one in sight),” an humorous allusion to the child’s tale of wishing on the fairest star. Similarly, we derive a sort of wish from this star. He calls the star “your loftiness,” another humorous play on “your highness”, reflecting its physical and moral height above us. The poet as “we” (meaning all men) grants the star some anonymity, some aspects of a hermit isolated and watching the earth as he gives him “some obscurity of cloud.” Dark brings out the light -- this is a subtle indication that “we” see the star as it is the stoic steadfastness when something “dark” and evil is taking place on earth. But Frost does not allow the star to get away with saying nothing -- his “position” requires his contributing advice. Frost implores him to say something catchy that we can cling to -- and the run on line emphasizes the energy of this begging. “Say something!” (9) disrupts the rhythm and adds even more desperation to his plea. All the star says is “I burn.” Frost with a tongue-in-cheek tone implores him to add scientific details -- the kind humans like to deal with. He speaks of “Farenheit” and “Centigrade” like they are languages -- and capitalizes “Language” for this purpose -- we understand facts. But it doesn’t really help that much, he says. In line 18 Frost changes to speaking of the star as “it” and alludes directly to Keats’ poem. Frost says that the star is like Keats’ Eremite, the star that steadfastly watched the goings-on on earth. In using this allusion Frost not only continues the “poetic tradition” but adds all the depth of meaning of Keats’ poem to his own. The star doesn’t want much of us -- only to stay above us. He says that “when the mob is swayed” or when social, political, or moral upheaval takes place and the norm is to be radical, the star likes being above it all, condescendingly regarding the earth. When this happens, we should “choose something like a star” and concentrate on it. In the final line the similarity between “stay” and “staid” emphasizes that we must emulate the star in being constant and moderate while society may revolve around us in social or political turmoil. This “staidness” is our key to survival like the stars’.

Therefore, one can see that these poems although similar in their title and central image of the star differ in their themes, form and treatment of the author’s ideas.

  • Highest level writing (9)
  • Actually, the University selected this as one of the better written that year, so don't let it discourage you.  Let it give you something to aspire to. 
  • Notice how sophisticated and sensitive the interpretation is. 
  • Notice that there are areas that aren't perfectly supported or might be contended (such a "the “m” alliteration emphasizes the falling of the snow"); however, the interpretation is so rich and well-supported otherwise, that such license is readily given to the writer.

Sample Free-Response Student Essay #2

Although both “Bright Star” by John Keats and “Choose Something Like a Star” by Robert Frost both address a star with a spirit of awe, the first uses formal diction to express a wish while the second uses informal diction and contains a lesson.

“Bright Star” contains lofty, formal kinds of words such as “thou art” and “splendor hung aloft” to show reverence toward the star. Keat’s specific word choices also contribute to the theme of the poem that man wishes happiness would last forever. Comparing the star to an eye with “eternal lids apart” brings to mind God, who is connected with eternity and happiness and the sky or heavens. The star is also compared with a hermit which brings to mind silence, holiness, and solemnity. The word “ripening” connotes life, and the speaker wishes to enjoy the best of life “forever.”

Robert Frost’s poem also address a star in the first fifteen lines, but the diction is informal. In plain, ordinary kinds of words, the speaker asks the star to “Say something to us that we can learn/By heart.” The speaker of this poem wants the star to tell the secret of its steadfastness, instead of just wishing to be like the star. Then in the last ten lines, this poem adds a lesson. Although the star seems to give “little aid,” it teaches the speaker “something in the end.” The speaker feels that just thinking of the noble star will help him to be steadfast and not to be swayed easily with the “mob.” 
  • A lower scoring essay (4)
  • Notice that the interpretation is largely correct but not very deep.  "Contains a lesson" is a fairly cheap way to interpret Frost's poem.
  • Notice that there is little development in the essay.  


Triolet and Villanelle as Lines

Blake: Exercise

Exercise: Label as assertion, textual evidence, or analysis:

1.___________________In the first poem, a young speaker relates that his mother is dead and his father sold him to become a chimney sweep.
2.__________________He is very young because he can hardly speak as he cries out the chimney sweep‟s street cry, “weep! weep!weep! weep!”
3.___________________He comforts Tom Dacre that being a good boy will have positive consequences: “He'd have God for his father & never want joy.”
 4.___________________The second poem has a different speaker—not the young boy but someone asking him, “Where are thy father & mother?”
5.  ___________________ The rest of the poem is the young boy‟s reply as he tells the speaker about his difficult life, wearing his “clothes of death” and singing “the notes of woe.” 6.___________________ The poem's last quatrain explains that because the boy seems “happy,” his parents feel free to abandon him while they “praise God & his Priest & King.”


