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“Acquainted with the Night” (Frost), 85–87, 142–43
acute accent, 17–18
Adams, Ansel, 182
adjectives, 77
adverbs, 77
Aeneid, The (Virgil), 4, 88
aesthetic level, 74
African American dialect
diction and, 81–82
rhythm and, 54
Aldington, Richard, 134
alexandrine, 128
Allen, Steve, 150
alliteration, 22–23, 27–28
in blank verse, 89
rhythm and, 51, 58
alveopalatal consonants, 22
“Amazing Grace” (Newton), 46
“America the Beautiful” (Bates), 46, 163–64
anapests, 20, 42–43, 50
Anglo-Saxon, 57–60, 90–91, 139
“An old silent pond” (Basho), 112
Anonymous
Beowulf, 58
“The limerick packs laughs anatomical,” 113
antistrophe, 122–24, 129
“anyone lived in a pretty how town” (Cummings), 26, 77–79
“Apology for the Revival of Christian Architecture in England, An” (Hill), 106
Ariel (Plath), 99
Arlen, Harold, 166
Armstrong, Louis, 55
“Art of Reading Poetry, The” (Bloom), 191
Ashbery, John, 173
assonance, 22–23, 24, 27, 89
Auden, W. H., 85, 88, 106, 121
author of poetry
“implied,” 93–94, 97, 99–100
speaker versus, 92–100
Baez, Joan, 164–65
ballad meter/measure (common meter measure), 46–48
Baraka, Amiri, 54, 56
Barfield, Owen, 76, 191
Basho, 71
“An old silent pond,” 112
Bates, Katharine Lee, “America the Beautiful,” 46, 163–64
Battle of Hastings (1066), 57–58, 75
Baudelaire, Charles, 71, 133, 180
Beat Generation poets, 71, 98, 147, 149–50
Beatles, 20, 167–68
“Because I could not stop for Death” (Dickinson), 15–16
“Before” (Laméris), 185–87
“Bells, The” (Poe), 25–26
Beowulf (Anonymous), 58
Berlin, Irving, 164, 165
Berryman, John, 99
Best Poems of the English Language (Bloom), 191
Beverly Hillbillies, The (TV program), 171
bilabial consonants, 22
“Birches” (Frost), 18–19
“Birds at Winter Nightfall” (Hardy), 119
Black Arts Movement, 184
Black English. See African American dialect
Black Mountain poets, 150
Blake, William, “The Tyger,” 83, 173
blank verse, 87–91
free verse versus, 88
iambic pentameter and, 88–89
rules, 89
sonnet, 89, 106–7
Bloom, Harold, 191
blues
imagery, 158
rhythm and, 55–56
Bly, Robert, 71, 173
Boccaccio, Giovanni, 128, 175
Boland, Eavan, 124, 184, 191, 192–93
“Bone Dreams” (Heaney), 59–60
Booth, Wayne C., 93
Born, Bertran de, 157
“Born to Run” (Springsteen), 158
“Both Sides Now” (Mitchell), 158
“Breakfast Cup” (Merwin), 106
breath units, 150
breve, 18
bridge, 166
Britten, Benjamin, 161
Brooks, Cleanth, 78, 191–92
Brother Antoninus (William Everson), 150
Browning, Robert, 94
“Buffalo Bill’s” (Cummings), 56–57, 135–36
Burke, Kenneth, 186, 192
Burns, Robert, 166
“A Red, Red Rose,” 140, 161–63, 165
“To a Mouse,” 79–81
Burroughs, William S., 71
caesura, 58, 167
Canterbury Tales, The, General Prologue (Chaucer), 9, 128, 147–49
“Canticle” (Simon), 159
capitalization
absence of, 69–70
in reading poetry, 11–12
carpe diem poetry, 143
Carpenter, Mary Chapin, 135
Carroll, Lewis, 15, 43
“Jabberwocky,” 19–20
carryover rhymes, 85
Carthy, Martin, 159
Cat in the Hat, The (Dr. Seuss), 43
Chaucer, Geoffrey, 4, 51–52, 57, 85, 127
The Canterbury Tales, General Prologue, 9, 128, 147–49
choral ode, 129
chorus
Greek, 158–59
song, 166–67
“Church Going” (Larkin), 75–76
Ciardi, John, 192
“Circus Animals’ Desertion, The” (Yeats), 175–76
“Clearances” (Heaney), 106–7
closed-form poetry, 65, 133–34, 136
Coleridge, Samuel Taylor
“Kubla Khan,” 9, 16–18
on poetry, 29
“The Rime of the Ancient Mariner,” 9, 47–48
