DOCSLIB.ORG

The Sonnet in Twentieth-Century America

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Sonnet in Twentieth-Century America Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Spring 4-30-2018 The Sonnet in Twentieth-Century America Zachary Rearick Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Rearick, Zachary, "The Sonnet in Twentieth-Century America." Dissertation, Georgia State University, 2018. https://scholarworks.gsu.edu/english_diss/195 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THE SONNET IN TWENTIETH-CENTURY AMERICA by ZACK REARICK Under the Direction of Mark Noble, PhD ABSTRACT This dissertation explores the use of the sonnet in twentieth-century poetry. In it, I dispel the notion that the rise of Modernism resulted in the disuse of poetic forms such as the sonnet during the period. I also analyze sonnets by two specific schools, the Harlem Renaissance and the Confessionals, to demonstrate the importance of the form throughout the century. The project pursues the question of how poets in the twentieth century continued the formal tradition. I conclude that twentieth-century sonneteers rejected Modernism’s call for free verse, marking their allegiance to tradition at a time when it was being heavily challenged. This paper thus contributes to the discussion of how formal poetry responded to the attacks on it by Modernists and what those responses mean for our understanding of the century’s contribution to the larger history of formal poetry. The assumption that Modernism represents the dominant literary aesthetic of the twentieth century has characterized the period as hostile to formal poetry, but the large number of formal poems written during the century does not support this notion. “The Sonnet in Twentieth-Century America” connects the modern poetics to a formal tradition that it has often been said to leave behind, thus rethinking the period’s contribution to the history of formal poetry. INDEX WORDS: Sonnet, Modernism, Formal Tradition, Harlem Renaissance, Confessionals THE SONNET IN TWENTIETH-CENTURY AMERICA by ZACK REARICK A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2018 Copyright by Zachary Taylor Rearick 2018 THE SONNET IN TWENTIETH-CENTURY AMERICA by ZACK REARICK Committee Chair: Mark Noble Committee: Stephen Dobranski Paul Schmidt Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University May 2018 iv TABLE OF CONTENTS 1 INTRODUCTION...................................................................................................................... 1 2 CHAPTER ONE: MODERNISM VS. THE SONNET ........................................................ 10 2.1 Defining Modernism .................................................................................................... 12 2.2 The Battle for Sappho: H.D. vs. Sara Teasdale ......................................................... 24 2.3 H.D. and Form .............................................................................................................. 30 2.4 Teasdale and Form ....................................................................................................... 39 2.5 Conclusion ..................................................................................................................... 55 3 CHAPTER TWO: THE HARLEM RENAISSANCE SONNET ........................................ 57 3.1 Dating and Defining the Harlem Renaissance .......................................................... 62 3.2 The Harlem Renaissance as the Age of Expression .................................................. 65 3.3 Countee Cullen vs. Langston Hughes ........................................................................ 71 3.4 The Jazz and Blues Poems of Hughes ........................................................................ 76 3.5 The Sonnets of Cullen ................................................................................................. 80 3.6 The Sonnet and the Heterogeneity of the Harlem Renaissance .............................. 91 3.7 The Love Sonnets of Alice Dunbar-Nelson ............................................................. 111 4 CHAPTER THREE: THE CONFESSIONAL SONNET .................................................. 126 4.1 Anne Sexton and “Angels of the Love Affair” ......................................................... 139 4.2 Robert Lowell and The Dolphin ................................................................................ 154 4.3 John Berryman and Sonnets to Chris ....................................................................... 175 CONCLUSION………………………………………………………………………………..193 WORKS CITED........................................................................................................................ 