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Extending Acrostic Poetry Into Content Learning: A Scaffolding Framework Elizabeth M. Frye, Woodrow Trathen, Bob Schlagal
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eaching students to write poetry can be a daunting task for many elementar y-grade teachers, especially when students and their teachers narrowly associate poetry with rhyme. Even though students love to hear, read, and recite the popular charming rhyming verses of Prelutsky and Silverstein, it is difficult for many to employ a rhyme scheme. In fact, students often create illogical verses just for the sake of forcing a rhyme. To combat such frustrating and nonsensical efforts, teachers may find needed structure and support in formula poems. Formula poems like acrostics tend to be brief and do not require rhyme. Instead, traditional acrostics (Harley & Noyes, 2009) make use of a key name or phrase written vertically, where each line of the poem begins with a letter of the keyword. This poetic form extends back to the ancient Greeks and has been practiced by such diverse poets as Poe and Carroll. It is the unique poetic form of the acrostic with its focus on beginning letters that provides inspiration and support for students. Yet, as with any poetic form of composition, the acrostic poet faces the uncertainty of where to begin, the risk of “getting it wrong,” and the likelihood of being judged. Therefore, it is necessary that teachers show students how to develop meaningful content and poetic language as they write acrostic poetry. Students are most successful when teachers write in front of them and with them and model the step-bystep process of composition (Graves, 1994; Routman, 2005). Such teaching invites the teacher to reveal the same vulnerability that students experience as they take risks and confront uncertainties and complexities that arise during the process of writing (Dale & Frye, 2009). The acrostic structure combined with teacher modeling provides a scaffold for students, showing them how to think flexibly and develop ideas and interesting word choices. In this article we describe an
instructional framework for teachers to use to extend acrostic poetry into content areas.
The Reading Teacher, 63(7), pp. 591–595 DOI:10.1598/RT.63.7.6
© 2010 International Reading Association ISSN: 0034-0561 print / 1936-2714 online
Implementing the Processes of Immersion and Inquiry
As with any art form, the apprentice is immersed in the artistry and over time develops a clear understanding of the art or craft. Teachers begin this stage of immersion and inquiry by inviting students to listen to, read, and investigate a specific form of poetry—the acrostic. Students explore books of acrostic poetry (including the works of student poets) and websites that display acrostic poems (See Table 1 for acrostic resources). The teacher then spends time discussing what students notice about the acrostic poems, inviting them to share initial ideas about what constitutes this poetic form. It’s helpful to record student responses on a chart, bulletin board, or dry-erase board. The teacher invites students to add to the list while they make discoveries about acrostic poetry. Then the teacher chooses a mentor text (e.g., Silver Seeds: A Book of Nature Poems by Paolilli, Brewer, & Johnson [2003]) and leads students in discussion and records students’ responses to the following types of questions: ■
What do you notice about all of these poems?
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hat is the subject of this (mentor text) poem? W (content)
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ow is this poem wr itten? (str ucture or H presentation)
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hat kinds of words does the poem include? W (descriptive language and word choice)
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I f you were to explain this kind of poem to a friend, what would you say? How would you describe it?
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Table 1 Acrostic Resources Children’s books featuring acrostic poetry Harley, A., & Noyes, D. (2009). African acrostics: A word in edgeways. Somerville, MA: Candlewick. Paolilli, P., Brewer, D., & Johnson, S. (2003). Silver seeds: A book of nature poems. New York: Puffin. Schnur, S. (1997). Autumn: An alphabet acrostic. New York: Clarion. Schnur, S. (1999). Spring: An alphabet acrostic. New York: Clarion. Schnur, S. (2001). Summer: An alphabet acrostic. New York: Clarion. Schnur, S. (2002). Winter: An alphabet acrostic. New York: Clarion. Websites featuring acrostic poetry www.holycross.edu/departments/socant/dhummon/acrostics/acrostics.html n www.gigglepoetry.com/poetryclass/acrostic.html n www.readwritethink.org/student_mat/student_material.asp?id=45 n www.readwritethink.org/materials/acrostic/ n
Through these processes of immersion and inquiry, students begin to consolidate their knowledge of this poetic form and are better prepared to participate in a shared writing of acrostic poetry in content learning.