“This Lime-Tree Bower My Prison,” 88
Collins, Billy, 4
“Sonnet,” 107–9
colloquial address, 76
colloquial double negative, 164
colons, 12–13
comic verse, 127
commas, 12–13, 63, 65, 114–15
common meter/measure (ballad meter/measure), 46–48
“Compensation” (Dunbar), 81–82
compression, of poetry, 10, 31–32, 111–12
conceit, poetic, 54, 143–44
Confessional poets, 98, 99
conjunctions, 77
consonance, 22–24, 27, 28, 51, 89
consonant-thread (Pinsky), 27, 28
consonant types, 22, 28
content words, 19, 74–75
Countess Cathleen, The (Yeats), 175–76
couplet, 20, 83, 127
Shakespearean sonnets, 87, 102–3, 105, 109–10
Creeley, Robert, 150
Cummings, E. E., 31, 32, 52
“anyone lived in a pretty how town,” 26, 77–79
“Buffalo Bill’s,” 56–57, 135–36
cynghanedd (Hopkins), 28
Dacre, Harry, “Daisy Bell,” 166–67
dactylic hexameter, 152
dactyls, 42
“Daddy” (Plath), 74, 99
“Daisy Bell” (Dacre), 166–67
Daniel, Arnaut, 115, 157
Dante Alighieri, 85, 115, 116, 127, 179–80
dashes, 12–13, 16
Day Lewis, C., 139, 192
Decameron, The (Boccaccio), 128
decasyllabics, 90
Deep Image poets, 173
defamiliarization (Shklovsky), 172–73
deflection of meaning, 139–40
Dial, The, 186
dialect
African American, 54, 81–82
diction and, 79–82
rhythm and, 54–56
Standard English versus, 81–82
Diamond, Neil, 157
Dickens, Charles, 72
Dickinson, Emily, 13, 48
“Because I could not stop for Death,” 15–16
“Twas later when the summer went,” 23–24
diction, 8–9, 15–19, 72–82
colloquial, 76
dialect and, 79–82
discursive, 18–19
incantatory, 16–18
narrative, 15–16, 17, 31–32
nature of, 74–77
oral, 74–77
parts of speech and, 77–79
word order and, 77–79
dimeter, 41
diptych, 58
discursive diction, 18–19
Divine Comedy (Dante Alighieri), 85
Donne, John, 54, 100, 143
“Do Not Go Gentle into That Good Night” (Thomas), 113–15
Doolittle, Hilda (H.D.), 134, 135
“Down by the Salley Gardens” (Yeats), 160–61
Drunk in the Furnace, The (Merwin), 69
Dryden, John, 127
Dunbar, Paul Laurence, 54, 116
“Compensation,” 81–82
Duncan, Robert, 150
Dylan, Bob, 157, 159, 164–65
E. E. Cummings Complete Poems, 136
Eagleton, Terry, 192
Earl of Surrey (Henry Howard), 88
Early Modern English, 57
“Early One Morning” (Merwin), 69–70
earworms, 167
“Echo from Willow-Wood, An” (Rossetti), 103–4
Edwards, Jonathan, 51
ekphrastic poems, 124
elegy, 120–21, 125
Eliot, T. S., 85, 100, 135
“The Love Song of J. Alfred Prufrock,” 32, 79
“Tradition and the Individual Talent” (Eliot), 192
The Waste Land, 63–64, 73–74, 178–80
Elizabethan English. See Shakespeare, William
end rhymes, 83–84, 89
end-stops. See also punctuation
lack of punctuation, 12–13, 69–70
line length and, 64–65, 114–15
periods, 11–13, 16, 63–64, 69, 104
enjambed lines, 13, 63, 64
envoi, 115
epic poetry
Homeric epics, 4–5, 31, 126, 139, 152–56
meter, 39–41
oral tradition, 4–5, 151–56
stanza, 85, 126–32
epithet, 152
epode, 122–24, 129
Eshleman, Clayton, 173
Everson, William (Brother Antoninus), 150
exclamation marks, 12–13, 28, 55, 119
extended metaphor, 143–44
Faerie Queene, The (Spenser), 128
Fairport Convention, 168
feet, metrical, 37–38, 41–45, 66–67
“feminine” endings, 40–41
feminine rhymes, 84
Ferlinghetti, Lawrence, 56, 150
Field Work (Heaney), 7, 60
figurative language, 138–46
deflection of meaning, 139–40
metaphor, 74, 76, 139, 140–44
poetic conceit, 54, 143–44
simile, 139, 140, 141–43, 154–55, 156
“Fish, The” (M. Moore), 67–68, 129–32, 135