197 1 1 INTRODUCTION The twentieth century saw the continuation of a tradition that stretches back to the advent of Modern English: the sonnet tradition. As recent sonnet anthologies such as The Making of a Sonnet: A Norton Anthology, The Oxford Book of the Sonnet, and The Penguin Book of the Sonnet show, poets composed sonnets during this century with frequency, and the Library of America’s anthology American Sonnet: An Anthology proves the inclusion of American verse in this endeavor. As the following chapters of this project will demonstrate, twentieth-century American sonneteers participated in the sonnet tradition in complex ways and for a variety of purposes. The fact that sonnets were produced throughout the century is one manifestation of the way that poets of this period both participated in and extended the larger tradition of formal poetry in English. Reading twentieth-century sonnets with that tradition in mind will result in the creation of fruitful and robust scholarship that reflects these poems’ depth. Twentieth-century sonnets have not always received such critical attention. Although anthologies such as those above prove that poets produced sonnets during this time, a high volume of criticism concerning these sonnets does not exist. Herbert S. Donow’s exhaustive work The Sonnet in England and America: A Bibliography of Criticism, for instance, includes no secondary materials written after the turn of the twentieth-century. Donow explains that “the sonnet . has gradually ceased to attract critics as a special topic” and that the secondary literature that does treat the sonnet during this time period contributes at best “marginally” to the general discussion of the sonnet, adding that these works seem to merely “mention poems that happen to be sonnets” (xii). “We may,” he speculates, “be witnessing the assimilation of the sonnet” (xii). That critical gap reflects long-accepted narrative of the ascent of Modernism and its dispatching of formal poetry, which I will challenge in the first chapter of my project. Two 2 later schools of sonneteering, which will form the subject matter of the project’s other two chapters, embody the kind of subversive approach to English poetry’s most important form that occurred during the twentieth-century: the Harlem Renaissance and the Confessional poets. My first chapter examines the relationship between literary Modernism and poetic form. Chapter One begins by addressing two of the most important questions asked by modernist scholars: what is Modernism and when did it begin and end? After reviewing what critics have said on the subject, I outline the major aspect of Modernism relevant for my own project, its antipathy to form, which many have tabbed as one of the movement’s few consistently present features. I also set the chronological parameters for my own discussion of the movement, the first half of the twentieth century, with the first three decades as Modernism’s peak years. After that, I follow the work of Leonard Diepeveen in his book The Difficulties of Modernism, in which he identifies a binary of “difficult” vs. “simple” works in the twentieth century. This binary associates experimental modernist texts with “difficulty” and non-modernist texts, such as formal poetry, on the side of “simplicity.” Difficult Modernism, Diepeveen convincingly argues, prevailed over simplicity during the mid-century professionalization of literary studies. This resulted in what Pericles Lewis calls “the victory of free verse” (5) in which Modernism supplanted formal poetry, leaving writers after the 1930s predisposed to compose unrhymed, unmetered verse. Or so many critics have claimed. Lewis is not alone in arguing that the composition of formal poetry waned after this “victory,” and critics have tended to view the century through the lens of Modernism. This view has resulted, however, in the scholarly gap described above, as formal poetry continued to be written with frequency and volume that undermines statements like that of Lewis. Using the sonnet, arguably the form par excellence in English, as a specific 3 marker for the composition of formal poetry, I demonstrate that, in utilizing this form, a significant number of twentieth-century American poets participated in the formal tradition. The lack of scholarship concerning the century’s formal poetry has come not from
Load more

Recommended publications
  • April 2005 Updrafts
    Chaparral from the California Federation of Chaparral Poets, Inc. serving Californiaupdr poets for over 60 yearsaftsVolume 66, No. 3 • April, 2005 President Ted Kooser is Pulitzer Prize Winner James Shuman, PSJ 2005 has been a busy year for Poet Laureate Ted Kooser. On April 7, the Pulitzer commit- First Vice President tee announced that his Delights & Shadows had won the Pulitzer Prize for poetry. And, Jeremy Shuman, PSJ later in the week, he accepted appointment to serve a second term as Poet Laureate. Second Vice President While many previous Poets Laureate have also Katharine Wilson, RF Winners of the Pulitzer Prize receive a $10,000 award. Third Vice President been winners of the Pulitzer, not since 1947 has the Pegasus Buchanan, Tw prize been won by the sitting laureate. In that year, A professor of English at the University of Ne- braska-Lincoln, Kooser’s award-winning book, De- Fourth Vice President Robert Lowell won— and at the time the position Eric Donald, Or was known as the Consultant in Poetry to the Li- lights & Shadows, was published by Copper Canyon Press in 2004. Treasurer brary of Congress. It was not until 1986 that the po- Ursula Gibson, Tw sition became known as the Poet Laureate Consult- “I’m thrilled by this,” Kooser said shortly after Recording Secretary ant in Poetry to the Library of Congress. the announcement. “ It’s something every poet dreams Lee Collins, Tw The 89th annual prizes in Journalism, Letters, of. There are so many gifted poets in this country, Corresponding Secretary Drama and Music were announced by Columbia Uni- and so many marvelous collections published each Dorothy Marshall, Tw versity.
