| Thematic Table of Contents |
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xxxvii | |
| Preface to the Sixth Edition |
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xlvii | |
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Introduction: Reading, Responding to, and Writing About Literature |
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1 | (50) |
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What Is Literature, and Why Do We Study It? |
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1 | (1) |
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Types of Literature: The Genres |
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2 | (1) |
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Reading Literature and Responding to It Actively |
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3 | (1) |
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4 | (8) |
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Reading and Responding in a Journal |
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12 | (3) |
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Writing Essays on Literary Topics |
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15 | (2) |
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17 | (4) |
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21 | (3) |
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24 | (3) |
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27 | (1) |
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Demonstrative Student Essay, First Draft: How Setting in ``The Necklace'' Is Related to the Character of Mathilde |
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28 | (1) |
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Developing and Strengthening Your Essay through Revision |
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29 | (4) |
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Checking the Development and Organization of Your Ideas |
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33 | (1) |
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Using Exact, Comprehensive, and Forceful Language |
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34 | (3) |
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Demonstrative Student Essay, Improved Draft: Maupassant's Use of Setting in ``The Necklace'' to Show the Character of Mathilde |
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37 | (2) |
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39 | (1) |
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Special Topics for Writing and Argument about the Writing Process |
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40 | (1) |
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Responding to Literature: Likes and Dislikes |
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40 | (2) |
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State Reasons for Your Favorable Responses |
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42 | (1) |
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State Reasons for Your Unfavorable Responses |
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42 | (3) |
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Writing about Responses: Likes and Dislikes |
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45 | (1) |
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Demonstrative Student Essay, Final Draft: Some Reasons for Liking Maupassant's ``The Necklace,'' |
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46 | (2) |
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Special Topics for Writing and Argument about Responses to Literature |
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48 | (3) |
| Reading and Writing about Fiction |
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51 | (58) |
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52 | (1) |
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53 | (1) |
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Elements of Fiction I: Verisimilitude and Donnee |
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53 | (2) |
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Elements of Fiction II: Character, Plot, Structure, and Idea or Theme |
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55 | (2) |
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Elements of Fiction III: The Writer's Tools |
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57 | (6) |
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63 | (1) |
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63 | (4) |
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67 | (10) |
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77 | (12) |
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89 | (6) |
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95 | (7) |
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102 | (1) |
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Guidelines for Precis Writing |
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103 | (2) |
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105 | (1) |
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Demonstrative Student Essay: A Precis of Alice Walker's ``Everyday Use,'' |
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106 | (1) |
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Special Writing Topics for Writing and Argument about Fiction |
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107 | (2) |
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Plot and Structure: The Development and Organization of Stories |
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109 | (61) |
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Plot, the Motivation and Causation of Fiction |
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109 | (2) |
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111 | (1) |
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Formal Categories of Structure |
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112 | (1) |
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Formal and Actual Structure |
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113 | (2) |
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114 | (1) |
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115 | (18) |
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133 | (15) |
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What I Have Been Doing Lately |
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148 | (2) |
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150 | (6) |
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156 | (5) |
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Writing about the Plot of a Story |
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161 | (1) |
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Demonstrative Student Essay: Conflicting Values in Hardy's ``The Three Strangers,'' |
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162 | (2) |
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Writing about Structure in a Story |
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164 | (2) |
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Demonstrative Student Essay: Conflict and Suspense in Hardy's ``The Three Strangers,'' |
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166 | (2) |
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Special Topics for Writing and Argument about Plot and Structure |
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168 | (2) |
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Characters: The People in Fiction |
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170 | (70) |
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170 | (2) |
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How Authors Disclose Character in Literature |
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172 | (2) |
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Types of Characters: Round and Flat |
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174 | (1) |
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Reality and Probability: Verisimilitude |
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175 | (2) |
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176 | (1) |
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177 | (13) |
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190 | (12) |
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202 | (14) |
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216 | (10) |
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226 | (8) |
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234 | (2) |
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Demonstrative Student Essay: The Character of Minnie Wright in Glaspell's ``A Jury of Her Peers,'' |
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236 | (2) |
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Special Topics for Writing and Argument about Character |
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238 | (2) |
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Point of View: The Position or Stance of the Narrator or Speaker |
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240 | (45) |
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An Exercise in Point of View: Reporting an Accident |
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241 | (2) |
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Conditions That Affect Point of View |
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243 | (1) |
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Determining a Work's Point of View |
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244 | (3) |
