Eastern Illinois University The Keep
Masters Theses Student Theses & Publications
1961
A Program-Approach to the Study of Poetry
Rex Alan Romack
Follow this and additional works at: https://thekeep.eiu.edu/theses
Part of the Educational Methods Commons, Poetry Commons, and the Secondary Education Commons A PROGRAM-APPROACH TO THE STUDY OF POETRY -
THESIS
PRESENTED TO THE FACUL TV OF THE DEPARTMENT OF EouCAT.ION EASTERN ILLINO�S UN�VERS�TV
OF THE REQU .I REMENTS FO R THE DEGREE MASTER OF Sci ENCE ·, N EoucAT.i ON
BV REX ALAN ROMACK JULV 1961 A PROGRAM-APPROACH TO THE STUDY OF POETRY
APPROVED:
33507·tf:! . TABLE OF CONTENTS
P AGE CHAPTER
I. THE PURPOSE AND JUSTIFICATION OF THIS STUDY • • • • • • • • 1
11. THE lfvf>LEMENTATION OF THE PROGRAM IN THE CLASSROOM • • 0 0 • s
Ill. A PROGRAM APPROACH TO THE STUDY OF POETRY • • • • ••• • 0 13
IV. THE POEMS FOR USE WITH THE PROGRAM •••••••••••••11S
BIBLIOGRAPHY •••••••••••••••••••••••• o • • • • 169
APPENDIX A • • • • • • • • • 0 • • • • • • • • • • • • • • • • 0 •••172
• • • • • • • • • • • • • • . . • . • ••• APPENDIX B • . . .• . • , . . 177
INDEX TO PROGRAMS AND POETRY • • • •••• • • • 0 • • • • • • • • • .1s7 CHAPTER I
THE PURPOSE AND JUSTIFICATION OF THIS STUDY
.. THE PROBLEM W � TH WHICH TH' � PAPER DEALS IS THAT OF' DESIGNING A · . PROGRAMED UN IT FOR THE STUDY OF POETRY• IT ·IS BELI EVED THAT STl:.IOENTS
i. • �' IN THE FIRST VEAR OF HIGH SCHOOL ARE CAPABLE OF DERIVING GREATER BENE-
FIT FROM THE STUDY OF POETRY THAN THEY DO NOW� IT IS ALSO BELIEVED
THAT THE TEACHING PROCEDURE COMMONLY FOLLOWED IN MANY HIGH SCHOOL LIT- .. ,, . .. ERATURE CLASSES PRECLUDES THE POSSI BIL'ITY OF I NOi VI DUAL DERIVATION OF' .. THE FULL BENEFITS OF POETRY STUDVe IN THE USUAL TEACHING RELATIONSHIPt
THE STUDY OF' POETRY BECOMES FOR EACH ACT OF RECITATION, A PERSONAL RE- . . LATiONSHIP BETWEEN ONE STUDENT AND THE TEACHER• THE REST OF THE CLASS, ,· . . ; �N SPITE OF THE FACT THAT THEY ALSO HAVE BOOKS, ARE FOR THE MOST.PART .. IN THE CHARACTER OF DISINTERESTED AUD� ENCEt OR FRUSTRATED WOULD-BE
'· .. PARTICIPANTS. IN REGULAR TEACHING OF POETRY, IT IS RECOGN. ZED THAT A
FEW OF THE BETTER OR MORE VOLUBLE STUDENTS BEAR THE BURDEN OF ANSWERING
·- w � " • THESIS PRESENTS A METHOD WHICH DEMANDS ACTIVE PARTICIPATION ON THE PART
OF EVERY STUDENT. . 0 0 BuT ACT.I VE PARTI CIPATION IN ITSELF IS NOT ENOUGHe FOR A PRO-
GRAMED UNIT ON POETRY TO BE JUSTIFIED AS A LEARNING PROCEDURE, IT MUST
�.. ..• � > STIMULATE INTEREST AND INSTILL THE DESI RE TO KNOW0 ·THEREFORE, ,IT IS
� .. ' . . . FELT THAT THE KEV TO STIMULATING INTEREST AND KNOWLEDGE LIES WITHIN THE
POEMS THEMSELVESo IT IS TOO _MUOH TO EXPECT THAT STUDENTS CAN COME TO
'• KNOW OR TO UNDERSTAND POEMS WITHOUT HELP; ii T IS THE PURPOSE OF THE PRO- 2
GRAM PRESENTED TO PROVI DE THAT HELPe
TH.SNK ING ABOUT THE POEMS IS THE BEST AND PERHAPS THE ONLY WAY IN
WHI CH PUMLS CAN EXTRACT THE VALUES \'Ill TH IN THE POEMSe 8uT THE THINKING
OF YO UNGER STUDENTS IS NOT APT TO BE PURPOSEFUL OR 'I N THE PROPER Focus. '
. . IT NEEDS DIRECTION, AND TH IS DI. RECTION CAN BE SUPPLIED THROUGH THE
MEANS OF WELL CHOSEN AND CAREFULLY CONSTRUCTED QUESTIONS• THESE
QU ESTIONS, WHILE SEEMINGLY ARTLESS ENOUGH, LEAD THE STUDENTS STEP BY
STEP TO WARD THE DESI RED GOAL�
THE P·R0IMARY OBJECT.I VE FOR THE STUDY OF POETRY I S9 AS THE COMMi s-
SION ON ENGL� SH OF THE COLLEGE ENTRANCE EXAM�NAT� ON SOARD PUTS IT,
11THE RECOGNITION AND UNDERSTANDING OF THE WAY IN WHICH WRI TERS USE
. . -� WO RDS TO RECREATE IN MEANINGFUL FORM THE SIGNIFICANT EXPERIENCE OF OUR
RACE. POETRY ENABLES HI M (THE STUDENT) TO KNOW SOMETH·�·NG ABOUT THE
HERITAGE \'IE AS A NATION ARE TRYING TO PRESERVE.11 A SECONDARY OBJECTIVE
FOR POETRY STUDY IS THE ESTABLI SHMENT AND THE NURTURING OF AESTHETIC
APPRECIATION AND ENJOYMENT. THESE QU EST�ONS AR� DES�GNED �N LARGE PART
' TO ENABL E STUDENTS TO SHARE THE EXPERI ENCES OF OTHERS, AND TO HEI GHTEN
THEIR AWARENESS OF LITERATU RE AS ART.
A FURTHER FACT WELL KNOWN TO EDUCATORS IS THAT LEARNING IS RE-
'• INFORCED BY A SENSE OF ACCOMP�ISHMENT. WHEN A PERSON ACHI EVES AND IS
•· AT ONCE AWARE OF HIS ACHI EVEMENT, TRUE LEARNING TAKES PLACE. THE PRO-
GRAM ENSURES THAT EACH STUDENT WILL HAVE A SUFFICIENT NUMBER OF ACHI EVE-
MENT EXPERI ENCES THROUGH THE INCLUSION OF QUESTIONS OF SUCH SIMPLICITY
THAT THE IR ANSWERS MUST BE OBVIOUS.
THE BODY OF THis THESIS CONSISTS OF A PROGRAMED UNIT IN WH ICH THE .
.. PREDETERMINED VALUES OF FORTY POEMS ARE REP RESENTED, SPACE IS PROVIDED FOR THE STUDENT1S ANSWER, AND TH E CORRECT RESPONSE IS PRESENTED ON THE
SUCCEED I NG PAGE. THis ARRANGEMENT CONTINUES THROUGHOUT THE BOOK.
As· THE CORRECT ANSWER TO EACH QUESTION IS GIVEN IN THE TEXT, ii T IS FOL-
LOWED BY A NEW QUESTION AND SPACE FOR THE STUDENT1S NEXT ANSWER.
THE QUEST.IONS STUDENTS ARE EXP ECTED TO ANSWER FOLLOW VARYING PAT-
TERNS; HOWEVER, EACH SET OF QUESTIONS IS DESI GNED TO· DEVELOP CERTAIN DESIDERATAe· THE MEAN·ING OF THE POEM !� S, OF COURSE, 'I MP ORTANT AND
ATTENTION 11 s PAID TO MEANING. IN ALMOST EVERY CASE. IT IS NOT EXPECTED
THAT STUDENTS BE WELL ENOUGH EXPERI ENCED IN POETRY TP EX TRACT THE K�RNEL
OF MEANING FROM A COMPLEX POEM INDEPENDENTLY. THE QUESTIONS ARE pU R-
POSELY DESI GNED TO AID STUDENTS· IN DISCOVERING .FOR .THEMS.ELVES THE
MEAN,INGS (oR, PERHAP S, � MEAN°iNG) FOR THE POEM WITH WH ICH :THEY ARE CUR-
RENTL Y I NVOLVEDo WH· ENEVER IT HAS BEEN DEEMED NECESSARY, EXPW�'CATORY
NOTES HAVE BEEN INSERTED AND THE IMMEDI ATE QUESTION DIRECTED . TO THE EXPL•I CATION. TH IS HAS SEEMED A WI SE AND JUSTI F.1 ABLE• PROCEDURE,
,_ ' ENABLING STUDENTS TO GRASP. CONCEPTS WHI CH OTHERWI SE WOULD BE BEYOND
THEM. CoNsiDERABL E CARE HAS BEEN TAKEN TO AVo'.�D BEIN� DIDA'C Tl'C OR DOG-
·MA TIC ABOUT THE MEAN INGS OF POEMS. .STUDENTS ARE LED TOWARD THE PRECEP T
THAT THE IR INDIVIDUAL INTERP RETATION OF ·A POEM il.S ALLOWABLE AS LONG AS '
:IT .CAN BE JUSTIFIED IN THE L. �GHT OF WHAT THE POEM ACTUALLY SAYSo PROSODY, OR �H E ACTUAL MECHAN ICS OF PO£M CONSTRUCTION� IS CON-
SIDERED OF IMPORTANCE FOR STUDENTSo THEY ARE MADE ACQUAI NTED WI TH VER-
SIFICATION IN :I TS SIMPLEST FORM, AND THE QU ESTIONS ASK THEM TO DISCOVER
THE STRU CTURE OF POEMS---STANZA9 RHYME-SCHEME, METER, AND ALL,TERATIONe . IN THE BEL iEF THAT EXPLOR. AT.-ION OF THE POET1S CRAFTMANSH.IP .IS OF NO IM- -- PORTANCE AS AN INTRINSIC VALUE, BUT CAN YIELD A GREAT DEAL OF ENJOYMENT 4
IF CONSI DERED A. GAME, THE, SUBTLETIES. OF POETRY AND POETIC DICTION HAVE
.. BEEN :IGNORED WITJ-1 ONE. EXCEP Tl.ON1 .ALL'I TERAT. IONe THE CONCEPT OF ALL I TER-
ATION IS SO READ ILY GRASPED AND EXAMPLES! OF ;I T IN THE POEMS .SO EAS ILY
"· DISCERNED, THAT MUCH :ATTENTION HAS BEEN PAID IN THE CONSTRUCTION. OF THE
QUESTIONS TO THE. IDENTIF l:CATION OF TH IS QUAL ITY. THE ACT.iVITY OF THE
PUP! LS IN RESPECT TO VERSIFICATION! IS BY NO MEANS COMPL ! CATED; THEY·
DEAL : Vl lTH. S.IMPLE FO RMS.1 AND THE MATER!'AL , IS SO PRESEN.TED THAT. IT IS IN THE NATU RE OF A CHALLENGE TO THEM TO SEE HOW WELL XHEY CAN DISCOVER
THE 'P OET1 S CRAFTe A 'F EW POEMS ARE ;1 NCLUDED WH.ICH HAVE STRU CTl:.IRES OF
SUCH IRREGULARI TY . AND .COMPLEXITY; THAT THEY CANNOT EAS ILY ..BE CLASSl.FIED. STUDENTS LEARN FROM THESE THAT NOT ALL POETRY IS RULE-OF-THUMB, BUT
THAT .THE POET. FREQUENTLY ACH I EVES HIS EFFECT BY SEEM. INGLY IGNORI NG THE DICTA BY: WH ICH L.ESSER POETS :AND MERE VERSIFIERS MUST FUNCTION.:
TH E IMPORTANCE OF, AND THE DEPENDENCE ON, FIGURATIVE LANGUAGE
IN POETR� t& STRESSED. AGA�N, THE SUBJ ECT js PRESENTED AS SIMPLY AS
POSSIBLEe S.iNCE TH:l s PROGRAM IS OF THE· NATURE OF AN INTRODUCTION TO
POETRY, ONLY: THREE FIGURES OF SPEECH---THE METAPHOR,. THE SIMIL.E , AND
PERSONIFICATl'ON---ARE IDENTIFIED •.THE QUESTIONS ARE DESIGNED TO FIX
FIRMLY THESE THREE IN THE MINDS OF STUDENTS BY POINTING OUT EXAMPLES '
TO BE LABELED BY .THEM·AND BY :ASK ING THEM TO FIND EXAMPLES ON THE.IR OWN
ACCOUNT.
POETRY ITSELF CAN AND SHOULD ,TEACH. THE QUESTIONS LEAD ST.UDENTS TO THE DI SCOVERY OF FACTS RELATED TO THE CULTURAL DEVELOPMENT OF OU R
SOCIETY. IT IS AN AL MOST APPALLING FACT THAT CH I LDRE� COME INTO HIGH
SCHOOL WIT� NO SURE CONCEPTION OF WHAT TIME ACTUALLY MEANS1: WI TH ·NO
CERTA IN SENSE OF CHRONOLOGY t AN.0 WI TH AN E_QUAL LACK OF KNOWLEDGE OF THE .5
SPATI ALtORGANIZATION,OF THE WO RLD•l.N WHICH .THEY L.'IVEe .THEY'ARE LARGELY
UNACQOA. INTEO WI TH LEGEND OR MYTH, WI TH .MOST H,, STORI CAL ALLUSIONS . (ESPEC IALLY TO· Tf.IE DISTANT PAST), ANO WITH GEOGRAPHICAL REF'ERENCES4. Tf.IAT·SOME,ACQUAI NTANCE WITH�MYTH1 WITH HISTORY, ANO WITH LOCATION IS' ESSENTIAL FOR' THE' UNDERSTANDING OF LITERATURE1 AND LIFE1 SEEMS UNDENI ABL Ee
THROUGWTHE U.T. ILIZAT ION .OF THE ALLUSIONS ANO REF'ERENCES:CONTA. INED IN THE . POEMS DEALT WITH IN THIS TH ESIS, STUDENTS BECOME MORE',FAMlt.IAR WITH THE WO RLD OF MYTH AND HISTORY. AT THE SAME T.IME . (AND"OFTEN BY THE SAME
QUESTI ONS) STUDENTS ARE LED TOWARD A SURER SPACE,..TIME ORIENT.;TIONe
THE QUEST IONS POSSESS ANOTHER VALUE FOR STUDENTS IN THAT. THEY�ARE OES1GNED TO BE VOCABULARY-BU ILDING. THE BOOK DOES NOT RELY ON,WORD
L ISTS'. NOR DOES IT CALL ATTENTION TO · THE PROCESS OF LEARNING NEW;WORDSe
HOWEVER; MANY UNF'AM.ILIAR WORDS ARE .INTRODUCED ANO- IMMED:I ATELY.OEF'INED IN THE CONTEXT,· .THUS ESTABL ISHING THE' l R MEAN INGS IN STUDENTS1 MINDS. ' ' ' F.VRTHERMORE9 THE QUESTIONS TH�MSELVES OFTEN'.CALL FOR THE DISCOVERY OF S)i'NONYMS.OR,'.WH ICH IS PERHAPS OF' EVEN MORE VALUE·t THE:EXP RESSION OF' A
.RATHE'R,O· IF'FICUL.T CONCEP·T IN A SINGLE WORD. To MAKE,. SURE THAli'. THE LEARN- (iNG iNTENDEO,HAS .. BEEN ACCOMPLISHED THESE WORDS' ARE INTENDED TO BE UT IL-
IZEO IN A SP ELL.ING-MEANING TEST • ., THE PROGRAM. IS ESPECIALLY DESI GNED TO PROVIDE F'OR INDIVIDUAL DIF- FERENCES AMO NG STUDENTS. IT SS REAL'IZED THAT IN AL L LIKEL.:IHOOD NO TWO STUDENTS WHO USE THIS MATERIAL WILL.HAVE�THE SAME, OR EVEN SIMILAR, . BACKGROUNDS OR CAPAC I Tl ES•. ·THE PROGRAM IS SO CONSTRUCTED THAT TH. ERE ., 6
'' . A PROGRESSI ON_OF' DIFFICULTY , ALTHOUGH IT 1S BY NO MEANS AN ORDERED•�RO- GRESSION� TH ROUGHOUT THE UNIT. .IT IS:NOT EXPECTED THAT ALL S:rUOENTS
SHALL: BE ABLE TO ANSWER. ALL, THE QUESTIONS• .t T :IS HOP:ED THAT .THE P.Ro- 6
GRESSION ACTUALLY.EXTENDS BEYOND Tf.IE Li M 'i Ts.oF THE BEST.STUDENT.Se IT ·,s
NOT INTENDED THAT ANY STUDENT SHOULD -EXHAUST THE RESOURCES OF THE PRO-
GRAM WITHOUT INTENSE.AND SERIOUS EFFORH THIS EFFORT DEMANDS THAT.THE
STUDENT THINK, AND THE PRO GRAM IS DESI GNED, TO STRENGTHEN THE STUDENT1 S .. ABIL'ITY TO. ENGAGE IN INDEPENDENT THINKING9 ON THE OTHER HAND, '!T HAS . .. BEEN THE�INTENTION THAT NO QUESTlON SHALL BE SUCH THAT ANY STUDENT WILL
APPROACH: IT WITH INDIFFERENCEe S� MRLE THEY MAY BE, BUT FOR THE;DULL.