    [Show full text]
  • The Pulitzer Prizes 2020 Winne
    WINNERS AND FINALISTS 1917 TO PRESENT TABLE OF CONTENTS Excerpts from the Plan of Award ..............................................................2 PULITZER PRIZES IN JOURNALISM Public Service ...........................................................................................6 Reporting ...............................................................................................24 Local Reporting .....................................................................................27 Local Reporting, Edition Time ..............................................................32 Local General or Spot News Reporting ..................................................33 General News Reporting ........................................................................36 Spot News Reporting ............................................................................38 Breaking News Reporting .....................................................................39 Local Reporting, No Edition Time .......................................................45 Local Investigative or Specialized Reporting .........................................47 Investigative Reporting ..........................................................................50 Explanatory Journalism .........................................................................61 Explanatory Reporting ...........................................................................64 Specialized Reporting .............................................................................70
    [Show full text]
  • Lerud Dissertation May 2017
    ANTAGONISTIC COOPERATION: PROSE IN AMERICAN POETRY by ELIZABETH J. LERUD A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Elizabeth J. LeRud Title: Antagonistic Cooperation: Prose in American Poetry This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the English Department by: Karen J. Ford Chair Forest Pyle Core Member William Rossi Core Member Geri Doran Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017. ii © 2017 Elizabeth J. LeRud iii DISSERTATION ABSTRACT Elizabeth J. LeRud Doctor of Philosophy Department of English June 2017 Title: Antagonistic Cooperation: Prose in American Poetry Poets and critics have long agreed that any perceived differences between poetry and prose are not essential to those modes: both are comprised of words, both may be arranged typographically in various ways—in lines, in paragraphs of sentences, or otherwise—and both draw freely from the complete range of literary styles and tools, like rhythm, sound patterning, focalization, figures, imagery, narration, or address. Yet still, in modern American literature, poetry and prose remain entrenched as a binary, one just as likely to be invoked as fact by writers and scholars as by casual readers. I argue that this binary is not only prevalent but also productive for modern notions of poetry, the root of many formal innovations of the past two centuries, like the prose poem and free verse.
    [Show full text]
  • Jennings on the Trail of Pessoa Or Dimensions of Poetical Music
    Jennings on the Trail of Pessoa or dimensions of poetical music Pedro Marques* Keywords Fernando Pessoa, Hubert Jennings, Roy Campbell, Peter Rickart, translation, versification, musicality, The thing that hurts and wrings, What grieves me is not, What saddens me is not. Abstract Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem “O que me doe” and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-poetic dimensions of the original text. Palavras-chave Fernando Pessoa, Hubert Jennings, Roy Campbell, Peter Rickart, tradução, versificação, musicalidade, O que me doe, O que me dói. Resumo Reproduzem-se aqui dois ensaios inéditos de Hubert Jennings sobre os desafios de se traduzir a poesia de Fernando Pessoa: o primeiro deles, breve e fragmentário, é analisado numa introdução; o segundo, mais longo e versando também sobre questões alheias à tradução, é apresentado em postscriptum. A partir do poema pessoano “O que me dói” e de três traduções comparadas por Hubert Jennings, esta apresentação enfoca alguns aspectos da música poética em língua portuguesa: medida do verso, dinâmica dos acentos, rimas, anáforas e paralelismos.
    [Show full text]
  • IMAGES from the POETRY from 9 Apr 2012 to 24 Nov 2012 10:00-18:00
    ILLUSTRATING KEATS: IMAGES FROM THE POETRY From 9 Apr 2012 to 24 Nov 2012 10:00-18:00 "ILLUSTRATING KEATS: Images from the Poetry" The Keats-Shelley House's current exhibition presents a selection of images from major illustrated editions of Keats's poems from 1856 to the present day, telling the story of the interpretation of Keats in a fresh and fascinating way. Price: Entrance to the exhibition is included in the museum's normal entrance fee. Location: Salone. "THE BRONTËS AND THE SHELLEYS - CRAFTING STORIES FROM LIVES": A TALK BY JULIET GAEL ON SATURDAY 10 NOVEMBER AT 16.00 10 Nov 2012 from 16:00 to 18:00 Janice Graham, writing as Juliet Gael, is the author of the critically acclaimed historical novel Romancing Miss Brontë, and is currently working on a follow-up novel that deals with the fascinating lives of the Shelleys. Part literary reading, part discussion, and part work-in-progress seminar, Juliet will address the creative problems involved in romanticising the lives of authors, and will give us some tantalising sneak previews into the process of writing her book about the Shelleys. Everyone is welcome and the museum's normal standard entrance fee applies. Please call on 06 678 4235 or email info@keats to reserve a place. Otherwise just come along on Saturday the 10th of November, and enjoy some refreshments after! To know more about Romancing Miss Brontë please click on the following link:http://www.romancingmissbronte.com/book.html Price: The price is included in the normal entrance fee. Location: Salone.