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247 | (1) |
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Guidelines for Points of View |
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248 | (2) |
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249 | (1) |
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250 | (7) |
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An Occurrence at Owl Creek Bridge |
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257 | (7) |
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264 | (4) |
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268 | (6) |
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274 | (4) |
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Writing about Point of View |
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278 | (3) |
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Demonstrative Student Essay: Shirley Jackson's Dramatic Point of View in ``The Lottery,'' |
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281 | (2) |
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Special Topics for Writing and Argument about Point of View |
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283 | (2) |
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Setting: The Background of Place, Objects, and Culture in Stories |
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285 | (55) |
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285 | (2) |
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The Literary Uses of Setting |
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287 | (3) |
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290 | (1) |
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The House on Mango Street |
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290 | (2) |
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292 | (5) |
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297 | (25) |
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322 | (9) |
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331 | (4) |
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335 | (2) |
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Demonstrative Student Essay: The Setting of Conrad's ``The Secret Sharer,'' |
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337 | (2) |
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Special Topics for Writing and Argument about Setting |
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339 | (1) |
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Style: The Words That Tell the Story |
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340 | (40) |
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Diction: The Writer's Choice and Control of Words |
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340 | (4) |
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Rhetoric: The Writer's Choices of Effective Arrangements and Forms |
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344 | (3) |
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347 | (1) |
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347 | (1) |
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348 | (5) |
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353 | (7) |
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360 | (6) |
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366 | (3) |
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369 | (5) |
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374 | (2) |
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Demonstrative Student Essay: Mark Twain's Blending of Style and Purpose in Paragraphs 14 and 15 of ``Luck,'' |
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376 | (2) |
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Special Topics for Writing and Argument about Style |
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378 | (2) |
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Tone: The Expression of Attitude in Fiction |
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380 | (45) |
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382 | (1) |
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383 | (1) |
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384 | (3) |
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386 | (1) |
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387 | (6) |
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393 | (2) |
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The Concert Stages of Europe |
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395 | (13) |
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408 | (7) |
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415 | (4) |
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419 | (2) |
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Demonstrative Student Essay: Use of Irony in Chopin's ``The Story of an Hour,'' |
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421 | (3) |
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Special Topics for Writing and Argument about Tone |
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424 | (1) |
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Symbolism and Allegory: Keys to Extended Meaning |
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425 | (38) |
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425 | (3) |
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428 | (1) |
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429 | (1) |
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Allusion in Symbolism and Allegory |
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430 | (1) |
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431 | (1) |
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431 | (1) |
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432 | (1) |
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433 | (3) |
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436 | (9) |
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The Parable of the Prodigal Son |
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445 | (2) |
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447 | (7) |
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454 | (2) |
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Writing about Symbolism or Allegory |
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456 | (3) |
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Demonstrative Student Essay: Allegory and Symbolism in Hawthorne's ``Young Goodman Brown,'' |
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459 | (3) |
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Special Topics for Writing and Argument about Symbolism and Allegory |
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462 | (1) |
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Idea or Theme: The Meaning and the Message in Fiction |
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463 | (59) |
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463 | (2) |
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465 | (1) |
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The Place of Ideas in Literature |
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465 | (2) |
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467 | (3) |
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469 | (1) |
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470 | (5) |
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475 | (20) |
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495 | (4) |
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The Horse Dealer's Daughter |
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499 | (12) |
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511 | (5) |
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Writing about a Major Idea in Fiction |
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516 | (2) |
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Demonstrative Student Essay: D. H. Lawrence's ``The Horse Dealer's Daughter'' as an Expression of the Idea That Commitment Is Essential in Life |
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518 | (2) |
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Special Topics for Writing and Argument about Ideas |
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520 | (2) |
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A Career in Fiction: A Collection of Stories by Edgar Allan Poe |
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522 | (139) |
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522 | (2) |
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Poe's Work as a Journalist and Writer of Fiction |
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524 | (2) |
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526 | (1) |
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527 | (1) |
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Special Topics for Writing Writing and Argument about Poe |
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528 | (1) |
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Five Stories of Poe's Arranged in Chronological Order |
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528 | (1) |
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The Fall of the House of Usher (1839) |
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529 | (12) |
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The Masque of the Red Death (1842) |
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541 | (4) |
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545 | (6) |
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The Purloined Letter (1844) |