THEY WILL PROVIDE SUCH SUCCESS EXPERIENCES AS:UNFORTUNATELY ARE ·ONLY·TOO
. ' . . RARE-FOR THEM. FOR THE BRIGHT,.,l N SPITE OF THE RECOGNIZABLY El.;.EMENTARY
NATURE OF THE SIMPLER QUESTIONS, THEY P.OSSESS A REASSURING QUALITY.\VHICH
INDUCES THE STUDENT TO PROGREss:TO·THE MORE DIFFICULT.
SCATTERED AMONG THESE QUEST� ONS ARE SOME WH� CH ARE·L� KELY TO BE-
PUZZLER$ EVEN TO GOOD:STUDENTS. INtTHE FINAL VIOAAING OUT OF THIS.UNIT
THERE WERE INCLUDED QUESTIONS DESIGNED TO TAX THE-ABILITY OF'THE OCCA-
SIONAL GIFTED CHILD WHO SHOWS UP il N AN INTRODUCTORY LITERATURE CLASS.
TH� S THES� S CONTENDS THAT THIS � S AS IT SHOULD B�. IF NONE OF THE
QUESTIONS PRESENTED MUCH D ! FFICULTY, THEY WOULD INTEREST NO ONEo SINCE
THE ANSWERS ARE ALMOST IMMEDIATELY AVAILABLE, PUP·ILS ARE STIMULAT-ED TO
MATCH:WITS AGAl .NST ·THE ANSWER COMING UP. ONCE THEY LEARN THAT THERE IS
NEITHER PUNISHMENT.NOR REWARD FOR CHEATING---THAT THIS IS, IF·HANDLED
RIGHTLY BY THEM, A GAME, AND A GOOD ONE AT THAT---THEYrENTER INTO THE
S�IRIT�OF THE THING, DO THEIR. BEST TO Fl GORE OUT THE ANSWERS; AND THEN
CHECK·TO SEE IF THEY:WERE·RIGHT.
THE RATHER LARGE ACQUA� NTANCE STUDENTS GAIN WITH THE TECHNIQUES
OF QUESTION-ANSWER I NG .AND THE .ASSOCIATION WITH WELL-WORDED RIGHT ANSWERS
IS BOUND TO 'IMPROVE THEIR SKILL AT QUESTION ANSWERING AND ANSWER STRUCT- URING IN SITUATIONS APART FROM THIS ACTIVITY. THIS IS TRANSFER OF
LEARNING �HE EXISTENCE OF WHICH •IS HARD TO DISPUTE.,
THi s, THEN, IS THE CONCERN OF THIS THESIS: ro DEVELOP A KEENER
-. UNDERSTANDING AND APPRECIATION OF PO ETRY; TO INSURE THE INDIVIDUAL IN-
VOLVEMENT OF EACH PUP'IL WITH THE POEMS· THEMSELVES; TO ESTABL•ISH: THOROUGHLY
BY CONTINUING REPETITION THE CONCEPTS OF MEANING, STRUCTURE, AND ALLUSION;
'· AND TO PROVIDE EQUALLY WELL FOR �LL THE' DEGREES OF.ABIUITY TO BE FOUND
WITHIN EVERY CLASS. IT � S BELIEVED THAT THE PROGRAMED UNIT, WHICH IS
THE BODY OF TH IS. THES·� s, THROUGH ITS FORM OF QUEST·I ON-�-STUDEN·T ANS�ER---
REVEALED CORRECT ANSWER��-AND· THRO UGH ITS WIDE·LATITUDE10F DEGREE OF ·
DIFFICULTY, DOES· SO DEVELOP, SO ;INSURE, SO ESJ'ABLISH1,AND SO PROVIDE. CHAPTER 11
THE IWiPLEMENTATION OF THE PROGRAM IN THE CLASSROOM
. . HOW TO USE THIS BOOK (A SECTI ON INTENDED FOR STUDENTS) -----
TH.I S IS A BOOK INTENDED TO HELP YOU LEARN HOW TO GET REAL PLEASURE
FROM THE�READING O� POETRY . MANY OF YOU WILLt NO DOUBT, TURN Up YOUR
NOSES AT THE VERY THOUGHT OF POET�Yt AND PERHAP S YOU HAVE . REASQN TO .
IT MAX BE THAT YOU DON'T UNDERSTAND WHAT POETRY REALLY IS AND IT MAY BE
;,. . � . TaAT YOUR EXPERIENCES WI TH IT IN THE PAST HAVE BEEN �NYTHI NG BUT PLE�SANTo
TH IS BOOK DOES NOT INTEND TO MAKE POETRY EASYj THERE IS WORK HERE1 ANO
. . . REAL WORK, BUT IT DOES INTEND TO MAKE POETRY INTERESTING. Now, YOU
KNOW AND WE KNOW THAT NO AMOUNT OF WO RK FRIGHTENS YOU AS LONG AS YOU
' . ARE INTERESTED IN WHAT YOU ARE DOI NG�
POETRY :'as JUST A WAY THE POET HAS. OF SAYING SOMETH ING . THE IMPOR-
' ' .. ' TANT TH ING TO KEEP . IN MIND IS THAT THE POET HAS SOMETHING IN HIS MIND THAT HE WANTS TO COMMUNICATE TO You. Now, THE s'1 MPLEST WAY OF SAYING
" . SOMETH� NG IS NOT ALWAYS THE MOST EFFECTI VE. OF COURSE, IF YOU ARE ASK-
' ... � ING DIRECTIONS TO THE POST OFFICE1 YOU 00 WANT SIMPLICI TY AND DIRECTNESS,
.. BUT WHEN YOU WANT TO EXPRESS HOW YOU � ABOUT SOMETHING YOU WANT YOUR
LANGUAGE TO BE MORE EXPRESSIVE� IN MOST CASES THAT IS WHAT A POET IS
. . . DOI NG WHEN HE WR ITES A POEM. HE IS TELL ING YOU HIS FEEL ING OR EMOTIONS
AND ASKING YOU TO SHARE THEM. ANO IF YOU W. ILL G.I VE HIM HALF A CHANCE ,
�- �· YOU WILL FINO THAT YOU CAN VERY EAS ILY DISCOVER WHAT THE POET IS SAYING
ANO THAT YOU CAN UNDERSTAND HIM ANO SHARE HIS FEEWING. ' 9
NOT MUCH POETRY t OR AT LEAST NOT MUCH GOOD POETRV1 JUST HAPPENS.
DEAL OF HARD WO RK AND THE EMPLOYMENT OF SPECIAL TECHNI QUEs·:a NVOLVED IN
THE wR'i T.I NG OF POETRY. - TH.I s BOOK wi LL "ACQUA INT YOU WITH . SOME OF THE
CRAFTSMANSHIP OF POETRY AND ENABLE YOU TO RECOGN IZE IT, AND1 WE HOPE1
RESPECT IT. You MIGHT EVEN WANT TO TRY YOUR HANO AT WR I TI NG POETRY
YOURSELF•SOMETIMEe
TH.IS BOOK Is MOST LIKELY QU ITE DIFFERENT FROM THE usuAL TEXTBOOK
TO WHICH YOU ARE ACCUSTOMED. IT ·IS SUPPOSED TO BEt BECAUSE . . IT· IS ·DE-
SIGNED TO HELP YOU HELP ·YOURSEL F TO LEARN. You ARE NOT ·DEPENDENT ON A.
TEACHER OR ON ANY OUTSIDE SUGGESTIONS. You READ A QUESTION, YOU TH INK
ABOUT IT, YOU ANSWER IT, AND THEN YOU ARE IMMEDI ATELY ·ABLE TO CHECK
YOUR ANSWER AGAINST THE RIGHT ANSWER. TH.IS IS DONE. BY PRINTING THE
BOOK ·JN RECTANGLES WHICH WE CALL F'RAMESe
THERE ARE FORTY POEMS DEALT WITH AND EACH POEM HAS ITS OWN SET OF
FRAMES� THE FRAMES ARE PLACED ON SUCCEED I NG PAGES SO THAT V·OU SEE 'ONLY
ONE F'RAME AT A TIMEe· EACH FRAME (AF'TER THE F'IRST) HAS 'THE 'ANSWER TO
THE PRECED ING QUESTION, A NEW QUESTl•ONt AND LINES F'OR YOUR ANSWER.
HERE .IS A SIMPLE SAMPLE POEM TO SHOW ·YOU HOW THE ·FRAMES WO RK .
MARV HAD A LITTLE LAMB, I TS FLEECE , WAS WH.I TE ·AS SNO.W; AND EVERYWHERE THAT.MARV WENT THE··: LAMB WAS SURE TO GO.
Q.1-. , WHAT DOES THE . WO RD 11L.AMB11 .MEAN? A1. (YOU WR ITE YOUR ANSWER ON THESE LINES) 10
PAGE 2
A1 . (THE NEXT PAGE SUPPLIES THE RIGHT ANSWER) A LAMB IS A YOUNG SHEEP . Q2. WHAT Is FLEECE? A2. (YOU ANSWER THE SECOND QUESTION HERE)
PAGE J
.. A2. FLEECE IS THE HAIR OF THE SHEEP ; IT IS WOOL. QJ� WHAT WAS THE FLEECE AS WHtTE AS? AJ. (YOU ANSWER THE TH IRD QUEST ION HERE)
TH. IS IS ALMOS.T TOO SIMPLE, ISN1T IT? 8uT LOOK AT WHAT MIGHT APPEAR IN QuEST-foN 4 .IN THE FRAME ON .PAGE 4. PAGE 4
AJ� "SNow" IS. THE CORRECT ANSWER. Q4. SER.IOUSLYt WHO M�GHT THE� OF. TH IS POEM BE? A4.
TH.INK OF THE SUGGESTSONS WHICH ARE BROUGHT TO YOUR Ml NO WHEN YOU READ THE ANSWER ON PAGE 5. PAGE'.
A4. MARY MIGHT WEL L BE THE VIRGJ.N MARV. SHE HAO A LITTLE LAMB NAMED JESUS. Q5. COULD THJS BE WHOM THE POEM IS ABOUT, OR 010 WE JUST MAKE IT UP?
WHAT YOU FIND IN THE ANSWER ON PAGE 6 WILL PRO_BABLY SURPRISE YOU, BUT IT WILL ALSO HELP YOU TO LEARN SOME MOST INTERESTING F'ACTS ABOUT HISTORYe PAGE 6
A5. WE D.IDN'T MAKE IT UP e MOST OF' THE Nl:.IRSERY RHYMES YOU KNOW ORIG.INATED AS ON-THE-STREET POL.tT. ICAL BARBS ,IN THE TJME OF EL.IZABETH I •. Q6. THERE is AN EVEN DEEPER ALLUSION IN TH IS POEM. CAN YOU TH INK WHY A REFERENCE WOl:.IL D BE MADE TO THE V1 RG ... N MARV? A6 11
AN SWER 6 MAKES THE MATTER A LITTLE CLEARERo
PAGE 7
A60 Ei..iZABETHAN TIMES WERE MARKED BY THE STRUG'GLE BETWEEN PRO TESTANTS.; AND CATHOL.j CS0 TH.I S RHYME I DENT'j F•I ED SUPPORTERS OF CAT:HOL.I Cl SMo . Q7 . THERE IS AN EVEN MORE SPECIFIC REFERENCE TO Hl'STO RV IN 'tHE RHVMEo WHAT .Is IT? A7.
AND THE FRAME ON PAGE $ REVEALS THE ANSWERo
PAGE $
A7 0 11MARV11 REFERRED ALSO TO MARV, QUEEN OF SCOTS, AND HER LAMB :j S HER SON WHO SUCCEEDED EL.I ZABETH I AS JAMES I •.TH E RHYME ALSO SERVED TO I CENTI FY HER ADHERENTSo OTHER STANZAS IN THE ORI G'I NAL POEM ELABORATE THE EVENTS OF TaE TIMESo
SUCH A. SIMPLE EXAMPLE AS TH IS COULD AL SO SERVE TO ·ILLUSTRATE THE OTHER OBJECTIVES IN THE STUDY OF POETRY PRESENTED IN TH IS .BOOK•· IN THESE FOUR LiNES THERE is FiGURATIVE LANGUAGE ("FLEECE WHi TE AS SNOW11 is A siM�LE) AND iN THE HiDDEN SENSE 11LAMB11 is A PERSONiFiCATioN. QuEST�O NS COULD BE ' ... ··- FORMULATED ASK ING YO U TO DETERMINE METER AND RHVME-SCHEMEi BUT YOU ARE NOT READY FOR THAT, VET0 IT wiLL COME THROUGH THE QUESTIONSo
IN ANSWERING THE QUESTIONS ABOUT THE FIRST POEM YOU WILL DEAL ONLY
WI TH THE FRAMES AT THE TOP OF PAGES 1 THROUGH 320 ON PAGE 33 OF THE
PROGRAM (OR PAGE 46 OF TH IS THESIS) YOU WILL START ANOTHER POEM ANO CON-
TINUE ON THRO UGH TH IS BOOK. ONLY WH EN YOU HAVE GONE TO. . THE END LOOK ING AT THE TOP FRAME ON EACH PAGE, DO YOU GO BACK AND START THROUGH THE BOOK
ON THE SECOND COURSE OF FRAMESo . THE VALUE OF TH IS ARRANGEMENT Li I ES IN THE FACT THAT YOU CAN CHECK
YOUR ANSWER AS SOON AS YOU HAVE COMPLETED THE QUESTION SIMPLY BY TURN- 12
. ING THE PAGEe TH IS IS IMPORTANTe No MATTER IF YOUR ANSWER IS WRONG,
:!.23:!. CO RRECT IT IMMEDI ATELY AND THE INACCU RATE ANSWER HAS NO CHANCE TO
TAKE ROOTe IF YOU ARE RIGHT, ANO MORE OFTEN THAN NOT YOU WILL BE,
�·� � � ' YOU WILL EXPERIENCE A GLOW OF SATI SFACTION AT YOUR CONFI RMED ACCOM-
PL'I SHMENT�
Now IT WO ULD BE A VE RY SIMPLE MATTER FOR YOU TO TURN THE PAGE AND
COPY DOWN THE RIGHT ANSWER EVERY T�ME , BUT THAT WOULD BE PRETTY SNEAKY.