“flash fiction,” 31
“Flea, The” (Donne), 143
Fleming, Renée, 181
folk music, 159–61, 164–66
formulas
nature of, 4–5
oral-formulaic verse, 4–5, 152–53, 155–56
Foster, Stephen, “Oh, Susanna,” 46
fourteeners, 47
fractured word order, 26, 78, 185
free verse, 19, 42, 62, 65–69, 133–37
blank verse versus, 88
closed-form poetry versus, 65, 133–34, 136
at extreme, 134–35
as open-form poetry, 134
rules, 134, 135–36
French Symbolist poets, 71, 73
fricative consonants, 22
Frost, Robert, 61, 88, 99–100, 105–6, 125, 145–46
“Acquainted with the Night,” 85–87, 142–43
“Birches,” 18–19
“Mending Wall,” 97
on poetry, 14–15, 29, 136
“The Road Not Taken,” 32, 92, 94–97
Fry, Christopher, on poetry, 6, 30, 31
“Funny How Time Slips Away” (Nelson), 158
Fussell, Paul, 88
Garden Time (Merwin), 69–70
Geisel, Theodore S. (Dr. Seuss), 20, 43
Georgian poets, 52
Gershwin, George, 181
Gilbert, W. S., 44–45, 165–66
“I Am the Very Model of a Modern Major-General,” 44–45
Gilbert and Sullivan, 44–45, 165–66
Ginsberg, Allen, 71
Howl, 149–50
“Girl from the North Country” (Dylan), 159
glottal consonants, 22
“God Bless America” (Berlin), 164, 165
Gordon, George (Lord Byron), 98
“She Walks in Beauty,” 141–43
“Graceland” (Simon), 158
“Great Figure, The” (Williams), 184–85
Great Gatsby, The (Fitzgerald), 145
Green, Henry, 70
Gummere, Francis B., 58
Guthrie, Arlo, 165
Guthrie, Woody, 163–65
“This Land Is Your Land,” 163–64, 165
haibun, 71
haiku, 67, 111–12
half-lines, 58–59
half-rhyme sonnet, 106–7
Hamlet (Shakespeare), 9, 90
“Handwriting of the Old, The” (Merwin), 106
Harburg, E. Y. (Yip), 166, 168
Hardy, Thomas, 52, 85
“Birds at Winter Nightfall,” 119
on poetry, 29, 32
Harlem Renaissance, 55
Hatred of Poetry, The (Lerner), 182, 192
H.D. (Hilda Doolittle), 134, 135
Heaney, Seamus, 7, 59–61, 89, 106–7, 109, 121, 182–83, 192
“Bone Dreams,” 59–60
“Heaneyspeak,” 21–22
heptameter, 41
hexameter, 41
“Hiawatha’s Departure” (Longfellow), 39–41
Hill, Geoffrey, 71, 73, 106, 192
Hirsch, Edward, 192
Hobsbaum, Philip, 21
Hollander, John, 192
Homer, 88, 139, 140
The Iliad, 4–5, 31, 126, 139, 152–56
The Odyssey, 4–5, 152
Hopkins, Gerard Manley, “The Windhover,” 24, 27–28
Horace, 122
Horatian ode, 122
Howard, Henry (Earl of Surrey), 88
How Does a Poem Mean? (Ciardi), 192
Howl (Ginsberg), 149–50
How to Read a Poem (Eagleton), 192
How to Read a Poem and Fall in Love with Poetry (Hirsch), 192
Hughes, Langston, 52–56
“Mother to Son,” 54, 94
“The Negro Speaks of Rivers,” 52–53
“The Weary Blues,” 55–56
Hughes, Ted, 52, 99, 125, 173
“Hyperion” (Keats), 88
hyphens, 132
iamb, 37–38, 42, 50, 157, 159
iambic bongos (Collins), 109
iambic drums (Heaney), 60, 109
iambic octameter, 44–45
iambic pentameter, 18–19, 38–39, 87, 88–90
iambic tetrameter, 20
iambic trimeter, 20
“I Am the Very Model of a Modern Major-General” (Gilbert), 44–45
identical rhymes, 84
Iliad, The (Homer), 4–5, 31, 126, 139, 152–56
imagery
blues, 158
song, 167–68
word-pictures, 139–40
Imagist poets, 66–67, 112, 176–78
implied author, 93, 97, 99–100
“implied” author, 93–94, 97, 99–100
“In a Station of the Metro” (Pound), 112, 177–78
incantatory diction, 16–18
In Defense of Reason (Winters), 193
“In Flanders Fields” (McCrae), 116–18
In Memoriam A.H.H. (Tennyson), 136
intensity, of poetry, 31–32
interdental consonants, 22
internal rhymes, 45, 83–84, 89
irony, 99–100
irregular meter, 155
“Jabberwocky” (Carroll), 19–20
jazz, rhythm and, 55