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551 | (12) |
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The Cask of Amontillado (1846) |
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563 | (4) |
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Edited Selections from Criticism of Poe's Stories |
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567 | (1) |
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Introduction to Great Short Works of Edgar Allan Poe |
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567 | (4) |
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Edgar Poe: Seer and Craftsman |
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571 | (4) |
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``Poe's Art of Transformation: `The Cask of Amontillado in Its Cultural Context,'' |
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575 | (6) |
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Introduction to Twentieth-Century Interpretations of ``The Fall of the House of Usher,'' |
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581 | (2) |
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``The Question of Poe's Narrators,'' |
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583 | (2) |
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``The Poetics of Extinction,'' |
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585 | (1) |
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Edgar Allan Poe Revisited |
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586 | (3) |
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Stories for Additional Study |
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589 | (6) |
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595 | (7) |
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602 | (4) |
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606 | (11) |
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617 | (11) |
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628 | (7) |
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A Good Man Is Hard to Find |
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635 | (11) |
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646 | (5) |
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The Jilting of Granny Weatherall |
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651 | (10) |
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| Reading and Writing about Poetry |
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Meeting Poetry: An Overview |
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661 | (25) |
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661 | (1) |
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661 | (2) |
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663 | (1) |
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664 | (2) |
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Poetry of the English Language |
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666 | (1) |
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666 | (2) |
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668 | (1) |
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668 | (3) |
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671 | (1) |
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Because I Could Not Stop for Death |
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671 | (1) |
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672 | (1) |
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Stopping by Woods on a Snowy Evening |
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673 | (1) |
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673 | (1) |
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674 | (1) |
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675 | (1) |
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The Death of the Ball Turret Gunner |
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676 | (1) |
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676 | (1) |
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677 | (1) |
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678 | (1) |
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Sonnet 55: Not Marble, Nor the Gilded Monuments |
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679 | (1) |
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Writing a Paraphrase of a Poem |
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679 | (1) |
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Demonstrative Student Essay: A Paraphrase of Thomas Hardy's ``The Man He Killed,'' |
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680 | (1) |
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Writing an Explication of a Poem |
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681 | (2) |
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Demonstrative Student Essay: An Explication of Hardy's ``The Man He Killed,'' |
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683 | (2) |
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Special Topics for Writing and Argument about the Nature of Poetry |
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685 | (1) |
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Character and Setting: Who, What, Where, and When in Poetry |
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686 | (33) |
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686 | (1) |
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687 | (1) |
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688 | (2) |
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Drink to Me, Only, with Thine Eyes |
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690 | (1) |
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691 | (1) |
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Setting and Character in Poetry |
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692 | (1) |
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693 | (1) |
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693 | (2) |
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695 | (1) |
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695 | (2) |
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697 | (1) |
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698 | (1) |
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Elegy Written in a Country Churchyard |
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698 | (4) |
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702 | (1) |
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703 | (1) |
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704 | (1) |
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The Passionate Shepherd to His Love |
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705 | (1) |
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706 | (1) |
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707 | (1) |
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The Nymph's Reply to the Shepherd |
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707 | (1) |
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708 | (1) |
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709 | (1) |
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710 | (1) |
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711 | (1) |
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Writing about Character and Setting in Poetry |
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712 | (3) |
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Demonstrative Student Essay: The Character of the Duke in Browning's ``My Last Duchess,'' |
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715 | (2) |
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Special Topics for Writing and Argument about Character and Setting in Poetry |
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717 | (2) |
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Words: The Building Blocks of Poetry |
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719 | (27) |
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Choice of Diction: Specific and Concrete, General and Abstract |
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719 | (1) |
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720 | (1) |
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721 | (3) |
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724 | (1) |
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Denotation and Connotation |
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725 | (1) |
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726 | (2) |
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728 | (1) |
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728 | (1) |
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729 | (1) |
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730 | (1) |
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Holy Sonnet 14: Batter My Heart, Three-Personed God |
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731 | (1) |
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The Fury of Aerial Bombardment |
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732 | (1) |
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Sonnet on the Death of Richard West |
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733 | (1) |
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734 | (1) |
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735 | (1) |
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736 | (1) |
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736 | (1) |
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737 | (1) |