IT YIOULDN1T BE ANY FUN AND YOU WOULDN1T LEARN ANYTHi NG EITHER.
MAKE TH IS A GAMEe SHARPEN YOUR WITS AND TH INlll , THi NK , TH� NKl
THEN PUT DOWN THE BEST ANSWER> YOU CAN, TURN THE PAGE AND CHECK WHETHER
YOU WE RE RIGHT OR NOT. IT i sN1T NECESSARY OR AT ALL DESI RABLE THAT
YOUR ANSWER BE IN THE SAME WORDS AS THE ANSWER GIVEN, BUT IT SHOUL D
AGREE . IN I DEA.
REMEMBER, YOU WILL NOT BE GRADED ON THE WORK' YOU DO IN THIS BOOK .
IT IS INTENDED SOLELY TO HELP YOU GAIN A KNOWLEDGE OF POETRY THROUGH ·� . � VOUR O\VN INDEPENDENT TH , NK ING. You v1 I LL BE GIVEN TESTS IN \VHICf.I THE
ANSWERING OF QUEST IONS WILL DEMAND THAT YOU TH INK IN THE SAME MANNER
THAT YOU HAVE IN ANSWERING THE QUEST IONS IN THE FRAMES. '
ONE Fi NAL WO RD AND YOU ARE READY TO BEGINo Do NOT BE DISCOURAGED
IF YOU ARE UNABLE TO ANSWER ALL THE QUESTIONS. You ARE NOT SUPPOSED TO.
MANY ARE PURPOSELY DIFFICULT. You WOULDN'T BE INTERESTED IN THIS
MATERIAL .IF IT WERE SO SIMPLE AS TO •INSULT YOUR INTELL·I GENCEe BUT HAV-
ING THE RIGHT ANSWER BEFORE YOU WITHOUT DELAY WILL ·INDICATE THE KIND OF.
THINKING THAT WAS NECESSARY IN OBTAINING THE ANSWER. You WILL DO BETTER
THEN ON LATE R QUESTIONS� CHAPTER 111
,A PROGRAM-APPROACH:TO T�E STUDY .OF POETRY
- - THE FOLLOWING SERIES OF QUESTIONS AND ANSWERS DEAL 'I N_G WI TH SP ECIFIC '
POEMS CONSTITUTES A PRO GRAMED APPROACH TO THE STUDY OF POETRY. EVERY
EFFORT HAS BEEN EXPENDED TO MAKE THESE QUESTIONS APPROPRIATE FOR USE IN . . THE F.1 RST VEAR OF H I GH SC HOOLo CONCEPTS WHI CH ARE IMPORTANT AT OTHER
LEVELS HAVE BEEN IGNO RED, ELEMENTS OF STRUCTURE AND FORM HAVE BEEN RE-
DUCED TO SIMPLE TERMS, AND MEANI NGS HAVE BEEN DEDUCED IN ACCORDANCE WITH
THE MA TURATION ANO EXPERIENCE LEVELS OF THE ANTICIPATED BODY OF STUDENTS
·- WHO WILL BE USING THE BOOK. THE PURPOSE OF THE PROGRAM HAS BEEN TO IN- ' -- C � TE AN INTEREST IN POETRY IN BEG"� NNI NG HIGH SCHOOL STUDENTS; AN INTEREST
·- WHI CH SHALL BE LIFELONG, WHICH SH ALL INCREASE THEIR APPREC� ATION AND
I_ • - - AESTHETIC INSI GHT, AND WH ICH SHALL ENHANCE THE � R AB� L 'ITIES TO THINK AND
TO COMPREHEND THE MEANI NGS ATTACHED TO THE IR THOUGHTS. - THE MECHANICAL ARRANGEMENT OF THE PROGRAM CALLS FOR THE READ' NG OF
FRAMES SUCCESSIVELY FROM THE FRONT TO THE BACK OF THE BOOK, RETURNI NG TO
THE FRONT, AND PROCEEDING WITH THE SECOND PANEL OF FRAMES, AND SO ON.
WH ILE EACH QUESTION-AN�WE R SERIES IS NUMBERED, THE FRAMES THEMSELVES ARE
AL SO NUMBERED CO NSECUTIVELY. 14·
1
ANONYMOUS (1)TH C�NTU RY) SIR PATRICK SPENS
105 A10. ONE �NSWER (NOT NECESSARILY THE ONLY ONE) WOULD BE THE CHRISTIAN. WAY IN WH ICH HE HAS CLOTHED H.IS SOUL• PERHAPS HE F'EELS READY TO BE ACCEPTED .IN THE STATE OF THE ANGELS. Q1 1. DESCR.I BE THE FORM OF THE POEM1 :i NCLUD I NG I TS RHYME SCHEMEo A1 1.
209 AJo A LUTE IS AN ANCIENT STRINGED INSTRUMENT SIMILAR TO THE MODERN GU I TAR OR MANDOLIN. Q4. WHAT IS ISR�FEL 1S GREAT TALENT? A4.
31 3 , AS. THE FOLD IS A SHEEP FOLD OR PENo PALESTi NE WAS A COUNTRY OF SHEPHERDS ANO THE DANGER FROM WO�VES WAS A CONSTANT ONEo Q9. CAN YOU GU ESS THE MEAN ING OF THE WO RD 11COHORTS11 FROM THE CONTEXT?
417 A20. IT IS A LYRIC. THE EMOTION OR FEELING WOULD SEEM TO BE APPRECIATION OF NATUREo Q21 . WE HAVE HAD LYRICS WH ICH WE F'URTHER QUALIFIED AS LOVE LYRICS. TH IS TYPE IS ALSO A SPECIAL CL ASS. CAN YOU TH INK OF Ii. NAME FOR IT? A21 .
521 A7. THE LIFE OF THE HOUSEWIF'E THEN1 IN THAT SHE SPUN1 WO VE1 AND HAO NUMER OUS OTHER DUTI ES, 'WAS MORE DIFFICULT THAN THAT OF TODAY'S HOUSEWIF'E. QS. WHAT DOES LUC I NDA DO FO R RECREATION? AS.
625 A2. IT WOUL D BE A RUDE CABIN BU ILT OF INTERWO VEN TW!JGS AND BRANCHES (WATTLES) PLASTERED WI TH CLAY . QJ. WHY DOES THE POET SPEAK OF NlNE BEAN RO WS1 NOT SEVEN OR ELEVEN? 2 Q1 • ANONYMOUS WROTE A FAMOUS GROUP OF FABLES1 OR llANONYMO US11 MEANS THAT AN AU THOR'S NAME IS UNKNOWN: WHICH OF THESE ANSWERS IS TRUE? A1 .
106 A1 1. THE POEM CONSI STS OF 3 SIX-LINED IAMBIC PENTAMETER STANZAS·Rl;IYMEO ABABCC• NATURALLY THERE ARE VAR IAT·IONS IN BO TH ME.TER AND RHYME. Q12. You KNOW THAT A METAPHOR IS AN IMPL IED COMPARISON. THIS ENTI RE . POEM IS AN EXTENDED METAPHOR•. WHAT IS THE COMP ARI SON? A12. -
210 A4. No ONE SINGS so WELL As lsRAFEL . Q5. DOES 11GIDDYll MEAN SILLY OR WH IRLING IN TH IS POEM? A5. . .
)14 A9 . llCoHORTll MEANS A COMPANY OR BAND OF ·WARRIORS. IN ROMAN TIMES ·t T :WAS QNE OF THE TEN DIVISIONS OF A LEGION. Q10. ACTUALLY, THE POEM G.IVES NO GEOGRAPHI CAL SETTING AL THOUGH ONE t·S SUGGESTED BY 11ASSYRIAN. 11 WHAT OTHER WO RD DOES THE POET USE IN STANZA 1 TO LOCATE TH E POEM? A10.
41$ A21. IT1s REALLY Q!JI TE SIMPLE. POEMS OF· TH IS TYP E ARE CALLED NATURE LYRI CS.
522 ft.S.. LUCINDA ENJOYED THE SIMPLE PLEASURE.S AF'F'O RDEO BY. NATUR.E: GO l:NG ON WALKS, LISTEN.ING. TO BI RDS1 GATH,ERl·N(l ·SHELLS, ·AND P·I CKIN'G FLOWERS:• Q9.. WHAT CAUSED Luc'INDA MATLOCK's DEATH? A9•.
AJ. THE IRISH WERE AND ARE QU ITE SUPERS�ITIOUS AND �INE IS ONE OF THE IR MOST LUCKY NUMBERS. Q4. WHAT WOULD YOU TH INK OF' A DIET OF' BEANS ANO HONEY? A4. 16
3 A1. llANONYMOUS11 MEANS THAT AN AU THOR1S NAME IS UNKNOWN OR UNREVEALEDo (AESOP IS THE MAN WHO WROTE.THE FABLES0) Q2. TH IS POEM WAS WR.ITTEN .IN THE 1)TH CENTURY. ·G IVE THE VEAR DATES FOR THE 1)TH CENTURY. A2o
107 A12. THE POET COMPARES THE HOUSEWIFE1S TASKS OF SP INNING, WEAVING, ANO MAKJNG.THE·CLOTHING TO Goo's TASK OF CLOTHING THE SOUL OF MAN.
211 A5. llG IDDY11 MEANS WH IRLING AND REFERS TO THE MOVEMENT OF THE STARS IN THE SKYe Q6� WH AT DO THE STARS DO WHEN ISRAFEL BEGI NS HIS MUS IC? A6.
31 5 A1 0. THE WORD llGAL.ILEE11 REFERS TO THE SEA OF GAL,"ILEE WHICH IS NOW ON THE BORDER BETWEEN ISRAEL AND JORDAN AND WH ICH IS FREQUENTLY MENTIONED IN THE 8°1 BLE0 Q11. WHO WOULD THE WIDOWS OF ASHUR, REFERRED TO IN LINE 211 BE? A11.
419
ROBERT 8ROWNiNa (1812-18159 ) MY STAR
523 A9;. SHE SAYS THAT SH E S�MPL Y HAO LiVED LONG ENOUGH. Q . IN TH� LAST FIVE L�NES OF THE.POE�, DOES LuciNDA M•TLOCK SEEM TO.BE 10 . SYMPATH���c WITH �ER 11soNS-ANO OAUGHTERs?1 1 A10.
. 627 A4. TH IS DIET IS POETIC RATHER THAN PRACTI CAL. Q5. WH AT 00 YOU UNDERSTAND FROM.THE PHRASE llA BEE-LOUD GLAOEll? 17
4 A2�. MANY PEOPLE GET CONF'U SED ON THI S. · WE LI VE IN THE . 20TH CENT.URY , BUT OUR YEARS ALL START WI TH 19•. THE 1 JTH .CENTURY INCLUDES THE YEARS 1200 TO THE END OF' 1299. QJ. Ho w MANY WO RDS I� THE F'�RST F'OUR LINES WOULD WE MARK AS BEING �� s SPELLED .IN THE 20TH CEN TURY? AJ.
108
Ro BERT BURNS (1759-1796) JOHN ANDE RSON, MY JO
212 A6 •. THE ANC I ENTS BELI EVED THE STARS MADE MUSIC AS THEY MOVED IN. THEl.R COURSESe POE HAS THEM CEASE S�NG�NG TO L�STEN TO IS RAF'ELe Q7 •. WHAT DOES 11ENAMORED11 MEAN? MAYBE YOU ,K NOW TWO (oR MORE) F'OREIGN WO RDS WITH THE SAME ROOT.
J16 A1 1 •. ASHUR WAS THE ,CH IEF' GOD OF' THE ASSYRIANS. -THE R�F'EREN�E �S TO T�E WIVES OF' THE SLAIN SOLDIERSe · . Q12. BAAL .IS A,LSO _A GOD AND OBVIOUSLY AN IMPORTANT ONE; IF'ASHU R WAS CH I EF'.GOD OF' THE- ASSYRIANS, CA.N YOU Gt:JESS Wl-!O B�AL MIG,HT BE?
A12 •.
420 Q1 . IN TH IS PO EM, BROWN.ING '1 s COMPARING HIS WIF'E, EL.I ZABETH BARRETT BROWN tNG, TO A STAR. IF TH IS IS TRUE, THE WHOLE POEM IS A F'IGURE OF' SPEECH. WHAT �S �T? A1 .
524 A10� No , SHE SEEMS :ro TH INK THAT MODERN AMER.ICANS DO. NOT REALLY LET THEM SELVES ENJOY. L�I F'Ee ,. Q1 1. THE F'.iNAL L.iNE .. G.i VES HER PHI LO SOP.HY OF' Lif"Ee WHAT, IN YOUR OWN WO RDS, ,·I S ·, T? A1 1.
628 A5. THE BEES .ARE BUZZI NG ALL OVER THE PLACE� JT IS A PEACEF'UL AND PLEASANT SOUNDe Q6. IF' THE POET GOES TO THE ISLA�Dt W�LL HE �IND H�PP�NESS �MMEDI ATELY? 1S
5 AJ. THE WORDS TOUNE (TOWN), BLUDE (BLOoo),.REtD. (RED), WHAR (WHERE1, GU.ID (GOOD),- ANO SCH.IP (SH.IP) SHOULD. BE NOTED. ; Q4. Do YOU SUPPOSE THESE WORDS ARE ACTUALLY MISSPELLED OR THAT SUCH SPELL.I NGS WERE COMMON .IN THE 1 JTH CENTURY? A4.
109 Q1. THE POEM CONTAiNs SOME SCOTCH DiALECT. READ IT CAREFULLY AND SEE IF YOU CAN MAKE OUT ITS MEANINGe WHAT DO YOU SUPPOSE THE WORD 11Jo11 MEANS? A1.
213 A7;. 11ENAMORED11·. MEANS: FONDLY IN LOVE WI TH. · � IS LATIN AND AMOUR IS FRENCH FOR 11LOVE. II .. ·- QS. How ooEs THE SINGING OF ISRAFEL AFFECT THE MOON? AS�
31 7 A12� BAAL WAS THE SUPREME DE'I TY OF ALL PAGAN PEOPLES OF A WIDE; REGIO-N• HE WAS WORSHIPPED BY ASSYRIANS, BABYLONIANS, ANO MANY OTHER NAT.IONS 1 N As:1 A M1 NOR. Q1J. WHO WOULD YOU" T·AKE THE· GEN:r-iLE OF LINE 23 TO BE·; :INC;IOENTALLY, WHAT DOES THE WORD llGENT�LE11 MEAN? A1 3.