“John Barleycorn” (Traditional), 168
Joyce, James, 19–20
Keats, John, 88
“Ode on a Grecian Urn,” 122–24, 187
kennings, 60, 139
Kerouac, Jack, 56, 71, 150
King, Carole, 157
King, Martin Luther, Jr., 51
King James Bible, 133
“Kubla Khan” (Coleridge), 9, 16–18
“Lachrimae” (Hill), 106
Laforgue, Jules, 133
Laméris, Danusha, “Before,” 185–87
Language as Symbolic Action (Burke), 192
Larkin, Philip, 52, 65–66
“Church Going,” 75–76
Latin, 75
Lear, Edward
“The Owl and the Pussycat,” 20
“There Was an Old Man with a Beard,” 112–13
Leaves of Grass (Whitman), 9, 14, 32, 50–51
Lennon, John, 20
“The Long and Winding Road, 167–68
Lerner, Ben, 182, 192
Lewis, C. S., 76
“Limerick packs laughs anatomical, The” (Anonymous), 113
limericks, 112–13
Lincoln, Abraham, 120–21
Linear B (language), 154
line length, 62–71. See also line structure
end-stops, 64–65, 114–15
enjambed lines, 13, 63, 64
free verse, 19, 42, 62–69
line breaks and, 64
open-form poetry, 62, 65–69
word order and, 63
line structure, 8–9
ignoring lines on first reading, 12
line length, 41, 43–44, 45–46
prose poem, 71
linguistic resistance, 73–74
liquid consonants, 22, 28
Living (Green), 70
logaoedic, 42
“Long and Winding Road, The” (Lennon and McCartney), 167–68
Longfellow, Henry Wadsworth
“Hiawatha’s Departure,” 39–41
The Song of Hiawatha, 39–41, 43, 64–65
Lord Byron, 98
“She Walks in Beauty,” 141–43
Lords of Limit, The (Hill), 192
“Love Song of J. Alfred Prufrock, The” (Eliot), 32, 79
Lowell, Robert, 99
lyric poetry, 72–73. See also sonnet
narrative poetry versus, 31–32
nature of, 31–32
lyrics, 161–68
Macbeth (Shakespeare), 84
MacColl, Ewan, 159
Making of a Poem, The (Strand and Boland), 192–93
“making strange,” 171–73, 178–80
Mali, Taylor, 150–51
Mallarmé, Stéphane, 33, 73
“Man on the Dump, The” (Stevens), 174
Marlowe, Christopher, 88, 89
“Martian Sends a Postcard Home, A” (Raine), 74, 171–73
Marvell, Andrew, 54, 100
Marvin the Martian, 172
“masculine” endings, 40–41
Mask for Janus, A (Merwin), 69
Masters, Edgar Lee, 173
McCartney, Paul, “The Long and Winding Road, 167–68
McCrae, John, “In Flanders Fields,” 116–18
McCullough, David, 7
mediated voice, 98–99
Mellencamp, John, 165
melody, song, 159–61, 165–66, 167–68
memory, tools in oral tradition, 152–56
“Mending Wall” (Frost), 97
“Men Made Out of Words” (Stevens), 82
Mercian Hymns (Hill), 71
Merrill, James, 183–84
Merwin, W. S., 11–12, 106, 184
“Early One Morning,” 69–70
metaphor, 74, 76, 140–44
extended, 143–44
figurative language, 74, 76, 139, 140–44
Metaphysical poets, 54, 100
meter, 8–9, 37–48
common/ballad, 46–48
dactylic hexameter, 152
free verse, 19, 42, 62–69, 134
iambic octameter, 44–45
iambic pentameter, 18–19, 38–39, 87, 88–90
iambic tetrameter, 20
iambic trimeter, 20
irregular, 155
limerick, 112–13
line lengths, 41, 43–44
metrical feet, 37–38, 41–45, 66–67
narrative poetry and, 39–41
nonmetrical rhythm, 49–52
rhythm beyond, 49–52. See also rhythm
rigid, 152
spondaic pentameter, 42
syllables in, 37–38, 42
trochaic tetrameter, 39–41, 43
villanelle, 115
Middle English, 4, 57, 75, 85, 147–48. See also Chaucer, Geoffrey
Millay, Edna St. Vincent, Sonnet 42 (“What lips my lips have kissed”), 143–44
Milton, John, 85
Paradise Lost, 14, 31, 88–89, 105
Mitchell, Joni, 158, 161, 168
mock-heroic poem, 128
Modern poets, 34, 52, 88
Monkees, 157
Moons of August, The (Laméris), 186
Moore, Clement Clarke, “A Visit from St. Nicholas,” 43