Developing Acrostic Composition in a SecondGrade Science Curriculum Writing informational acrostic poetry as a response to reading and researching in content areas provides a creative format for students to integrate and encode the knowledge they have learned. Most primary students learn about animal life cycles as a part of the science curriculum. This scientific study of animals is something most students really enjoy, and it is a perfect topic to use when synthesizing their research through writing informational acrostics. Let us look at how this might unfold in a second-grade classroom. Mrs. Shell (pseudonym) began her unit of study by reading aloud from literary models, this time shifting to informational acrostic poems. She chose African Acrostics: A Word in Edgeways (Harley & Noyes, 2009) as her mentor text. This book of animal acrostics includes poems and photographs about the majestic creatures that roam the game parks and preserves in Namibia, found in southern Africa. These poems are written with evocative lyrical language, and rich imagery is used throughout the text as it celebrates accessible facts and descriptions of these African animals. Accompanying the poems
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are nature notes with additional facts and photographs about each animal, as well as a note from the photographer. The strong poetic language combined with precise factual detail are the characteristics that constitute a good mentor text. The following is a poem from African Acrostics about elephants, titled “Eye to Eye”: Ear-sails flap in a breeze. Leather limbs in rhythm Evenly swaying in step Plod slowly over Africa. Huge as a dinosaur, yet A tender soul from such Noble mammoth alumni. There is wonder abuzz, Staring into eyes so wise. AFRICAN ACROSTICS. Text copyright © 2009 by Avis Harley. Photographs copyright © 2009 by Deborah Noyes. Reproduced by permission of the publisher, Candlewick Press, Somerville, MA.
After reading the mentor text, Mrs. Shell began the study of animal life cycles, focusing on ladybugs. The inquiry began as she and her students generated questions they had about ladybugs. She carefully shaped the students’ questions and offered questions of her own that connected to the objectives of the unit. She readily employed the strategy of asking questions that begin with the 5 Ws and H: W ho, What, Where, When, Why, and How. In addition, she left room for interesting facts by asking, “Anything else?” Next, Mrs. Shell read aloud informational books about ladybugs, and students explored books,
2005). The first draft of this coauthored acrostic poem follows: Ladybugs eat aphids A ladybug is pretty Disgusting smells come out when they are scared Yellow when they come from pupa Beetles are bugs Up in the sky flying high Gardens are where you find them
Revising and Editing Acrostic Composition
After rereading the first draft, students were quick to notice the lack of descriptive language. Mrs. Shell suggested that they revise their poem to incorporate poetic language and literary devices such as alliteration, assonance, and metaphor, carefully explained and modeled in child-friendly terms. She guided the students as they integrated more content with poetic language that appeals to the readers’ emotions and senses. Notice the difference in the revised draft: Ladybugs like aphids for lunch A ladybug is a hungry red lion with black spots Disgusting smells escape when they are frightened Yellow when young and fresh from pupa Beetles are beautiful bugs Up flying fast in the sky Green gardens are where they dine
Table 2 Word Resources Spelling dictionary: A a about above according account across act action add addition afraid
alive almost alone along aloud already also although always am American
answer anyone anything apart apology appear are area arm army around
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magazine articles, websites, and other resources. She also engaged students in shared readings about ladybugs and other “creepy crawlies.” Her goal was to immerse the students in all things ladybug. The class members could answer the questions as they read the texts, or they could mark the passages with sticky notes and return to them after the reading so as to not disrupt the flow of the reading. Mrs. Shell focused particularly on the life cycle of the ladybug, charting words that describe the unique characteristics of the ladybug and its habitat. Next she highlighted vivid verbs, descriptive words, and words that appealed to students’ senses, and last, words and phrases that began with the letters of LADYBUG. Finally, Mrs. Shell and her students collaboratively composed an informational acrostic poem. Mrs. Shell assisted students in transforming the factual information they were so eager to write about. She skillfully guided the students as they attempted to integrate the factual information with descriptive language. Alphabetically organized word resources provided support for students as they composed acrostic poetry. (See Table 2 for examples of a spelling dictionary, along with sample lists of attribute, movement, and color words.) Mrs. Shell supported her students’ learning by validating their input while shaping their thoughts in this collaborative and safe environment (Routman,
Attribute words
Movement words
Color words (Red)
accepting adventurous aggressive ambitious annoying arrogant articulate boastful bold bossy
amble canter clatter clump coast cruise file flit float flow gallop glide hasten
brick cardinal carmine cerise cherry claret coral coralline cranberry crimson flame florid
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After Mrs. Shell’s thorough modeling and demonstration, students were ready to independently (or with partners) begin the process of composing an informational acrostic poem using the same instructional framework. Students read a mentor informational acrostic text and generated questions about the topic using 5 Ws and H. They then read and researched the topic and answered questions, writing down factual information, vivid and descriptive words, and words and phrases that begin with the letters of the topic. Finally, they integrated factual information with poetic language and composed a poem (borrowing when needed from word resources—see Table 2). Students may publish their poems in a class book, on a class blog, or through the ReadWriteThink.org website (www.readwritethink.org/materials/acrostic/). This site offers an interactive online tool for students to plan and publish acrostic poems.