421 A1 . s·iNCE THIS P()EM MAKES AN INDIRE'CT COMPARISON, IT: IS IN ITS ENTIRETY A METAPHOR• Q2. ANOTHER FH�URE OF. SPEECH WH.ICH MAKES A D.IRECT COMPARISON IS THE SIMILE. How MANY CLEAR-CUT s'1M'iLES CAN You. F l·N0-1 N THE POEM? A2.
525 A11. YOUR WORDS NEED NOT BE LilKE TH�SE,. BUT ·IT TAKES LIVING 'TO ITS- FULLEST TO GET THE REAL MEANING FROM L'!FE. ONLY THROUGH ooiNG CAN Y{E COME TO UNDERSTAND.
. 629 A6. BE MORE CAREFUL IN. YOUR.READING. THE POET DOES NOT MENTION HAPPINESS.
. J T ... S PEACE HE • IS SEEi
6 A4. RIGfD RULES FOR SPELLll'�GDID.NOT COME.INTO USE .IN,ENGLANQUNT.IL,LONG AFTER PRINTED BOOKS BECAME:COMMONe· MOST EARLY SPELL"fNG WAS PHONETIC (As IT SOUN�s) AND THESE WERE COMMON SPELt:."rNGS. ' Q5. SOME T.IMES THE SAME WORD IS SPELLED DIFFERENTLY iN THE SAME POEM. CAN YOU F.IND EXAMPLES?
110 A1 . IT1S A LITTLE MORE PERSONAL THAN WHAT·YOU MEAN WHEN YOU SAY; llHE1S·A GOOD joE,11 Bl:IT "1 T1s s"1M.ILAR.· llJo111iN' SCOTCH MEANS "THE CLOSEST OF FRIENDSo11 Q.2. WHAT WORD WOULD YOU USE IN PLACE OF llACQUENTll? A2.
.. 214 THE MOON BLUSHES WIT!'!" LOVE WHEN ISRAFEt,., SINGSe 11LEVIN11 "is SOMETHING WH"icH MOVES QUITE VIOLENTLY Tl'IROUGH THE TMOSPHERE. ' A WHAT DOES "LEV0l NII MEAN?
31g A13 "GENT.ILE11 STRICTLY SPEAK.ING MEANS ANY PERSON. NOT A JEw. IN nus CASE � . . . . • ...T MEANS SENNACHERJ. Be Q1 4. A LVRic EXPREssEs AN EMOTION ANo A NARRAT1vE POEM TELLS A STORY. IN. YOUR, OPINION, WHICH "is TH'1. s? A1 4.
422 A2. THERE ARE THREE. THE SIM.tLE: EMPLOYS THE' WORe 11 L.IKE" :OR' THE WORD 11 As11 IN I TS CONSTRUCT.ION. 11 STAR••• THROWS •• • LIKE •• • SPAR, II OR "STAR STOPS L."1 1 JOHN GOULD FLETCHER (1$86-1950) A7. U'INE 6 SIGNIFIES;THE PASSAGE:OF'.THE DAYLIGHT HOURS.FROM THE MlSTS OF EARt:.Y MORNING TO THE CRIC�ETS1 EVEN.ING SONG •. Q8. WHAT COULD MAKE THE M'iDNIGHT GLIMMER?. A$� 20 7 AS. SOME EXAMPLES ARE SPENS ANO SPENCE, HAST.AND HASTE, AND THEI R:AND THA I Re Q6� WHAT'.I S THE PROBLEM WH ICH FACES THE KING· IN STANZA 1? A6; 111 A2. 11AcQuA.INTED11 NATURALLY� NSTEAD OF ADD ING 11-ED,n THE ScoTCI;! CHANGED llA�NT11 TO llENT11•T6 FORM THE.PAST PARTICIPLE. QJ. WHAT '1 s A RAVEN? AJ; 215 A9 . 11LEV.IN11 MEANS LIGHTN ING •. IT IS ARCHAIC, loE. , NO LONGER IN ORDINARY US Ee Q1 0� WHO WE RE THE PLEIADS ACCORDING TO GREEK LEGEND?. A10� •·· 319 A14.; REMEMBER, THE CLASSIFICATIONS ARE NOT HARD AND FAST. A LYRIC MAV HAVE ELEMENTS OF STO RY-TELLING AND A NARRATIVE POEM MAV AL SO EXPRESS EMOTlONo THE STORV·I S· VERV SL I GHT HERE, AND THE EMOTION---THAT"OF JUBILATION OVER 'THE DESTRUCTl 'O N OF AN ENEMV---GREATe · PERHAPS, ,·IT i- S BEST CAL LED A LYRIC WI TH NARRATI VE OVERTONES. 423 AJ� YES, THE ATTRlBUTING OF:A SOUL TO A STAR IN THE-�AST LINE IS AN EXAMPLE OF PERSONIFlCATIONe _ . . Q4. WHAT.CAN VOU TELL OF . THE PATTERN OF THIS LVRIC? . A4; ------�·:":;, ', �':\.., 527 THE Tl TLE OF TH IS POEM HAS BEEN LEFT BLANK SO THAT VO U MAV GUESS WHAT IT I Se THE QUESTION S VOU ARE TO ANSWER WILL GI VE VOU CLUES. WHEN VOU TH.INK VOU KNOW THE NAME, WR ITE IT ON THE FRAME VOU ARE INVOLVED WI TH AT THE TIMEe IF VOU CH�NGE VOUR MlND, KEEP ON ADDING NEW NAMES. 631 AS. THE FLASH OF. STARLIGHT ON THE WATER COULD ACCOUNT FOR THIS GL I MMER- ING� ANOTHE� po ssia'1 L.ITV IS _THAT THE GLADE.WAS AS FULL OF FIREFLI ES av NIGHT'AS IT WA S OF:BEES av DAV. How CAN vou ACCOUNT FOR . 11NOON A PURPLE GLOW11? A9 . 21 . g A6. TH E K.ING1S PROBLEM ·1 s TO F'IND A GOOD CAPTAIN F'OR.HIS SHIP•. Q7 • WHo"'"RECOMM ENDED 81 R PA:l'R· I CK SPENCE TO THE.K I NG? •. 112 A3! THE RA VEN IS A EUROREAN BLACKBI RD SIMILAR TO OU� CROW. Q4. WHAT DOES LINE 3 TELL US ABOUT JOHN ANDERSON? A4� 216 A10. THE PLE. IADS WERE THE 'SEVEN DAUGHTERS OF ATLAS, THE GIANT WHO SUP• PO RTED THE WORLD ON HIS SHOULDERS TO SAVE THEM F'ROM A PURSUERe ZEus , KING OF' THE Goos, CHANGED THEM TO PIGEONS, ANO LATER TO STARS. Q11. WHAT ARE THE PLEiAos IN REAL. ITV? A11. J20 JOHN KEATS (179,5-1$21) ON FIRST LOOKING INTO CHAPMAN'S HOMER A4 •. THE ,PAT!ERN IS IRREGULAR; THERE ARE THI RTEEN LINES, NONE OF' WHICH ARE EASIL.V SCANNED NOR ARE ·THE WINES OF' EQUAL LENGTH. Q5.. \'VHAT ·, S THE RHYME SCHEME? A5•. .. 528 Q1. THE WHOLE F'IRST SECTION IS AN INCOMPLETE SIMILE. WE ARE NOT TOLD . .. � IS LIKE A PINE TREE. WHERE ARE WE TOLD? A1. ,632 A9.· THE GLADE (VALLEY) IS SURROUNDED BY DISTANT MOUNTAINS WHICH MIGHT " HAVE. A PURPLllSH HAZE;· AL601 THE MOUNTAINS WOl:ILD BE LIKELY TO BE COVERED WITH HEATHER, A PLANT WITH·PURPLE BLOOM. Q10.. WHAT IS A L'i NNET? A10 .. 22 9 A7. SIR PATRiCK SPENCE WAS.SUGGESTED BV THE ELDERN KNJCHT ( ELDERLY . . . . , KNIGH.T) , WH ICH SEEMS TO MEAN THAT THIS KNi GHT WAS TH E K ING1s . TRUSTED ADVISOR Sf NCE HE. ALSO SAT AT THE KING1S RIGHT KNEEe Qg. THE WORD "BRA io11 I s THE SAME As OUR WORD "eRoAo. " WH AT oo vou SUPP6SE A 11 BRA� DLETTERll I �? 113 A4-. THAT JO HN ANDERSON HAD BLACK HA IR wHEN HE ANO HIS FRI END MET. Q5e THE WORD 11BRENT11 MEANS SMOOTH. WHAT IS THE CONDITION OF JOHN 'S HEAD NOW? 217 A1 1.. THE PLEI ADS ARE. A. CLUSTER OF SEVEN STARS ·IN THE CONScTELLATION TAURUSi- THE BULL• . Q12. How DOES I SRAFEL 's MUS,I c AFFECT THE LEVIN AND TJ-iE PL EIADS? A1 2';. 321 Q1 . How MANY LINES DOES TH IS POEM HAVE? A1. 425 A5• THE POEM IS SCHEMED THUS: ABABCDCDDEFEF• · - Q6. LINES 11 ANO 13 HAVE A FEM ININE RHYME IN 11ABOVE IT11 -ANO 11LOVE IT.11 By COMPAR.ING THESE RHYMES WITH OTHERS IN THE POEM, CAN YOU TELL WHAT A FEM. ININE RHYME IS? A6. . 529 A1.• THE WORDS 11TH 1.S MAN11 IN THE Fl_,RST·LW NE OF�Tl'.IE �ECONO SECTION GIVE US THE SUBJECT OF TH IS SIMILE. . Q2. CAN YOU TELL FROM STANZA 2 WHERE TH IS MAN MAY HAVE LIVED: IN THE . P.iNE wooos? IN KANSAS? ON THE OPEN PRAIR IE? A2. 6 33 A10. THE LINNET 1s·A· BIRO WH ICH FL IES .lN THE EVEN ING, MUCH AS OIJR·COMMON CliilMNEV SWI F.:T. , . Q1 1. THE POET �REP EATS 111 �WI LL. ARI.SE :AND GO NOW11· AT THE BEG INN ING OF THE LAST.STANZA. Do YOU FIND ANYTHING TH AT SUGGESTS WH ERE HE 1s? A1 1.. 10 A$. THE BROAD LETTER WAS ONE WRI TTEN ON A BROAD SHEET;OF PAPER OR PARCH- .. . MENT AND SUGGESTS THAT IT WAS BOTH OF.FICIAL AND IMPORTANT. · Q9. THE NEXT L:'I NE SAYS THAT THE K.ING . SIGNED IT Wl tH HIS HAND •.IS N1T THAT RATHE� STU��o? How ELSE COULD HE SIGN IT?. A9. 114 A5. THAT1S RIGHT! "BELO" MEANS "eAt.D,11 AND 11sNAW11 IS "sNO W. 11 W1;1AT IS LEFT IS WH ITEe Q6; IN viEw OF THE ABOVE, YOU WONrT HAVE �NY TROUBLE:wiTH 11Pow11 W� LL You? A6. 21$ A1 2. THEY PAUSE IN THEIR FL IGHT TO LISTEN TO H.I Me Q1 J. WHAT GlVES ISRAFEL H.IS FI RE? A1 J. J22 A1 . IT MAS FOU RTEEN LINES •. Q2. CAN YOU, USING LETTERS, WRITE OUT ITS RHYME SCHEME? A2. 426 A6. A FEMININE RHYME IS A DOUBLE· RHYME WHER{': TWO SYLLABLES RHYME INSTEAD OF ONE. THE SECOND SYLLABLE USUALLY CARR� ES A WEAKER ACCENT. IT MAY CONSIST (AS IT DOES HERE) OF TWO SEPARATE WO RDS. Q7 • CAN YOU TELL FROM THE POEM -ITSELF WH AT THE 11ANGLED SPAR11 OF LINE 4 M.IGHT BE? . A7� 530 A2. THE STANZA TELLS US NOTHING SPECIFIC ABOUT. THE LOCATION EXCEPT: THAT IT .IS IN THE NORTH. QJ. Do THE WO RDS 11TWI STED AND GNARLED II �PPL-I ED TO THE BRANCH�S'.OF THE AI NE SUGGEST THAT THE MAN HAD TO STRUGGLE TO ACCOMPLISH THINGS, OR THAT HE HAD AN EASY TIME OF �T? AJ. A1 t. THROUGH THE: PHRASE 11oN :THE PAV· EMENTS _GREY·, II YEA JS SEEMS TO SUGGEST THAT HE IS, IN.A LARGE CITY. Q1 2. CAN YOU_ TELL FOR SURE WHAT J'HE 11-ITP OF THE L�ST L-INE REFERS TO ? A1 2� 24- . 11 A9. • ACTUALLY THis IS NOT STUP ID' AT ALLe IT SIMPLY SHOWS THAT THE 'K l.NG . COULD WRITE, A RATHER UNUSUAL ACCOMPL I SH .i!ENT IN ·THO SE DAY.S AS USUALLY. ONLY THE CLERGY COULD: WRI TE. Q1 0. WHAT MADE SI R PA:TR.I CK LAUGH WHEN HE READ THE FIRST LINE OF THE . K ING1S LETTER? A1 0. 11):' A6_. OF COURS_E NOT! 11Pow11 MEANS HEAD., IT Is THE SA �E AS OUJ� 11PO_LL It AS IN 11POLL-TAX11• AND 11POLL ING PL�CE,11 WHICH ORIGINALLY MEANT WHERE HEADS ARE COUNTEDe Q7. CAN YOU TRANSLATE LINE 10? A7. ·· .. - 219 A1 3. THE LIVING STR INGS OF THE LYRE av WH ICH HE SI TS AND SINGS. Q1 4. WHAT IS A LYRE? A1 4. 323 A2. THE RHYME SCHEME :I S A,BBAABBACDCDCDo Q3. IF YOU WE RE TO BREAK TH IS PATTERN UP INTO TWO GROUPS, HOW WOULD YOU DO . '1 T? A3� 427 A7. THE ANGLED SP AR SEEMS TO SU GGEST LIGHT AS IT IS BROKEN UP IN f.>A SSI NG TH ROUGH A PRI SM� SP AR . IS A MINERAL WH ICH SPL ITS ·READ ILY INTO CRYSTALS. (PRI SMS) . QS;, IF THE POEM IS ABOUT THE POET1S WIFE, HOW DO YOU ACCOUNT FOR THE 11RED11 AND 11BLUE 11 OF LINES 5, 6, AND 9? 531 A3e THE�E WO RD S, OF COURSE , SU GGEST THAT THE MAN HAS HAD A DIFFICUL� TIME OF ITo: Q4. WHY DOES THE POET MENTION HEAT AND THUNDER CLOUDS? A4. 635 A1 2. THE ANTECEDEN� OF THE PRONOUN 11 1 T11 . IS T�E_LAKE WATER OF Ll�E 10. Q1 3. THE POET� OF COVRSE, DOES NOT ACTUALLY HEAR THE LAKE WATERe WHAT THEN DO YOU · UNDERSTAND THE LAST LINE TO . MEAN? A1 3. 25 12 A1 0. IT .I SN.tT CLEAR: IN THE POEM, BUT .I T·MIGFIT BE THAT HE IS PLEASED· BV TH E PRO SPECT OF A VOVAGE1 OR THAT HE WAS PLEASED·BECAUSE· OF HIS SEL ECT ION BV THE KING. Q11. WHV DID HE WEEP WHEN HE READ THE SECOND LINE? A1 1. 