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Literature An Introduction to Reading and Writing, Compact Edition Plus 2014 MyLiteratureLab with eText -- Access Card Package
Literature An Introduction to Reading and Writing, Compact Edition Plus 2014 MyLiteratureLab with eText -- Access Card Package
- ISBN 13:
9780133936698
- ISBN 10:
0133936694
- Edition: 6th
- Format: Package
- Copyright: 06/06/2014
- Publisher: Longman
- Newer Edition
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For literature-based Composition II and Introduction to Literature courses.
Literature: An Introduction to Reading and Writing, Compact Sixth Edition is founded on the principles of writing about literature. First, students learn how to engage deeply and critically with a broad selection of stories, poems, and plays. Second, the writing process is carefully and thoroughly integrated into the presentation of all literary genres, elements, and major writers throughout the entire text. Complete coverage of writing about each literary element, “casebooks” that allow for deeper exploration of important writers in each genre, and a total of 53 exemplary student essays and paragraphs with accompanying commentary ensure that students gain a thorough comprehension of the conventions, strategies, and organizational patterns to allow them to think critically about literature and to produce thoughtful and compelling essays, paragraphs, documented research papers, and examination responses.
0133936694 / 9780133936698 Literature: An Introduction to Reading and Writing, Compact Edition Plus 2014 MyLiteratureLab with eText -- Access Card Package
Package consists of:
0205891284 / 9780205891283 NEW MyLiteratureLab with The Literature Collection: An eText -- Valuepack Access Card
032194478X / 9780321944788 Literature: An Introduction to Reading and Writing, Compact Edition
Author Biography
Read moreAbout Edgar V. Roberts
Edgar V. Roberts, Emeritus Professor of English at Lehman College of The City University of New York, is a native of Minnesota. He graduated from the Minneapolis public schools in 1946, and received his Doctorate from the University of Minnesota in 1960. He taught English at Minnesota, the University of Maryland Overseas Division, Wayne State University, Hunter College, and Lehman College. From 1979 to 1988, He was Chair of the English Department of Lehman College.
He served in the U.S. Army in 1946 and 1947, seeing duty in Arkansas, the Philippine Islands, and Colorado.
He published articles about the plays of Henry Fielding, the subject of his Ph.D. dissertation. In 1968 he published a scholarly edition of John Gay's The Beggar's Opera (1728), and in 1969 he published a similar edition of Fielding's The Grub-Street Opera (1731), both with the University of Nebraska Press. He first published Writing About Literature (then named Writing Themes About Literature) in 1964, with Prentice Hall. Since then, this book has undergone twelve separate revisions, for a total of thirteen editions. In 1986, with Henry E. Jacobs of the University of Alabama, he published the first edition of Literature: An Introduction to Reading and Writing. After Professor Jacobs's untimely death in the summer of 1986, Professor Roberts continued working on changes and revisions to keep this text up to date. The Ninth Edition was published early in 2009, with Pearson Longman. The Fourth Compact Edition of Literature: An Introduction to Reading and Writing was published in 2008.
Professor Roberts is an enthusiastic devoté of symphonic music and choral singing, having sung in local church choirs for forty years. Recently he has sung (bass) with the New Choral Society of Scarsdale, New York (where he lives), singing in classic works by Handel, Beethoven, Bruckner, Bach, Orff, Britten, Brahms, and others. He is a fan of both the New York Mets and the New York Yankees. When the two teams play in inter-league games, he is uneasy because he dislikes seeing either team lose. He also likes both the Giants and the Jets. He has been an avid jogger ever since the early 1960s, and he enjoys watching national and international track meets.
Professor Roberts encourages queries, comments, and suggestions from students who have been using any of the various books. Use the following email address: edgar.roberts@verizon.net.
About Robert Zweig
Robert Zweig is a tenured, full professor at Manhattan Community College of the City University of New York. He teaches courses in Literature and Writing and for many years was the Intensive Writing Coordinator for the college.
He has a doctorate in English Literature from the City University of New York, a Masters from Queens College in creative writing and a bachelor’s degree from Queens College in English literature. Dr. Zweig has numerous peer-reviewed publications in journals, encyclopedias and books. Dr. Zweig is co-author of Literature: An Introduction to Reading and Writing, a bestselling introduction to literature textbook published by Pearson. His translations of the Italian poet and Nobel Laureate Eugentio Montale appear in this text.
Dr. Zweig has lectured extensively throughout the United States and Italy on Victorian Literature, Poetics and contemporary culture. Some of the American universities he has addressed include Notre Dame, New York University, University of California, Harvard, University of Illinois, University of Delaware, Rutgers University and the Graduate Center of the City University of New York.
He has received several scholarships and awards, including a Mellon Fellowship and the Phi Beta Kappa award for “Outstanding Teaching Skills” as one of the Top Ten Professors at Manhattan Community College.
Table of Contents
Read more***** NEW SECTIONS ARE INDICATED WITH "(NEW)" AT THE END OF THE LINE.
Detailed Table of Contents
Topical and Thematic Contents
Preface
| PART I The Process of Reading, Responding to, and Writing About Literature | ||||||||||||||||||
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| What Is Literature, and Why Do We Study It? | ||||||||||||||||||
| Types of Literature: The Genres | ||||||||||||||||||
| Reading Literature and Responding to It Actively | ||||||||||||||||||
| GUY DE MAUPASSANT The Necklace | ||||||||||||||||||
| To go to a ball, Mathilde Loisel borrows a necklace from a rich friend, but the evening of her dreams has unforeseen consequences. Reading and Responding in a Computer File or Notebook | ||||||||||||||||||
| Sample Notebook Entries on Maupassant's "The Necklace" Major Stages in Thinking and Writing About Literary Topics: Discovering Ideas, Preparing to Write, Making an Initial Draft of Your Essay, and Completing the Essay Writing Does Not Come Easily–for Anyone | ||||||||||||||||||
| The Goal of Writing: To Show a Process of Thought Discovering Ideas ("Brainstorming") | ||||||||||||||||||
| Study the Characters in the Work | ||||||||||||||||||
| Determine the Work’s Historical Period and Background | ||||||||||||||||||
| Analyze the Work’s Economic and Social Conditions | ||||||||||||||||||
| Explain the Work’s Major Ideas | ||||||||||||||||||
| Describe the Work’s Artistic Qualities | ||||||||||||||||||
| Explain Any Other Approaches That Seem Important | ||||||||||||||||||
| Preparing to Write | ||||||||||||||||||
| Build Ideas from Your Original Notes | ||||||||||||||||||
| Trace Patterns of Action and Thought | ||||||||||||||||||
| The Need for the Actual Physical Process of Writing | ||||||||||||||||||
| Raise and Answer Your Own Questions Put Ideas Together Using a Plus-Minus, Pro-Con, or Either-Or Method Originate and Develop Your Thoughts Through Writing | ||||||||||||||||||
| Making an Initial Draft of Your Essay | ||||||||||||||||||
| Base Your Essay on a Central Idea, Argument, or Statement | ||||||||||||||||||
| The Need for a Sound Argument in Essays About Literature | ||||||||||||||||||
| Create a Thesis Sentence as Your Guide to Organization | ||||||||||||||||||
