奈良教育大学学術リポジトリNEAR
Teaching English Poetry in Japanese High School: Practical Considerations
著者 UEMURA Morito, SATO Hideshi journal or
publication title
奈良教育大学教育研究所紀要
volume 21
page range 21‑34
year 1985‑03‑23
URL http://hdl.handle.net/10105/6596
Teaching English Pcetry in tapanese High School: Practica1 Considerations
Morito UEMURA and Hideshi SATO
1bpaitmEnt ofE)rgLfisi5, Nan Unims'ly ofEUuation, Nam, Japan
(Reoeived Noverrtber 28, 1984)
SurrTnary
Tlie biggestweakness in teaching English in Japan lies in thefact that it is not a
hurnanistic, total apprDach; emphagis is 1aid mainlyon grammar and translation and the use of thepowers of memorization. The average students are poorly motivated for leaming English as speech.
English poetry (including nursery rhymes and songs) should play a dofinite rDle in our English language education from elementary through tertiary level, ginoe poetry is
powerful speech mamorable and patterned speech, and enriches the students' experience in the English language. Teaching of English poetry should be an integral part of
the English curriculum to expose the students to strmss, rhythm, and intonation of Speech Flow. ln this paper are piesente(i some examples of poerns suitable for Japanese Junior Iligh Sdhool and Senior IIigh S(ihool E,•tudents, and the way of developing less()ns in poetry is suggested.
***
1. What is the biggest weakness in English Language Education in Japan?
The overvvhelming majority of the Japanese students learn Englsh for six years (often eight years) at school and co11ege and for this both teachers and students
have to make great offor'ts. IIowever, the great maiority of the Japanese students can neither carry on intel}igent conversation, nor read books in English. Therefore, the question natura11y arises as to why results commensurate with those efforts cannot be obtnined .
ln our opinion, the main reason for the astoniShingly poor !esults is simply that the great rnajority of the Japanese prohably do not need Englisli in their daily lives•
Nevertheless, almost all the Japanese are compellod to learn EngliSh regardless of their poor motivation and language aptitude. It must be difficult for anyone to learn
a foreign language for which he sees no neoessity or motivation.
Generally speaking, the people of a country find the need for a language other than their mother tongue in the following four cases; (1) compulsion from the outside foroe (colony), (2) a small population (e•g. the Netherlands), (3) the ooexistenae of
many languages (e.g• Swiinerland and lndia), and (4) a shortage of inforrnation in one' s own language.
Even in these cases, it does not mean that the mass(s ne[Essarily speak a language other than their mother tongue, but that most of the intellectual class do so. (e.g. lndonesia and Malaysia) ln the absence of the above conditions (e.g. UK, USA and Franoe) theie is little need for foreign languages, and even among the intellectual class, the nurnber of those able to speak a foreign language is small.
ln Japan, obviously, none of the four conditions pertains. Japan is independent and eoonomically powerrul. Its population has reached 120 million as of 1984. The Japanese language is understood throughout the nation and there is a lot of inforrnation
(introductions and translations) concerning foinign cultures and foreign peoples available in the Japanese language. ln short, Japan is quite unique in terrns of foreign language leaming situation.
Such being the case, it is essential to weave organically a program for motivation in order to change an extrinsic motivation (e•g. college entrance exarnination) into an intrinsic motivation and temporary interest to a continuous volition for leaming. We have three major points to offer:
1. To make clear the goals of study and establish aims step by step.
(1) To let the students clearly understand the aims of study.
(2) Aims should be attainable.
(3) Contents of study chould be inteiesting, realistic, and substantial to the students.
2. To devise methods of guidance to make study lively and positive.
(1) To establish realistic situation for study.
(2) To make the most of various audio-visual aids and make the study as active as possible.
(3) To give as many opportunities for self--expression as possible.
3. Evaluation should be one of the steps of the study prooess and self-evaluation should be highly encouraged` Marking or grading itself is not the real goal.
The biggest weakn(ss in teaching English in this country lies in the fact that it
is not a humanistic, total approach; emphasis is laid on grammar and translation and the use of the powers of mernorization. Like any child when first learning a langilage,
using the body and heart as well as inte11ectual powers can improve learning tremendously.
If we let our students "experienoe" language totally, they wil1 1earn to enjoy English.