Moore, Marianne
“The Fish,” 67–68, 129–32, 135
“Poetry,” 3, 30, 32
Mork & Mindy (TV program), 171
Morning Glory, The (Bly), 71
“Morning near the End of May” (Merwin), 106
Morrison, Toni, 54
“Mother to Son” (Hughes), 54, 94
Movement poets, 52
Moving Target, The (Merwin), 69
music. See blues; jazz; rap music; songs
“My Heart Leaps Up” (Wordsworth), 98, 99
“My Last Duchess” (Browning), 94
narrative diction, 15–16, 17
narrative poetry
lyric poetry versus, 31–32
meter and, 39–41
nature of, 31–32
nasal consonants, 28
“Needle and the Damage Done, The” (Young), 158
“Negro Speaks of Rivers, The” (Hughes), 52–53
Nelson, Willie, 158, 165
neologisms, 19–20
Newton, John, “Amazing Grace,” 46
nonmetrical rhythm, 49–52
nonsense verse, 19–20
Norman conquest of England (1066), 57–58, 75
Norman French, 90–91
North (Heaney), 7, 60
“Notes Toward a Supreme Fiction” (Stevens), 183, 187
nouning verbs, 78–79
nouns, 77
Nye, Naomi Shihab, 186
Obama, Barack, 51
Object Lessons (Boland), 191
“O Captain! My Captain!” (Whitman), 120–21
octameter, 41
octave, 27, 127–28
ottava rima, 127–28, 175
Petrarchan sonnet, 87, 102–4, 105, 107–10, 143–44
“Octopus, An” (M. Moore), 131
ode, 121–24
choral, 129
Horatian, 122
Pindaric, 121, 122–24
strophe, 129
“Ode on a Grecian Urn” (Keats), 122–24, 187
“Ode to the West Wind” (Shelley), 87
Odyssey, The (Homer), 4–5, 152
“Oh, Susanna” (Foster), 46
Old English, 57–60, 75, 76, 90–91
Old French, 75, 90–91
Oliver, Mary, 192
Olson, Charles, 150
onomatopoeia, 25–26
On the Road (Kerouac), 150
open-form poetry, 19, 42, 62, 65–69, 134. See also free verse
oral tradition, 147–51
Beat Generation poets, 147, 149–50
breath units, 150
diction, 74–77
epic poetry, 4–5, 151–56
memory aids, 152–56
Old English, 57–60
oral-formulaic verse, 4–5, 152–53, 155–56
poetry slam, 150–51
rap music, 147–49, 151
reading poetry aloud, 13, 14–20, 147–49
orchestra, 158–59
ottava rima, 127–28, 175
“Out of the Cradle Endlessly Rocking” (Whitman), 42
Outside History (Boland), 124
“Over the Rainbow” (Arlen and Harburg), 158, 166
“Owl and the Pussycat, The” (Lear), 20
page placement
rhythm and, 56–57
vertical, 66–67
parables, 97
Paradise Lost (Milton), 14, 31, 88–89, 105
paraphrasing poetry, 78
participial phrases, 63–64
parts of speech, 77–79
Pascal, Blaise, 105
pastoral poetry, 125
patter songs, 44–45, 165–66
Pears, Peter, 161
pentameter, 41, 115
periods, 11–13, 16, 63–64, 69, 104
Petrarchan sonnet, 87, 102–4, 105, 107–10, 143–44
“Photograph on My Father’s Desk, The” (Boland), 124
Pindar, 121–22
Pindaric ode, 121, 122–24
Pinsky, Robert, 13, 27, 28, 89, 192
Pirates of Penzance, The (Gilbert and Sullivan), 44–45
Plath, Sylvia, 74, 98, 99–100, 184
plosive consonants, 22
Poe, Edgar Allan, 89
“The Bells,” 25–26
“The Raven,” 9, 45, 84
poetic conceit, 54, 143–44
Poetic Diction (Barfield), 76, 191
Poetic Image, The (Day Lewis), 139, 192
poetic license, 44–45, 63
Poetic Meter and Poetic Form (Fussell), 88
poetics of disjuncture, 178–80
poetry
author versus narrator, 92–100
closed-form, 65, 133–34, 136
compelling nature, 181–82
compression, 10, 31–32, 111–12
defining, 7, 29–32, 33
ephemeral nature, 183–84
lyric versus narrative, 31–32
“making strange,” 171–73, 178–80
moment, mood, melody, 181–83
open-form, 19, 42, 62, 65–69, 134. See also free verse
paraphrasing, 78
pleasure principles, 102
problems of definitions, 32–34
quality in, 136–37, 168