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738 | (1) |
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I Think Continually of Those Who Were Truly Great |
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739 | (1) |
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Disillusionment of Ten O'Clock |
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739 | (1) |
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740 | (1) |
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Writing about Diction and Syntax in Poetry |
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741 | (1) |
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Demonstrative Student Essay: Extraordinary Definitions in Sir Stephen Spender's ``I Think Continually of Those Who Were Truly Great,'' |
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742 | (3) |
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Special Topics for Writing and Argument about the Words of Poetry |
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745 | (1) |
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Imagery: The Poem's Link to the Senses |
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746 | (28) |
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Responses and the Writers Use of Detail |
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746 | (1) |
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The Relationship of Imagery to Ideas and Attitudes |
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747 | (1) |
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Classification of Imagery |
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748 | (1) |
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748 | (2) |
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750 | (1) |
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751 | (3) |
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754 | (1) |
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754 | (1) |
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Sonnets from the Portuguese, No. 14: If Thou Must Love Me |
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755 | (1) |
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Elizabeth Barrett Browning |
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756 | (2) |
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On Our Crucified Lord, Naked and Bloody |
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758 | (1) |
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I Know I'm Not Sufficiently Obscure |
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758 | (1) |
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759 | (2) |
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761 | (1) |
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761 | (1) |
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762 | (1) |
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The Voice You Hear When You Read Silently |
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763 | (1) |
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764 | (2) |
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In a Station of the Metro |
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766 | (1) |
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If You Love for the Sake of Beauty |
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766 | (1) |
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Sonnet 130: My Mistress' Eyes Are Nothing Like the Sun |
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767 | (1) |
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``It's Only Rock and Roll but I Like It'': The Fall of Saigon |
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768 | (1) |
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768 | (2) |
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Demonstrative Student Essay: The Images of Masefield's ``Cargoes,'' |
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770 | (2) |
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Special Topics for Writing and Argument about Imagery in Poetry |
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772 | (2) |
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Figures of Speech, or Metaphorical Language: A Source of Depth and Range in Poetry |
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774 | (34) |
|
Metaphors and Similes: The Major Figures of Speech |
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774 | (2) |
|
Characteristics of Metaphorical Language |
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776 | (1) |
|
On First Looking into Chapman's Homer |
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777 | (1) |
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778 | (1) |
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779 | (2) |
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781 | (2) |
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783 | (1) |
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783 | (1) |
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A Valediction: Forbidding Mourning |
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784 | (2) |
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Eyes That Last I Saw in Tears |
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786 | (1) |
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The Iceberg Seven-eighths Under |
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786 | (1) |
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787 | (1) |
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788 | (1) |
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Portrait of a Figure Near Water |
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789 | (1) |
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790 | (1) |
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790 | (1) |
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791 | (1) |
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792 | (1) |
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793 | (1) |
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794 | (1) |
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Sonnet 18: Shall I Compare Thee to a Summer's Day? |
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795 | (1) |
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Sonnet 30: When to the Sessions of Sweet Silent Thought |
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795 | (1) |
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796 | (1) |
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Earth Tremors Felt in Missouri |
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797 | (1) |
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798 | (1) |
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Facing West from California's Shores |
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799 | (1) |
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799 | (1) |
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800 | (1) |
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Writing about Figures of Speech |
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801 | (3) |
|
Demonstrative Student Essay: Wordsworth's Use of Overstatement in ``London, 1802,'' |
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804 | (1) |
|
Demonstrative Student Essay: A Study of Shakespeare's Metaphors in Sonnet 30: ``When to the Sessions of Sweet Silent Thought,'' |
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804 | (2) |
|
Special Topics for Writing and Argument about Figures of Speech in Poetry |
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806 | (2) |
|
Tone: The Creation of Attitude in Poetry |
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808 | (33) |
|
Tone, Choice, and Response |
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808 | (1) |
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809 | (1) |
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Tone and the Need for Control |
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810 | (1) |
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810 | (2) |
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Tone and Common Grounds of Assent |
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812 | (1) |
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813 | (1) |
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814 | (2) |
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816 | (1) |
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816 | (1) |
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Epigram, Engraved on the Collar of a Dog which I gave to his Royal Highness |
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816 | (2) |
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817 | (1) |
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818 | (1) |
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819 | (1) |
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819 | (2) |
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821 | (1) |
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822 | (1) |
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John while swimming in the ocean |
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823 | (1) |
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824 | (1) |
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824 | (2) |
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826 | (1) |
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From Epilogue to the Satires, Dialogue I |
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827 | (2) |
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829 | (1) |