The teacher should cTed/ te a stimulating, enjoyable atmosphere and environment so that the students will feel much freerand more willing to learn. Benjamin Franklin
aptly said, "Tell me and I forget. Teach me and I remember. InvoJve me and Ilearni"
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(our emphasis)
2. We should teach English as speech first, not English as (x)de.
The Japanese tx)achers of English are often better grammarians than the British or
American counten)arts. They point out some very subtle points of grammar that even riative seholars have not noticed. This is a kind of tradition of detail and particular English
scholarsiiip. When this is applied to modern situations in language teaching, we suppose there is a danger that the concentration on formal language teachng and on the written language has, in the past, ied to a good theoretical knowledge, but it has not been so suocessful in the area of facility of spoken English.
Japanese tmhers of English in general tend to call the students' attention to the structure of English and not to larger patterfis of disoourse. As for pronunciation,
they put emphasis on correct sounds of individual words,and not on the stmam of speech.
The students tend to read Enghrh as if each word or sound chould be pronounoExl distinctly without much knowledge of gound changes• However, it is vvell known that a reasonably correct speech-flow is more impor'tant for intelligibility than correct sounds.
Reading aloud is the cornmon practice as one of the classroom prooedures, but the average students' oral reading is almost. unintelligible to hearers because of lack of
training in stress, rhythm, and intonation, which should Teally be considered as a whole, for they are very closely connect)ed elernenbs of a single aspect of the English language.
W.S. Allen states:
"However aocurately we learn to pronounee the isolated sounds of a language vve must stM train ourselves to set them in motion in the right manner if we wish to make ourselves easily understood. A student of music learns the theory of combining sounds into harmonic sequenoes, yet he does not create music until he can make this material move in a melodic shape. Music has its'Stms in the recurrence of beats;
it has its own Rhytim; and melody is its Zittonation•Spoken language behaves in a broadly similar way. The sounds of Englisii and isolated syllables, like notxis or chords in music, only become inte11igible when set in motion." (')
ln our classroom this movement its beats, its rhytlms and its melody should be emphasized for effective cornmunication• It is intonation or rhythn that deterrnines
word-classes and parts of speech. Therefore attention should be paid to many aspects of stress patterns. IÅít us give a fevv examples:
Emphasis-stiess
A/
Where did you go? I went to the movies•
A, 1
What' s the matter with you? I' ve lost my watch•
/
What have you logt? I' ve lost my watch.
Meaning'gtress
(:lit:[k,t('rd(wa•2xO.i,",Se(:&'[:).Pl:/•/,b'(iti/hikl".g,:lktlgie
Rhytlmrstress
( &'2,g'l.} }/:,::::;:,,;l6aÅé.::,5ie, • ( I:.,iipmuof•
3. The inportance of teaching poetry
When we teach English to elementary and seoondary level students, we find most of the students, who are often bored of pattern practice or tmslation work, enioy repeating thymes and singing a song in chorus by which they 1earn the unstiessed sy11ables must be hurried over and the stressed gyllables uttered with notieeable fome.
The repetition of the word "merrily" as an pronunciation exernise of "L" and "R"
sounds in the beginners' class, for example, will make the students bored. But when the following song is sung in chorus after the meaning is explainod, they wil1 surely
enjoy the melody and come to distinguish spontaneously between "L" and "R" sounds contained in the song.
Rb/w, ro'w, ro-w yoXur bo-at GchtlyX doarn theX stre6m;
1:Å~ IXX IXX 1XX
Merrily, merrily, merrily, merrily,
lX fx -
a dmam.
Life is but
The frequent repetition of the sentenees with the swing and rhythn dernanded by a poem or song trains the mind and the musciles to work smoot2ily and skilfully together in the patterns and sonorities of the Engfsh language.
F. L• BMows compams poetry with prDse as follows.
"We can compare prose to vvalking, moving from one place to another on the surface of the earth, getting the world's daily work done; poetry may be compared then to dancing, rising above the surface of the earth, perveiving its relations, getting a fuller view of its reality."(2)
When the students can give expression to fine sounds standing for worthy and beautiful ideas, we can let thern realize the emotional and aesthetic value of learning to read Englisli poetry. The ernotional value--the foiee which moves us when we contemplate or produce, or try to produce something beautifuF- becomes greater in good
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literature, espeeiaHy in poetry, when it is read aloud appropriately.
We believe that the tmaching of poetry gives a splendid opportunity for those elements of the students' personality to develop whicli may mmain dormant or undeveloped in the so-called "knowledge" subjects.
[lhe study of poetry can help tlum to develop alFround, mature porsonality by leading them to a world of beauty, fantasy, love, ioy, somow, violenee, humor, childien's games, tongue wisteis, and even of nonsense• Let us quote F. L• BMows again.
