Catcher in the Rye-writingvoiceandpoetry
Catcher in the Rye-writingvoiceandpoetry
Catcher in the Rye-writingvoiceandpoetry
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<strong>Catcher</strong> <strong>in</strong> <strong>the</strong> <strong>Rye</strong><br />
Writ<strong>in</strong>g <strong>in</strong> ano<strong>the</strong>r Voice<br />
English 12<br />
A common observation of readers of <strong>Catcher</strong> <strong>in</strong> <strong>the</strong> <strong>Rye</strong> is that Holden<br />
is annoyed by just about everyth<strong>in</strong>g and everyone. After a careful study of<br />
his “voice”- that is, his word choice, use of slang, use of repetition, etc. -<br />
bra<strong>in</strong>storm a list of <strong>the</strong> small th<strong>in</strong>gs that are annoy<strong>in</strong>g to you. Then, adopt<br />
Holden’s voice and tone, and write about your annoyances.
The <strong>Catcher</strong> <strong>in</strong> <strong>Rye</strong><br />
Related Poetry<br />
“Noth<strong>in</strong>g Gold Can Stay” By Robert Frost<br />
Nature's first green is gold,<br />
Her hardest hue to hold.<br />
Her early leaf's a flower;<br />
But only so an hour.<br />
Then leaf subsides to leaf.<br />
So Eden sank to grief,<br />
So dawn goes down to day.<br />
Noth<strong>in</strong>g gold can stay.<br />
1. What is nature’s gold? Why is it <strong>the</strong> “hardest hue to hold”?<br />
2. To what does “Eden” refer? How does it relate to “nature’s first green?”<br />
3. Why does “dawn go<strong>in</strong>g down to day” relate to <strong>the</strong> loss of <strong>in</strong>nocence?<br />
4. Does Holden ever realize that “noth<strong>in</strong>g gold can stay”? If so, when? If not, why<br />
not?<br />
“Out, Out” By Robert Frost<br />
The buzz saw snarled and rattled <strong>in</strong> <strong>the</strong> yard<br />
And made dust and dropped stove-length sticks of wood,<br />
Sweet-scented stuff when <strong>the</strong> breeze drew across it.<br />
And from <strong>the</strong>re those that lifted eyes could count<br />
Five mounta<strong>in</strong> ranges one beh<strong>in</strong>g <strong>the</strong> o<strong>the</strong>r<br />
Under <strong>the</strong> sunset far <strong>in</strong>to Vermont.<br />
And <strong>the</strong> saw snarled and rattled, snarled and rattled,<br />
As it ran light, or had to bear a load.<br />
And noth<strong>in</strong>g happened: day was all but done.<br />
Call it a day, I wish <strong>the</strong>y might have said<br />
To please <strong>the</strong> boy by giv<strong>in</strong>g him <strong>the</strong> half hour<br />
That a boy counts so much when saved from work.<br />
His sister stood beside him <strong>in</strong> her apron<br />
To tell <strong>the</strong>m "Supper." At <strong>the</strong> word, <strong>the</strong> saw,<br />
As if it meant to prove saws know what supper meant,<br />
Leaped out at <strong>the</strong> boy's hand, or seemed to leap -<br />
He must have given <strong>the</strong> hand. However it was,<br />
Nei<strong>the</strong>r refused <strong>the</strong> meet<strong>in</strong>g. But <strong>the</strong> hand!<br />
Half <strong>in</strong> appeal, but half as if to keep<br />
The life from spill<strong>in</strong>g. Then <strong>the</strong> boy saw all -<br />
S<strong>in</strong>ce he was old enough to know, big boy<br />
Do<strong>in</strong>g a man's work, though a child at heart -
He saw all was spoiled. "Don't let him cut my hand off -<br />
The doctor, when he comes. Don't let him, sister!"<br />
So. The hand was gone already.<br />
The doctor put him <strong>in</strong> <strong>the</strong> dark of e<strong>the</strong>r.<br />
He lay and puffed his lips out with his breath.<br />
And <strong>the</strong>n - <strong>the</strong> watcher at his pulse took a fright.<br />
No one believed. They listened to his heart.<br />
Little - less - noth<strong>in</strong>g! - and that ended it.<br />
1. How does <strong>the</strong> imagery <strong>in</strong> <strong>the</strong> first seven l<strong>in</strong>es evoke both <strong>in</strong>nocence and its loss?<br />
2. Which images relate to childhood? Which to adulthood?<br />
3. How would <strong>the</strong> effect of <strong>the</strong> poem change if a man were <strong>the</strong> one killed?<br />
4. Who are “<strong>the</strong>y”? What is <strong>the</strong>ir reaction to <strong>the</strong> boy’s death? How does this<br />
response relate to Holden and his reaction to death? How does it relate to <strong>the</strong><br />
<strong>the</strong>me of <strong>the</strong> loss of <strong>in</strong>nocence?<br />
Com<strong>in</strong>’ Thro <strong>the</strong> <strong>Rye</strong> By Robert Burns<br />
O, Jenny's a' weet, poor body,<br />
Jenny's seldom dry:<br />
She draigl't a' her petticoatie,<br />
Com<strong>in</strong> thro' <strong>the</strong> rye!<br />
Com<strong>in</strong> thro' <strong>the</strong> rye, poor body,<br />
Com<strong>in</strong> thro' <strong>the</strong> rye,<br />
She draigl't a' her petticoatie,<br />
Com<strong>in</strong> thro' <strong>the</strong> rye!<br />
G<strong>in</strong> a body meet a body<br />
Com<strong>in</strong> thro' <strong>the</strong> rye,<br />
G<strong>in</strong> a body kiss a body,<br />
Need a body cry?<br />
G<strong>in</strong> a body meet a body<br />
Com<strong>in</strong> thro' <strong>the</strong> glen,<br />
G<strong>in</strong> a body kiss a body,<br />
Need <strong>the</strong> warl' ken?<br />
G<strong>in</strong> a body meet a body<br />
Com<strong>in</strong> thro' <strong>the</strong> gra<strong>in</strong>;<br />
G<strong>in</strong> a body kiss a body,<br />
The th<strong>in</strong>g's a body's a<strong>in</strong>.<br />
1. How does Holden mess up <strong>the</strong> words?<br />
2. Due to his mistake, what does Holden <strong>in</strong>terpret <strong>the</strong> song to mean?<br />
3. How is <strong>the</strong> song different than Holden’s <strong>in</strong>terpretation?
No more to build on <strong>the</strong>re. And <strong>the</strong>y, s<strong>in</strong>ce <strong>the</strong>y<br />
Were not <strong>the</strong> one dead, turned to <strong>the</strong>ir affairs.