New Colossus Introduction

The New Colossus Not like the brazen giant of Greek
fame, With conquering limbs astride from land to land; Here at our sea-washed, sunset gates shall stand A mighty woman with a torch, whose ﬂame Is the imprisoned lightning, and her name Mother of Exiles. From her beacon-hand Glows world-wide welcome; her mild eyes command The air-bridged harbor that twin cities frame. "Keep, ancient lands, your storied pomp!" cries she With silent lips. "Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door!" Friday, August 30, 13

Friday, August 30, 13

The New Colossus is an Italian or Petrarchan Sonnet Not
like the brazen giant of Greek fame, With conquering limbs astride from land to land; Here at our sea-washed, sunset gates shall stand A mighty woman with a torch, whose ﬂame Is the imprisoned lightning, and her name Mother of Exiles. From her beacon-hand Glows world-wide welcome; her mild eyes command The air-bridged harbor that twin cities frame. "Keep, ancient lands, your storied pomp!" cries she With silent lips. "Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door!" Friday, August 30, 13

like the brazen giant of Greek fame, With conquering limbs astride from land to land; Here at our sea-washed, sunset gates shall stand A mighty woman with a torch, whose ﬂame Is the imprisoned lightning, and her name Mother of Exiles. From her beacon-hand Glows world-wide welcome; her mild eyes command The air-bridged harbor that twin cities frame. "Keep, ancient lands, your storied pomp!" cries she With silent lips. "Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door!" A B B A A B B A C D C D C D Friday, August 30, 13

like the brazen giant of Greek fame, With conquering limbs astride from land to land; Here at our sea-washed, sunset gates shall stand A mighty woman with a torch, whose ﬂame Is the imprisoned lightning, and her name Mother of Exiles. From her beacon-hand Glows world-wide welcome; her mild eyes command The air-bridged harbor that twin cities frame. "Keep, ancient lands, your storied pomp!" cries she With silent lips. "Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door!" A B B A A B B A C D C D C D octave sestet Friday, August 30, 13

Spaghetti Friday, August 30, 13

Spaghetti Fettucine Friday, August 30, 13

Spaghetti Fettucine Linguine Friday, August 30, 13

Spaghetti Fettucine Linguine Manicotti Friday, August 30, 13

Spaghetti Fettucine Linguine Manicotti Penne Friday, August 30, 13

Spaghetti Fettucine Linguine Manicotti Penne Ravioli Friday, August 30, 13

Some things are very dear to me-- Such things as
ﬂowers bathed by rain Or patterns traced upon the sea Or crocuses where snow has lain . . . The iridescence of a gem, The moon's cool opalescent light, Azaleas and the scent of them, And honeysuckles in the night. And many sounds are also dear-- Like winds that sing among the trees Or crickets calling from the weir Or Negroes humming melodies. But dearer far than all surmise Are sudden tear-drops in your eyes. Gwendolyn B. Bennet A B A B C D C D E F E F G G Friday, August 30, 13

Let’s turn from Lazarus’s poem to a photograph by Lewis
W. Hine (1874–1940). In 1908, Hine became the photographer for the National Child Labor Committee, which used his work to lobby for child labor laws. He was also known for his photographs and commentaries on the immigrant experience, including living conditions in the tenements. Friday, August 30, 13

This photo shows a group of children in an alley
between two tenement buildings; some are playing ball, some are standing on a wagon watching, a few seem to be looking in the direction of the photographer. Adults are notably absent. The buildings enclose the children, but is the effect one of protection and shelter, or of confinement and crowding? Is this a promising scene of young people whose futures open up skyward, or a pessimistic scene of children with limited horizons, hemmed in by poverty? Why is it significant that the children are playing baseball, long considered America’s pastime? Does this photo reflect the vision of freedom in “The New Colossus,” or do you think Hine is depicting these children as still poor, still huddled, still yearning to “breathe free”? Friday, August 30, 13

New Colossus Introduction

New Colossus Introduction

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