"•t•if there is no place in the sclioo1 curriculum for the sound developrnent of
ernotional life, nor o(masion for the development of a halanoed and rnature attitude to questions in vvhich the ernotions are involved, the product of the gctihoo1 wil1 not show emotiona! msturity, nor will he be able to induce a healthy handling or cultivation of the emotions in others." (3)
4. How shoutd we present suitable poems to our students?
ln an article of this Bulletin, one of the present writers (UE M[URA) emphasizes that "the teacher should be very careful when he comes to pick out poerns which are to be used in his class" since not all Engksh poems are appropriate for Japanese high schoo1 students. The idea that `the simpler the better' is not always a good motto for the selection of verse. For example, the following is contained in one of the senior high textbooks now in use.
XlX 1Å~ 1
I never saw a Moor----
Å~-Å~ 1X 1
Inever saw the SFÅí
Å~ 1Å~ 1Å~ 1Å~ 1
Yet know I how the IIeather 1ooks
Å~ !Å~ 1Å~ 1
a Billow what And
be.
Å~1Å~ l Å~ 1
I never spoke with God Å~ -Å~Å~Å~ /
Nor visited in IIeaven
Å~ 1Å~ /XlX /
Yet cer'tain am I of the spot
Å~/Å~ / Å~/
As if the Checks vvere given
We wonder how many high schoo1 students (mi enter the inner feeling of Emily I]fickinson expressed in the poem above, however sirnple- it might 1ook.
We should select carefully those poems vtihich are understnndable, inberesting, and appealing to the students. Let us begin by giving 1ists of seme sample poerns including Mother Goose rhyme and discuss how we should dea1 with them in class.
For Junior IIigh SChoo1 Students:
(1) London Bridge (Mother Goose) (2) Rain (R.L. Stevenson)
(3) Rain, Rain, Go Away (Mother Goose)
(4) Mary Had A Little Lamb (Mother Goose)
(5) Humpty Dumpty Sat On A Wail (Mother Goose) (6) Twinkle, Twinkle, little Star (Mother Goose)
(7) Bed ln Summer (R.L. Stevenson) (8) My Bed is A Boat (R.L.Stevenson) (9) The Swing (R.L. Stevenson) (10) A Memory (W. Allingham) For Senior High thhoo1 Students:
(1) My Shadow (R.L. Stevenson)
(2) The Ar`row And The Song (H.W. Longfellow) (3) Written in March (W• Wordsworth)
(4) My Heart Leaps Up (W• Wordsworth) (5) The Daffodils (W. Wordsworth)
(6) Stopping By WcK>ds On A Snowy Evening (R. Frost) (7) Past And Pmmt (T. IIood)
(8) The EChoing Green (W. Blake) (9) The Fountain (J.R. Lowell) (10) Armfibel Lee (E.A. Poe)
Our proposal for pmmtation is as follows.
Ihe teaCher gives the students mimcographed sheets with the text, words and phrases unknown to them, and a brief introduction of the poet printed in it. Perhaps it is
better if the translation is printed, especially for junior high students. As for
senior high students, many of therri rnight find pleasure in translating the poems after classwork. That would be a good inoentive for creative work. First of all, the teacher explains (in Japanese) fundamentais of Engksh verse. Rhythm, metre, foot, rhyme, alliteration, stanza, and so on, using the poern at hand. The students should learn
Xl Xlthat iambic foot (e,g. above the sky) is most common of all metres. ln nursery rhymes we can find many examples of trochaic foot as in:
IXIXI Å~ 1Å~
Better Botter bought soMe butter
Bu/t, sXhe saiid, tXhis bu/tteXr's bi/tteXr. (Mother Goose rhyme)
Suggested Proa)dure for Junior High Schoo1 class:
1. Model mading by the teacher (The students 1isten with their sheets turned over.) 2. Explanation of keywords and phrases
3. Pronunciation practioe of those words 4• Explanation of the whole poem 5. Choral reading after the teacher
-ee-
6. Explanation of the poet's ba(tkground and telling his/her episodes 7• Oral reading of model translation
8• Qrill reading with appreeiatiofi (several times)
9. Exchange of students' view and impiessions of the poem
It would be much better if the students could listen to native speakers' reading
on the tapes or reoords. Cine of the present writers (SATO) taught R•L. Stevenson's
"The Svving" to the junior high schoo1 students in Tokyo thirty-five years ago. It was thrilling to learn that the song stM stays in the heart of the graduates, though they did not go to senior high schoo1.