116 A7 . THAT WA SN 'T HARD , WAS .IT? 11WE Cl:.IMBED:THE HILL TOGETHER. 11 QS. Now, CAN vou GUESS AT 11CANTI Ell AND TRANSLATE LINES 11 AND 12? AS. 220 A1 4. A LVRE IS A HARP-L IKE MUSICAL INSTRUMENT USED BV THE AN C.tENT GREEK S• Q1 5. ACCORD ING TO HIS POEM WHAT IS THE DUTY OF AN ANGEL? A1 5. 324 AJ. NATURALLY, YOU WOULD PUT THE 11All AND llBll TOGETHER, ANO THE 11c11 ANO 11011 TOGETHER, AS ABBAABBA COCDCD. Q4� Yo u HAVE ONE GROUP OF s·1.iNES ANO ONE OF 6. TH I NK OF s KEYS ON A PiANO. t S VO I CES SINGING, ANO AN S-TENTAC.L ED SEA MONSTERe CAN YOU TH INK OF A NAME FO R THESE S LtNES? A4. AS. THE NAMES OF THESE COLORS ARE SYMBOLS. RED COMMONLY STANDS FOR LOVE AND VITAi.iTV , AND BLUE FO R COURAGE AND LOYAi.TV. WHY DO YOU SUPPOSE J'HE STAR STOPS SHOWING ITS COLORS WH EN OTHERS WANT TO WATCH IT? 532 A4. THIS IS A DEVICE KNOWN.AS FO RESHADOWING. HE IS SU GGESTING THE . TENSIONS WRI CH BUILD UP INTO A STORM. Q5� CAN YOU EXPLAIN THE LINE, 11A NATION OF MEN SHALL REST BENEATH ITS SHADE11? 636 A1 J. HEARING SOMETHf NG IN THE DEEP HEART'·s CORE WOULD MEAN REMEMBERING IT FROM HIS BOYHOOD. Q14. Now, CAN vou EXPRESS VERY SiMPLY TH E MEANING OF THE ENTIRE POEM? A1 4 •. 26· 13 A11. AGAIN THE POEM_ DOESN1 T_MAK E; TH IS . CLEAR , BUT Mosi: LIKELY HE REAL I ZED THE DANGERS OF THE VOVAG�. Q12. , llWHA11 MEANS 11wHo . II To . WHOM DOES TH IS PRONOUN REFER IN, "0 WHA Is TH IS HAS DON TH IS DEI D?U A12. 117 AS. "MoN iE1 1 IS 11MANV11 AND UCANTIE11 MEANS HAPPY. - 11AND MANY A.HAPPY DAV, JO HN, I WE'VE HAD WITH ONE ANOTHER.II Q9 � You·cAN EAS ILY TELL WHAT 11MAUN" MEANS, CAN 1T vou? A9; ' ., 221 A150 DEEP THOUGHTS ARE THE DUTY OF AN ANGELo Q16. WHY HAS PoE CAP ITAL IZED THE WO RD "LovE "? A1 6. 325 A4. THE PIANO.WAS THE RIGHT CLUE AND 110CTAVE11 IS THE NAME FOR THESE EIGHT LINES. 110cTo 11 MEANS EIGHT, As IN 11oCTET11 AND 11ocToPus.11 Q5. 'IN THE SAME WAY TH INK OF TH INGS MEAN ING six: 6 HORNS PLAY ING TO GETHER, OR WHAT YOU WO ULD CALL QU INTUPLETS IF THERE WER� SIX OF THEM; NOW, CAN YOU TH INK OF A NAME FOR THE s�x L� NES? A5. 429 A9. THE POET SEEMS TO BE 'TELL ING US HERE THAT HIS Wlf"Efs- EXPRESSIONS OF LOVE AND LOYALTY ARE INTENSELY PERSONAL THINGS AND FO R HIS EARS AL ONE. Q10. WHAT DOES THE L�I NE, 11THEV MUST SOLACE THEMSEL VES WI TH THE SA TURN ABOVE I Tll MEAN TO vou? A10. 533 A5� TH IS LI NE J01NING DIRECTLY THE IDEAS:OF.11MAN11_AND 11TREE� TELLS US THAT THE MAN IS OF NATI ONAL IMPOBTAN9Ee Q6. WHAT IS THE FURTHER INTENSIF.ICATION (BU ILDING-UP ) OF THE SIMIL� IN THE TH IRD STANZA? A6. 637 A1 4� THE PO ET IS �O NGING FOR THE PEACE THAT HE KNEW IN HIS YOUTH AND WH ICH HE HAS LO ST IN THE CITY. Q15. WHAT IS THE FORM OF TH IS POEM? A1 5. 27· 14 A12. THE REFERENT OF THIS PRONOUN IS THE ELDERN KNI CHT OF STANZA 21 AND NOT THE KING SINCE SIR PATRl,CK OBV,IOUSLY KNOWS THE LETTER IS FROM THE KINGe Q13. WHY. WOULD THE VOYAGE BE PARTICULARLY DANGEROUS? A1). 118 A9 •. THt.S WORD MEANS llMUST1·11 NATU RALLY. Q10. BV THE USE OF ONE WORD BURNS SUGGESTS EXTREME AGE IN THE LAST STANZA. WHAT ·, S TH IS ONE WORD? A10. 222 A16. HE CAP ITAL I ZED l T TO SHOW THAT LOVE IS A GODe . · Q17._ Do vou SEE ANYTHING UNUSUAL IN THE LINE, 11WHERE LovE1s A GROWN-UI? GOD?ll A17. 326 A5 •. No , NE I THER SEXTET NOR SEXTUPLET WO RKS• THEY CHANGED THE SPELL:ING AND1: CALLED IT SESTETe Q6. WHAT IS THE METER OF THE LINES? A6. 4)0 A10 •. SATU RN .I S ONE OF THE PLANETS OF ·THE SOLAR SYSTEM AND WHILE NO ONE ELSE CAN SEE THE L.I GHl OF THE POET1S STAR , ALL CAN SEE THE PLANET. Q11. TH IS L.INE AL SO· CONTA INS THE ONLY EXTENDED ALL.ITERATION OF THE POEM. CAN vou P.,iCK , T �our? A11. A6. TH.I S .IS AGAIN A FORESHADOW ING (A TELL ING OF WHAT IS TO HAP.PEN). As THE TREE . CAN BE STRUCK DOWN tl N ITS P.RIME BY LIGHTNING, SO WILL THE MAN BE STRUCK DOWN IN HIS PRIME• Q7� CAN YOU TH INK OF A S.INGLE WORD WH,I CH MIGHT EXPRESS WHAT THE POET MEANT BV "AN iMMENSE AND HOLLOW DARKNESS11? A7. 6)8 A15. IT IS A SIMPLE LYRIC OF THREE SIMILAR,STAN ZAS RHYMED ASABe THE METER IS QUI TE IRREGULAR BUT SEEMS COMPOSED MOSTl.Y OF ANAPESTS AND DACTYLS IN TETRAMETERSe FREQUENT SPONDEES ARE AL SO FOUNDe Q16. CAN YOU FIND ANY CLEAR-CUT FIGURES OF SPEECH IN TH IS POEM? A16. 15 A13. THE Tl ME OF. VEAR WAS SUCH THAT A VOYAGE WOULD' BE· OANQE.Rous. Q14. WHAT .OMEN. OF BAO LU CK HAS. ONE OF S.I R PATRICK'S MEN SE.EN? A14. 119 A1Q,. THE WO RD 11TOTTER 11 IS ·THE ONEo BV· ITS USE BURNS MAKES US PICTURE THE OLD COUPLE BETTER THAN MANV WORDS OF DESCRIPTION COULD HAVE DO NE. Q11. WHAT 'IS THE H.iLt. THAT IS SPOKEN OF? A11.• 223 A17. We: USUALLY. THI NK OF CUP ID (A LI TTLE eo v) AS BEING THE GOD OF LO VE. Q1$. WHO. ARE THE HOURI? A1$. 327 A6. THE ME·TER ·IS PRETTY REGULARLY IAMBIC PENTAMETER. Q7 •.No w, CAN YO U DEFINE A SONNET? A11. THIS. ALLI TERATION IS FOUND IN THE REP EATED "s" SOUNDS OF "SOLACE�" 11SELVES,1 1 ANO 11SATURN. 11 Q12. S INCE A LYRIC IS A POEM WHICH EXP RESSES A SINGLE EMOTION, CAN VOU • STATE IN ONE WORD THE EMOTION DEALT WITH IN THIS POEM? A12. 535 A7. PERHAPS THE WO RD "sAONESS11 · WOU!..O BE THE BEST ONE WO RD SYNONYM FO R TH IS PHRASEo Q$� HAVE YOU NAMED THE MAN? HERE IS: A CLUE: IN "STRONG ROOTS STRETCHED DOWNWARDS INTO THE EARTH. II WHAT PROMI NENT AMERICAN WAS NOTED FO R HAVING HIS ROOTS IN THE SO.IL OF THE LAND RATHER THAN IN ITS CITIES? . 6']9 A16. IF YO U FO UN O_.ANY, CONGRATULATIONS�· WHl � E TH_E POEM IS FILt::EO WITH IMAGES ANO FI GURES, NONE OF THEM ARE QUI TE DISTINCT ENOUGH','TO BE EASILY t:.A BELEDo ·Q17. HOWEVER, YO U CAN F'i ND SOME EXAMP LES OF ALLI TERATIONo WHAT ARE THEY? A17. 29 THE OLD MOON A FULL_ MGON 'SEEN NESTLING ·IN -THE CRESCENT OF. THE NEW 16 A14 •• . ( ) MOON IS TAKEN AS A SIGN OF AN IMPENDING STORM• Q15.· You CAN, SIMPLY FROM THE SOUND oF IT, TRANSLATE, 11To WEET THEIR CORK-HE ILO SCHOONE 11; TRY IT. A15. •. TH S HILL s, oF COURSE, THE HILL OF LIFE. THE SLEEP AT THE VOOT OF 120 A1 1 � i _ THE HILL SIGNIFIES DEATH. WHAT FIGURE OF SPEECH THE POET EMPLOYING WHEN HE COMPARES LIFE Q12 •. - 'Is TO A HILL? A12. THE HOURI ARE THE FEMALE SPIRITS OF THE·MoHAMMEOAN PARADISE 224 A1$ •. •. Q19.. To WHAT DOES PoE COMPARE THE GLANCES OF TME HOURI? A19•. You HAVE JUST DISCOVERED THAT'A SONNET IS A SPEC.IAL KIND OF LYRl'C A7 •• HAVING IAMBIC PENTAMETER LINES, DIVIDED INTO OCTAVE AND SESTET. THE RHYME SCHEME YOU DISCOVEREO l.S A COMMON ONE BUT THERE ARE OTHERS. WHAT DOES THIS SONNET MEAN? Q$ •. AS. THE· WORD •IS 11LO:VE.11' THI IS A LOVE LYRIC. PERHAPS MORE LYRl'C 4J2 A12 •• S POETRY DEALS WITH LOVE THAN ANY OTHER SUBJECT. HOWEVER, DEATH ( OR LI FE ANO DEATH ) WOULD RUN IT CLOSE SEC.ONO. AS•• Yeu DIDN'T REALLY EXPECT us TO ·TELL You, DID you? Q9 . WHO WERE THE' HEROMAN KINGS WHO WALKED THE EARTH AND TALKED TO Goo? A9. 1 . ll SOME OF THE ALLl'TERATIONS EMPLOYED. BY VEATS. ARE 1HAVE-HIVE-HONEV, 64o A17 •. . 11.GLIMMER..OGLOW,n ANO. 11LAKE-LAPP NG-LOw.11 '1 • 17 A1 ,5. THIS l·S TRANSL ·ATED AS 11To WET THEIR"CORK-HEELED SHOES."· Q1 6. 29 JO WHAT 00 i.'l�ES. AND' TELL YOU ABOUT. THE _SCOTCH LORDS?_ A16� 121 A1 2. �I NCE THE POET SIMPLY C�LLS ONE THING BY ANOTHER NAME, TH IS.�I GURE ·f S A METAPHO Re Q1 3! CAN YOU FIND ANY su.uq:s IN THE POEM? A1 J. 225 A19. THE GLANCES OF. THE i:lOURI ARE COMPARED TO BEAUTY SUCH AS ;THA.:T OF A STAR. Q20 .. WHAT ·,5 IT THAT lsRAFEL 'Is NOT WRONG IN DESF.. IS ING? A20 .. 329 AS. KEATS COMPARES a·t s THRILL AT DISCOVER.ING THE ANc'1 ENT GREEK POETRY (THROUGH THE TRANSLAT-ION OF CHAPMAN) TO THE THR.iL L CORTEZ (ACTUALLY, . .IT WAS BAL BOA) MUST HAVE FELT AT' DISCOVERING THE PAC IFl.C 0cE�N •. . 433 DANNY DEEUE R 537 A9� TH .IS ;IS AN 0L O ·T ESTAMENT REFERENCE. TH�RE WERE MANY OF THESE KINGS ---THE MOST IMPO RTANT ONE BEING DAVID. Q1 ff. CAN YOU EXPLAIN THE ME.TAPHOR 11FOR THE AX IS LAID AT THE ROOT OF THE TREES, 11 AND RELATE IT TO THE P.INE TREE SIM.ILE? 641 STEP.HEN VINCENT BENET (1$98-1 943) THI RTEEN SISTERS 31 . A16. THESE :L�NES TEL� YOU BOTH TH�T�THEY ARE "DAND IEStt AND .THAT THEY ARE NOT SEA-FARING MEN BUT ARE ALONG STRI CTLY AS PASSENGERS. Q17� IN SP� TE �F THE FACT THAT T�E SCOTCH LORDS WERE LA�TH (L OATH) TO WET THE IR FEET, WHAT HAPPENED TO TH EM? 122 A1 J. THERE ARE TWO .I N:THE FIRST STANZA: LOOKS LI KE THE RAVEN; AND. LOOKS t:. IKE THE SNAWe Q14. CAN YOU F� ND A METAPHOR �N STANZA 1? A14. .. 226 A20. I SRAFEL DESP l·SES UNIMPASSI ONED SONG,_ OR SONG w,rTHOUT DEEP FEEUI NG. Q21 . CAN YOU EXPLAIN THE USE OF THE WO RD "LAU RELS" �N LiNE 21 ? A21 . 330 PERCY BYSSHE SHELLEY (1 792-1$22) OZYMAND IAS 434 Q1 • WHAT CAN YOU SAY OF THE FORM OF TH:1:s POEM? A1 . A10. As THE PI NE TREE WA S A SYMBOL FOR ONE MAN t SO IS THE WO RD �1TREES" SYMBO�I C OF MANY MEN. MANY MEN ARE TO DIE� Q1 1. WHAT AGENCY IS COMMONLY THE CAUSE OF THE DEATHS OF MANY MEN? A1 1. 642 Q1 . THE "THIRTEEN SISTERS BESIDE THE SEA" REPRESENTS OUR COUNTRYe WHO OR WHAT IS MEANT BY THE TH·l,RTEEN S,l;STERS? A1 . 