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830 | (1) |
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831 | (1) |
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A Description of the Morning |
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832 | (1) |
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833 | (1) |
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834 | (1) |
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|
Writing about Tone in Poetry |
|
|
835 | (2) |
|
Demonstrative Student Essay: The Shifting Attitudes of Sharon Olds's Speaker in ``The Planned Child,'' |
|
|
837 | (2) |
|
Special Topics for Writing and Argument about Tone in Poetry |
|
|
839 | (2) |
|
Prosody: Sound, Rhythm, and Rhyme in Poetry |
|
|
841 | (56) |
|
Important Definitions for Studying Prosody |
|
|
841 | (2) |
|
Segments: Individually Meaningful Sounds |
|
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843 | (1) |
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844 | (1) |
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845 | (4) |
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849 | (1) |
|
Accentual, Strong-Stress, and ``Sprung'' Rhythms |
|
|
849 | (1) |
|
The Caesura: The Pause Creating Variety and Natural Rhythms in Poetry |
|
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850 | (1) |
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851 | (2) |
|
Rhyme: The Duplication and Similarity of Sounds |
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853 | (1) |
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854 | (3) |
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857 | (1) |
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858 | (1) |
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858 | (1) |
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859 | (1) |
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860 | (1) |
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Macavity: The Mystery Cat |
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861 | (1) |
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862 | (1) |
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863 | (1) |
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863 | (1) |
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Let America Be America Again |
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864 | (2) |
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866 | (1) |
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867 | (1) |
|
William Wadsworth Longfellow |
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868 | (1) |
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869 | (2) |
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871 | (3) |
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|
From An Essay on Man, Epistle I, lines 17-90 |
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874 | (1) |
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875 | (2) |
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|
Sonnet 73: That Time of Year Thou May'st in Me Behold |
|
|
877 | (1) |
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877 | (3) |
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|
From Idylls of the King: The Passing of Arthur, lines 344-393 |
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880 | (1) |
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881 | (1) |
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882 | (4) |
|
The Passing of Arthur (fragment) |
|
|
886 | (3) |
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|
Demonstrative Student Essay: A Study of Tennyson's Rhythm and Segments in ``The Passing of Arthur,'' Lines 349-360 |
|
|
889 | (3) |
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892 | (1) |
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|
Demonstrative Student Essay: The Rhymes in Christina Rossetti's ``Echo,'' |
|
|
892 | (3) |
|
Special Topics for Writing and Argument about Rhythm and Rhyme in Poetry |
|
|
895 | (2) |
|
Form: The Shape of the Poem |
|
|
897 | (40) |
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897 | (2) |
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899 | (3) |
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|
Spun in High, Dark Clouds |
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902 | (1) |
|
Sonnet 116: Let Me Not to the Marriage of True Minds |
|
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903 | (1) |
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904 | (1) |
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905 | (1) |
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|
Visual and Concrete Poetry |
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906 | (1) |
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907 | (2) |
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908 | (1) |
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909 | (1) |
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910 | (1) |
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910 | (1) |
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To the Memory of Mr. Oldham |
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911 | (1) |
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912 | (1) |
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A Supermarket in California |
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913 | (1) |
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914 | (1) |
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915 | (1) |
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916 | (1) |
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917 | (1) |
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918 | (1) |
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919 | (2) |
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921 | (1) |
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When I Consider How My Light Is Spent |
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922 | (1) |
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923 | (1) |
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924 | (1) |
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925 | (1) |
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926 | (1) |
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|
Do Not Go Gentle Into That Good Night |
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927 | (1) |
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927 | (1) |
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928 | (1) |
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|
Poetics Against the Angel of Death |
|
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929 | (1) |
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930 | (1) |
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|
Writing about Form in Poetry |
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|
931 | (2) |
|
Demonstrative Student Essay: Form and Meaning in Herbert's ``Virtue,'' |
|
|
933 | (2) |
|
Special Topics for Writing and Argument about Poetic Form |
|
|
935 | (2) |
|
Symbolism and Allusion: Windows to a Wide Expanse of Meaning |
|
|
937 | (32) |
|
Symbolism and Meaning in Poetry |
|
|
937 | (2) |
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939 | (3) |
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|
Allusions and Poetic Meaning |
|
|
942 | (1) |
|
Studying for Symbols and Allusions |
|
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943 | (2) |
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944 | (1) |
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945 | (1) |
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946 | (2) |
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948 | (1) |
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948 | (2) |
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|
In Time of ``The Breaking of Nations,'' |
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950 | (1) |
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950 | (1) |
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951 | (2) |
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953 | (1) |
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954 | (2) |
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Old Men Pitching Horseshoes |
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956 | (1) |
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957 | (1) |
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A Noiseless Patient Spider |
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958 | (1) |
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958 | (2) |
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960 | (1) |
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961 | (1) |
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Writing about Symbolism and Allusion in Poetry |
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962 | (3) |
|
Demonstrative Student Essay: Symbolism and Allusion in Yeats's ``The Second Coming,'' |
|
|
965 | (2) |
|
Special Topics for Writing and Argument about Symbolism and Allusions in Poetry |
|
|
967 | (2) |
|
Myth: Systems of Symbolic Allusion in Poetry |
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|
969 | (33) |
|
Mythology as an Explanation of How Things Are |
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969 | (3) |
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972 | (2) |
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974 | (2) |
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|
Eight Poems Related to the Myth of Odysseus |
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976 | (1) |
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976 | (1) |