Now that the English classes at junior high onfy meet three hours per week, the teaching of English poetry has been neglecied more than ever, but it ahould rernain at least a tributary to the main stream of the lessons based on the textbooks authorized by the .Ttuiistry of Education. Those textbooks edited on the basis of structuralrsituational syllabus are often artifkial, arid far from authentic, because textbook-writers have to revise or create materials by using lirnited vocabulary and introduoe grarnmatical itmns within the context. in short, they are "editnd" not "genuine"
English. In introducing English poetry to the junior high students no change is mede,
only explaining, and paraphrasing isneeded. Thus mading EngliSh poems, however simple, appeals to the students' imagination, and arouse their interest in language itself.
Because of the limited space vve will give only one sample of Mother Goose rhyme from among the list.
HLmpty Dumpty sat onawatl. rhyme
/ Å~ /. Å~- Å~Å~ -
IIumpty Dumpty sat onawall a 1Å~1Å~/ l
hada gieat fatl a
IIumpty
A/ll thXe Kfu's ho/rseXs, b XlX 1 l
all the King'smen c
And
1 Å~ !Å~/Å~ Å~1Å~ Å~/
't put llumpty Dumpty together again. c Couldn
It is worthy of note that Humpty Durnpty, one of the most popular nursery figtiTes, appears in one of the textbooks for junior high schoo1 students.
One of the lessons in New Crown Book 2 runs:
Aliee saw a man on a wall. He had a big faoe. He 1ooked 1ike an egg. He saw Alice.
"I' m Humpty Dumpty," he said.
"Who are you?"
"I' m Alice," said Alice.
Alioe and Humpty had an interesting conveTsation. But at last Humpty had a great fall•
in dealing with this lesson it is essentia1 for the teacher to present the rhyme
Humpty Dtm7pty sst on a -ul• Webster's New Dictionary dafines Humpty Dumpty as "a short, squat character in an old nursery, a personification of an egg, who fell from
a wall and broke into pieoes•"
SuggestDd pro(ndure for Senior High S(hool class:
1. 0rientation 2. Model reading 3. Chorus reading 4. Explanation
5• Questiong and Answers in EhzgLrish 6. Group activity (not more than ten minutes) 7. Consolidation
N.B.
Group activity aims at student interaction where the class is divided into six
grDups in which slow learners and advanoed students are rnixed. Each grDup 1eader ooordinates the optnions of his group members, and later gives out the class what they have discussed.
We will give two sample poems from among the list, and show oral introduction questions to be given to the studenbs.
THE ARROW AND THE SONG II.W. Longfellow
Å~/ XIX 1Å~ Å~-
Ichot an arrow into the air, a
XIX1Å~1X 1
It fell to earth,Iknew not where; a
Å~1 1XX!X 1
For, so swiftly it flew, the sight b
1 Å~ -XX-X -
Could not follow it in its flight b
Å~- Xl !XX-
I breathed a song into the air,
Å~-Å~-Å~-Å~ l
It fell to earth, I knew not where;
X/Å~iX /Å~ 1
For who has sight so keen and strong
/XX /XX /Å~1
That it can follow the flight of song?
1 --XX 1Å~ 1
Long, long afterward, in an oak
Å~1 Å~ /Å~ 1X!
I found the arrow, stM unbroke;
/X1 XÅ~-XXI
And the song, from beginning to end,
-rs-
and
Å~lÅ~/Å~Å~1Å~Å~ /
I Åíound again in the heart of a friend.
Suggested oral introduction and explanation in EngZfish for [E[HE ARROW AND THE soNG : bongfellow is one of the most famous American poets. He was born at Portland,
Maine, 18(n. When he grew up, he became professor of literature at Harvard College, where he taught for many years. He wTote a number of beautiful poerns for (hildren and was so much loved by them that he was called "the children's poet."
TIIE ARROW AND TI{E soNG is one of the well-known poams written by him. ln t2iis poern bongfellow speaks of two things, an arrow and a song. As you know, an arrow is a thing which hurts people, while a song is something which gives pleasure.
[lhe poet says he "shot an arrow into the air" and it "fell to earth" though
he did not know where. But long, long afterward he found that his arrow had done harrn. It had struck an oak tree.
He also "breathed a song into the air," and like the arrow it "fell to earth"
though he did not know where. But Iong afterward he found it in the heart of a friend who, plEmsed with the song, remernbered it from beginning to end.
ln the same way our words and deeds are sent out very carelessly, and we think little about the harm that they may do, or the pleasure that they may give.