“saying things differently,” 174–80
as “supreme fiction” (Stevens), 183, 187
time and, 184–87
“Poetry” (M. Moore), 3, 30, 32
Poetry Handbook, A (Oliver), 192
poetry reading
benefits, 5–7, 8–9
challenges, 7–8, 10–11
learning to read/teach, 4–5
reading aloud, 13, 14–20, 147–49. See also oral tradition
rereading, 13–14
rules, 11–14
translations, 4, 9, 29, 58, 88, 124, 148
understanding poetry, 3–4
poetry slam, 150–51
Pope, Alexander, 127, 174
Porter, Cole, 73
portmanteau words, 19–20, 136
Pound, Ezra, 116, 134, 135, 157
“In a Station of the Metro,” 112, 177–78
“make it new,” 73, 173
on poetry, 139
Prelude, The (Wordsworth), 136
Preoccupations (Heaney), 192
prepositional phrases
line length and, 64–65
rhythm and, 53
present participles, 63–64
“Prometheus Unbound” (Shelley), 88
pronouns, 77
propaganda, 73
prose poems, 31, 71
prosody, 17–18
Psalms (King James Bible), 133
punctuation
absence of, 12–13, 63, 64, 69–70
caesura, 58, 167
colons, 12–13
commas, 12–13, 63, 65, 114–15
dashes, 12–13, 16
end-stops. See end-stops
enjambed lines, 13, 63, 64
exclamation marks, 12–13, 28, 55, 119
periods, 11–13, 16, 63–64, 69, 104
question marks, 12–13
in reading poetry, 11–13
semicolons, 12–13, 177
spatial placement as, 56–57
pyrrhic syllables, 42
quality, in poetry, 136–37, 168
quatrain, 38, 127
Shakespearean sonnets, 102–3, 109–10
question marks, 12–13
quintain, 127
Raine, Craig, “A Martian Sends a Postcard Home,” 74, 171–73
“Rambling Boys of Pleasure, The” (Traditional), 160
rap music, 147–49, 151
“Raven, The” (Poe), 9, 45, 84
reading poetry. See poetry reading
received meter, 134
“Red, Red Rose, A” (Burns), 140, 161–63, 165
“Redeeming the Time” (Hill), 73
“Red Wheelbarrow, The” (Williams), 66–67, 73–74, 112
Reed, Ishmael, 54
Reid, Christopher, 173
rentrement, 116, 118
repetition
as memory aid in oral tradition, 154, 155–56
rhythm and, 50–51, 52–53
rereading poetry, 13–14
“Retrospect, A” (Pound), 134
Rhetoric of Fiction, The (Booth), 93
rhyme, 8–9, 23, 83–91
alternative approaches, 105–7
blank verse, 87–91, 106–7
carryover rhymes, 85
end rhymes, 83–84, 89
feminine rhymes, 84
identical rhymes, 84
internal rhymes, 45, 83–84, 89
self-rhymes, 26
slant rhymes, 84–85
rhyme scheme, 28, 85–87
AAABBB, 167
ABA, 113–14
ABAA, 113–14
ABAB, 86–87, 127, 159
ABABABCC, 127–28, 175
ABABBCBCC, 128
ABABBCC, 127
ABABCDCDEEFGFG, 107
ABBA, 127
ABBAABBA, 103–4
CDDCDC, 103–4
limerick, 112–13
ottava rima, 127–28, 175
rondeau, 116–18
sonnet, 87, 102–10
terza rima, 85–87, 89, 105, 113–14, 127
villanelle, 113–15, 127
Rhyme’s Reason (Hollander), 192
rhythm, 49–61
alliteration and, 51, 58
beyond meter, 49–52. See also meter
blues, 55–56
consonance and, 51
dialect and, 54–56
free verse, 134, 135–36
jazz, 55
nonmetrical, 49–52
past linguistic and poetic practices, 57–61
repetition and, 50–51, 52–53
spatial placement on page and, 56–57
in speeches and sermons, 51, 54–55
sprung, 28
Rich, Adrienne, 4, 89, 184
Richards, I. A., 140
rigid meter, 152
Rimbaud, Arthur, 71, 73, 133
“Rime of the Ancient Mariner, The” (Coleridge), 9, 47–48
rime royal, 127
“Road Not Taken, The” (Frost), 32, 92, 94–97
Romantic-era poets, 6, 34, 88, 98–99, 128, 173, 183, 184
rondeau, 116–18
Rossetti, Christina, “An Echo from Willow-Wood,” 103–4
scansion, 17–18, 43–44
“Scarborough Fair” (Traditional), 159–60, 168
secondary meanings, 9
“Second Coming, The” (Yeats), 161
“Secret Agent, The” (Auden), 106