32 1 9 A17. THE LINE 11THAIR . HATS THEY SWAM ABOONE11 SUGGESTS, AS WE'.HAVE SUSPECTED ALL ALONG1 THAT THE SHIP WAS· SUNK •. Q1S. WHAT Is THE TRAGEDY OF. THE ' ScoTCH LAD'I ES AS SUGGESTED BY STANZAS 9 AND 10? A1S. 123 A14. 11FRoSTY POW11 CONSTITUTES A METAP!iOR' IN THAT IT ·MEANS ' F'ROST-V IN APP EARANCE, NOT A HEAD COVERED WITH ACTUAL F'ROST. Q15e JU ST TO MAKE SURE YOU HAVEN1T F'ORGOTTEN1 VIHAT WOULD YOU CALL THE REPETITION OF' 11B11 SOUNDS IN LINES 4 ANO 51 A15. 227 A21 . A LAUREL WREATH WAS WORN ON THE HEAD AS A BADGE OF' HONOR OR ACCOM PL� SHMENT IN ANC�ENT GREECE AND RoME? Q22. WHAT IS THE LAUREL ACTUALLY? A22. 331 Q1 . HERE IS AN EXAMPLE OF' A SPECIAL F'ORM OF' LYRICe CAN YOU ' DENTIF'Y IT? A1 . 435 A1 . IT IS WRITTEN .IN 4 EIGHT-LINED. STANZAS, THE METER IS IRREGULAR .IAMB.IC HEPTAMETER (SEVEN F'EET)1 AND Tl:IE RHYME SCHEME IS ABABCCCDe Q2; TH.IS POEM .IS LARGELY IN THE F'ORM OF' A CONVERSATION. CAN YOU NAME THE SPEAKERS? A2. 539 A1 1. THE ANSWER CALLED F'OR HERE IS "wAR.11 OF' COURSt, 11EPIDEMIC ,11 11PESTILENCE, II llDI SASTER, II OR MANY OTHER WORDS WOULD WORK t BUT NOT IN THIS POEMe · Q12. Do YOU KNOW VMO THE MAN , s Now? HE COMES F'ROM Tl:IE NORTH, HE I 6 A LEADER OF' THE PEOPLE, HIS SUDDEN DEATH 'IS F'ORETOLD1 AND A WAR IS COM.ING? A12� 643 A1 . THE THIRTEEN S� STERS REPEAT THE IDEA O� lHE THI RTEEN ORIGINAb COLONIES; LATER THESE BECAME STATES• Q2. WHAT WAS THE HOUSE OF' L. IBERTY WHICH THESE SISTERS BUILT? A2. 33 20 A1S.- THE ScotCH LAD'IES CAN ONLY WAIT FOR AN EVENT THAT WILL NEVER COME TO 'PAss, T:HE RETURN oF THE ScoTCH LoRDs. Q19 ••· WHAT DOES THE FACT THAT ·THEY WfLL CONT.INUE TO WA IT .T ELL ·you ABOUT COMMUNICATIONS IN THE 13TH CENTURY? A19. 124 A15.: THIS IS AN ALL.iTERATION. Nonce: THAT THERE ARE SIX 11B1 s11 IN �THESE TWO LINES. Q16.. THIS POEM 'EXPRESSES VERY SIMPLY THE LOVE Oi:' AN OLD COUPLE FOR EACH OTHER.· WHAT IS THE NAME OF A POEM WHICH EXPRESSES A SINGLE EMOTION? A16. 22$ A22. THE LAU REL' IS A TREE HAVING SHINY, OVAL , EVERGREEN LEAVES. IT IS RE tAT.EO TO THE SASSAFRAS. Q23. 118ARD11 IS ANOTHER NAME FOR SINGER OR POET. WHY DOES POE SAV THAT ISRAFEL IS THE BEST BARD ? A2J. 332 A1 . ·I F vou- REMEMBER THE QuEsT1o°wa ON Ke:AT1s POEM ON F1RsT LOOKING -INTO CHAPMAN1s HOMER vou SHOULD KNOW THAT TH.I S IS ASONNET. Q2. WHAT CHARACTERISTICS OF THE SONNET DO YOU FIND .IN TH IS POEM? A2.. A2. THE SPEAKERS ARE 11F.tLES"'!ON-PARADE11 AND .THE 11CoLOR-$ER�EANT.11 Q3. CAN vou GUESS FROM THE POEM ITSELF WHO OR WHAT 'a s MEANT BY 11FILEq ON;;PARADE"? A3. 540 A12o IF VOU DON'T KNOW, FOLLOW THE QUEStlONSe Q13. IN SECTION 111 THERE IS A TIME SH.I FT0 . THE WAR IS OVER (THERE IS. s'1LENCE), BUT WHEN Doe:s THE POET MEAN . av 11ToDAY11? A13� 644 A2;. THE HOUSE OF Ll·BERTY WO ULD .BE THE NATION .WE KNQWe QJ. . THE STATELY KEV BV WHICH WE LOCKED OUR AMERICAN DOORS WAS A DOCUMENT STAT.I NG OUR INDEPENOENCt;:� \fVHAT :WAS' .I T CAL.1;.ED? A). j4 · '. 21 A19,. FROM THE TIME �A SHIP LEFT P'ORT UNTIL IT RETURNED, THERE WAS NO COM- MUNI CA�l ON BETWEEN THE PEOPLE AT HOME AND THOSE AT SEA. Q20. WHERE WAS THE SHiP WRECKED? A20;. 125 A16. • SU.CH A POEM·IS CALLED A. LYRIC. TH IS ONE MIGHT FU:RTHER BE DES-IGNATED AS A LOVE LYRIC. Q17. A THE POEM IS ROUGHLY ·IAMBIC· TETRAMETER AND .TRI. METER. FINAL SYLLABLE IS OF.TEN OMIT.TEO. Do YOU REMEMBER WHAT THIS IS CALLED? A17.• 229 A2J.• Poe:·S AYS ·THAT lsRAFEL IS THE BEST, SINGE,R BECAUSE HE IS THE WI SEST. Q24. WHY WOULD AN ANGEL IN -HEAVEN HAVE OCCASION TO SING OF GRIEF AND HATE ALONG WITH JOY AND LOVE? A24. 333 A2o IT �AS 14 LINES AND CAN BE DIVIDED IN�O OCTAVE ANb SESTET. Qj. DoEs ·IT HAVE A REGULAR RHYME SCHEME. LIKE THE: SONNET of:- KEATs? 437 AJ. You SHOULD GET A CLUE FROM THE COMMON PHRASE "RANK AND Fl(E:� " 11F.1LES-ON-PARADE S.IMPl.Y MEANS THE ROWS OF COMMON SOl.D(f.=RS1 ONE OF· WHOM ACTS AS A SPOKESMAN. Q4. IN LIKE MANNER, WHO OR WHAT is A Col.OR-SERGEANT? A4. 541 A1J. THE POET MEANS NOW1- OR AT LEAST THE· TODAY WHEN HE WROTE THE POEM, WHICH WAS AT THtcl.OSE OF WO RLD WAR · 0NEo THIS ACCOUNTS FOR THE nD�EP AND ANX� OUS Sll.ENCE11 OF l.�NE 2 PERHAPS. Q14. WHAT DO YOU IMAGINE 11THOSE BRONZE l..IPS SLOWLY OPEN" TO MEAN? CAN YOU PICTURE A SCENE WHICH WOULD MAKE TH IS l..INE SENSI BLE? A14. . 645 Aj • THIs DOCUMENT WAS THE DECLARATSON OF. INDEPENDENCE. THE SAME I DEAS WERE .IN COR.P ORATED INTO THE CoNST.I TUT.ION. Q4. BENET SAYS THAT NONE SHOULD COME INTO - THE UN.I TED STATES BUT THE FREEe WERE THERE ANY IN THE COUNTRY WHEN WE BECAME A NATION WBO WERE NOT FREE? 22 A20. THE Sl:l l P WAS WRECKED HALFWAY BETWEEN DUMF'EEU..:.I NG �ND ABERDOURe Q21 . How'MAN� FEET DOWN DOES THE SHIP uiE? A21. 126 A17 . THE NAME F'OR :THIS OMISSION 1s-CATALEX IS; IN THE FI RST ·ti.' rNE A PAUSE (CAESURA) TAKES THE PLACE OF THE UNACCENTED SYLLABLE OF THE LAST F'OOTe IN'OTHER LiNES AN ' UNACCENTED SYLLAB�E IS ADDED (Fi::MIN�NE ENDING). Q1 s. Is TH,l S RHYME SCHEME REGULAR OR ·, RREGU�AR FOR' THE TWO STANZAS? A18. 2)0 A24. POE HAS. THE ANGEL ECHOING HUMAN EMOTIONS RATHER THAN ;HEAVENLY EMOTIONS PERHAPS IN·PREPARATION' F'OR HIS LAST STANZA. Q25. WHAT COCILD ·YOU SAY IN PLACE OF 11THi s IS A WORL D OF SWEETS AND SOURSt ll WH0I CH WOULD MEAN THE SAME? A25. AJ. YES. ANO NOl WE COULD SCHEME .IT ABABACACDEDEDE BY COUNTING THE TWO 1r1 NGS11 AS V0IOLATl ONS OF THE PATTERN. IT IS BETTER SCHEMED ABABACDC EDEFEF, AND EVEN THEN SOME OF THE RHYMES ARE FORCED• Q4� OZYMANDIAS WAS AN ANCl ENT KiNG OF EGYPT WHOSE RU INED STATUE WAS DIS COVERED IN THE DESERT. WHAT IS A SYNONYM F'OR ll ANTI QUE11 USED IN LINE 1i A4. A4. THE 11CoLOR-SERGEANT11 IS IN CHARGE OF THE REGI MENTAL FLAGS' IN A BR.ITISH ARMY UNS T.- COLOR SERGEANTS WERE USUALLY ' CHOSEN AFTER 'LONG EXPERl'ENCE IN THE Aru�Y , AND WOULD THEREFORE BE IN A POSITION TO ANSW�R THE RE CRUi T1 S QUEsTi ONS. Q5. How WERE THE MEN CALLED TO GETHER IN THE BRI TI SH ARMY? A14.. IMAGINE -THE POET. ST.ANDING IN FRONT OF A BRONZE STATUE OF ·THE MAN 'AND SEEMING TO HEAR HIM SPEAK • Q1 5. Do YOU KNOW OF ANY MAN WHO FITS :1NTO THIS POEM WHO HAS STATUES ERECTED TO HIM? A1 5. .. 646 YES, SLAVERY WAS ESTABL ISHED Wl•TH THE EARLIEST COL·ONIES• Q5. DID ANY PEOpL � CONTINUE TO ENTER TH·E· UNi TEO STATES WHO WERE NOT FREE? 23 A21.. THE SHIP LIES JOO FEET DOWN. A.FADOM (FATHOM) IS A NAUTICAL TERM FOR A MEASURMENT OF SIX FEET. Q2 2� THi s POEM IS A BALLAD o HAV.I NG 'READ TH E POEM, CAN YOU TELL WHAT A BALLAD Is? A22. 127 A1S. IT IS IRREGULAR; ABCBADDD IS M ATCHED WI TH 'ABABACDC. (Pow �s PRO- NOUNCED TO RHYME w'1 TH "ao . II) WHAT -ARE SOME QUALITIES YOU COULD NAME AS APPLYING TO TH IS POEM? 231 A25• . TH IS WORLD IS A WORLD OF CONTRASTS, OF OPPOSITES• A COMMON PHRASE ·I S, IJTAKE THE B.I TTER WI TH THE SWEET. n Q26. CAN YOU TH INK OF A SYNONYM FOR THE WORD "aL'1 sstl? A26. 335 A4. 110LD ," OF COURSE, . '1 s GOOD, BUT 11ANCIENT11 IS EVEN BETTER •. Q5 . WH.I CH OF THESE WORDS IS NEAREST IN MEAN.I NG TO 11v'1sAGE:11 11 EVIL-DO ING,11 "vi VISECTioN ,11 OR 11coUNTENANCE"? THE MEN WERE SUMMONED OR' CALLED TOGETHER BY THE BLOWING OF A BUGLE • . How DO YOU KNOW THAT THE SERGEANT DOES NOT WANT TO DO WHAT HE HAS To Do? A6. THERE ARE NUMEROUS STATUES TO • Two OF THE MOST ------ FAMOUS ARE IN THE • MEMO RIAL IN WASH INGTON, D.C., AND IN ------....,;;PAR------K IN CHf..... CAGO. I• Q16. THE STATUE SP EAKS OF THREE DEATHS WH ICH AFFECTED HIM DEEPLY• WHO WERE (NOT NAMES) THESE THREE PEOPLE? A1 6• 647 A5o YESt THE ACTUAL SL AVE TRADE WA S NOT ABOL l.Sl:fED UNTIL THE.MID-N I NE- TEENTH CENTURY t AND SL AVES WERE SMUGGLED IN UNTIL C.I VIL WAR T.IMES0 Q6. THE MATER.I AL .I N PAREN THESES IS GI VEN AS A COMMENT ON THE POEM ANO IS NOT PART OF THE POEM PROPER. WHAT IS THERE .I N STANZA 1 TO CAUSE THE POET TO SAY , "HAVE A CAREll? 37 · 24 A22. A_ BALL AD ·1 S A SONG OF THE PEOPLE. WH I CH TELLS /!< STO RY•· Q2J. TH.IS POEM CONSISTS OF� 11 FOUR-L.I NED BALLAD STANZAS. LOOK AT THEM AND SEE 1F:vou CAN DE'.TERMINE THE CHARACTERISTICS OF THE BALLAD. STANZA.• (THi s Is HARD, BUT WO RK AT IT.) A23� 128 A1 9. 11SiMPLiciTY,11 11 SINCERITY,11• ANO 11TENDERNESS11 ARE SOME CHO ICES YOU · MIGHT MAKE. 232 A26. "GLADNEss,11: "Jov,11 ·AND "HAPP INESS11.ARE ALL SYNONYMS ·FOR 11BLISs11; HAPP INESS IS PERHAPS THE BEST ONE TO USE HERE. Q27. A MORTAL WOUND OR A MORTAL BLOW IS ONE WHl'CH CAUSES DEATH; IS THIS THE MEANING INTENDED IN 11MORTAL MELODY 1 1? A27. 336 A5. 11COUNTENANCE11 IN,THAT IT MEANS FACE.OR FEl\TURES IS TME RIGHT CHO ICE. (You MAY LOOK UP "vivi sECTION.1 1) : Q6. WOULD vou :oEsCRIBE THE K'iNG AS GOOD, EVIL,, OR PROUD FROM THE APPEAR ANCE OF THE STA TUE? A6. A6 o THE SERGEANT 1 s FACE IS PALE' ANO HE DREADS WHAT HE- MU ST WATCH0: . Q7 • WHAT .I S IT THEY MUST WATCH? A7. A1 6. THEY WERE Hl.S MOTHERt HIS SWEETHEART,. AN_D HIS SON• Q1 7o CAN YOU NAME THEM? A1 7. A6. HE l:IAS WARNED THAT NONE SHOtlLD ENTER· WHO •ARE NO T .· FREE:,·V ET· THERE"ARE . THOSE ALREADY HERE WHO ARE SLAVES AND' MORE ARE ·CONSTANn.V ENTERING. Q7. lF THE ORi G'I NAL THI RTEEN STATES WERE THE nMOTHER11 OF OUR COUNTRY, Mio ooEs BENET MEAN av MY 11 soN11? . 