You have heard the saying "hearts of oak" meaning brave, noble hearts, haven't you?
An arrow, which means here a cruel word or deed, can hurt even a heart of oak•
So the poet tel]s us in this poem that we should be very careful about what we say or do. Whether we shoot arrows or bmathe songs, they will surely live and hurt someone or give someone ioy.
Tegt (2uasrtions
1• What is this lesson about?
2• ls 'IEflE ARROW AND 'I[IIE soNG a story or a poem?
3. Who wrote this poem?
4. ls Longfellow an Arrierican poet or a Britisli poet?•
5• When and where was he born?
6. When he grvvv up wiiere did he teach?
7. Why was he called "the children's poet"?
8• ln this poem what two things does Longfedow speak ofP.
9. What did the poet slioot into the air?
10. What did the arrow do?
11. Did he know the plaee where the arrow fell?
12.
13.
14.
15.
16.
17.
18.
19.
eo.
21.
I]tid he find the arrow long aftervvard?
Where did he find it?
Had it done harrn to the oak tree?
What did the poet breathe into the air?
Long aftervvard did he find the song?
Where did he find it?
Who rumembered the song?
Why did the friend mmeniber it?
Do we semetimes send out our words carelessly?
What does the poet teach us in this lesson?
*****
We wi11 give another famous poem written by Wi)liam always appealed to Japanese students of English.
THE DAFFODILS -W. Wordsworth
Xl Å~ - Å~1 Å~!
I wander'd lonely as a cloud a
TIhXat fl6abs oXn hi/gh o'eXr va/1es anXd hllls, b
Å~ -X 1 Xl Å~t
When all at onceIsawacrowd, a
Å~tÅ~.Å~ lXl
Ahost of golden daffodils; b Å~/Å~ -. Å~- Å~ /
Beside the lake, beneath the trees, c
/Å~Å~ Å~ lX -Å~ -
Flutt)ering and dancing in the breeze. c
Wordsworthwhose works have
Å~-Å~Å~ !X ! Å~ -
Continuous as the stars that shine
Å~ l XlÅ~1Å~/
And twinkle on the milky way,
Å~ - Å~-Å~ -Å~ -Tliey stretch'd in neverLending line
Å~- Å~ - X-Å~l
Along the margin of a bay:
Å~ !Å~ -Å~-Å~ -Ten thousand sawI at a gtance
/Å~ Å~ 1Å~ -Å~/Tossing their heads in sprightly dance.
Å~1 Å~/ Å~- Å~-The waves beside them daneed, but they
Å~-Å~ 1Å~ l Å~/Out.clid the sparkling waves in glee:
Å~!Å~ / Å~-Å~-
A poet could not but be gay
Å~- X -Å~ !Å~/
ln such a jocund company:
Å~1 Å~/ Å~-Å~ /
Igazed and gazed but little thought
- so --
Whigt mhlth tYhe slfow toX m-e hXad broaght:
Å~/Å~ /x /Å~/
For oft, when on my couch I lie
Å~1Å~/X IX 1
ln vacant or in pensive mood,
Å~ / Å~- Å~/Å~ 1
inward eye upon that They
flash
Å~ /Å~ /Å~ 1Å~/
Which is
bliss of sofitude;
the
Å~ /Å~ /x /x/
And then my heart with pleasure fitls,
Å~/Å~ /Å~
/ Å~/
danoes with the daffodils•
And
Suggested Oral lntroduction for [EIIE DAFFK)DILS :
'TEhe Lake District is always associatnd with the great poet of nature, William Wordsvvorth. He spent the greater part of his life in this district, where he wasdeeply influenced by its natural beauty and was alvvays in sympathy with the humble people of its valleys and hills. Some other poets as well as Wordsworth lived here, and they are called the Lake poets. (The teaCher prepares the map of the Lake District.) The Lake District has been a popular tourist resort since it became a national park in 1es1. Many people prefer the lakes to the seaside for a holiday, as they can erijoy not oniy boating, bathing and fishing but also mountaineering. There are no big cities very near the lakes, but a number of small towns with good hotels for visitors.
Those who want quieter plaees to stay at can usually find rooms in farmhouses.
Ctne day in April, when Wordsworth was stro11ing in the woods near Ullsvvater, he saw a few daffodils close to the watmside. As he went along, there were more and yet more. At last, under the boughs of the trees, he saw that there was a long belt of them along the shores. Never had he seen daffodis so beautiful.