Blake: Tone

Thoughts:

1789: The tone is innocent and all the more pitiful because of the child‟s innocence. He does not blame his father or those who force him to work. He sees the bright side of everything, when in fact the dream of the “coffins of black” is a more realistic description of his life.

1794: The tone is quite critical, even condemning, of a social system that allows parents to pray in church while their children are sold into slavery. In the last two lines, it‟s not perfectly clear if the speaker is blaming either “God,” or “his Priest” or the “King” or all of them, but it is clear that someone is responsible for the appalling life the child has to live, and hypocrisy is involved since all these entities should value the lives of innocent children more than the carrying out of religious exercises.


Paragraph Development:

Tone: First Poem

Assertion: The fact that the young speaker is totally unaware of how horrendous his life is creates a tone of naivete and innocence.

Evidence: The young chimney sweeper could not exist in more bitter circumstances. He was sold into the chimney sweep profession by his father and began the arduous work before he could even speak clearly. He sleeps in “soot” and in “cold” harsh weather, utterly uncared for.

Analysis: Even though the young boy is forced to work in degrading conditions and has been abandoned by his father, his belief that “if all do their duty, they need not fear harm” reveals that he is completely naïve about the “harm” he is exposed to every day.


Tone: Second poem

Assertion: The second poem is scathing, critical, and cynical. The speaker clearly perceives the harsh conditions the boy lives in, conditions directly caused by a social system that perpetuates child labor.

Evidence: The speaker sees “a little black thing among the snow” and asks him where his parents are. The child explains that because he was “happy upon the heath/And smil‟d among the winter‟s snow,” his parents clothed him “in the clothes of death,/And taught [him] to sing the notes of woe.”

Analysis: Since the child comprehends that his parents are to blame, in contrast to the first poem in which he does not see the truth, the tone is bitter and critical of the religious and social structure that praises the parents for going to church yet doesn‟t condemn them for abandoning their child.

Blake: Point of View

Thoughts:

1789: This poem is written from the point of view of the innocent young boy. His life seems “happy” because he is too young and naïve to understand that he is living in a hell upon earth—he has been sold by his father and forced to work in the dark at a job that will send him to an early grave. He, on the other hand, views everything that happens to him as a blessing. For instance, when Tom‟s hair has to be shaved, the speaker tells him not to fret because now the soot will not spoil it. He naively believes that if he does as he is told, he will “not fear harm,” yet he lives in the midst of harm.

1794: This poem is written from the point of view of an adult who asks the young boy where his father and mother are. This adult sees the truth immediately: he is not a young boy but “a little black thing among the snow.” All but these three lines are the boy‟s response. This point of view produces a somewhat cynical tone, as the adult clearly sees what the child cannot: his parents are praying in the church, praising not only God but the king, whose neglect is responsible for the boy‟s harsh life.


Paragraph Development:

Point of View: First Poem

Assertion: The speaker in the first poem is a young boy who, in his innocence and youth, does not realize how difficult his life is.

Evidence: The young boy simply narrates that his “father sold” him before he could speak clearly. He tells Tom Dacre that having his head shaved will really be a blessing, not a hardship. He further consoles Tom that the dream he has presages a beautiful, glorious life because they have God for their “father & never want joy.” The poem ends with the image of the “cold” day, but Tom is “happy & warm” because he is doing what he has been told to do.

Analysis: The young boy‟s lack of understanding of his hard lot in life is made all the more pitiful because he is uncomplaining and accepting of everything that happens to him.


Point of View: Second Poem

Assertion: In the second poem, the adult speaker fully realizes the woeful plight of the chimney sweep as the boy himself reveals what his life is like.

Evidence: In the first two lines, the speaker notes the “little black thing among the snow.” In line 3, he asks him where his parents are. The rest of the poem is the boy‟s answer. His parents are in church, “prais[ing] God & his Priest & King.”

Analysis: The boy‟s response reveals both the boy‟s lack of awareness of his true condition and the heartless way his parents and the church have ignored his basic needs. The poem is basically an indictment of the church in valuing religious exercises over people‟s lives.

Monday, 3/31/14

* Open
  • Please read the word count post below. 
* Poetry Review and New
* Work on J14.  If you finish the two forms, please practice the limerick and clerihew.