25 A2}e THE .BALLAD STANZA IS A FOU R-L I.NED STANZA WI TH AL.TERNATE IAMBIC . · . TE-TRAMETER AND: l·AMB- c TRIMETER. L rNES, .RHYMED ABCB.. . Q24. MAKE AN ACCENT PATTERN FOR AN_:IAMBIC TETRAMETER L'l.NE; FOR AN :I AMBIC TRI METER LINEo : A24. 129 THE TIGER 233 A27,. No, THE ·l _D EA IS CERTAINLY NO:T 11FATAL ll ; THE WO RD HUMAN IS A�_MOST; ' . p ERF.ECTL v :SVNONOMOUS ·w1 TH "Mo RTAL II 1 N TH'I s SEfllSE� Q28.. CAN YOU EXPRESS .IN ONE SENTENCE �THE . I DEA ;THAT POE EXPRESSES: IN T:!-I E F.I NAL STANZA? 337 A6. You WOULD HAVE TO CALL' H0I M PROUD. GOODNESS AND :EVl.LNESS. CANNOT :BE - DETERMINED BY APPEARANCE ALON.Ee Q7. WHAT IS THE IDEA EXPRESSED IN LINES. 6, .7 , AND 8? A7. 441 Al. THE REGIMEN1 HAS BEEN CALLED OUT IN PARADE FORMATION :TO WI T�ESS THE HANG�NG OF DANNY DEEVER. Q8. WHAT . TWO TH.I NGS HAVE THEY DONE TO DANNY DEEVER TO SHOW THAT HE HAS D�SGRACED THE ARMY? A17,. . ' OBVIOUSLV,·:VOU CAN 1T 1F,YOU DQN1T KNOW THE . POEM l_S ABOUT ------· ------· BUT IF YOU DO, YOU PROBABLY KNOW THAT HIS MOTHER WAS • NANCY HANKS ------H-� S SWEETHEART ANN RU TLEDGE, AND HIS SON · TAD ------Q18. IN SPEAK ING OF THE DEAD WHAT DOES THE POET MEAN BY 11UNSTIRRED L�PS11? A18. 649 A1. As A SON GROWS TO BECOME A MAN, so HAS OUR COUNT�V G�OWN av ADDING MORE STATES. llMy SON11 WO ULD BE AN .1 NDI VI DUAL EMBLEMATIC OF THE NATl·ON AS f<. WHOLE. Q8� WHY . WOULD BENET CHOOSE PLYMOUTH ROCK RATHER THAN ANY OTHER STONE TO DESCRf BE THE WALLS OF THE HOUSE? 39 26 A24 •• YOUR PATTERN SHOULD .LOOK LIKE :THIS: -1-1-1:-.1 ; AND THEN, '- 1-1:-1• Q25. WHAT IS 'THERE ABOUT :THE P: O ET1S DESCR.l,PTION OF THE MOON IN STANZA 7 WH ICH MAKES YOU TH rNK OF A PERSON? • A25. 1 JO Q1 . WHAT IS THE FI RST TH ING THAT YOU NOTICE ABOUT THE SENTENCES IN TH IS PO EM? A1 . 2)4 A2g •• IF P6E AND ISRAFEL WERE TO CHANGE .PLACES, ISRAFEL MIGHT NOT SING SO WELL, AND PoE M� GHT WR l�E MUCH GREATER PaETRY� Q29.· IDENT.IFY THE FIGURE OF SPEECH EV01'DENT· IN 11WHOSE HEARTSTRINGS -ARE A LUTE� It . A29.· A7 •. THAT THE STATUE ·HAS SURVl.VED BOTH THE SCULPTO·R WHO_ :C REATED 1. T AND THE KING HIMSELE IS THE . IDEA EXPRES.SED. Qg. SHELLEY EXPRESSES TWO MAIN l:DEAS .IN TH.I S SONNET; WOULD YOU LIKE TO . TRY TO EXPRESS THEM IN YOUR, OWN WO RDS? Ae;. 442 THEY HAVE REMOVED HIS BUTTONS AND·STRl.PES. (THE SHINY. BUTTONS AND STRIP.ES OF RANK .A RE SYMB,OLS OF PR I DE FOR ANY SOLD I ER.) Q9 •. lN STANZA 2,· DO YOU TH� NK THE COLOR-SERGEANT ANSWERS THE TWO QUEST� ONS TRUTHFULLY? A1e;.. WHAT. THE PO E·T REALLY MEANS Is UNs:nRRI NG- OR UNMov;1 NG LI PS . (HE HAS SUBSTI TUTED . THE PAST FO R THE PRESENT PA�TICIPLE�) IN OTHER WO RDS, THE DEAD ARE SILENTe Q19. WHY .IS THE PRONOUN "H 1M11 CAPI TAL I ZED IN THE LAST L' INE OF TH IS SECTION? A19 •• Ag._ As EVERY HIGH SCHOOL FRESHMAN SHOULD KNOW, PLYMOUTH ROCK --� S · THE LEGENDARY LANDING PL ACE OF ·THE PILGRIMS. AND THUS 'FHE FO.UNDATION . OF NEW ENGLANQo · • Q90 WHAT DOES BENET WA RN ABOUT ROCK? 27 A25. THE NEw. MOON HOLDs THE AULD Moo�.r , 1 N H.i R · ARME� ONL y·. A PERsbN: HAs ARMS.· THE FIGURE OF SPEECH WH ICH AT:TRIBUTES HUMAN. CHARACTERISTICS TOt NON-HUMAN .TH.INGS IS CALLED PERSON.IF,I CAT-I ONo Q26. WtTH THE EXCEPTION OF TH.I S ONE PERSONIFICATION, THE LANGUAGE OF 11SiR PATR.ICK SPENs11 is ALMOST PURELY DESCRIPT,I VE. Do you SUPPOSE THAT THiS·IS A COMMON TRAI� OF BALLADS? A26. . 1 31 A1. EACH SENTENCE IN THE'. POEM IS A QtlESTION---AN INTERROGATIVE SENT.ENCEo Q2. THE POEM -I s ADDRESSED TO THE Tl GER. DOES THI s i N -I TSELF CONST.I TUTE A PERSONi ��CATioN? A2. 235 A29. BECAUSE THI S '1 s A COMPARI SON EXP RESSED DIRECTLY (w'1 THOUT THE USE OF 11L.IKE11 OR_ ll Asil)� 'S T '1 s , A METAPHOR. ANOTHER FIGURE OF SPEECH IS USED THREE TIMES IN THE SECOND STANZA. . . �""- . WHAT Is 1T? 339 N!,� THE � DEAS ARE THE . UNDUE PRIDE KINGS (ANO OTHER PEOPLE, Too) ;ARit LIKELY TO FEEL IN REGARD TO MATERIAL POSSESSI ONS, AND THE SHORTNESS AND INCONSI STENCY OF LIFE. ·THE STATUE'.HAS AS YOU CAN SEE outL�STED . , ... THE KING, BUT EVEN IT IS RU I NEDe 443 A9. PERHAPS THE COLOR-SERGEANT :I S BEING EVASIVE. THE SOLD.IERS ·ARE PROBABLY OVERCOME BY THE HORRO R OF WHAT TH EY ARE WATCHINGe Q10. IN THE LAST PART OF STANZA 2, WHAT FURTHER HUM'iLtAT·ION MUST DANNY DEEVER FACE BEFORE HE Is HANGED? A10. .. . 547 A19. THE PERSONAL PRONOUNS ARE CAPI TAL l_ ZED -WHEN TAEY REFER TO Goo OR CHR.I ST� Q20. WHAT EXACT T.iME .I S REFERRED .TO! IN THE OPEN ING STANZA OF SECTION IV? A20.; THAT ROCK CAN CRUMBLE; MEANING THAT NO MA'l'TER HOW 'SOLID THE WALLS ARE THEY CAN BE DEStRO�EDe Q10� WHAT DO L .INES 15, 9, AND 10 SIGN.I FY ? A1o.' 41 L A26. YEs, ,, T 1s. BALLADS ARE AMONG THE ·OLDEST POEMS OF �HE LANGUAGE, AND MAN LEARNED TO DESCRIBE BEFORE HE LEARN ED TO WRI TE IMAG I NA- · TIVELYe Q2 7e 11M.I RRY MEN 11 MEANS 11MERRY MEN11 0I N L0I NE 21 . WHAT OTHER FAMOUS ENGL ISH L�TERARY F� GURE HAD A GROUP OF MERRY MEN? A27� 1 32 A2. IT WOULD SEEM TO BE A PERSON.IFICATIC:>N. S.I NCE THE POET IN FRAMING THE �UESTIONS IMPL�ES !HAT T�E T� G�R CAN UNDERSTAND THEM, HE IS ATTRIBUTING HUMAN QUALITIES TO THE TIGERe TH.I S QUESTION.I NG IS REALLY A DEVI CE OF THE POETe To WHOM ARE THE Ql:IEST.ioNS ACTUALLY DIRECTED? A'YJ� IN THAT POE ATTRI BUTES HUMAN CHARACTERI STICS TO ;'INANIMATE OBJECTS, HE IS USING PERSONIFlCATIONe QJ1 ; 11THE IND� AN BURYiN� GROUND11 Di sPLAVED TEN REGULAR STANZAS OF FOUR" LINES EACHe ARE THESE STANZAS REGULAR? HENRY WADSWO RTH LONGFELLOW (1$07�1$$2) THE DAY IS DONE A10. HE IS MARCHED BEFORE ALL THE ASSEMBLED S9LDI ERS AND ·I S. FORCED TO STAND BY HIS. OWN COFFIN• _ Q11. IN STANZA 2 WE ARE TOLD FOR THE FIRST TIME WHAT DANNY HAD �ONEe WHAT WAS IT? . ' . A11 " A20 . THE TIME IS M.I DW.INTER. THE c'1v1L WA R ENDED AP RIL 9, 1$6.5. . WAS ASSASSI NATED AP RIL 14. "'!9"------Q21 . CAN YOU EXPLAIN TH IS MIDWi NTER REFERE�CE? A21 . A10� THE REVOLUTION HAD TO BE FOUGHT WH ILE THE HOUSE WAS BEING BU ILTe ' ' . . . . IT WAS NECESSARY EVEN THEN TO FIGHT TO PROTECT THE IDEA OF L'IBERTY . Q11. WHAT DOES. 11F'1 GHTE�S CAN 0 IEt MY ?ON II MEAN TO you·? A11. 42 - . 29 A27. RosiN :Hooo, OF COURSE! THIS IS NOT STRANGE SINCE THE ORIGINAL SOURCE OF THE ROBIN Hooo STO R,I ES "is TO BE FOUND . IN BALLADS CON- TEMPORARY WI TH "S1 R PATRICK SP ENs." Q2S. WHAT DOES . THE WORD 11s-I TS11 SIGN 1 FY · IN THE . Fl RST L INE? A2S. 133 AJ. THESE QUESTIONS ARE ASKED oF · You, THE . READER. Q4. ARE YOU SUPPOSED TO ANSWER THEM? A4. 237 No , THE NUMBER· OF LINES IN tACH STANZA- VARIES FROM 5 ·TO 80 .. Do YOU DISCOVER ANY REGULAR 'PATTERN OF INDENTION OF THE LINES? ' ' AJ2. Q1� WHAT WOULD YOU SAY THE POET DOES IN THE Fl RST THREE· STANZAS OF THIS POEM? A1 . 445 A11� HE HAO KiLLEO ONE OF HIS FELLOW SOLDIERS. , Q12. WHAT DOES THE COLOR-SERGEANT MEAN .IN STANZA J WHEN HE SAYS THAT DANNY WILL BE 11SLEEPl.N1 OUT AN1 FAR TON,I GHT11? A12� 549 A21 . THE PQET 1-:!EREi ·, S _us'1 NG A OOUBL;E : f!EFERENCE, TO T!1E ENO OF THE C.I VIL . WAR AND TO THE ENO OF WO RLD :WAR ONE ( THE : 11TO OAY11 OF SECTION 11 l) WH iCH ENDED NOVEMBER 11, 1918. Q22. WHY "1 s THE WO RD 11Goo11 NOT CAP -ITAL,I ZEO IN THIS LAST L.INE OF THIS STANZA? A22;; 653 A1 10 THE POET IS:WARNING THE NATION THAT UNLESS SUCCEEDING GENERATIONS ARE - - WILL ING TO CONTINUE THE FIGHT TO PRESERVE'L"IBERTY1 IT WILL PERISH•• Q1 2. THE �EARTM OF �THE FIRESIOE:w�s ACTUALLY THE CENTER OF THE HOUSEHOLD ACTIvi Tl ES. WHO DOES HE MEAN BY THE SAGES WHO s'1 T THERE? A1 2. JO A2$. THIS MEANS THAT THE KING HOLDS COURT .,IN DU MFERLI NG, A TOWN. Q29. EssENTIALL� , WHAT KIND QF STO RY DOES THi s BALLAD TELL? A29. 134 A4. WHAT THE POEM MEANS TO YOU WI LL DEPEND ON YOUR ABI LI TV TO ANSWER THE QUESTIONS. You MIGHT NOT, NOR IS IT NECESSARY THAT YOU SHOULD, BE ABLE TO EXPRESS THEM IN WO RDS FOR SOMEONE ELSE. Q5. Do YOU FIND ANY SIMILES IN TH IS POEM? A5. 2JS AJ2 . THERE SEEMS TO BE .NO PATTERN TO THE INDENTION ,OF THE LI NESe QJJ. Is THERE A REGULAR REPEATED RHYME SCHEME? )42 A1 . BY MEANS OF DESCRIPTION AND COMPARI SON, THE POET TELLS OF HIS MOOD ON TH IS PARTI CULAR EVEN ING. Q2.. WHAT ONE WO RD WOULD BEST DESCRIBE TH I s MOOD? A2. 446 A1 2� TH IS IS S�MPLV THE COLOR-SERGEANTts .wAV ·OF SAVING THAT DANNY WI LL BE DEAD TONIGHT. Q1 J0 WHY DOES THE SERGEANT :SAV �THAf DANNY IS NOW DRINKING ALONE? A1 J. 550 A22. Bv THE SAME REASONING THAT CAUSED 11H 1M11 TO BE CAP I TALi ZED IN THE · STANZA BEFORE, TH.IS WO RD REFERS NOT TO THE ONE Goo BUT TO ANY DEi TV . Q23. Do vou HAPPEN TO KNOW WHETHER OR NOT THE L.I NE 11RI SES ONE WH ITE TOMB ALONE11 is A GOOD DESCRIPTIVE :LiN� OR �OT? · A23. A12� !HE SAGES ARE T�E LEADERS WHO MAti� THE NEW NATION ·STRONG; THE HEARTH ,1:s THE GOVERNMENT I TSELFo· Q1 J. �HY IS ANDREW JACKiON �ENT� ONED iN 66NNECTION W� TH THE 11LONG ROOF BEAM611? A1 1� 44· 31 A29 •• ·TH IS BALLAD ·1 s ESSENTIALLY A STRAIGHT-FORWARD TELL ING OF A ,T RAGEDY AT SEAe Q30.· BALLAD RHYME' IS USUALLY REGUL1.!.R. CAN YOU FIND A STANZA OR STANZAS . WH I CH DOES NOT CONFO RM TO TH.IS PATTERN? AJO. 1 35 No t· THE POET DOES .NOT USE ANY' DlRECT COMPARI SON Se , ARE THERE ANY METAPHO RS? (REMEMBER, A METAPHOR CALLS SOMETH ING SOMETH.iNG ELSE�) A6 •. 