| Begin Each Paragraph with a Topic Sentence | ||||||||||||||||||
| Select Only One Topic–No More–for Each Paragraph | ||||||||||||||||||
| Referring to the Names of Authors | ||||||||||||||||||
| Use Your Topic Sentences as the Arguments for Your Paragraph Development | ||||||||||||||||||
| The Use of Verb Tenses in the Discussion of Literary Works | ||||||||||||||||||
| Develop an Outline as the Means of Organizing Your Essay | ||||||||||||||||||
| Basic Writing Types: Paragraphs and Essays | ||||||||||||||||||
| A Paragraph Assignment Commentary on the Paragraph | ||||||||||||||||||
| Illustrative Student Essay (First Draft):How Setting in "The Necklace" Is Related to the Character of Mathilde | ||||||||||||||||||
| Completing the Essay: Developing and Strengthening Your Essay Through Revision | ||||||||||||||||||
| Make Your Own Arrangement of Details and Ideas | ||||||||||||||||||
| Use Literary Material as Evidence to Support Your Argument | ||||||||||||||||||
| Always Keep to Your Point; Stick to It Tenaciously | ||||||||||||||||||
| Check Your Development and Organization | ||||||||||||||||||
| Try to Be Original | ||||||||||||||||||
| Write with Specific Readers as Your Intended Audience | ||||||||||||||||||
| Use Exact, Comprehensive, and Forceful Language | ||||||||||||||||||
| Illustrative Student Essay (Improved Draft):How Maupassant Uses Setting in "The Necklace" to Show the Character of Mathilde | ||||||||||||||||||
| Commentary on the Essay | ||||||||||||||||||
| Essay Commentaries | ||||||||||||||||||
| A Summary of Guidelines | ||||||||||||||||||
| Writing Topics About the Writing Process Using Sources Effectively | ||||||||||||||||||
| A Short Guide to the Use of References and Quotations in Essays About Literature | ||||||||||||||||||
| Integrate Passages and Ideas into Your Essay | ||||||||||||||||||
| Distinguish Your Thoughts from Those of Your Author | ||||||||||||||||||
| Integrate Material by Using Quotation Marks | ||||||||||||||||||
| Blend Quotations into Your Own Sentences | ||||||||||||||||||
| Indent Long Quotations and Set Them in Block Format | ||||||||||||||||||
| Use an Ellipsis to Show Omissions | ||||||||||||||||||
| Use Square Brackets to Enclose Words That You Add Within Quotations | ||||||||||||||||||
| Be Careful Not to Overquote | ||||||||||||||||||
| Preserve the Spellings in Your Source | ||||||||||||||||||
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| PART II Reading and Writing About Fiction
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| 1 Fiction: An Overview | ||||||||||||||||||
| Modern Fiction | ||||||||||||||||||
| The Short Story | ||||||||||||||||||
| Elements of Fiction I: Verisimilitude and Donnée Elements of Fiction II: Character, Plot, Structure, and Idea or Theme Elements of Fiction III: The Writer’s Tools | ||||||||||||||||||
| Visualizing Fiction: Cartoons, Graphic Narratives, Graphic Novels | ||||||||||||||||||
| Dan Piraro, from Bizarro • Art Spiegelman, from Maus (Expanded) | ||||||||||||||||||
| STORIES FOR STUDY | ||||||||||||||||||
| INES ARREDONDO The Shunammite (NEW) A condemned man dreams of escape, freedom, and family A young woman agrees to nurse her dying uncle, but then must face a more difficult decision. . AMBROSE BIERCE An Occurrence at Owl Creek Bridge | ||||||||||||||||||
| A condemned man dreams of escape, freedom, and family. SANDRA CISNEROS Mericans | ||||||||||||||||||
| As a group of Mexican American children play together, they develop understanding of both their personal and national identities. WILLIAM FAULKNER A Rose for Emily Even seemingly ordinary people hide deep and bizarre mysteries. TIM O’BRIEN The Things They Carried | ||||||||||||||||||
| During the Vietnam War, American soldiers carry not only their weighty equipment but many memories. Plot: The Motivation and Causality of Fiction Writing About the Plot of a Story Illustrative Student Essay: Plot in Faulkner's "A Rose for Emily" Commentary on the Essay Using Sources Effectively: Quoting an Author's Work Writing Topics About Plot in Fiction | ||||||||||||||||||
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| 2 Point of View: The Position or Stance of the Work’s Narrator or Speaker | ||||||||||||||||||
| An Exercise in Point of View: Reporting an Accident | ||||||||||||||||||
| Conditions That Affect Point of View | ||||||||||||||||||
| Point of View and Opinions | ||||||||||||||||||
| Determining a Work’s Point of View | ||||||||||||||||||
| Mingling Points of View | ||||||||||||||||||
| Point of View and Verb Tense | ||||||||||||||||||
| Summary: Guidelines for Points of View | ||||||||||||||||||
| STORIES FOR STUDY | ||||||||||||||||||
| RAYMOND CARVER Cathedral | ||||||||||||||||||
| A husband and wife receive a blind visitor who affects the husband's way of seeing things. SHIRLEY JACKSON The Lottery | ||||||||||||||||||
| What would it be like if the prize at a community-sponsored lottery were not the cash that people ordinarily hope to win? JOYCE CAROL OATES Where Are You Going, Where Have You Been | ||||||||||||||||||
| A teenage girl is visited by an aggressive stranger who does not take “no” for an answer. ZZ PACKER Brownies | ||||||||||||||||||
| What happens at Camp Crescendo after the girls in Laurel’s Brownie Troop decide to attack the girls in Brownie Troop 909? Writing About Point of View | ||||||||||||||||||
| Illustrative Student Essay: Shirley Jackson’s Dramatic Point of View in “The Lottery” Commentary on the Essay Using Sources Effectively: Summary | ||||||||||||||||||
| Writing Topics About Point of View | ||||||||||||||||||
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| 3 Characters: The People in Fiction | ||||||||||||||||||
| Character Traits | ||||||||||||||||||
| How Authors Disclose Character in Literature | ||||||||||||||||||
| Types of Characters: Round and Flat | ||||||||||||||||||
| Reality and Probability: Verisimilitude STORIES FOR STUDY ERNEST J. GAINES The Sky Is Gray (NEW) | ||||||||||||||||||
| The Sky is Grey: On a trip with his mother, a boy learns about the harshness of life and what it takes to survive. SUSAN GLASPELL A Jury of Her Peers | ||||||||||||||||||
| In a small farmhouse kitchen early in the twentieth century, the wives of men investigating a murder discover significant evidence that forces them to make an urgent decision. What is the definition of a "brave" man, and does that mean he commands fear or respect? ZORA NEALE HURSTON Spunk (NEW) | ||||||||||||||||||
| What is the definition of a "brave" man, and does that mean he commands fear or respect? KATHERINE MANSFIELD Miss Brill | ||||||||||||||||||
| Miss Brill goes to the park for a pleasant afternoon, but she does not find what she was expecting. AMY TAN Two Kinds Jing-Mei leads her own kind of life despite the wishes and hopes of her mother. Writing About Character Illustrative Student Essay: The Character of Minnie Wright in Glaspell’s “A Jury of Her Peers” Commentary on the Essay Writing Topics About Character | ||||||||||||||||||
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| 4 Setting: The Background of Place, Objects, and Culture in Stories | ||||||||||||||||||
| What Is Setting? | ||||||||||||||||||
| The Literary Uses of Setting | ||||||||||||||||||
| STORIES FOR STUDY | ||||||||||||||||||
| JAMES JOYCE Araby | ||||||||||||||||||
| An introspective boy learns much about himself when he tries to keep a promise. CYNTHIA OZICK The Shawl | ||||||||||||||||||
| Can a mother in a Nazi concentration camp save her starving and crying baby? EDGAR ALLAN POE The Cask of Amantillado | ||||||||||||||||||
| A vengeful courtier tempts an enemy with a bottle of fine wine. LESLIE MARMON SILKO The Man to Send Rain Clouds (NEW) | ||||||||||||||||||
| When a Native American dies, his friends must pose their respect for ancient tribal beliefs with the conventions of contemporary religion. Writing About Setting Illustrative Student Essay: The Interaction of Story and Setting in James Joyce’s “Araby” Commentary on the Essay Writing Topics About Setting
