Once again, I turn to preparing for the summer conference season. I've presented several workshops on poetry over the years, but for this summer, I dug a bit deeper. I asked myself, "How have I taught poetry?"
In my first years of teaching high school juniors in a public high school, our American Literature textbook included the usual poets and poems—Anne Bradstreet, Phillis Wheatley, William Cullen Bryant, and so on. My classes and I dutifully read those poems aloud and lightly discussed them. I dutifully assigned the printed discussion questions in the textbook as homework. And the next day, my students turned in their dutiful attempts at answers. Duty pervaded all. We had done our part and moved on through the textbook.
Duty pervaded all."
When our boys were older and I returned to teaching, in a classical school this time, I heard about how teaching with passion was contagious. Well of course!
I had to try it out with poetry. Trust me, my 8th and 9th grade classes were likely overwhelmed by my enthusiasm and my rousing rendition of Whitman's "O Captain, My Captain". Somehow I thought that keeping my students' attention equaled mutual enthusiasm. It did not.
I next began dissecting the poems into pieces, demanding that every tiny part be labeled. Unbeknownst to me, my actions sucked out the very life of the poem at hand. I continued this process for several years and could not understand why my enthusiasm and supposed expertise did not transfer to my classes as a whole.
It was not my students.
I came to see that only when I happened to read C.S. Lewis's Experiment in Criticism for the first time. He writes,
The literary sometimes ‘use’ poetry instead of ‘receiving’ it. They differ from the unliterary because they know very well what they are doing and are prepared to defend it. ‘Why’, they ask, ‘should I turn from a real and present experience—what the poem means to me, what happens to me when I read it—to inquiries about the poet’s intention or reconstructions, always uncertain, of what it may have meant to his contemporaries?’ There seem to be two answers. One is that the poem in my head which I make from my mistranslations of Chaucer or misunderstandings of Donne may possibly not be so good as the work Chaucer or Donne actually made. Secondly, why not have both? After enjoying what I made of it, why not go back to the text, this time looking up the hard words, puzzling out the allusions, and discovering that some metrical delights in my first experience were due to my fortunate mispronunciations, and see whether I can enjoy the poet’s poem, not necessarily instead of, but in addition to, my own one?” (151-152).
I had been a thief! I had not given my students the space to delight in the poem itself. I had forced my students to use poetry.
In his Preface to Paradise Lost, Lewis says that "the old critics were quite right when they said that poetry 'instructed by delighting.'" In all my learning, in all my best intentions, I had somehow missed this step.
My approach to teaching poetry in a classroom setting is quite different now, and I'm still learning. My students and I read a poem aloud and silently several times. I engage the class with questions that most resemble Charlotte Mason's narration approach. I make notes of the questions they ask me and each other. I rarely demand that my students identify parts and pieces unless the poem shouts at us to do so. I offer historical or authorial context only as their questions demand. This simplicity has created a freedom from legalistic analysis. It has given me and my students the opportunity to receive the beauty of words.