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977 | (1) |
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978 | (1) |
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979 | (1) |
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980 | (1) |
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980 | (1) |
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981 | (1) |
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982 | (2) |
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984 | (1) |
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Seven Poems Related to the Myth of Icarus |
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984 | (1) |
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985 | (1) |
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985 | (1) |
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986 | (1) |
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987 | (1) |
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988 | (1) |
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To a Friend Whose Work Has Come to Triumph |
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989 | (1) |
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990 | (1) |
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Landscape with the Fall of Icarus |
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990 | (1) |
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Three Poems Related to the Myth of the Phoenix |
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991 | (1) |
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911 | (81) |
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992 | (1) |
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992 | (1) |
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993 | (1) |
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Two Poems Related to the Myth of Oedipus |
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994 | (1) |
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994 | (1) |
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995 | (1) |
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995 | (1) |
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Writing about Myth in Poetry |
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996 | (2) |
|
Demonstrative Student Essay: Myth and Meaning in Dorothy Parker's ``Penelope,'' |
|
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998 | (2) |
|
Special Topics for Writing and Argument about Myth in Poetry |
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|
1000 | (2) |
|
Meaning: Idea and Theme in Poetry |
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1002 | (30) |
|
Meaning, Power, and Poetic Thought |
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|
1003 | (1) |
|
Problems in Understanding the Meaning of Poems |
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1004 | (1) |
|
Meaning and Poetic Techniques |
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1005 | (3) |
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1008 | (2) |
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1010 | (1) |
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1010 | (2) |
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next to of course god america i |
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1012 | (1) |
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A Song for St. Cecilia's Day |
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1012 | (3) |
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1015 | (1) |
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To the Virgins, to Make Much of Time |
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1016 | (1) |
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The Negro Speaks of Rivers |
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1016 | (1) |
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1017 | (1) |
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On the Death of Friends in Childhood |
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1018 | (1) |
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1018 | (3) |
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1021 | (1) |
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1022 | (1) |
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1023 | (1) |
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1024 | (1) |
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1025 | (1) |
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|
Writing about Theme and Meaning in Poetry |
|
|
1026 | (2) |
|
Demonstrative Student Essay: Metaphor and Meaning in Larkin's ``Next, Please,'' |
|
|
1028 | (2) |
|
Special Topics for Writing and Argument about Meaning in Poetry |
|
|
1030 | (2) |
|
Three Poetic Careers: William Wordsworth, Emily Dickinson and Robert Frost |
|
|
1032 | (83) |
|
William Wordsworth (1770-1850) |
|
|
1032 | (1) |
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|
|
1032 | (3) |
|
Wordsworth and Romanticism |
|
|
1035 | (1) |
|
|
|
1035 | (3) |
|
|
|
|
|
|
|
|
1038 | (1) |
|
Special Topics for Writing and Argument about the Poetry of Wordsworth |
|
|
1039 | (9) |
|
|
|
|
|
|
|
|
|
|
|
|
From The Prelude, Book I, Lines 301-474 |
|
|
1048 | |
|
Lines Composed a Few Miles above Tintern Abbey |
|
|
1044 | (4) |
|
|
|
|
Daffodils (I Wandered Lonely as a Cloud) |
|
|
1048 | (1) |
|
Lines Written in Early Spring |
|
|
1048 | (1) |
|
Ode: Intimations of Immortality from Recollections of Early Childhood |
|
|
1049 | (5) |
|
|
|
1054 | (1) |
|
|
|
1055 | (1) |
|
|
|
1056 | (1) |
|
|
|
1056 | (1) |
|
|
|
|
Composed upon Westminster Bridge, September 3, 1802 |
|
|
1057 | (1) |
|
I Grieved for Buonaparte with a Vain |
|
|
1058 | (1) |
|
It Is a Beauteous Evening |
|
|
1058 | (1) |
|
On the Extinction of the Venetian Republic |
|
|
1058 | (1) |
|
|
|
1059 | (1) |
|
|
|
1059 | (1) |
|
Emily Dickinson (1830-1886) |
|
|
1060 | (1) |
|
|
|
1060 | (2) |
|
|
|
1062 | (1) |
|
|
|
1063 | (2) |
|
|
|
1065 | (2) |
|
Special Topics for Writing and Argument about the Poetry of Dickinson |
|
|
1067 | (1) |
|
|
|
|
|
|
|
|
|
After Great Pain, a Formal Feeling Comes (Poem 341) |
|
|
1068 | (1) |
|
The Bustle in a House (Poem 1078) |
|
|
1068 | (1) |
|
``Faith'' Is a Fine Invention (Poem 185) |
|
|
1069 | (1) |
|
The Heart Is the Capital of the Mind (Poem 1354) |
|
|
1069 | (1) |
|
I Cannot Live with You (Poem 640) |
|
|
1069 | (1) |
|
I Died for Beauty---but Was Scarce (Poem 449) |
|
|
1070 | (1) |
|
I Felt a Funeral in My Brain (Poem 280) |
|
|
1071 | (1) |
|
I Heard a Fly Buzz---When I Died (Poem 465) |
|
|
1071 | (1) |
|
I Like to See It Lap the Miles (Poem 585) |
|
|
1072 | (1) |
|
I'm Nobody! Who Are You? (Poem 288) |
|
|
1072 | (1) |
|
I Never Felt at Home---Below---(Poem 413) |
|
|
1073 | (1) |
|
I Never Lost as Much But Twice (Poem 49) |
|
|
1073 | (1) |
|
I Taste a Liquor Never Brewed (Poem 214) |
|
|
1073 | (1) |
|
Much Madness Is Divinest Sense (Poem 435) |
|
|
1074 | (1) |
|
My Life Closed Twice Before Its Close (Poem 1732) |
|
|
1074 | (1) |
|
My Triumph Lasted Till the Drums (Poem 1227) |
|
|
1074 | (1) |
|
One Need Not Be a Chamber---To Be Haunted (Poem 670) |
|
|
1075 | (1) |
|
Safe in Their Alabaster Chambers (Poem 216) |
|
|
1075 | (1) |
|
Some Keep the Sabbath Going to Church (Poem 324) |
|
|
1076 | (1) |
|
The Soul Selects Her Own Society (Poem 303) |
|
|
1076 | (1) |
|
Success is Counted Sweetest (Poem 67) |
|
|
1077 | (1) |
|
Tell All the Truth, but Tell it Slant (Poem 1129) |
|
|
1077 | (1) |
|
There's a Certain Slant of Light (Poem 258) |
|
|
1077 | (1) |
|
This World Is Not Conclusion (Poem 501) |
|
|
1078 | (1) |
|
Wild Nights---Wild Nights! (Poem 249) |
|
|
1078 | (1) |
|
Edited Selections from Criticism of Dickinson's Poems, with an Emphasis on Poems Included in this Chapter |
|
|
1079 | (1) |
|
Emily Dickinson: The Mind of the Poet |
|
|
1079 | (2) |
|
|
|
|
|
|
Dickinson: The Modern Idiom |
|
|
1081 | (6) |
|
|
|
|
|
|
``The Undiscovered Continent'': Emily Dickinson and the Space of the Mind |
|
|
1087 | (3) |
|
|
|
|
|
|
Emily Dickinson: A Poet's Grammar |
|
|
1090 | (3) |
|
|
|
|
|
|
Emily Dickinson: Personae and Performance |
|
|
1093 | (2) |
|
|
|
|
|
|
|
|
1095 | (5) |
|
|
|
|
|
|
|
|
1100 | (1) |
|
|
|
1100 | (3) |
|
|
|
1103 | (1) |
|
|
|
1104 | (1) |
|
|
|
1104 | (1) |
|
Special Topics for Writing and Argument about the Poetry of Frost |
|
|
1105 | (6) |
|
|
|
|
|
|
|
|
|
Alphabetical List of Poems |
|
|
|
Acquainted with the Night (1928) |
|
|
1111 | |
|
|
|
1107 | (7) |
|
Choose Something like a Star (1943) |
|
|
1114 | |
|
A Considerable Speck (1942) |
|
|
1113 | |
|
|
|
1112 | |
|
|
|
1110 | |
|
|
|
1106 | (1) |
|
|
|
1106 | (5) |
|
|
|
1111 | (1) |
|
Nothing Gold Can Stay (1923) |
|
|
1111 | |
|
|
|
1109 | (1) |
|
|
|
1110 | |
|
The Road Not Taken (1915) |
|
|
1109 | (3) |
|
|
|
1112 | (1) |
|
The Strong Are Saying Nothing (1937) |
|
|
1113 | |
|
Chronological Arrangement of Poems |
|
|
|
|
|
1106 | (1) |
|
|
|
1106 | (1) |
|
|
|
1107 | (2) |
|
The Road Not Taken (1915) |
|
|
1109 | (1) |
|
|
|
1109 | (1) |
|
|
|
1110 | (1) |
|
|
|
1110 | (1) |
|
|
|
1111 | (1) |
|
Nothing Gold Can Stay (1923) |
|
|
1111 | (1) |
|
Acquainted with the Night (1928) |
|
|
1111 | (1) |
|
|
|
1112 | (1) |
|
|
|
1112 | (1) |
|
The Strong Are Saying Nothing (1937) |
|
|
1113 | (1) |
|
A Considerable Speck (1942) |
|
|
1113 | (1) |
|
Choose Something like a Star (1943) |
|
|
1114 | (1) |
|
Poems for Additional Study |
|
|
1115 | (108) |
|
|
|
1118 | (1) |
|
|
|
|
|
|
|
|
1119 | (1) |
|
|
|
|
|
|
|
|
|
|
|
1119 | (1) |
|
Healing Prayer from the Beautyway Chant |
|
|
1120 | (1) |
|
|
|
|
|
|
|
|
|
|
|
1121 | (1) |
|
|
|
|
|
|
1122 | (1) |
|
|
|
|
|
|
1123 | (1) |
|
Variation on the Word Sleep |
|
|
1124 | (1) |
|
|
|
|
|
|
|
|
1125 | (1) |
|
|
|
|
|
|
|
|