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| 5 Structure: The Organization of Stories | ||||||||||||||||||
| Formal Categories of Structure | ||||||||||||||||||
| Formal and Actual Structure | ||||||||||||||||||
| STORIES FOR STUDY | ||||||||||||||||||
| RALPH ELLISON Battle Royal An intelligent black student, filled with hopes and dreams, is treated with monstrous indignity. GERI LIPSCHULTZ Slow Dance of the Heart (NEW) Mei Ling Teng's long life leading from the Orient to the United States has been filled with the deprivation, agony, and insult of war, but she has also known love DANIEL OROZCO Orientation A new employee is introduced to the rather unusual and surprising situations in the office. EUDORA WELTY A Worn Path Phoenix Jackson, a devoted grandmother, walks a worn path on a mission of great love. Writing About Structure in a Story Illustrative Student Essay: The Structure of Eudora Welty’s ”A Worn Path” Commentary on the Essay Writing Topics About Structure | ||||||||||||||||||
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| 6 Tone and Style: The Words That Convey Attitudes in Fiction | ||||||||||||||||||
| Diction: The Writer’s Choice and Control of Words | ||||||||||||||||||
| Tone, Irony, and Style | ||||||||||||||||||
| Tone, Humor, and Style | ||||||||||||||||||
| STORIES FOR STUDY | ||||||||||||||||||
| KATE CHOPIN The Story of an Hour | ||||||||||||||||||
| Louise Mallard is shocked and grieved by news that her husband has been killed, but she is in for an even greater shock. DAGOBERTO GILB Love in L.A. | ||||||||||||||||||
| In L.A., people often meet each other under the most unusual and improbable circumstances. ERNEST HEMINGWAY Hills Like White Elephants | ||||||||||||||||||
| While waiting for a train, a man and woman reluctantly discuss an urgent situation. FRANK O’CONNOR First Confession | ||||||||||||||||||
| Jackie as a young man tells about his first childhood experience with confession. JOHN UPDIKE A & P As a checkout clerk at the A & P near the local beaches, Sammy experiences the consequences of a difficult choice. Writing About Tone and Style Illustrative Student Essay: Frank O’Connor’s Control of Tone and Style in “First Confession" | ||||||||||||||||||
| Commentary on the Essay Writing Topics About Tone and Style | ||||||||||||||||||
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| 7 Symbolism and Allegory: Keys to Extended Meaning | ||||||||||||||||||
| Symbolism | ||||||||||||||||||
| Allegory | ||||||||||||||||||
| Fable, Parable, and Myth | ||||||||||||||||||
| Allusion in Symbolism and Allegory | ||||||||||||||||||
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STORIES FOR STUDY | ||||||||||||||||||
| AESOP The Fox and the Grapes | ||||||||||||||||||
| What do people think about things that they can’t have? ANONYMOUS The Myth of Atalanta | ||||||||||||||||||
| In ancient times, how could a superior woman maintain power ANITA SCOTT COLEMAN Unfinished Masterpieces (NEW) | ||||||||||||||||||
| How do we judge whether people have lived up to their fullest potential, and what effects the way people develop over their lives? NATHANIEL HAWTHORNE Young Goodman Brown | ||||||||||||||||||
| In colonial Salem, Goodman Brown has a bewildering experience that changes his outlook on life. LUKE The Parable of the Prodigal Son | ||||||||||||||||||
| Is there any limit to what a person can do to make divine forgiveness impossible? KATHERINE ANNE PORTER The Jilting of Granny Weatherall | ||||||||||||||||||
| As the end nears, Granny Weatherall has her memories and is surrounded by her loving adult children. JOHN STEINBECK The Chrysanthemums | ||||||||||||||||||
| As a housewife on a small ranch, Elisa Allen experiences changes to her sense of self-worth. Writing About Symbolism and Allegory | ||||||||||||||||||
| Illustrative Student Essay (Symbolism): Symbols of Light and Darkness in Porter’s “The Jilting of Granny Weatherall” Commentary on the Essay About Symbolism Second Illustrative Student Essay (Allegory): The Allegory of Hawthorne’s “Young Goodman Brown” | ||||||||||||||||||
| Commentary on the Essay About Allegory Writing Topics About Symbolism and Allegory | ||||||||||||||||||
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| 8 Idea or Theme: The Meaning and the Message in Fiction | ||||||||||||||||||
| Ideas and Assertions | ||||||||||||||||||
| Ideas and Issues | ||||||||||||||||||
| Ideas and Values | ||||||||||||||||||
| The Place of Ideas in Literature | ||||||||||||||||||
| How to Find Ideas | ||||||||||||||||||
| STORIES FOR STUDY | ||||||||||||||||||
| MARGARET ATWOOD Happy Endings (NEW) | ||||||||||||||||||
| How accurately does the word "happy" fit any of these endings, and why? TONI CADE BAMBARA The Lesson When a group of children visits a toy store for the wealthy, some of them draw conclusions about society and themselves. D. H. LAWRENCE The Horse Dealer’s Daughter | ||||||||||||||||||
| Dr. Jack Fergusson and Mabel Pervin find, in each other’s love, a new reason for being. AMÉRICO PAREDES The Hammon and the Beans | ||||||||||||||||||
| Is American liberty restricted to people of only one group, or is it for everyone? | ||||||||||||||||||
| Writing About a Major Idea in Fiction | ||||||||||||||||||
| Illustrative Student Essay: D. H. Lawrence’s “The Horse Dealer’s Daughter” as an Expression of the Idea that Loving Commitment Is Essential in Life | ||||||||||||||||||
| Commentary on the Essay Writing Topics About Ideas | ||||||||||||||||||
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9 A Casebook of Four Stories by Edgar Allan Poe with Critical Readings for Research | ||||||||||||||||||
| Poe’s Life and Career | ||||||||||||||||||
| Poe’s Work as a Journalist and Writer of Fiction | ||||||||||||||||||
| Poe’s Reputation | ||||||||||||||||||
| Bibliographic Sources | ||||||||||||||||||
| Writing Topics About Poe | ||||||||||||||||||
| FOUR STORIES BY EDGAR ALLAN POE (CHRONOLOGICALLY ARRANGED) | ||||||||||||||||||
| The Fall of the House of Usher (1839) | ||||||||||||||||||
| The Masque of the Red Death (1842) | ||||||||||||||||||
| The Black Cat (1843) | ||||||||||||||||||
| The Tell-Tale Heart (1843/1850) (NEW) | ||||||||||||||||||
| Edited Selections from Criticism of Poe’s Stories | ||||||||||||||||||
| 1. Poe’s Irony • 2. The Narrators of “The Cask of Amontillado” and “The Fall of the House of Usher” • 3. “The Fall of the House of Usher” • 4. “The Black Cat” and “The Tell-Tale Heart” • 5. “The Masque of the Red Death” • 6. Symbolism in “The Masque of the Red Death” • 7. “The Masque of the Red Death” as Representative of a “Diseased Age” • 8. Sources and Analogues of “The Cask of Amontillado” • 9. Poe’s Idea of Unity and “The Fall of the House of Usher” • 10. The Narrators of “The Cask of Amontillado” and “The Black Cat” • 11. Poe, Women, and “The Fall of the House of Usher” • 12. The Deceptive Narrator of “The Black Cat” | ||||||||||||||||||
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| 10 Collection of Stories for Additional Enjoyment and Study | ||||||||||||||||||
| WILLIAM FAULKNER Barn Burning | ||||||||||||||||||
| A young country boy grows in awareness, conscience, and individuality despite his hostile father. CHARLOTTE PERKINS GILMAN The Yellow Wallpaper | ||||||||||||||||||
| Who is the woman who is trying to emerge from behind the yellow wallpaper? JAMAICA KINCAID Girl (NEW) | ||||||||||||||||||
| Despite the "generation gap," a mother tries to teach her daughter how to behave properly FLANNERY O'CONNOR A Good Man Is Hard to Find | ||||||||||||||||||
| “The grandmother didn’t want to go to Florida. She wanted to visit some of her connections in east Tennessee. . . .” ALICE WALKER Everyday Use Mrs. Johnson, with her daughter Maggie, is visited by her citified daughter Dee, whose return home is accompanied by surprises.