    [Show full text]
  • BTC Catalog 172.Pdf
    Between the Covers Rare Books, Inc. ~ Catalog 172 ~ First Books & Before 112 Nicholson Rd., Gloucester City NJ 08030 ~ (856) 456-8008 ~ [email protected] Terms of Sale: Images are not to scale. All books are returnable within ten days if returned in the same condition as sent. Books may be reserved by telephone, fax, or email. All items subject to prior sale. Payment should accompany order if you are unknown to us. Customers known to us will be invoiced with payment due in 30 days. Payment schedule may be adjusted for larger purchases. Institutions will be billed to meet their requirements. We accept checks, VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and PayPal. Gift certificates available. Domestic orders from this catalog will be shipped gratis via UPS Ground or USPS Priority Mail; expedited and overseas orders will be sent at cost. All items insured. NJ residents please add 7% sales tax. Member ABAA, ILAB. Artwork by Tom Bloom. © 2011 Between the Covers Rare Books, Inc. www.betweenthecovers.com After 171 catalogs, we’ve finally gotten around to a staple of the same). This is not one of them, nor does it pretend to be. bookselling industry, the “First Books” catalog. But we decided to give Rather, it is an assemblage of current inventory with an eye toward it a new twist... examining the question, “Where does an author’s career begin?” In the The collecting sub-genre of authors’ first books, a time-honored following pages we have tried to juxtapose first books with more obscure tradition, is complicated by taxonomic problems – what constitutes an (and usually very inexpensive), pre-first book material.
    [Show full text]
  • Oxford Brookes Poetry Centre Collection
    LIBRARY Oxford Brookes Poetry Centre Collection This collection was set up in collaboration with the Oxford Brookes Poetry Centre to promote contemporary poetry from the UK, Ireland, United States and beyond. It comprises books that have been shortlisted for 6 poetry prizes from the UK, Ireland, USA and beyond. The books are housed in the Headington Library (Level 4, Zone D) and they can all be borrowed. Find out more about the collection and the Oxford Brookes Poetry Centre on our web pages TS Eliot Prize for Poetry The TS Eliot Prize for Poetry is presented annually by The Poetry Book Society. The Collection covers the books shortlisted for the prize since 2012. TS Eliot Prize shortlist 2018 Winner: Hannah Sullivan, Three poems Phoebe Power, Shrines of Upper Austria Tracy K. Smith, Wade in the water + Ailbhe Darcy – Insistence Terrance Hayes – American Sonnets for My Past and Future Assassins Zaffar Kunial – Us Nick Laird – Feel Free Fiona Moore – The Distal Point Sean O'Brien – Europa Richard Scott – Soho TS Eliot Prize shortlist 2017 Winner: Ocean Vuong, Night sky with exit wounds Tara Bergin, The tragic death of Eleanor Marx Caroline Bird, In these days of prohibition Douglas Dunn, The noise of a fly Leontia Flynn, The radio Roddy Lumsden, So glad I'm me Robert Minhinnick, Diary of the last man Michael Symmons Roberts, Mancunia Jacqueline Saphra, All my mad mothers James Sheard, The abandoned settlements TS Eliot Prize shortlist 2016 Winner: Jacob Polley, Jackself Rachael Boast, Void Studies Vahni Capildeo, Measures of Expatriation Ian Duhig, The Blind Roadmaker J O Morgan, Interference Pattern WWW.BROOKES.AC.UK/LIBRARY Bernard O’Donoghue, The Seasons of Cullen Church Alice Oswald, Falling Awake Denise Riley, Say Something Back Ruby Robinson, Every Little Sound Katharine Towers, The Remedies TS Eliot Prize shortlist 2015 Winner: Sarah Howe, Loop of Jade Mark Doty, Deep Lane Tracey Herd, Not in this World Selima Hill, Jutland Tim Liardet, The World before Snow Les A.
    [Show full text]
  • Hammer Langdon Cv18.Pdf
    LANGDON HAMMER Department of English [email protected] Yale University jamesmerrillweb.com New Haven CT 06520-8302 yale.edu bio page USA EDUCATION Ph.D., English Language and Literature, Yale University B.A., English Major, summa cum laude, Yale University ACADEMIC APPOINTMENT Niel Gray, Jr., Professor of English and American Studies, Yale University Appointments in the English Department at Yale: Lecturer Convertible, 1987; Assistant Professor, 1989; Associate Professor with tenure, 1996; Professor, 2001; Department Chair, 2005-fall 2008, Acting Department Chair, fall 2011 and fall 2013, Department Chair, 2014-17 and 2017-19 PUBLICATIONS Books In progress: Elizabeth Bishop: Life & Works, A Critical Biography (under contract to Farrar Straus Giroux) The Oxford History of Poetry in English (Oxford UP), 18 volumes, Patrick Cheney general editor; LH coordinating editor for Volumes 10-12 on American Poetry, and editor for Volume 12 The Oxford History of American Poetry Since 1939 The Selected Letters of James Merrill, edited by LH, J. D. McClatchy, and Stephen Yenser (under contract to Alfred A. Knopf) Published: James Merrill: Poems, Everyman’s Library Pocket Poets, selected and edited with a foreword by LH (Penguin RandomHouse, 2017), 256 pp James Merrill: Life and Art (Alfred A. Knopf, 2015), 944 pp, 32 pp images, and jamesmerrillweb.com, a website companion with more images, bibliography, documents, linked reviews, and blog Winner, Lambda Literary Award for Gay Memoir/Biography, 2016. Finalist for the Poetry 2 Foundation’s Pegasus Award for Poetry Criticism, 2015. Named a Times Literary Supplement “Book of the Year, 2015” (two nominations, November 25). New York Times, “Top Books of 2015” (December 11).