HW: J14 (one triolet and one villanelle)

Sample Notes for a Blake Essay

William Blake's "The Chimney Sweeper" Poems (1789, 1794)

I. Sample Introduction:

Both poems by William Blake reflect on the unfortunate lives of young boys who are forced to work as chimney sweepers (what the poems have in common). Yet their (diction, imagery, point of view, tone) point of view and tone are quite different.  Whereas in the first poem, Blake (employs, projects, uses, develops, creates, illustrates, reveals) employs a speaker who is the innocent young chimney sweeper, producing a tone of naivete, in the second poem he (employs, projects, uses, develops, creates, illustrates, reveals) reveals the speaker to be a knowing adult who perceives the hypocrisy in society's abuse of the their own sons, producing a cynical tone.
  
II. Sample Body Thought and Development
III. Exercise in assertion, evidence, and analysis  
  •  What is this paragraph lacking?

IV. Read the first three example Blake essays (scoring 8, 6, and 4)

AP Essay Word Count: Shoot for 800 words in 40 minutes (roughly 3.5 pages)

More words do not necessarily earn an essay a higher score, but fewer words will usually earn a lower score (as you cannot adequately develop your idea). 

Here are some guidelines. A word count less than or equal to
  • 200 words will usually not score higher than a 3
  • 400 words will usually not score higher than a 5
  • 550 words will usually not score higher than a 7
  • 750 words will usually not score higher than a 8.
  • 800 words will usually not score higher than a 9.
  • The most a student usually writes is 1,100 words on one essay. 
  • You should shoot for 800 words...really landing in the 700's somewhere.  For most of you, that's three full pages.    
  • I have seen one essay of 450 words that earned an 8...but that was Neo from The Matrix...and he offered a bribe. 

Bastille: "Weight of Living, Part 1"

"Weight of Living, Part 1"

There's an albatross around your neck:
All the things you've said,
And the things you've done.
Can you carry it with no regrets?
Can you stand the person you've become?
Ooh, there's a light. [2x]

[CHORUS]
Your albatross, let it go, let it go.
Your albatross, shoot it down, shoot it down.
When you just can't shake
The heavy weight of living.

Stepping forward out into the day:
Shrugging off the dust and memory
Though it's soaring still above your head;
It is out of sight and none shall see.
Oooh, there's a light. [2x]

[CHORUS]
Your albatross, let it go, let it go.
Your albatross, shoot it down, shoot it down.
When you just can't shake
The heavy weight of living.
When you just can't seem to shake
The weight of living.

It's the sun in your eyes, in your eyes. [4x]

[CHORUS]
Your albatross, let it go, let it go.
Your albatross, shoot it down, shoot it down.
When you just can't shake
The heavy weight of living.
When you just can't seem to shake
The weight of living.

The weight of living. [4x]

Tennyson Poems to Choose from

From The Poetry Foundation

Wednesday, 3/25

* Open

Alfred, Lord Tennyson

HW: Read; J14 Due Tuesday
Lord Alfred Tennyson

Robert Browning

Tuesday: Victorian Gardens

* Open
  • Read this excerpt from Men and Gardens (1959) by Nan Fairbrother on the gardens of Versailles (late 1600s) with quotes from a Victorian art critic, Walter Pater (1839-1894):
  • "Most of us nowadays have an unquestioned idea of a garden as a place for growing flowers. But it is a humble conception, and we must get rid of it before we go to Versailles or we shall certainly be disappointed. Versailles is not a garden in this sense, but rather a work of art which uses plants as its medium, as a painter uses the appearance of objects, and a poet the words of human speech. Like most other mediums of art, it is impure: gardens can be used for growing flowers in, as words are used to state facts and painting to illustrate views. But none of these functions is art. Of all the mediums of artistic expression, only music is pure in this sense that it has no other meaning, and all art, says [Walter] Pater, “constantly aspires towards the condition of music. For while in all other kinds of art it is possible to distinguish the matter from the form, and the understanding can always make this distinction, yet it is the constant effort of art to obliterate it.” So that it is as perverse to go to Versailles to look at the plants as to use Cezanne’s landscapes as guide-book illustrations to Provence, or Shelley’s “Ode” as a scientific statement of the habits of the skylark. We must think of Versailles as music. The great central vista is the main theme, an untroubled progress to the horizon, simple, noble, and mysterious. Then there are variations, developments, lesser themes, smooth passages of water, gay effects of flowers, fanciful interludes in the bosquets [formal, planned, woods]. But all is music, calm and confident, with no doubtful effects or random charms, no chance felicities which may or may not succeed. We share the intellectual tranquility of perfection, a conviction of the inevitably right, which sways our spirits to peace, as Duns Scotus swayed Hopkins.