1125 | (1) |
|
|
|
|
|
|
|
|
|
|
|
Through the Weeks of Deep Snow |
|
|
1126 | (1) |
|
|
|
|
|
|
|
|
1126 | (1) |
|
|
|
|
|
|
|
|
1127 | (1) |
|
|
|
|
|
|
A Black Man Talks of Reaping |
|
|
1128 | (1) |
|
|
|
|
|
|
To My Dear and Loving Husband |
|
|
1128 | (1) |
|
|
|
|
|
|
|
|
1128 | (2) |
|
|
|
|
|
|
Sonnets from the Portuguese: No. 43: How Do I Love Thee? |
|
|
1130 | (1) |
|
Elizabeth Barrett Browning |
|
|
|
|
|
Soliloquy of the Spanish Cloister |
|
|
1130 | (2) |
|
|
|
|
|
|
The Destruction of Sennacherib |
|
|
1132 | (1) |
|
|
|
|
|
|
|
|
1133 | (1) |
|
|
|
|
|
|
this morning (for the girls of eastern high school) |
|
|
1134 | (1) |
|
|
|
|
|
|
|
|
1134 | (1) |
|
|
|
|
|
|
`The killers that run...' |
|
|
1134 | (1) |
|
|
|
|
|
|
|
|
1135 | (1) |
|
|
|
|
|
|
From a Letter to America on a Visit to Sussex: Spring 1942 |
|
|
1136 | (1) |
|
|
|
|
|
|
Do Not Weep, Maiden, for War Is Kind |
|
|
1137 | (1) |
|
|
|
|
|
|
|
|
1137 | (1) |
|
|
|
|
|
|
|
|
1138 | (1) |
|
|
|
|
|
|
|
|
1138 | (2) |
|
|
|
|
|
|
|
|
1140 | (2) |
|
|
|
|
|
|
|
|
1142 | (1) |
|
|
|
|
|
|
|
|
1143 | (1) |
|
|
|
|
|
|
Holy Sonnet 6: This Is My Play's Last Scene |
|
|
1144 | (1) |
|
|
|
|
|
|
Holy Sonnet 7: At the Round Earth's Imagined Corners |
|
|
1144 | (1) |
|
|
|
|
|
|
Holy Sonnet 10: Death Be Not Proud |
|
|
1145 | (1) |
|
|
|
|
|
|
|
|
1145 | (1) |
|
|
|
|
|
|
Song: Go, And Catch a Falling Star |
|
|
1146 | (1) |
|
|
|
|
|
|
|
|
1146 | (1) |
|
|
|
|
|
|
|
|
1147 | (1) |
|
|
|
|
|
|
The Love Song of J. Alfred Prufrock |
|
|
1147 | (4) |
|
|
|
|
|
|
|
|
1151 | (1) |
|
|
|
|
|
|
|
|
1151 | (2) |
|
|
|
|
|
|
|
|
1153 | (1) |
|
|
|
|
|
|
Because One Is Always Forgotten |
|
|
1153 | (1) |
|
|
|
|
|
|
|
|
1154 | (1) |
|
|
|
|
|
|
|
|
1154 | (1) |
|
|
|
|
|
|
|
|
1154 | (1) |
|
|
|
|
|
|
Sonnet Ending with a Film Subtitle |
|
|
1155 | (1) |
|
|
|
|
|
|
|
|
1156 | (1) |
|
|
|
|
|
|
|
|
1156 | (1) |
|
|
|
|
|
|
|
|
1157 | (1) |
|
|
|
|
|
|
Summer in the Middle Class |
|
|
1157 | (1) |
|
|
|
|
|
|
|
|
1158 | (1) |
|
|
|
|
|
|
|
|
1159 | (1) |
|
|
|
|
|
|
|
|
1160 | (1) |
|
|
|
|
|
|
|
|
1161 | (1) |
|
|
|
|
|
|
|
|
1161 | (1) |
|
|
|
|
|
|
|
|
1162 | (1) |
|
|
|
|
|
|
|
|
1162 | (1) |
|
|
|
|
|
|
The Hair: Jacob Korman's Story |
|
|
1163 | (1) |
|
|
|
|
|
|
|
|
1163 | (2) |
|
|
|
|
|
|
|
|
1165 | (1) |
|
|
|
|
|
|
|
|
1165 | (1) |
|
|
|
|
|
|
Battle Hymn of the Republic |
|
|
1166 | (1) |
|
|
|
|
|
|
|
|
1166 | (1) |
|
|
|
|
|
|
|
|
1167 | (1) |
|
|
|
|
|
|
|
|
1168 | (1) |
|
|
|
|
|
|
|
|
1168 | (1) |
|
|
|
|
|
|
|
|
1169 | (1) |
|
|
|
|
|
|
|
|
1170 | (1) |
|
|
|
|
|
|
|
|
1171 | (1) |
|
|
|
|
|
|
|
|
1172 | (1) |
|
|
|
|
|
|
Every Traveler Has One Vermont Poem |
|
|
1173 | (1) |
|
|
|
|
|
|
To Lucasta, Going to the Wars |
|
|
1173 | (1) |
|
|
|
|
|
|
|
|
1174 | (2) |
|
|
|
|
|
|
|
|
1176 | (1) |
|
|
|
|
|
|
|
|
1177 | (1) |
|
|
|
|
|
|
|
|
1177 | (1) |
|
|
|
|
|
|
|
|
1177 | (1) |
|
|
|
|
|
|
What Lips My Lips Have Kissed, and Where, and Why |
|
|
1178 | (1) |
|
|
|
|
|
|
|
|
1179 | (1) |
|
|
|
|
|
|
|
|
1179 | (1) |
|
|
|
|
|
|
|
|
1180 | (1) |
|
|
|
|
|
|
|
|
1181 | (1) |
|
|
|
|
|
|
|
|
1182 | (1) |
|
|
|
|
|
|
A Story of How a Wall Stands |
|
|
1183 | (1) |
|
|
|
|
|
|
|
|
1184 | (1) |
|
|
|
|
|
|
|
|
1184 | (1) |
|
|
|
|
|
|
|
|
1185 | (1) |
|
|
|
|
|
|
|
|
1185 | (1) |
|
|
|
|
|
|
|
|
1186 | (1) |
|
|
|
|
|
|
|
|
1187 | (1) |
|
|
|
|
|
|
|
|
1187 | (1) |
|
|
|
|
|
|
The River-Merchant's Wife: A Letter |
|
|
1188 | (1) |
|
|
|
|
|
|
Bells for John Whiteside's Daughter |
|
|
1189 | (1) |
|
|
|
|
|
|
|
|
1190 | (1) |
|
|
|
|
|
|
|
|
1190 | (2) |
|
|
|
|
|
|
|
|
1192 | (1) |
|
|
|
|
|
|
|
|
1193 | (1) |
|
|
|
|
|
|
|
|
1193 | (1) |
|
|
|
|
|
|
|
|
1194 | (1) |
|
|
|
|
|
|
|
|
1195 | (1) |
|
|
|
|
|
|
|
|
1195 | (1) |
|
|
|
|
|
|
I Have a Rendezvous with Death |
|
|
1196 | (1) |
|
|
|
|
|
|
|
|
1196 | (1) |
|
|
|
|
|
|
Fear No More the Heat o' the Sun |
|
|
1197 | (1) |
|
|
|
|
|
|
Sonnet 29: When in Disgrace with Fortune and Men's Eyes |
|
|
1198 | (1) |
|
|
|
|
|
|
Sonnet 146: Poor Soul, the Center of My Sinful Earth |
|
|
1198 | (1) |
|
|
|
|
|
|
|
|
1199 | (1) |
|
|
|
|
|
|
Where Mountain Lion Lay Down with Deer |
|
|
1200 | (1) |
|
|
|
|
|
|
|
|
1200 | (1) |
|
|
|
|
|
|
|
|
1201 | (1) |
|
|
|
|
|
|
|
|
1201 | (1) |
|
|
|
|
|
|
|
|
1202 | (1) |
|
|
|
|
|
|
|
|
1203 | (2) |
|
|
|
|
|
|
|
|
1205 | (1) |
|
|
|
|
|
|
Traveling Through the Dark |
|
|
1205 | (1) |
|
|
|
|
|
|
Burying an Animal on the Way to New York |
|
|
1206 | (1) |
|
|
|
|
|
|
|
|
1206 | (1) |
|
|
|
|
|
|
|
|
1207 | (1) |
|
|
|
|
|
|
|
|
1207 | (1) |
|
|
|
|
|
|
|
|
1208 | (1) |
|
|
|
|
|
|
A Refusal to Mourn the Death, by Fire, of a Child in London |
|
|
1209 | (1) |
|
|
|
|
|
|
|
|
1209 | (1) |
|
|
|
|
|
|
|
|
1210 | (1) |
|
|
|
|
|
|
|
|
1210 | (1) |
|
|
|
|
|
|
|
|
1211 | (1) |
|
|
|
|
|
|
|
|
1212 | (1) |
|
|
|
|
|
|
|
|
1213 | (1) |
|
|
|
|
|
|
|
|
1214 | (1) |
|
|
|
|
|
|
|
|
1215 | (1) |
|
|
|
|
|
|
On Being Brought from Africa to America |
|
|
1216 | (1) |
|
|
|
|
|
|
|
|
1216 | (1) |
|
|
|
|
|
|
|
|
1216 | (1) |
|
|
|
|
|
|
|
|
1217 | (1) |
|
|
|
|
|
|
|
|
1218 | (1) |
|
|
|
|
|
|
|
|
1218 | (1) |
|
|
|
|
|
|
|
|
1219 | (1) |
|
|
|
|
|
|
The Day Zimmer Last Religion |
|
|
1220 | (3) |
|
|
|
|
|
| Reading and Writing About Drama |
|
|
The Dramatic Vision: An Overview |
|
|
1223 | (63) |
|
Drama is Literature and Drama as Performance |
|
|
1223 | (11) |
|
Drama from Ancient Times to Our Own: Tragedy, Comedy, and Additional Forms |
|
|
1234 | (3) |
|
Anonymous The Visit to the Sepulchre (The Queen Quaeritis Trope) |
|
|
1237 | (4) |
|
|
|
1241 | (2) |
|
|
|
1242 | (1) |
|
|
|
1243 | (12) |
|
|
|
|
|
|
|
|
1255 | (10) |
|
|
|
|
|
|
|
|
1265 | (5) |
|
|
|
|
|
|
|
|
1270 | (7) |
|
|
|
|
|
|
Writing about the Elements of Drama |
|
|
1277 | (4) |
|
Demonstrative Student Essay: The Symbolism of the Quilting Knot in Susan Glaspell's ``Trifles,'' |
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1281 | (3) |
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Special Topics for Writing and Argument about the Elements of Drama |
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1284 | (2) |
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The Tragic Vision: Affirmation Through Loss |
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1286 | (249) |
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1287 | (2) |
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The Ancient Competitions in Tragedy |
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1289 | (3) |
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Aristotle and the Nature of Tragedy |
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1292 | (5) |
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1297 | (1) |
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The Ancient Athenian Audience and Theater |
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1298 | (3) |
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Ancient Greek Tragic Actors and Their Costumes |
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1301 | (1) |
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Performance and the Formal Organization of Greek Tragedy |
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1302 | (2) |
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1303 | (1) |
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1304 | (40) |
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Renaissance Drama and Shakespeare's Theater |
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1344 | (5) |
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1349 | (104) |
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Tragedy from Shakespeare to Arthur Miller |
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1453 | (1) |
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1454 | (69) |
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1523 | (1) |
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1524 | (3) |
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Demonstrative Student Essay: The Problem of Hamlet's Apparent Delay |
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1527 | (3) |
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An Essay on a Close Reading of a Passage |
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1530 | (1) |
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Demonstrative Student Essay: Appearance and Reality: A Close Reading of Hamlet, Act I, scene 2, lines 76-86 |
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1531 | (2) |
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Special Topics for Writing and Argument about Tragedy |
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1533 | (2) |
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The Comic Vision: Restoring the Balance |
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1535 | (122) |
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1535 | (3) |
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Comedy from Roman Times to the Renaissance |
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1538 | (1) |
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Comic Patterns, Characters, and Language |
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1538 | (2) |
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1540 | (3) |
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1543 | (1) |
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A Midsummer Night's Dream |
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1543 | (57) |
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1600 | (3) |
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Love Is the Doctor (L'Amour Medecin) |
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1603 | (20) |
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Comedy from Moliere to the Present |