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| 10A Writing a Research Essay on Fiction | ||||||||||||||||||
| Selecting a Topic | ||||||||||||||||||
| Setting Up a Working Bibliography | ||||||||||||||||||
| Locating Sources | ||||||||||||||||||
| Searching the Internet | ||||||||||||||||||
| Evaluating Sources (box) | ||||||||||||||||||
| Searching Library Resources | ||||||||||||||||||
| Important Considerations About Computer-Aided Research (box) | ||||||||||||||||||
| Reviewing the Bibliographies in Major Critical Studies on Your Topic | ||||||||||||||||||
| Consulting Bibliographical Guides | ||||||||||||||||||
| Gaining Access to Books and Articles Through Databases | ||||||||||||||||||
| Taking Notes and Paraphrasing Material Taking Complete and Accurate Notes | ||||||||||||||||||
| Plagiarism: An Embarrassing but Vital Subject—and a Danger to be Overcome (box) | ||||||||||||||||||
| Being Creative and Original While Doing Research | ||||||||||||||||||
| Documenting Your Work | ||||||||||||||||||
| Integrating and Attributing Your Sources (BOX) Strategies for Organizing Ideas in Your Research Essay | ||||||||||||||||||
| Illustrative Student Essay Using Research: The Structure of Katherine Mansfield’s “Miss Brill” | ||||||||||||||||||
| Commentary on the Essay Using Sources Effectively: Paraphrasing to Avoid Plagiarism Writing Topics About How to Undertake a Research Essay | ||||||||||||||||||
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| PART III Reading and Writing About Poetry | ||||||||||||||||||
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11 Meeting Poetry: An Overview | ||||||||||||||||||
| The Nature of Poetry | ||||||||||||||||||
| BILLY COLLINS Schoolsville | ||||||||||||||||||
| LISEL MUELLER Hope | ||||||||||||||||||
| ROBERT HERRICK Here a Pretty Baby Lies | ||||||||||||||||||
| Poetry of the English Language | ||||||||||||||||||
| How to Read a Poem | ||||||||||||||||||
| Studying Poetry | ||||||||||||||||||
| Anonymous Sir Patrick Spens | ||||||||||||||||||
| POEMS FOR STUDY | ||||||||||||||||||
| GWENDOLYN BROOKS The Mother | ||||||||||||||||||
| EMILY DICKINSON Because I Could Not Stop for Death | ||||||||||||||||||
| RITA DOVE The House Slave (NEW) | ||||||||||||||||||
| ROBERT FRANCIS Catch | ||||||||||||||||||
| ROBERT FROST Stopping by Woods on a Snowy Evening | ||||||||||||||||||
| THOMAS HARDY The Man He Killed | ||||||||||||||||||
| JOY HARJO Eagle Poem
KENNETH KOCH Variations on a Theme by William Carlos Williams (NEW) LOUIS MACNEICE Snow MAGUS MAGNUS An Old Soldier Cleans His Rifle for the Last Time (NEW)
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| WILLIAM CARLOS WILLIAMS This Is Just to Say (NEW) | ||||||||||||||||||
| WILLIAM WORDSWORTH Lines Composed a Few Miles Above Tintern Abbey | ||||||||||||||||||
| Writing a Paraphrase of a Poem (Paragraph Length) | ||||||||||||||||||
| Illustrative Student Paraphrase: A Paraphrase of Thomas Hardy’s “The Man He Killed” | ||||||||||||||||||
| Commentary on the Paraphrase Writing an Explication of a Poem (Essay Length) | ||||||||||||||||||
| Illustrative Student Essay: An Explication of Thomas Hardy’s “ Man He Killed” | ||||||||||||||||||
| Commentary on the Essay Using Sources Effectively: Paraphrasing to Set the Stage for Analysis Writing Topics About the Nature of Poetry
| ||||||||||||||||||
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| ||||||||||||||||||
| 12 Words: The Building Blocks of Poetry | ||||||||||||||||||
| Choice of Diction: Specific and Concrete, General and Abstract | ||||||||||||||||||
| Levels of Diction | ||||||||||||||||||
| Special Types of Diction | ||||||||||||||||||
| Syntax | ||||||||||||||||||
| Decorum: The Matching of Subject and Word (BOX) | ||||||||||||||||||
| Denotation and Connotation | ||||||||||||||||||
| ROBERT GRAVES The Naked and the Nude | ||||||||||||||||||
| POEMS FOR STUDY JOHN ASHBERY The Cathedral Is (NEW) CHARLES BEAUDELAIRE Exotic Perfumes (NEW) WILLIAM BLAKE The Lamb
E. E. CUMMINGS next to of course god america I | ||||||||||||||||||
| JOHN DONNE Holy Sonnet 14: Batter My Heart, Three-Personed God | ||||||||||||||||||
| A. E. HOUSMAN To an Athlete Dying Young (NEW) | ||||||||||||||||||
| CAROLYN KIZER Night Sounds | ||||||||||||||||||
| DENISE LEVERTOV Of Being GERI LIPSCHULTZ In the Beginning of the End (NEW) JUDITH ORTIZ COFER Latin Women Pray | ||||||||||||||||||
| EDWIN ARLINGTON ROBINSON Richard Cory | ||||||||||||||||||
| THEODORE ROETHKE Dolor | ||||||||||||||||||
| KAY RYAN Crib | ||||||||||||||||||
| STEPHEN SPENDER I Think Continually of Those Who Were Truly Great | ||||||||||||||||||
| WALLACE STEVENS Disillusionment of Ten O’Clock | ||||||||||||||||||
| MARK STRAND Eating Poetry NATASHA TRETHEWEY White Lies (NEW) | ||||||||||||||||||
| WILLIAM WORDSWORTH Daffodils (I Wandered Lonely as a Cloud) PAUL ZIMMER The Day Zimmer Lost Religion | ||||||||||||||||||
| Writing About Diction and Syntax in Poetry | ||||||||||||||||||
| Illustrative Student Essay: Diction and Character in Robinson’s “Richard Cory” Commentary on the Essay Using Sources Effectively: Summarizing to Provide Necessary Background | ||||||||||||||||||
| Writing Topics About the Words of Poetry | ||||||||||||||||||
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13 IMAGERY: THE POEM’S LINK TO THE SENSES | ||||||||||||||||||
| Responses and the Writer’s Use of Detail | ||||||||||||||||||
| The Relationship of Imagery to Ideas and Attitudes | ||||||||||||||||||
| Types of Imagery | ||||||||||||||||||
| JOHN MASEFIELD Cargoes | ||||||||||||||||||
| WILFRED OWEN Anthem for Doomed Youth | ||||||||||||||||||
| ELIZABETH BISHOP The Fish | ||||||||||||||||||
| POEMS FOR STUDY | ||||||||||||||||||
| ELIZABETH BARRETT BROWNING Sonnets from the Portuguese, Number 14: If Thou Must Love Me | ||||||||||||||||||
| SAMUEL TAYLOR COLERIDGE Kubla Khan | ||||||||||||||||||
| T. S. ELIOT Preludes | ||||||||||||||||||
| LOUISE ERDRICH Indian Boarding School: The Runaways | ||||||||||||||||||
| SUSAN GRIFFIN Love Should Grow Up Like a Wild Iris in the Fields | ||||||||||||||||||
| THOMAS HARDY Channel Firing | ||||||||||||||||||
| H. D. (HILDA DOOLITTLE) Heat (NEW) | ||||||||||||||||||
| GEORGE HERBERT The Pulley | ||||||||||||||||||
| GERARD MANLEY HOPKINS Spring | ||||||||||||||||||
| ROBINSON JEFFERS Hurt Hawks (NEW) | ||||||||||||||||||
| DENISE LEVERTOV A Time Past | ||||||||||||||||||
| AMY LOWELL The Taxi (NEW) | ||||||||||||||||||
| THOMAS LUX The Voice You Hear When You Read Silently | ||||||||||||||||||
| MARIANNE MOORE The Fish | ||||||||||||||||||
| PABLO NERUDA Every Day You Play | ||||||||||||||||||
| EDGAR ALLAN POE To Helen (NEW) | ||||||||||||||||||
| EZRA POUND In a Station of the Metro | ||||||||||||||||||
| BENJAMIN ALIRE S ÁENZ To the Desert (NEW) | ||||||||||||||||||
| WILLIAM SHAKESPEARE Sonnet 13: My Mistress’ Eyes Are Nothing Like the Sun | ||||||||||||||||||
| CHARLES SIMIC Fork (NEW) | ||||||||||||||||||