Seeger, Peggy, 159
self-rhymes, 26
semantic level, 74
semicolon, 12–13, 177
sentences, in reading poetry, 11–12, 104
sermons, rhythm and, 51, 54–55
sestet, 28, 127
Petrarchan sonnets, 87, 102–4, 105, 107–10, 127, 143–44
sestina, 111, 115–16, 127
Seuss, Dr. (Theodore S. Geisel), 20, 43
77 Dream Songs (Berryman), 99
Sexton, Anne, 99
Shakespeare, William, 4, 6, 57, 79, 88, 89, 179–80
Hamlet, 9, 90
Macbeth, 84
Sonnet 30 (“When to the sessions of sweet silent thought”), 23
Sonnet 73 (“That time of year thou may’st in me behold”), 38–39, 40–41, 67, 109–10, 139–41, 182
Shakespearean sonnet, 87, 102–3, 105, 109–10
Shaw, George Bernard, 113
Shelley, Percy Bysshe, 85, 87, 88, 105–6
on poetry, 29, 32–33
“She Walks in Beauty” (Lord Byron), 141–43
Shklovsky, Viktor, 172–73
sibilance, 22, 23
Sidney, Philip, 116
Simic, Charles, 71
simile, 74
figurative language, 139, 140, 141–43
memory aid in oral tradition, 154–55, 156
Simon, Paul
“Canticle,” 159
“Graceland,” 158
Simon and Garfunkel, 159
slam, poetry, 150–51
slant rhymes, 84–85
“Slouching Toward Bethlehem” (Mitchell), 161
Smith, Kate, 164
Snodgrass, W. D., 99
Snyder, Gary, 184
soliloquys, 90
Sondheim, Stephen, 165
Song of Hiawatha, The (Longfellow), 39–41, 43, 64–65
Song of Myself, XI (“Twenty-eight young men bathe by the shore”) (Whitman), 32, 50–51
songs, 157–68
chorus, 166–67
folk music, 159–61, 164–66
imagery, 167–68
melody/tune, 159–61, 165–66, 167–68
patter, 44–45, 165–66
traditional, 47, 48, 159–60, 168
verse, 158
words/lyrics, 161–68
sonnet, 101–10
blank verse, 89, 106–7
characteristics, 101–2
geometry, 101–2
half-rhyme, 106–7
Petrarchan, 87, 102–4, 105, 107–10, 143–44
rhyme scheme, 87, 102–10
Shakespearean, 87, 102–3, 105, 109–10
structure of, 87, 102–4
whimsical, 107–9
“Sonnet” (Collins), 107–9
Sonnet 30 (“When to the sessions of sweet silent thought”) (Shakespeare), 23
Sonnet 42 (“What lips my lips have kissed”) (Millay), 143–44
Sonnet 73 (“That time of year thou may’st in me behold”) (Shakespeare), 38–39, 40–41, 67, 109–10, 139–41, 182
Sophocles, 4
sound-shape, 165
sounds of poetry, 14–20
alliteration, 22–23, 27–28, 51, 58, 89
assonance, 22–23, 24, 27, 89
consonance, 22–24, 27, 28, 51, 89
diction, 8–9, 15–19, 72–82
musicality of, 21–28
onomatopoeia, 25–26
prosody, 17–18
scansion, 17–18, 43–44
“sound of sense” (Frost), 14–15
Sounds of Poetry, The (Pinsky), 13, 27, 192
Sour Grapes (Williams), 186
spatial placement
epic poetry, 126–27
as punctuation, 56–57
speaker in poetry
author versus, 92–100
“implied author,” 93, 97, 99–100
Spector, Phil, 167
speeches, rhythm and, 51, 54–55
Spenser, Edmund, 116, 128
Spenserian stanza, 128
spondaic pentameter, 42
spondee, 42
Spoon River Anthology (Masters), 173
Springsteen, Bruce, 158, 164–65
sprung rhythm, 28
Standard English, 81–82
stanza, 126–32
epic poetry, 85, 126–32
free verse, 19, 42, 62–69
line length, 45–46
structure, 68, 129–32
types, 127–28
Station Island (Heaney), 60
Steven Allen Show, The (TV program), 150
Stevens, Wallace, 82, 88, 100, 135
“The Man on the Dump,” 174
“Notes Toward a Supreme Fiction,” 183, 187
Strand, Mark, 192–93
stresses
ignoring, 48
in syllables, 42
strophe, 122–24, 126, 128–29
“supreme fictions” (Stevens), 183, 187
surrealism, 173
Swift, Jonathan, 127
syllabic verse, 67–68, 135
syllables
counting, 67–68
“feminine” endings, 40–41
fourteeners, 47
“masculine” endings, 40–41
in meter, 37–38, 42