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1623 | (1) |
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1624 | (10) |
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1634 | (16) |
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1650 | (3) |
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Demonstrative Student Essay: Setting as Symbol and Comic Structure in A Midsummer Night's Dream |
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1653 | (2) |
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Special Topics for Writing and Argument about Comedy |
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1655 | (2) |
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Visions of Dramatic Reality and Nonreality: Varying the Idea of Drama as Imitation |
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1657 | (105) |
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Realism and Nonrealism in Drama |
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1657 | (3) |
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Elements of Realistic and Nonrealistic Drama |
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1660 | (3) |
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1663 | (1) |
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1663 | (27) |
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The Happy Journey to Trenton and Camden |
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1690 | (13) |
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1703 | (53) |
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Writing about Realistic and Nonrealistic Drama |
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1756 | (2) |
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Demonstrative Student Essay: Realism and Nonrealism in Tom's Triple Role in The Glass Menagerie |
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1758 | (3) |
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Special Topics for Writing and Argument about Dramatic Reality and Nonreality |
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1761 | (1) |
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Dramatic Vision and the Motion Picture Camera: Drama on the Silver (and Television) Screen |
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1762 | (24) |
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A Thumbnail History of Film |
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1763 | (2) |
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1765 | (1) |
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1766 | (1) |
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1766 | (4) |
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1770 | (1) |
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Shot 71 from the Shooting Script of Citizen Kane |
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1770 | (5) |
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A Scene from The Turning Point |
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1775 | (5) |
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1780 | (2) |
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Demonstrative Student Essay: Citizen Kane: Whittling a Giant Down to Size |
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1782 | (3) |
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Special Topics for Writing and Argument about Film |
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1785 | (1) |
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A Career in Drama: Two Major Plays of Henrik Ibsen |
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1786 | (139) |
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Ibsen's Life and Early Work |
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1787 | (1) |
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Ibsen's Major Prose Plays |
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1788 | (1) |
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Two Major Realistic Plays |
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1789 | (1) |
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Ibsen and the ``Well-Made Play,'' |
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1790 | (1) |
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Ibsen's Timeliness and Dramatic Power |
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1791 | (1) |
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1792 | (1) |
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A Dollhouse (Et Dukkehjem) |
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1793 | (51) |
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An Enemy of the People (En Folkefiende) |
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1844 | (57) |
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Special Topics for Writing and Argument about Ibsen |
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1901 | (1) |
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Edited Selections from Criticism of Ibsen's Drama |
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1902 | (1) |
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``Ibsen and the Realistic Problem Drama,'' |
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1902 | (5) |
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Henrik Ibsen: The Farewell to Poetry 1864-1882 |
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1907 | (4) |
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``The Doll House Backlash: Criticism, Feminism, and Ibsen,'' |
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1911 | (4) |
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``A Marxist Approach to A Doll House,'' |
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1915 | (3) |
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Catiline's Dream: An Essay on Ibsen's Plays |
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1918 | (7) |
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| Special Writing Topics about Literature |
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Writing and Documenting the Research Essay |
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1925 | (29) |
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1925 | (2) |
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Setting up a Bibliography |
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1927 | (1) |
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1928 | (2) |
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Taking Notes and Paraphrasing Material |
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1930 | (9) |
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1939 | (4) |
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Strategies for Organizing Ideas in Your Research Essay |
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1943 | (2) |
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Demonstrative Student Essay: The Ghost in Hamlet |
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1945 | (9) |
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Critical Approaches Important in the Study of Literature |
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1954 | (14) |
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1955 | (1) |
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1956 | (1) |
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1957 | (2) |
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1959 | (1) |
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1960 | (1) |
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Economic Determinist/Marxist |
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1961 | (1) |
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Psychological/Psychoanalytic |
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1962 | (1) |
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Archetypal/Symbolic/Mythic |
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1963 | (2) |
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1965 | (1) |
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1966 | (2) |
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Taking Examinations on Literature |
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1968 | (11) |
|
Focusing Directly on the Questions Asked |
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|
1968 | (2) |
|
|
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1970 | (3) |
|
Two Basic Types of Questions about Literature |
|
|
1973 | (6) |
|
Comparison-Contrast and Extended Comparison-Contrast: Learning by Seeing Literary Works Together |
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|
1979 | (14) |
|
Guidelines for the Comparison-Contrast Method |
|
|
1980 | (3) |
|
The Extended Comparison-Contrast Essay |
|
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1983 | (1) |
|
Writing a Comparison-Contrast Essay |
|
|
1984 | (1) |
|
Demonstrative Student Essay (Two Works): The Treatment of Responses to War in Lowell's ``Patterns'' and Owen's ``Anthem for Doomed Youth,'' |
|
|
1985 | (3) |
|
Demonstrative Student Essay (Extended Comparison-Contrast): Literary Treatments of the Conflicts Between Private and Public Life |
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1988 | (4) |
|
Special Topics for Writing and Argument about Comparison and Contrast |
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|
1992 | (1) |
| Appendix I: Mla Recommendations for Documenting Electronic Sources |
|
1993 | (4) |
| Appendix II: Brief Biographies of the Poets in Part III |
|
1997 | (31) |
| Glossary of Literary Terms |
|
2028 | (23) |
| Credits |
|
2051 | (10) |
| Index of Authors, Titles, and First Lines |
|
2061 | |
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