| JAMES TATE Dream On | ||||||||||||||||||
| DAVID WOJAHN “It’s Only Rock and Roll, but I Like It”: The Fall of Saigon | ||||||||||||||||||
| Writing About Imagery | ||||||||||||||||||
| Illustrative Student Essay: Imagery in Masefield's "Cargoes" | ||||||||||||||||||
| Commentary on the Essay Writing Topics About Imagery in Poetry | ||||||||||||||||||
|
| ||||||||||||||||||
| 14 FIGURES OF SPEECH, OR METAPHORICAL LANGUAGE: A SOURCE OF DEPTH AND RANGE IN POETRY | ||||||||||||||||||
| Metaphors and Similes: The Major Figures of Speech | ||||||||||||||||||
| Characteristics of Metaphorical Language | ||||||||||||||||||
| JOHN KEATS On First Looking into Chapman’s Homer | ||||||||||||||||||
| Vehicle and Tenor | ||||||||||||||||||
| Other Figures of Speech | ||||||||||||||||||
| JOHN KEATS Bright Star | ||||||||||||||||||
| POEMS FOR STUDY | ||||||||||||||||||
| WILLIAM BLAKE The Tyger | ||||||||||||||||||
| ROBERT BURNS A Red, Red Rose | ||||||||||||||||||
| JOHN DONNE A Valediction: Forbidding Mourning | ||||||||||||||||||
| ALAN DUGAN Untitled Poem II (NEW) | ||||||||||||||||||
| FEDERICO GARCÍA LORCA Sonnet of the Sweet Complaint (NEW) | ||||||||||||||||||
| John Gay Let Us take the Road THOMAS HARDY The Convergence of the Twain | ||||||||||||||||||
| JOY HARJO Remember | ||||||||||||||||||
| JOHN KEATS To Autumn | ||||||||||||||||||
| JANE KENYON Let Evening Come | ||||||||||||||||||
| JUDITH MINTY Conjoined | ||||||||||||||||||
| OGDEN NASH Exit, Pursued by a Bear (NEW) | ||||||||||||||||||
| PABLO NERUDA If You Forget Me | ||||||||||||||||||
| MARY OLIVER Showing the Birds | ||||||||||||||||||
| MARGE PIERCY A Work of Artifice | ||||||||||||||||||
| MARGUERITE RIVAS Pilgrimage (NEW) | ||||||||||||||||||
| MURIEL RUKEYSER Looking at Each Other | ||||||||||||||||||
| WILLIAM SHAKESPEARE Sonnet 18: Shall I Compare Thee to a Summer’s Day? | ||||||||||||||||||
| WILLIAM SHAKESPEARE Sonnet 30: When to the Sessions of Sweet Silent Thought | ||||||||||||||||||
| ALFRED, LORD TENNYSON Break, Break, Break (NEW) ELIZABETH TUDOR, QUEEN ELIZABETH I On Monsieur’s Departure | ||||||||||||||||||
| MONA VAN DUYN Earth Tremors Felt in Missouri | ||||||||||||||||||
| DIANE WAKOSKI Inside Out (NEW) | ||||||||||||||||||
| WALT WHITMAN Facing West from California’s Shores | ||||||||||||||||||
| WILLIAM WORDSWORTH London, 1802 | ||||||||||||||||||
| SIR THOMAS WYATT I Find No Peace | ||||||||||||||||||
| Writing Topics About Figures of Speech | ||||||||||||||||||
| Illustrative Student Paragraph: Wordsworth’s Use of Overstatement in “London, 1802” Commentary on the Paragraph | ||||||||||||||||||
| Illustrative Student Essay: A Study of Shakespeare’s Metaphors in Sonnet 30: “When to the Sessions of Sweet Silent Thought” Commentary on the Essay | ||||||||||||||||||
| Writing Topics About Figures of Speech in Poetry | ||||||||||||||||||
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| ||||||||||||||||||
| 15 TONE: THE CREATION OF ATTITUDE IN POETRY | ||||||||||||||||||
| Tone, Choice, and Response | ||||||||||||||||||
| CORNELIUS WHUR The First-Rate Wife | ||||||||||||||||||
| Tone and the Need for Control | ||||||||||||||||||
| WILFRED OWEN Dulce et Decorum Est | ||||||||||||||||||
| Tone and Common Grounds of Assent | ||||||||||||||||||
| Tone in Conversation and Poetry | ||||||||||||||||||
| Tone and Irony | ||||||||||||||||||
| THOMAS HARDY The Workbox | ||||||||||||||||||
| Tone and Satire | ||||||||||||||||||
| ALEXANDER POPE Epigram from the French | ||||||||||||||||||
| ALEXANDER POPE Epigram, Engraved on the Collar of a Dog Which I Gave to His Royal Highness | ||||||||||||||||||
| POEMS FOR STUDY | ||||||||||||||||||
| W. H. AUDEN The Unknown Citizen | ||||||||||||||||||
| WILLIAM BLAKE On Another’s Sorrow | ||||||||||||||||||
| JIMMY CARTER I Wanted to Share My Father’s World | ||||||||||||||||||
| LUCILLE CLIFTON homage to my hips | ||||||||||||||||||
| BILLY COLLINS The Names | ||||||||||||||||||
| COUNTEE CULLEN Yet Do I Marvel (NEW) | ||||||||||||||||||
| E. E. CUMMINGS she being Brand / -new | ||||||||||||||||||
| MARTIN ESPADA Bully | ||||||||||||||||||
| MARI EVANS I Am a Black Woman | ||||||||||||||||||
| SEAMUS HEANEY Mid-Term Break | ||||||||||||||||||
| WILLIAM ERNEST HENLEY When You Are Old | ||||||||||||||||||
| DAVID IGNATOW The Bagel (NEW) | ||||||||||||||||||
| YUSEF KOMUNYAKAA Facing It (NEW) | ||||||||||||||||||
| ABRAHAM LINCOLN My Childhood’s Home | ||||||||||||||||||
| CHRISTOPHER OKIGBO Bright (NEW) | ||||||||||||||||||
| SHARON OLDS The Planned Child | ||||||||||||||||||
| ARTHUR O'SHAUGHNESSY A Love Symphony (NEW) | ||||||||||||||||||
| ROBERT PINSKY Dying | ||||||||||||||||||
| SALVATORE QUASÍMODO Auschwitz | ||||||||||||||||||
| THEODORE ROETHKE My Papa’s Waltz | ||||||||||||||||||
| WILLIAM SHAKESPEARE Fear No More the Heat o' th' Sun | ||||||||||||||||||
| CATHY SONG Lost Sister | ||||||||||||||||||
| C. K. WILLIAMS Dimensions | ||||||||||||||||||
| WILLIAM WORDSWORTH The Solitary Reaper | ||||||||||||||||||
| JAMES WRIGHT Autumn Begins in Martins Ferry, Ohio (NEW) | ||||||||||||||||||
| JAMES WRIGHT Two Hangovers (NEW) | ||||||||||||||||||
| WILLIAM BUTLER YEATS When You Are Old | ||||||||||||||||||
| Writing About Tone in Poetry | ||||||||||||||||||
| Illustrative Student Essay: The Speaker’s Attitudes in Sharon Olds’s “The Planned Child” Commentary on the Essay | ||||||||||||||||||
| Writing Topics About Tone in Poetry | ||||||||||||||||||
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| ||||||||||||||||||
| 16 FORM: THE SHAPE OF POEMS | ||||||||||||||||||
| Closed-Form Poetry | ||||||||||||||||||
| ALFRED, LORD TENNYSON The Eagle | ||||||||||||||||||
| ANONYMOUS Spun in High, Dark Clouds | ||||||||||||||||||
| WILLIAM SHAKESPEARE Sonnet 116: Let Me Not to the Marriage of True Minds | ||||||||||||||||||
| Open-Form Poetry | ||||||||||||||||||
| WALT WHITMAN When I Heard the Learn’d Astronomer (NEW) | ||||||||||||||||||
| Visualizing Poetry: Poetry and Artistic Expression: Visual Poetry, Concrete Poetry, and Prose Poems | ||||||||||||||||||
| E. E. CUMMINGS Buffalo Bill’s Defunct | ||||||||||||||||||
| WILLIAM HEYEN Mantle | ||||||||||||||||||
| MAY SWENSON Women | ||||||||||||||||||
| CAROLYN FORCHÉ The Colonel | ||||||||||||||||||
| POEMS FOR STUDY | ||||||||||||||||||
| JOHN BERRYMAN Dream Song 14 (NEW) | ||||||||||||||||||
| ELIZABETH BISHOP One Art | ||||||||||||||||||
| ELIZABETH BISHOP Sestina (NEW) | ||||||||||||||||||
| BILLY COLLINS Sonnet | ||||||||||||||||||
| JOHN DRYDEN To the Memory of Mr. Oldham | ||||||||||||||||||
| LAWRENCE FERLINGHETTI, Constantly Risking Absurdity (NEW) | ||||||||||||||||||
| ROBERT FROST Desert Places | ||||||||||||||||||
| ALLEN GINSBERG A Supermarket in California | ||||||||||||||||||
| GEORGE HERBERT Virtue | ||||||||||||||||||
| BEN JONSON To Celia (NEW) | ||||||||||||||||||
| JOHN KEATS Ode to a Nightingale | ||||||||||||||||||
| YUSEF KOMUNYAKAA Grenade | ||||||||||||||||||