pyrrhic, 42
song, 165–66
stresses in, 42
Symbolist poets, 133
symbols, 138–39, 145–46
syntactic level, 74
Tempest, The (Shakespeare), 179
ten-line stanza, 128
Tennyson, Alfred, Lord, 136, 182
tenor, 140
tercet, 127
terza rima, 85–87, 89, 105, 113–14, 127
tetrameter, 39–41, 41, 115
“There Was an Old Man with a Beard” (Lear), 112–13
“This Land Is Your Land” (Guthrie), 163–64, 165
“This Lime-Tree Bower My Prison” (Coleridge), 88
Thomas, Dylan, 184
“Do Not Go Gentle into That Good Night,” 113–15
Thomas, Edward, 95–96
Through the Looking-Glass, and What Alice Found There (Carroll), 19–20
“Thunder Road” (Springsteen), 158
time, and poetry, 184–87
“Tintern Abbey” (Wordsworth), 88, 89–90, 98–99
“To a Mouse” (Burns), 79–81
“To a Skylark” (Shelley), 32–33
Tolkien, J. R. R., 76
Traditional
“Scarborough Fair,” 159–60, 168
“The Yellow Rose of Texas,” 47, 48
“Tradition and the Individual Talent” (Eliot), 192
Traffic, 168
translations, of poetry, 4, 9, 29, 58, 88, 124, 148
trimeter, 41, 115
triolet, 119
trochaic tetrameter, 39–41, 43
trochee, 37, 38, 42, 43, 50, 157, 159
Troilus and Criseyde (Chaucer), 127
troubadours, 157
“Twas later when the summer went” (Dickinson), 23–24
“Tyger, The” (Blake), 83, 173
“Ulysses” (Tennyson), 182
“Under the Boardwalk” (The Drifters), 53
“Valedictorian, A: Forbidding Mourning” (Donne), 143
vehicle, 140
verbs, 77
nouning, 78–79
Verlaine, Paul, 73
verse, 158
verse paragraph, 126, 128–29
versets, 71
vertical placement, 66–67
villanelle, 113–15, 127
Virgil, 4, 88
“Visit from St. Nicholas, A” (C. C. Moore), 43
voice
of author versus speaker, 92–100
“implied author,” 93, 97, 99–100
of instructors, 93–94
mediated, 98–99
voiced sounds, 22
voiceless sounds, 22
vowel-threat (Pinsky), 27
Wakoski, Diane, 173
Waste Land, The (Eliot), 63–64, 73–74, 178–80
“Weary Blues, The” (Hughes), 55–56
Webster, Daniel, 51
Well Wrought Urn, The (Brooks), 191–92
“Werewolves of London” (Zevon), 166
“What Teachers Make” (Mali), 150–51
whimsical sonnets, 107–9
Whitman, Walt, 52, 53, 54, 61, 65, 133
Leaves of Grass, 9, 14, 32, 50–51
“O Captain! My Captain!”, 120–21
“Out of the Cradle Endlessly Rocking,” 42
Song of Myself, XI (“Twenty-eight young men bathe by the shore”), 32, 50–51
Williams, Robin, 171
Williams, William Carlos, 135, 186
“The Great Figure,” 184–85
“The Red Wheelbarrow,” 66–67, 73–74, 112
William the Conquerer, 75
“Windhover, The” (Hopkins), 24, 27–28
Winters, Yvor, 135, 193
Winwood, Steve, 168
Wizard of Oz, The (film), 158, 166
Wodehouse, P. G., 73
word order
diction and, 77–79
fractured, 26, 78, 185
line length and, 63
natural, 63
parts of speech, 77–78
word-pictures, 139–40
words, 72–82. See also diction; word order
at aesthetic level, 74
challenges of using, 33–34
changing meanings, 72–73
choice of, 75–76
content, 19, 74–75
free verse, 134
hyphenating, 132
linguistic resistance and, 73–74
in lyric poetry, 72–73
meaning of poetry and, 25
neologisms, 19–20
nonsense, 19–20
portmanteau, 19–20, 136
in reading poetry, 11
at semantic level, 74
song lyrics, 161–68
at syntactic level, 74
Wordsworth, William, 76, 125, 136
“My Heart Leaps Up,” 98, 99
“Tintern Abbey,” 88, 89–90, 98–100
World Doesn’t End, The (Simic), 71
Yeats, William Butler, 52, 88, 121
“The Circus Animals’ Desertion,” 175–76
“Down by the Salley Gardens,” 160–61
“Yellow Rose of Texas, The” (Traditional), 47, 48
Young, Neil, 158
Zevon, Warren, 166