    [Show full text]
  • Lyric Poetry :- the Sonnet
    By Dr. Anita Singh, Dept of English, For Part – 1 English Hons. LYRIC POETRY :- Lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person. It is not equivalent to song lyrics, though they are often in the lyric mode. Lyric poetry expresses personal emotions or thoughts of the speaker, just like the songs of today. Also, just like songs, lyric poems always have a musical quality, or a specific melody which makes it easy for you to sing along with. The term 'lyric poetry' actually comes from the ancient Greek word lyre, which refers to the instrument in that era that accompanied the reading of the lyric poem. Almost like the first version of a live concert. Lyric poetry, for the most part, is short and written in first-person point of view. There is always some specific mood or emotion being expressed. Often that mood is about the extremes in life, mostly love or death or some other intense emotional experience. No matter the theme, though, all lyric poems are known for brevity, emotional intensity and musical quality. There are many types of lyric poems, each with their own format and purpose. Let's take a look at some. THE SONNET One type of lyric poem is the sonnet. Overall, sonnets have 14 lines usually written in iambic pentameter, which is five pairs of stressed and unstressed syllables. This overall structure of predetermined syllables and rhyme makes sonnets flow off your tongue in a similar way that a song on the radio does.
    [Show full text]
  • The Role of Italy in Milton's Early Poetic Development
    Italia Conquistata: The Role of Italy in Milton’s Early Poetic Development Submitted by Paul Slade to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English in December 2017 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. Abstract My thesis explores the way in which the Italian language and literary culture contributed to John Milton’s early development as a poet (over the period up to 1639 and the composition of Epitaphium Damonis). I begin by investigating the nature of the cultural relationship between England and Italy in the late medieval and early modern periods. I then examine how Milton’s own engagement with the Italian language and its literature evolved in the context of his family background, his personal contacts with the London Italian community and modern language teaching in the early seventeenth century as he grew to become a ‘multilingual’ poet. My study then turns to his first published collection of verse, Poems 1645. Here, I reconsider the Italian elements in Milton’s early poetry, beginning with the six poems he wrote in Italian, identifying their place and significance in the overall structure of the volume, and their status and place within the Italian Petrarchan verse tradition.
    [Show full text]
  • How to Read a Sonnet Two Quatrains Is the Octave; the by a Couplet, As in WS 73 Last Six Lines Is the Sestet
    Download this brochure as a PDF from VernBarnet.com 4 pages EXTERNAL SCAFFOLDING INTERNAL STRUCTURES (apart from meaning) (pattern of meaning) he “English” or Shakespearean” Within the external sonnet form, T sonnet consists of 14 lines of William Shakespeare (WS) draws iambic pentameter (you can easily his themes in various ways. speak one line in one breath) with the line end-rimes in a pattern of A. The same idea is pre- sented in three quatrains, abab-cdcd : efef-gg. Each set of four lines is a quatrain and the last two each with a different meta- lines are called a couplet, indented phor, a different angle on How to Read a Sonnet in Shakepeare’s Sonnets. The first the same theme, followed two quatrains is the octave; the by a couplet, as in WS 73 last six lines is the sestet. (dying day, dying year, in Shakespearean form An iamb is a set of two syllables dying fire, love now) and the first of which is unstressed and my 30. which means reading aloud the second stressed. Pentameter is B. The octave presents a a line of five feet. (A unit of rhythm in poetry is called a foot from po- theme, the third quatrain T summarizes it, and the cou- etry’s early association with dance; a line of poetry is like a measure of plet condenses it once again, as in WS 55 (you live in my T music.) Thus a line of iambic pen- tameter sounds lines) and my 15. T da DUM da DUM da DUM da DUM da DUM.
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]