| CLAUDE McKAY In Bondage | ||||||||||||||||||
| JOHN MILTON On His Blindness (When I Consider How My Light Is Spent) | ||||||||||||||||||
| DUDLEY RANDALL Ballad of Birmingham | ||||||||||||||||||
| THEODORE ROETHKE The Waking | ||||||||||||||||||
| PERCY BYSSHE SHELLEY Ozymandias | ||||||||||||||||||
| DYLAN THOMAS Do Not Go Gentle into That Good Night | ||||||||||||||||||
| JEAN TOOMER Reapers | ||||||||||||||||||
| PHYLLIS WEBB Poetics Against the Angel of Death | ||||||||||||||||||
| WALT WHITMAN Reconciliation (NEW) | ||||||||||||||||||
| WILLIAM CARLOS WILLIAMS The Dance | ||||||||||||||||||
| Writing About Form in Poetry | ||||||||||||||||||
| Illustrative Student Essay: Form and Meaning in George Herbert’s “Virtue” | ||||||||||||||||||
| Commentary on the Essay Writing Topics About Poetic Form | ||||||||||||||||||
|
| ||||||||||||||||||
| 17 SYMBOLISM AND ALLUSION: WINDOWS TO WIDE EXPANSES OF MEANING | ||||||||||||||||||
| Symbolism and Meanings | ||||||||||||||||||
| VIRGINIA SCOTT Snow | ||||||||||||||||||
| The Function of Symbolism in Poetry | ||||||||||||||||||
| Allusions and Meaning | ||||||||||||||||||
| Studying for Symbols and Allusions | ||||||||||||||||||
| POEMS FOR STUDY | ||||||||||||||||||
| AMIRI BARAKA Legacy (NEW) | ||||||||||||||||||
| EMILY BRONTË No Coward Soul Is Mine | ||||||||||||||||||
| MARILYN CHIN Autumn Leaves (NEW) | ||||||||||||||||||
| LUCILLE CLIFTON cutting greens (NEW) | ||||||||||||||||||
| ARTHUR HUGH CLOUGH Say Not the Struggle Nought Availeth | ||||||||||||||||||
| JOHN DONNE The Canonization | ||||||||||||||||||
| STEPHEN DUNN Hawk | ||||||||||||||||||
| ISABELLA GARDNER Collage of Echoes | ||||||||||||||||||
| DAN GEORGAKIS Hiroshima Crewman | ||||||||||||||||||
| THOMAS HARDY In Time of “The Breaking of Nations” | ||||||||||||||||||
| GEORGE HERBERT The Collar | ||||||||||||||||||
| ROBINSON JEFFERS The Purse-Seine | ||||||||||||||||||
| JOHN KEATS La Belle Dame Sans Merci: A Ballad | ||||||||||||||||||
| X. J. KENNEDY Old Men Pitching Horseshoes | ||||||||||||||||||
| ANDREW MARVELL To His Coy Mistress | ||||||||||||||||||
| CAROL MUSKE DUKES Real Estate (NEW) | ||||||||||||||||||
| MARY OLIVER Wild Geese | ||||||||||||||||||
| KAY RYAN We're Building the Ship as We Sail It | ||||||||||||||||||
| GARY SNYDER Milton by Firelight | ||||||||||||||||||
| JUDITH VIORST A Wedding Sonnet for the Next Generation | ||||||||||||||||||
| WALT WHITMAN A Noiseless Patient Spider | ||||||||||||||||||
| RICHARD WILBUR Year's End | ||||||||||||||||||
| WILLIAM BUTLER YEATS The Second Coming | ||||||||||||||||||
| Writing About Symbolism and Allusion in Poetry | ||||||||||||||||||
| Illustrative Student Essay: Symbolism in Oliver's "Wild Geese" Commentary on the Essay | ||||||||||||||||||
| Writing Topics About Symbolism and Allusion in Poetry | ||||||||||||||||||
|
| ||||||||||||||||||
| 18 FOUR MAJOR AMERICAN POETS: EMILY DICKINSON, ROBERT FROST, LANGSTON HUGHES, AND SYLVIA PLATH | ||||||||||||||||||
| EMILY DICKINSON’S Life and Work | ||||||||||||||||||
| Topics for Writing About the Poetry of Emily Dickinson | ||||||||||||||||||
| POEMS BY EMILY DICKINSON (ALPHABETICALLY ARRANGED) | ||||||||||||||||||
| A Narrow Fellow in the Grass (J986, F1096) (NEW) | ||||||||||||||||||
| After Great Pain, a Formal Feeling Comes (J341, F372) | ||||||||||||||||||
| Because I Could Not Stop for Death (J712, F479) (Included in Chapter 11, p. ) | ||||||||||||||||||
| The Bustle in a House (J1078, F1108) | ||||||||||||||||||
| "Faith" Is a Fine Invention (J185, F202) (NEW) | ||||||||||||||||||
| I Cannot Live with You (J640, F706) | ||||||||||||||||||
| I Died for Beauty – But Was Scarce (J449, F448) | ||||||||||||||||||
| I Dwell in Possibility (F466, J657) | ||||||||||||||||||
| I Felt a Funeral in My Brain (J280, F340) | ||||||||||||||||||
| I Heard a Fly Buzz – When I Died (J465, F591) | ||||||||||||||||||
| I Like to See It Lap the Miles (J585, F383) | ||||||||||||||||||
| I’m Nobody! Who Are You? (J288, F260) | ||||||||||||||||||
| I Never Lost as Much but Twice (J49, F39) | ||||||||||||||||||
| I Taste a Liquor Never Brewed (J214, F207) | ||||||||||||||||||
| Much Madness Is Divinest Sense (J435, F620) | ||||||||||||||||||
| My Life Closed Twice Before Its Close (J1732, F1773) | ||||||||||||||||||
| One Need Not Be a Chamber – To Be Haunted (J670, F407) | ||||||||||||||||||
| Safe in Their Alabaster Chambers (J216, F124) | ||||||||||||||||||
| Some Keep the Sabbath Going to Church (J324, F236) | ||||||||||||||||||
| The Soul Selects Her Own Society (J303, F409) | ||||||||||||||||||
| Success Is Counted Sweetest (J67, F112) | ||||||||||||||||||
| Tell All the Truth but Tell It Slant (J1129, F1263) | ||||||||||||||||||
| There Is No Frigate Like a Book (J1263, F1286) (NEW) | ||||||||||||||||||
| There’s a Certain Slant of Light (J258, F320) | ||||||||||||||||||
| Triumph May Be of Several Kinds (J455, F680) | ||||||||||||||||||
| ¿ ¿Wild Nights – Wild Nights! (J249, F269) | ||||||||||||||||||
| Edited Selections from Criticism of Dickinson’s Poems | ||||||||||||||||||
| 1. From “Orthodox Modernisms” | ||||||||||||||||||
| 2. From “The Landscape of the Spirit” | ||||||||||||||||||
| 3. From “The American Plain Style” | ||||||||||||||||||
| 4. From “The Histrionic Imagination” | ||||||||||||||||||
| 5. From “The Gothic Mode” | ||||||||||||||||||
| ROBERT FROST’S LIFE AND WORK | ||||||||||||||||||
| Writing Topics About the Poetry of Robert Frost | ||||||||||||||||||
| POEMS BY ROBERT FROST (CHRONOLOGICALLY ARRANGED) | ||||||||||||||||||
| In White (1912) (NEW) | ||||||||||||||||||
| Mending Wall (1914) | ||||||||||||||||||
| After Apple-Picking (1915) (NEW) | ||||||||||||||||||
| Birches (1915) | ||||||||||||||||||
| The Road Not Taken (1915) | ||||||||||||||||||
| ”Out, Out—” (1916) | ||||||||||||||||||
| The Oven Bird (1916) | ||||||||||||||||||
| Fire and Ice (1920) | ||||||||||||||||||
| Stopping by Woods on a Snowy Evening (1923) (In Chapter 11, p. ) | ||||||||||||||||||
| Nothing Gold Can Stay (1923) | ||||||||||||||||||
| Acquainted with the Night (1928) | ||||||||||||||||||
| Desert Places (1936) (In Chapter 16, p. ) | ||||||||||||||||||
| Design (1936) | ||||||||||||||||||
| The Silken Tent (1936) | ||||||||||||||||||
| The Gift Outright (1941) | ||||||||||||||||||
| LANGSTON HUGHES’S LIFE AND WORK | ||||||||||||||||||
| Writing Topics About the Poetry of Langston Hughes | ||||||||||||||||||
| POEMS by LANGSTON HUGHES (ALPHABETICALLY ARRANGED) | ||||||||||||||||||
| Bad Man (NEW) | ||||||||||||||||||
| Ballad of the Landlord | ||||||||||||||||||
| Dead in There | ||||||||||||||||||
| Dream Boogie (NEW) | ||||||||||||||||||
| Dream Variations | ||||||||||||||||||
| Harlem | ||||||||||||||||||
| I, Too (NEW) | ||||||||||||||||||
| Let America Be America Again | ||||||||||||||||||
| Negro | ||||||||||||||||||
| The Negro Speaks of Rivers | ||||||||||||||||||
| 125th Street | ||||||||||||||||||