The daffodils grewv among the mossy stones about and above them. Sorne rested their heads upon these stones, as on a pMow, for vvearinegs. The rest tossed and reeled
and danced, and seemed as though they laughed with the wind that blew upon theni over the lake. Wordgworth was so greatly enchanted by this scene that he wrote the wel}-known poem "The Daffodils."
Suggested exercise for the poem:
Question: Give the outline of [EHE DAFFODILS in your own English within about 50 words.
Possible rnodel answer: • '
While walking alone, I caught sight of a great many daffodils. They continued eeaselessly along the lakeshore, dancing in the breene. I was thoroughly enchanted, but did not realm that happifiess the soene gave to me. For when alone I often
remember the sight, then the enchantment returns and I feel tremendous joy• (53 words)
5. The pSeasure and excitement of cemposing a poern. The teacher can inspire hislher students with hislher own poems.
ln 1or6 Ms Mromi Kimura, who tmaches at a ivnior high sdioo1 in a faming village some 70 rniles north of Tokyo, sst to work on a 30-line narrative poem about her uncle who was a pilot and was killed during the Pacific War on his way back to Japan after carrying fighter pilots to a southern island• It took her about eight months to finish the poem, a requiem to her uncle, who loved peace and hatx)d war.
One of the present writers (SATO) got in contact with her and got so much imprmssed with herdevotion to English teaching. Before pregenting her own poem to her class she had had her draft of the poem checked by the Cornmittee of Teadhing Materials Research in Gumma PTefecture and a native speaker who teaches at Gumma University.
IIer poem "My Uncle" reads as follovvs:
My Uncle My UncSe loved airplanes.
He rnade many model planes when he was young.
He vvas good at drawing pictuies.
When he was a student, he sometimes wrote lettms with car'toons to his sister, my mother.
He warited to be a pilot.
But his father was not pleased.
My uncle was his only son, and Japan was going to go to war.
His model planes were destroyed, thrown away in the garden, and burned up by his father.
But my uncle did not have meals for three days and his father was defeated.
He became the youngest student at the flying schoo1.
He worked as a pilot in a company.
He often said, "I like to fly in the air, butIdon't want to kill people with a plane."
He was not a soldier, but he had to help army because of war`
He canied pilots to a southern island many times and at last he was shot down on his way to Japan.
-32-
He did not want to die, because he had a lot of things to lovmh wife, parents, sister, planes, and his own youth.
His bones were not brought back to his old parenbs.
His young wife was turned back to her parents' house.
Only his old letters were loft in his home.
in the letters he is young, cheerful, kind to his sister forever.
His parmts built his tomb at the highest place of their graveyard.
It can be seen near the nursery on your way to the second playground.
Under a tall tree he is stM talking to his sist2r, "Nehchan, Iwant to fly in the peaoeful sky."
(Our commentary)
Reading this poern, every student must have been fMed with deep emotion, and pondering over peace, what to do to bring about world peace in their own way. Ms Kimura has done a great job through a long struggle of her own EngliSh poem. And her effor'ts were more than rewarding. This is a shining exarnple of Engksh langtiage eduaetion, not merely of Englisti imein' ng.
ln conclusion it should be ernphasized that poetry is memorable speech, patterned and powerful speech, rather than pattems on paper. It should be introduoed orally first with the b(x}ks 'closed and read aloud over and over again. To gkip or neglect lessons in poetry is to deprive the students of an impor'tant aid in developing emotional
maturity and aesthetic perDeption.
Notes
(1) W.S. Allen: Liv7rg lingZiish Sueh (Longmans, 1954) lntroductory Notes p•xiii (2) F.L. Billows: The Tctzbniques of Langziage Teedrng (Longmans, 1961) p. 233 (3)Ibid. p. 233
References
Frisby, A.W. (1957) Tetichi Engdsh, LK)ngrnans
Hasegawa et al• (1981) Eigo K.yovai no letuni (The Fountain of English Teaching Materials) , Chukyo Shuppan
Hirano,K• (1972).Vother Gbofike no Uta (Mother Goose Rhymes), Chuko Shinsho Hirano,K• (IEn5) Mother Goose no Sgkai (The World of Mother Goose), ELEC
ishii,S. (1{;76) Eisiti' no SlekaJ' (The World of English Poetry) , Taishukan
Murcia,M,C. et al. (1979) Tcadn'ng EngZish as a imnd or Foreigv7 Lampage, Newbury House
Ctpie, Iona and Peter (1951) Zbe (]xfoizl actionaipr of Nuisery Ribymes, Oxford University Press
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