    But I am incurably English. I do not like Versailles except to think about at a distance. I do not particularly enjoy the sensation of being what Corneille calls saoul de gloire [drunken glory]; for me the peace too easily becomes boredom. I believe that Le Notre [designer of the Versailles gardens] is the greatest of gardeners, but it is a judgement outside my personal liking.

    “The basis of all artistic genius” (it is Pater again) “lies in the power of conceiving humanity in a new and striking way, of putting a happy world of its own creation in place of the meaner world of our common days.” Most modern artists seem to ignore the happy, but certainly Versailles puts a world of its own creation in place of our meaner one. But how does it create this other world? Its finished order may seem inevitable, but even an imitation of the Grand Manner is difficult for those not born to it, as we can see by considering the fussy and pretentious triteness of most public parks and formal gardens laid out in England since the early nineteenth century."
* Review Our Notes Together
* See our books

HW: Read at least 100 more lines of Tennyson.  Be prepared to discuss what you read tomorrow. Begin J14.

Tennyson (1809-1892)

Prayer

Please pray that if there are any people still alive in the debris from Saturday's landslide in Oso, Washington, that they would be found and rescued.  Pray for the families affected.

Oso Community Church displays a sign reading "pray with us for our community" in Oso, Washington, on 24 March 2014

John Keats

"A thing of beauty is a joy forever: its loveliness increases; it will never pass into nothingness."

" 'Beauty is truth, truth beauty,' - that is all ye know on earth, and all ye need to know."

I. Essential Questions
  • How did the aesthetic focus on beauty, divorced from the medieval balances of goodness and truth, prove a problem for the Romantics and all to follow? 
  • How do style and sense support one another felicitously, friend? 
  • How may seemingly objective secondary sources give us decidedly different impressions of the same person or subject?  How do we respond to this?  

II. Background

"I am certain of nothing but the holiness of the heart's affections, and the truth of imagination."

"My imagination is a monastery and I am its monk."


Take notes on John Keats
  • Years
  • Literary Themes
  • Life
  • Compare Two Encyclopedic Treatments in three to five sentences.
  • For More Explore the Keats-Shelley House.  I visited this tiny museum in Rome in the Spring of 2014.  It holds many a sad tale. 

III. Terms


"Poetry should surprise by a fine excess and not by singularity, it should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance."
 
Mansion of Many Apartments 
  • Theory devised by John Keats stating that people are capable of different levels of thought. He suggested that some have the ability to move through the 'thoughtless chamber' and the 'chamber of maiden thought' to reach more profound states.
Negative Capability 
  •  Term coined by John Keats to describe the (true) poet's ability of  'being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason'.


IV. Reading

"Poetry should be great and unobtrusive, a thing which enters into one's soul, and does not startle it or amaze it with itself, but with its subject."



"La Belle Dame sans Merci: A Ballad" 
"When I have fears that I may cease to be "
"Ode on Melancholy" 

"Bright Star"
"Meg Merrilies"
"Robin Hood



John Keats
John Keats (1795–1821)

Percy Bysshe (say "Bish") Shelley

"The literature of England," wrote Shelley in A Defence of Poetry, "has arisen as it were from a new birth … we live among such philosophers and poets as surpass beyond comparison any who have appeared since the last national struggle for civil and religious liberty" (Keats-Shelley House).

I. Essential Questions
  • Why are the Romantics a good lesson in the maxim "ideas have consequences"?
  • How do style and sense relate to one another in well-crafted literature? 

II. Background 
Take Basic Notes on Percy Bysshe Shelley From the Columbia University Encyclopedia
  • Years
  • Intellectual and Literary Themes
  • Marriage and Other Elements of Interest

III. Reading

IV. Journal: Shelley
  • Reread "Ozymandias" 
    • 1.  Identify and explain three key elements that support the thematic meaning of this poem. 

V. Further Thoughts



Shelley's body was found washed up on the shores of western Italy.  His body was burned, but it is said that his heart was delivered to his wife...who is said to have kept a piece of it wrapped in a poem he wrote concerning Keats. An Italian fisherman, on his deathbed, claimed that he had rammed the boat Shelley was on to rob the men on board...but it sank too quickly.