| Po’ Boy Blues | ||||||||||||||||||
| Subway Rush Hour | ||||||||||||||||||
| Theme for English B | ||||||||||||||||||
| The Weary Blues | ||||||||||||||||||
| SYLVIA PLATH’S LIFE AND WORK | ||||||||||||||||||
| Writing Topics About the Poetry of Sylvia Plath | ||||||||||||||||||
| POEMS BY SYLVIA PLATH (ALPHABETICALLY ARRANGED) | ||||||||||||||||||
| Ariel | ||||||||||||||||||
| The Colossus | ||||||||||||||||||
| Cut | ||||||||||||||||||
| Daddy | ||||||||||||||||||
| Edge | ||||||||||||||||||
| The Hanging Man | ||||||||||||||||||
| Lady Lazarus | ||||||||||||||||||
| Last Words | ||||||||||||||||||
| Metaphors | ||||||||||||||||||
| Mirror | ||||||||||||||||||
| The Rival | ||||||||||||||||||
| Song for a Summer’s Day | ||||||||||||||||||
| Tulips | ||||||||||||||||||
|
| ||||||||||||||||||
| 19 COLLECTION OF POEMS FOR ADDITIONAL STUDY AND ENJOYMENT | ||||||||||||||||||
| Ai (FLORENCE ANTHONY) Conversation | ||||||||||||||||||
| ANNA AKHMATOVA Willow SHERMAN ALEXIE On the Amtrak from Boston to New York City | ||||||||||||||||||
| AGHA SHAHID ALI Postcard from Kashmir (NEW) | ||||||||||||||||||
| JULIA ALVAREZ Woman’s Work (NEW) | ||||||||||||||||||
| MAYA ANGELOU Still I Rise | ||||||||||||||||||
| ANONYMOUS (NAVAJO) Healing Prayer from the Beautyway Chant | ||||||||||||||||||
| MATTHEW ARNOLD Dover Beach | ||||||||||||||||||
| MARGARET ATWOOD You fit into me (NEW) | ||||||||||||||||||
| W. H. AUDEN Musée des Beaux Arts | ||||||||||||||||||
| LOUISE BOGAN Women | ||||||||||||||||||
| JORGE LUIS BORGES The Art of Poetry | ||||||||||||||||||
| ANNE BRADSTREET The Author to Her Book (NEW) | ||||||||||||||||||
| ANNE BRADSTREET To My Dear and Loving Husband EMILY BRONTE Love and Friendship | ||||||||||||||||||
| GWENDOLYN BROOKS We Real Cool | ||||||||||||||||||
| ROBERT BROWNING My Last Duchess ELIZABETH BARRETT BROWNING Sonnets from the Portuguese: Number 43, How Do I Love Thee | ||||||||||||||||||
| GEORGE GORDON, LORD BYRON She Walks in Beauty | ||||||||||||||||||
| BILLY COLLINS Days | ||||||||||||||||||
| STEPHEN CRANE Do Not Weep, Maiden, for War Is Kind | ||||||||||||||||||
| E. E. CUMMINGS anyone lived in a pretty how town (NEW) | ||||||||||||||||||
| E. E. CUMMINGS if there are any heavens | ||||||||||||||||||
| JOHN DONNE Holy Sonnet 10: Death Be Not Proud | ||||||||||||||||||
| RITA DOVE Daystar (NEW) | ||||||||||||||||||
| SIR EDWARD DYER My Mind to Me a Kingdom Is (NEW) | ||||||||||||||||||
| BOB DYLAN The Times They Are a-Changin' (NEW) | ||||||||||||||||||
| T. S. ELIOT The Love Song of J. Alfred Prufrock | ||||||||||||||||||
| MARTíN ESPADA Latin Night at the Pawnshop (NEW) | ||||||||||||||||||
| RHINA ESPAILLAT Bilingual/Bilingue (NEW) CHIEF DAN GEORGE The Beauty of the Trees | ||||||||||||||||||
| NIKKI GIOVANNI Poetry DANIEL HALPERN Snapshot of Hué | ||||||||||||||||||
| THOMAS HARDY The Ruined Maid FRANCES E. W. HARPER She’s Free! | ||||||||||||||||||
| ROBERT HASS Spring Rain | ||||||||||||||||||
| ROBERT HAYDEN Those Winter Sundays | ||||||||||||||||||
| ROBERT HERRICK Corinna's Going A-Maying (NEW) | ||||||||||||||||||
| JANET HOLMES Cinquains for Rocky (NEW) | ||||||||||||||||||
| A. D. HOPE Advice to Young Ladies | ||||||||||||||||||
| GERARD MANLEY HOPKINS Pied Beauty A. E. HOUSMAN When I was one-and-twenty (NEW) | ||||||||||||||||||
| ROBINSON JEFFERS The Answer | ||||||||||||||||||
| DONALD JUSTICE On the Death of Friends in Childhood DONALD JUSTICE Order in the Streets (NEW) | ||||||||||||||||||
| JOHN KEATS Ode on a Grecian Urn | ||||||||||||||||||
| GALWAY KINNELL After Making Love We Hear Footsteps | ||||||||||||||||||
| YAHIA LABABIDI What Do Animals Dream? | ||||||||||||||||||
| PHILLIP LARKIN Talking in Bed (NEW) | ||||||||||||||||||
| LI-YOUNG LEE A Final Thing | ||||||||||||||||||
| AUDRE LORDE Now That I am Forever with Child (NEW) | ||||||||||||||||||
| AMY LOWELL Patterns MAGUS MAGNUS Antaeus/Anchises (NEW) | ||||||||||||||||||
| EDNA ST. VINCENT MILLAY Travel (NEW) | ||||||||||||||||||
| EDNA ST. VINCENT MILLAY What Lips My Lips Have Kissed, and Where, and Why | ||||||||||||||||||
| N. SCOTT MOMADAY The Bear | ||||||||||||||||||
| HOWARD NEMEROV Life Cycle of Common Man | ||||||||||||||||||
| JIM NORTHRUP wahbegan SHARON OLDS The Moment the Two Worlds Meet (NEW) | ||||||||||||||||||
| SIMON ORTIZ A Story of How a Wall Stands | ||||||||||||||||||
| DOROTHY PARKER Afternoon (NEW) | ||||||||||||||||||
| DOROTHY PARKER Résumé | ||||||||||||||||||
| LINDA PASTAN Marks | ||||||||||||||||||
| MARGE PIERCY The Secretary Chant | ||||||||||||||||||
| EDGAR ALLAN POE Annabel Lee | ||||||||||||||||||
| EDGAR ALLAN POE The Raven | ||||||||||||||||||
| EZRA POUND A Girl (NEW) | ||||||||||||||||||
| ADRIENNE RICH Aunt Jennifer’s Tigers (NEW) | ||||||||||||||||||
| ADRIENNE RICH Living in Sin (NEW) | ||||||||||||||||||
| ALBERTO RÍOS The Vietnam Wall | ||||||||||||||||||
| LUIS OMAR SALINAS In a Farmhouse | ||||||||||||||||||
| CARL SANDBURG Chicago SIEGFRIED SASSOON Dreamers | ||||||||||||||||||
| BRENDA SEROTTE My Mother’s Face | ||||||||||||||||||
| ANNE SEXTON Cinderella (NEW) | ||||||||||||||||||
| WILLIAM SHAKESPEARE Sonnet 29: When in Disgrace with Fortune and Men’s Eyes | ||||||||||||||||||
| KARL SHAPIRO Auto Wreck | ||||||||||||||||||
| STEVIE SMITH Not Waving but Drowning | ||||||||||||||||||
| GARY SOTO Mexicans Begin Jogging (NEW) | ||||||||||||||||||
| GARY SOTO Oranges | ||||||||||||||||||
| WILLIAM STAFFORD Traveling Through the Dark | ||||||||||||||||||
| WALLACE STEVENS The Emperor of Ice-Cream | ||||||||||||||||||
| MAY SWENSON Question | ||||||||||||||||||
| DYLAN THOMAS A Refusal to Mourn the Death, by Fire, of a Child in London | ||||||||||||||||||
| JOHN UPDIKE Perfection Wasted | ||||||||||||||||||
| ALICE WALKER Revolutionary Petunias | ||||||||||||||||||
| PHILLIS WHEATLEY On Being Brought from Africa to America WALT WHITMAN Beat! Beat! Drums! | ||||||||||||||||||
| WALT WHITMAN Full of Life Now | ||||||||||||||||||
| WALT WHITMAN I Hear America Singing | ||||||||||||||||||
| RICHARD WILBUR Love Calls Us to the Things of This World | ||||||||||||||||||
| WILLIAM CARLOS WILLIAMS The Red Wheelbarrow | ||||||||||||||||||
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| 19A WRITING A RESEARCH ESSAY ON POETRY | ||||||||||||||||||
| Topics to Discover in Research | ||||||||||||||||||
| Illustrative Student Essay Written with the Aid of Research: “Beat! Beat! Drums!” and “I Hear America Singing”: Two Whitman Poems Spanning the Civil War | ||||||||||||||||||
| Commentary on the Essay Using Sources Effectively: Quoting Texts to Illustrate Your Point | ||||||||||||||||||
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| ||||||||||||||||||
| PART IV READING AND WRITING ABOUT DRAMA
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| 20 THE DRAMATIC VISION: AN OVERVIEW | ||||||||||||||||||
| Drama as Literature | ||||||||||||||||||
| Performance: The Unique Aspect of Drama | ||||||||||||||||||