Expanding Acrostic Composition in a FourthGrade Social Studies Curriculum
In the United States, Colonial America is an integral part of social studies curriculum for upper elementary students just as animal life cycles in science is for primary students. Over the past several years, movies and books about pirates have migrated into popular culture (e.g., the Pirates of the Caribbean film franchise and the Peter and the Starcatchers children’s book series) prompting educators to capitalize on student interest. Frye, Trathen, and Wilson (2009) were successful in implementing a fourth-grade interdisciplinary unit of study that focused on the economic impact pirates and privateers had on American Colonies. These fourth-grade students researched famous pirates, wrote informational poetry, and published their work on teacher-created class blogs (Frye, Trathen, & Koppenhaver, 2010). Following the same instructional framework as illustrated above, upper elementary teachers can support their students in writing informational acrostic poetry as a summary of research on content area topics. The teacher begins this interdisciplinary unit by immersing students in poetry reading and poetry writing. However, working with older students allows
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the teacher more flexibility in selecting a more sophisticated and complex mentor text. Lewis’s (2006) Blackbeard the Pirate King is a collection of rhymed verse capturing the history of Blackbeard’s life and reign of terror. This mentor text, as in all good mentor texts for these purposes, holds a combination of the poetic and factual. The process of the shared writing continues as delineated in the instructional framework described earlier. Here is a representation of factual information encoded in the first draft of an acrostic poem that illustrates Blackbeard’s life: Brandishing swords and pistols. Long black, black beard Attacking ships without warning. Clever, crafty, and quick with cannons. Keeping captured ships. Blackbeard’s fleet blockades Charleston. Edward Teach is nearing his end. Advances up the North Carolina coast. Runs Queen Anne’s Revenge aground. Dies a pirate’s death in pitched battle...head hung on the bow of Maynard’s ship.
Although this early draft captures a number of critical facts in Blackbeard’s life, it lacks significant detail, and chronological order of events is not represented in the poem. The students (with the teacher’s help) produced the following version, focusing more carefully on word choice while introducing additional details and paying attention to the accurate order of events: Brawny buccaneer brandishing cutlass and pistols, braided beard afire Longing for loot: gold doubloons and pieces of eight Attacking ships along the Atlantic coast, adhering to the Articles of Agreement Commandeering Concorde slave ship, converting with color and cannon: Queen Anne’s Revenge Kidnapping for ransom, keeping alive a killer’s reputation: “Pirate King” Brazenly blockading Charles Town harbor, without firing a single bullet Edward Teach escaping to a gentleman’s life, enjoying a King’s Pardon Abandoning life in Bath Town, advancing up the North Carolina coast to Ocracoke Inlet Returning to captain a rowdy crew, ramming Adventure to meet his destiny Dying a pirate’s death, devil’s mask, severed head hanging on the bow of Maynard’s ship.
Reviewing Key Points About Acrostic Poetry Writing informational poetry may seem counterintuitive, but our recent experiences with students and acrostics have proven to be both productive and enlightening. Encoding information in poetic form is a thoughtful and thought-provoking way to capture and retain important content. Whether students are researching animal life cycles in second grade, continents in third grade, famous pirates in fourth grade, or the Underground Railroad in fifth grade, teaching students to write acrostic poetry may provide the appropriate instructional scaffold to enhance, transform, and bring ownership to their understanding of the content. As we teach students how to write acrostic poems, we must keep in mind that showing is more important than telling and that modeling produces better writing than directing. Further, it is important to note that we can use this framework with other poetic forms. But in every case, students need careful scaffolding and the support of a clear strategy to develop meaningful content and well-chosen poetic
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The later version of this poem reveals detailed factual information, sophisticated word choice, parallel structure, assonance, and alliteration. In addition, the poem presents events in Blackbeard’s life in chronological order. After writing and editing this shared acrostic poem, each student researches, writes, and publishes his or her own acrostic poem about a famous pirate.
language. Simply providing the “formula” or making the assignment to write poetry is not sufficient. Students need teachers to model how data might be collected for creating a poem and how to shape that information into poetic form. References
Dale, M., & Frye, E.M. (2009). Vulnerability and love of learning as necessities for wise teacher education. Journal of Teacher Education, 60(2), 123–130. doi:10.1177/0022487108329276 Frye, E.M., Trathen, W., & Koppenhaver, D. (2010). Internet workshop and blog publishing: Meeting student (and teacher) learning needs to achieve best practice in the twenty-first century social studies classroom. Social Studies, 101(2), 46–53. Frye, E.M., Trathen, W., & Wilson, K. (2009). Pirates in historical fiction and nonfiction: A twin-text unit of study. Social Studies and the Young Learner, 21(3), 15–16. Graves, D.H. (1994). A fresh look at writing. Portsmouth, NH: Heinemann. Routman, R. (2005). Writing essentials: Raising expectations and results while simplif ying teaching. Portsmouth, NH: Heinemann.
Literature Cited
Harley, A., & Noyes, D. (2009). African acrostics: A word in edgeways. Somerville, MA: Candlewick. Lewis, J.P. (2006). Blackbeard the pirate king. Washington, DC: National Geographic Children’s Books. Paolilli, P., Brewer, D., & Johnson, S. (2003). Silver seeds: A book of nature poems. New York: Puffin.
Frye teaches at Appalachian State University, Boone, North Carolina, USA; e-mail
[email protected]. Trathen teaches at Appalachian State University; e-mail
[email protected]. Schlagal teaches at Appalachian State University; e-mail schlagalrc@ appstate.edu.
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