| Drama from Ancient Times to Our Own: Tragedy, Comedy, and Additional Forms | ||||||||||||||||||
| ANONYMOUS The Visit to the Sepulcher (Visitatio Sepulchri) | ||||||||||||||||||
| Visualizing Plays: Imagining Dramatic Scenes and Actions | ||||||||||||||||||
| PLAYS FOR STUDY | ||||||||||||||||||
| SUSAN GLASPELL Trifles | ||||||||||||||||||
| In a small farmhouse kitchen early in the twentieth century, the wives of men investigating a murder discover significant evidence that forces them to make an urgent decision. DAVID HENRY HWANG Trying to find Chinatown (NEW) | ||||||||||||||||||
| Two young men meet in New York City and engage in a surprising dialogue about racial identity. JANE MARTIN Beauty | ||||||||||||||||||
| As Carla and Bethany talk together, they go through a transformational experience. EUGENE O’NEILL Before Breakfast | ||||||||||||||||||
| What happens to people facing disappointment, anger, alienation, and lost hope? Writing About the Elements of Drama | ||||||||||||||||||
| Referring to Plays and Parts of Plays | ||||||||||||||||||
| Illustrative Student Essay: Eugene O’Neill’s Use of Negative Descriptions and Stage Directions in Before Breakfast as a Means of Revealing Character | ||||||||||||||||||
| Commentary on the Essay Using Sources Effectively: Paraphrasing to Make Sure Readers Understand the Work Writing Topics About the Elements of Drama | ||||||||||||||||||
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| 21 THE TRAGIC VISION: AFFIRMATION THROUGH LOSS | ||||||||||||||||||
| The Origins of Tragedy | ||||||||||||||||||
| The Ancient Athenian Competitions in Tragedy | ||||||||||||||||||
| The Origin of Tragedy in Brief | ||||||||||||||||||
| Aristotle and the Nature of Tragedy | ||||||||||||||||||
| Aristotle’s View of Tragedy in Brief | ||||||||||||||||||
| Irony in Tragedy | ||||||||||||||||||
| The Ancient Athenian Audience and Theater | ||||||||||||||||||
| Ancient Greek Tragic Actors and Their Costumes | ||||||||||||||||||
| Performance and the Formal Organization of Greek Tragedy | ||||||||||||||||||
| PLAYS FOR STUDY | ||||||||||||||||||
| SOPHOCLES Oedipus The King | ||||||||||||||||||
| A woman must choose between her family obligations and loyalty to the state. Renaissance Drama and Shakespeare’s Theater | ||||||||||||||||||
| WILLIAM SHAKESPEARE The Tragedy of Hamlet, Prince of Denmark | ||||||||||||||||||
| An initial act of evil is like an infestation. Tragedy from Shakespeare to Arthur Miller | ||||||||||||||||||
| Death of a Salesman: Tragedy, Symbolism, and Broken Dreams | ||||||||||||||||||
| ARTHUR MILLER Death of a Salesman | ||||||||||||||||||
| With all his hopes unfulfilled, Willy Loman still clings to his dreams. Writing About Tragedy | ||||||||||||||||||
| Illustrative Student Essay: The Problem of Hamlet’s Apparent Delay | ||||||||||||||||||
| Commentary on the Essay Using Sources Effectively: Quoting Texts to Illustrate Your Key Point Writing Topics About Tragedy | ||||||||||||||||||
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| 22 THE COMIC VISION: RESTORING THE BALANCE | ||||||||||||||||||
| The Origins of Comedy | ||||||||||||||||||
| Comedy from Roman Times to the Renaissance | ||||||||||||||||||
| The Patterns, Characters, and Language of Comedy | ||||||||||||||||||
| Types of Comedy | ||||||||||||||||||
| PLAYS FOR STUDY WILLIAM SHAKESPEARE A Midsummer Night’s Dream The problems of lovers are resolved through the magic of the natural world, not through custom and law.
A young Hispanic man finds sweet, humorous way to memorialize his lost father. | ||||||||||||||||||
| Comedy Since Shakespeare | ||||||||||||||||||
| Writing About Comedy | ||||||||||||||||||
| Illustrative Student Essay: Setting as Symbol and Comic Structure in Shakespeare’s A Midsummer Night’s Dream Commentary on the Essay | ||||||||||||||||||
| Writing Topics About Comedy | ||||||||||||||||||
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| ||||||||||||||||||
| 23 VISIONS OF DRAMATIC REALITY AND NONREALITY: VARYING THE IDEA OF DRAMA AS IMITATION | ||||||||||||||||||
| Realism and Nonrealism in Drama | ||||||||||||||||||
| Elements of Realistic and Nonrealistic Drama | ||||||||||||||||||
| PLAYS FOR STUDY | ||||||||||||||||||
| Langston Hughes Biography | ||||||||||||||||||
| Hughes and the African American Theater After 1920 | ||||||||||||||||||
| Hughes’s Career as a Dramatist | ||||||||||||||||||
| Mulatto and the Reality of the Southern Black Experience | ||||||||||||||||||
| LANGSTON HUGHES Mulatto | ||||||||||||||||||
| On a Southern plantation in the 1930s, a young man tries to assert his rights, but there are those who will not grant him any rights at all. EDWARD BOK LEE El Santo Americano (NEW) A professional wrestler tries to forge a better life for himself and his family. TENNESSEE WILLIAMS The Glass Menagerie | ||||||||||||||||||
| Tom would like to escape the memory of his home life, in which he finds only confusion and entrapment. August Wilson Biography | ||||||||||||||||||
| The Background of Fences AUGUST WILSON Fences | ||||||||||||||||||
| Troy Maxson, who as a young athlete could knock baseballs over fences, has led a life enclosed by other fences. Writing About Realistic and Nonrealistic Drama | ||||||||||||||||||
| Illustrative Student Essay: Realism and Nonrealism in Tom’s Triple Role in The Glass Menagerie Commentary on the Essay | ||||||||||||||||||
| Writing Topics About Dramatic Reality and Nonreality | ||||||||||||||||||
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| ||||||||||||||||||
| 24 HENRIK IBSEN AND THE REALISTIC PROBLEM PLAY: A DOLLHOUSE | ||||||||||||||||||
| Ibsen’s Life and Early Work | ||||||||||||||||||
| Ibsen’s Major Prose Plays | ||||||||||||||||||
| A Dollhouse: Ibsen’s Best-Known Problem Play | ||||||||||||||||||
| Ibsen’s Symbolism in A Dollhouse | ||||||||||||||||||
| A Dollhouse as a “Well-Made Play” | ||||||||||||||||||
| The Timeliness and Dramatic Power of A Dollhouse | ||||||||||||||||||
| Bibliographic Studies | ||||||||||||||||||
| HENRIK IBSEN A Dollhouse (Et Dukkehjem) | ||||||||||||||||||
| In their seemingly perfect household, Nora and Torvald discover the severe differences between them. Edited Selections from Criticism of Ibsen’s A Dollhouse and Other Plays | ||||||||||||||||||
| 1. Freedom, Truth, and Society—Rhetoric and Reality | ||||||||||||||||||
| 2. Ibsen’s Feminist Characters | ||||||||||||||||||
| 3. A Marxist Approach to A Dollhouse | ||||||||||||||||||
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| 24A WRITING A RESEARCH ESSAY ON DRAMA | ||||||||||||||||||
| Topics to Discover in Research | ||||||||||||||||||
| Illustrative Student Essay Written with the Aid of Research: “The Ghost in Hamlet” | ||||||||||||||||||
| Commentary on the Essay Using Sources Effectively: Summarizing Sources Lends Authority to Your Argument | ||||||||||||||||||
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