239 AJJ. AGA IN WE F:I ND. NO RE�ULARITYe THE MA l·N CHA�ACTERISTI C SEEMS. TO BE REPETITION OF CERTAI� SOUNDS •. QJ4: Do YOU D; SCOV�R ANY IMPERFECT RHYMES IN TH IS POEM? AJ4. A2� llMELANCHOLY11 SEEMS THE BEST SYNONYM TO FIT THE MOOD. OF MILD ·SADNESS V-'H.l 447 A1 J. HE MEANS TO SAY THAT IN WHAT DANNY IS NOW . GO ING THROUGH , HE IS _ALONE AND NO ONE ELSE IS IN'HIS SHOES. Q1 4. FROM READ� NG STANZA J. ABOUT HOW MANY ·MEN WERE THERE �N A BRIT�SH REG;MENT OF TH IS T; ME? A1 4. 551 A2J. IT IS. THE TOMB OF IS ON AN ISOLATE� KNO�L IN OAK R.IDGE CEMETERX .IN SP RINGFIELD, ILLi lNO.IS. IT IS A TALL SHAFT AND IS OF WH ITE L'IMESTONEe . Q24. WI-iv Is THE FLAG REFERRED ro AS -"RENT, SO,I LED, BU T REPAI RED TH ROUGW: YOUR ANGU.ISHll? A24• 655 .INCE TH E HOUSE IS STILL BE ING -E3U L1:t THE A1 J. S ! . REFERENCE TO J,A.CKSON SEEMS ALSO TO BE A REFERENCE· TO THE WESTWARD EX�ANSION OF THE NATION. Q1 4� WHAT .ARE THE P� ET1s .wARN.lNGs- ·I N TH IS STANZ.A? A1 4. J2 A){)." STANZA 4 ·, S RHYMED ABAB; STANZA· 11' CONT-A.i NS THE· IMPERFECT RHYME, llDe:'.ap� ... F'e:'i T. 11 A6 •. IT WO UL!? BE HARD TO F'IND A POEM MORE.HEAVILY: WEI GHTED WI TH METAPHOR THAii! TH IS ONE. IN ADD.I T.I O!'J TO THE PERSON.IFICATION .THE WHOLE, POEM "i s A METAPHOR COMPARING TH E TIGER TO SOME MANUFACTU RED ARTICLE. Q7 • .JU ST FOR FUN, WOULD YOU LI KE TO COUNT AND SEE HOW MANY METAPHORS YOU CAN TU RN UP? A7. 24o IN THE LAST: STANZA, 11WHERE L,11 11MELODY,11 AND 11SKY11 DEMAND FALSE PRO-· N�NC:I AT.�ON 11MEL-O-DIE11; HOWEVE R, .IN READING THE POEM COMMON PRONUN CIATIONS ARE USED. QJ5� ONCE AGAIN WE HAVE LITTL E REGULARITYe CAN YOU DISCOVER THE METER OF' THE POEM? AJ5. AJ •• THE POET ADDRESSES SOME PERSON · AND TH l· S ADDRESS CONTINUES ; UNTH. TA E POEM \IS COMPLETED. Q4 •• WH AT is .I T THAT THE POET SUGGESTS MAY CURE H"is MELANCHOLY? A4� A1 4. , THERE WERE A!:IOUT 900. THE POEM F'URTHER TELLS US THAT TH ESE· MEN , IN ACCORDANCE WITH THE PRACTICE OF THE TIMEt WERE ALL FROM ONE COUNTY ·, N EN GLAND. Q15. Ho w DOES THE POET MAKE THE READER AC TU ALL y SEE THE HANG.I NG? A15 •. 552 A24� · BECAU SE OF THE PRONOUN llyo1:.1R11 TH IS IS A C .I V.I L WAR REFERENCE. THE FLAG, SYMBOL OF THE UNION, WAS THREATENED WI TH •DESTRUCTION, BUT ------�� PRESERVED THE UNi oN. Q25. · CAN · YOU EXPLA'r N WHAT THE POET MEANS BY t 11LONG AS YOU KEEP HIM THERE SAFE, 11 i.Ejt �NFOLDED �N THE FLAG? . ' A14 •. HE SEEMS TO WARN THAT LEADERS WILL DIE AND OUR NATI ON ·WILL REMAIN . ,. STRONG ON LY SO LONG AS WE CAN REPLEN ISH THEIR RANKS• · Q1 5 •• WHAT DOES STANZA 4 TELL YOU OF ;THE ECONOM.I C COND.ITION OF THE COUNTRY WHEN THE HOU SE WAS BU '1 LT? A1 5. 46 33 . \A{j LL I AM SHAKESPEARE, ( 1564-1616) LOVERS LOVE THE SPRING 1 37 A7.• 0P �NiONS �AV VARY , BU� YOU CAN EASiLY COUNT TWENTY METAPHORS _IN ' - TH j S PO-EM� How "Ti .GER t BURNING BR� GHT" �a A METAPHO R. DO YOU SUPPOSE THE POET ARRIVED AT ,·1.T? A8. 241 A35� THE MOST F.REQUENTLY. RECURRING METERS A_RE THE IAMB (-1) AND THE ANAPEST ·(--' )� ' Q36. Do YOU F'i ND ANY V.AR.lATioN 'I N THE NUMBER OF FEET TO THE L'iNE? AJ6. A4., H. E SUGGESTS THAT -1.F· HE 1-S READ TO , Hl.S MOOD WILL CHANGE. Q5. THE POET ASKS THAT HE BE READ A POEM, BUT WI. LL JUST ANY KIND OF POEM oo? 449 A1 5� THE QUESTION, 11WHAT1.s THAT so BLACK ·AGAINST THE S_UN?n LET!s us SEE .. ' HIM HANGe Q1 6. Bv THE use; OF ONE WO RD THE POET CALLS FO R YOUR PI TY AND SYMPATHY AS I HE DESCRIBES DANNY'S DEATH. WHAT IS TH IS WO RD? A1 6. 553 A25. THE · POET. MEANS -THAT AS LONG AS THE .PEOPLE; (:rHE FLAG, THE u �-, oN) KEEP ' THE IDEALS OF , THE N�TION W� LL B� STRON� AND RESP ECTED� _ Q26. THE POET CHOOSES FLOWERS TO REPRESENT THE DIFFERENT SECTIONS. OF- THE COUNTRY. WOULD YOU CHOOSE THE ORANGE .. BLOSSOM TO REP RESENT THE WEST? A26� .. A1 5� THE COUNTRY WAS PROSP EROUS WI TH LUMBER, S� IP�UILDING, �G�ICULTQRE1 A�D BUS� NESSo ·IHE REFERENCE TO THE ·WINE INDICATES .THERE WAS BE GINNING TO BE TIME �FOR PLEASU RE AS WELL �S FOR �ABO R� Q16. W�AT �S THE WA RN� NG �N REGARD TO TH� S STANZA? A16. 47 ..... 4 Q1 • L.I NE 2 IS THE SAME IN EACH OF THE FOUR STANZAS. How MANY OTHER UINES J I ARE REPEATED IN ALL FOUR STANZAS? A1 . Ai,, THE POET SEEMS HERE TO BE COMPARING THE CO�OR OF ·THE TIGER TO ·THE �. . . COLO� OF, FI RE1 OR PERHAPS HE IS TH INKING OF TH E EYES OF THE TIGER GLOWING 1IN THE DARK FOREST. Q9� To WHOM DOES THE PRONOUN 11HE11 IN L'i NE 7 REFER? A9• 242 YEs, THE �UMBER OF. FEET VARf ES THROUGHOUT·THE i POEM� - DOES TH's s EXTREME VAR,I AT"i oN IN ALL ITS STRUCTURAL ELEMENTS MAR 11 1 S RAFEL 11 AS A PO EM? AJ7• A5! No t HE SAYS THAT 'j T SHALL BE A 11s'1MPl;.E ANO HEARTFEL:r LAY (POEM, SONG OR BALLAD). Q6. WHAT TYPE OF POEM ,·l S '1 T THAT THE POET TELLS IN STANZAS 5 AND 6 THAT HE DOES NOT WANT TO HEAR? A6� A16. THE WO RD "wHlMPERn EL.ICITS OUR PITY 'IN THAT WE ARE USUALLY TOUCHED - " BY THE Wl'llMPERING OF A BABY OR A PUPPYe Q17� How DOES THE POET TELL us THAT THE REGIMENT'S DEPARTURE WAS RATHER RAP.I D? A26. MO ST OF -US THS NK OF :rHE WEST -I N THE SENSE OF THE- W1l.D WEST OR THE COWBOY LAND OF TV. FLETCHER HAO SPENT -SOME .TIME IN CAL,I FO RN-IA ANO THE ORANGE BLOSSOM SEEMED TYP.'acAL OF THE WEST TO HIM� 1 L. Q27 � THE .IMAGES OF' THE F,1 RST TWO LINES OF THE LAST STANZA ARE I MAGES OF , THE CRUCtF'1 £1 0N OF CHRIST. Do THEY BELONG IN A POEM ABOUT LINCOLN? THERE, WE'VE TOLD YOU l A27! 658 A1 6� THE PROSP-ERI TY ANO PLEASURE REQU IRE THE SAME VIGILANCE AS ·SAFETY �NO o I SECURITY. ' . Q17. IN STANZA 5 THE :NATION IS DESCRIBED AS STR ONG AN� LASTING, BUT THERE IS A THREAT TO '1 rs SECUR,I TY. How DOES BENET SYMBOL .IZE TH-I S THREAT? A1 7. ljg'· 35 At.. T_HREE O:THE.R LINES ARE REPEATED IN ALL FOUR ST·ANZAS. � � Q2. You WILL �OT� THAT THi s SELECTi ON. �s FRO THE LAV As You L�KE IT � ---- AND IS A SONG. Now CAN YOU TELL HOW TH IS SELECTION 1IS LIKE MANY OF OUR MODERN SONGS? A2. 139 A�. THE ANTECEDENT OF TH IS PRONOUN 16 THE "iMMORTAL HAND �� EVE11 OF L.I NE )• Q10. IF TH IS 1·s TRUE, WHY D.I D N.OT BLAKE CAPITAL IZE 11HE"? A10' 243 A37·· (You MAY DISAGREE, A�D RIGHTLY•) PERHAPS TH IS QUAL ITY OF IRREGULAR ITY GIVES THE POEM Ll�E �ND VERVE. Q)S. TH.I S POEM .I S A LVRi c� WHAT SINGLE WO RD INTERP RETATION CAN YOU GIVE FOR THE WO RD 11LVRIC11? 347 AQ. HE DOES NOT WANT TO HEAR A POEM �V A GRE�T POET WH ICH WILL REM_IND HIM OF THE STRUGGLE OF LIFE. Q7.� STANZAS 7, f5, AND 9 .IN REALITY DEFINE ONE OF - THE MAJOR CLASSIFl·CA- Ti ONS OF P.O ETRVA REMEMBERING WHAT YOU HAVE LEARNED FROM PREvious QUESTIONS, CAN YOU TELL WHAT .IT is? . · 45 1 A17.. THE USE OF THE WO RD nQUICKSTEP 11 (WHl.CH ME ANS 90 STEPS TO ·THE M l·NUTE) AS COMPARED wi TH TH E 60 ' sTEPS TO . THE Mi NUTE OF THE DEAD MARCH OF . 5 . . L I NE TO WH I CH THE REG IMENT MARCHED ONTO THE F 1 ELD.• Q1S. How WERE THE SOLDiERS AFFECTED BY HAVING WATCHED THE HANG ING? A1�•• 555 A27.,. THESE I MAGES REFER TO . THE PAS_S I ON FLOWER. YOl:J ARE SUPPOS_ED TO BE ABLE TO SEE THE CROWN, THE NAILS, AND. THE .CROSS IN THE ;FLOWE;Re Q28. OoES THE FiNAL LiNE OF THE PQEM SEEM TO HAVE ANY ES�ECIAL SIGNIFI CANCE FOR us TODAY? A2S. 659 A17.. BY REFERRING TO .IT. AS A GHOST. fROM. THE . POEM :WE -CANNO T DEFINITELY IDENT.IF� IT AT. PRESENT. Q1$. WHAT DO THE TWO LINES l:N PARENTrHESES SUG.GEST IS ABOUT .TO ,HAPPEN? A18. 49 . .. A2;,,, Tf.IESE REPEATED L'I' NES ARE ESSENTl'ALLY THE SAME TH ING AS THE CHORUS, OR REF.RAIN, OF PRESENT-OAY 'SONGS• ' ' QJ. How MANY L INES DO ES SHAKESPEARE USE TO EXP RESS THE THOUGHT •• N THI s POEM? AJ. A10•. MO ST Ll 'IKELY BECAU SE BLAKE HAS NOT MENT i ONED Goo AND DOES NOT WANT TO 140 . .INFLUENCE HIS READER1S INTERP RETATION. Q1 1. WHAT IS THE 'FIRE REFERRED TO �N L � NE 8? A1 1. 244 AJS. TH E WO RD 11SONGll JS THE CLOSEST .ONE WO RD INTERPRETATION OF THE· WO RD · . 11LYRac.11 . QJ9. Is A LYRIC USUALLY EXP RESS.l'.VE OF FEEL ING 'AND EMOTION, OR OF FACTS AND INTELLECTUAL CONS.I DE RAT.IONS? AJ9 •. A7� TH E TYP� REFER�EO TO ISt OF COURSE, THE LYRIC. IT :1 s A SHORT POEM _ EXP RESSING A �INGLE EMOTION OR FEELING. . . QS . IN THE F INAL STANZAS ,· T!'iE POET MAKES A STATEMENT WH ICH YOU SHOULD REMEMBER IN REGA·RD TO HISTORY. IN YOUR ·ovm WO RDS, VMAT '1 s IT? . 452 A1$. THEY WERE LEFT SHAKEN AND WANTED TO FORGET. A28� OUR ATTEMP TS TO SOLVE RACE PROBLEMS TODAY· STEM FROM THE FACT THAT THEY WERE NOT SOLVED AFTER THE. C.IVIL WAR. MANY BEL I EVE THAT HAO · L.INCOLN L tvEo,· THEY WOULD HAVE BEEN_ MO RE NEARLY SOLVEo.: Q29. THE POEM DEC.I DEDL Y HAS RHY THM, BUT IT DOES NOT HAVE RHYME OR METER IN THE REGULAR SENSE• Do YOU KNOW WHAT SUCH POEMS ARE CALLED? A29.;. " . 660 A1$� THESE LINES SUGGEST THE BEGI NN·I NG OF A· STORM• Q19. WHAT DO YOU. UNDERSTAND BY THE RATHER IMPOSSI BLE SUGGESTION THAT THE SUN WILL RISE. OUT OF THE WEST? · :,· �·:'?'.: A19�- .50 "• 37 AJ. EACH STANZA .HAS .TWO LINES OF THOUGHTt .MAK ING A TO TAL OF EIGHT LIN�S. Q4. IN_ VOU�. cl�N . WO RDS,"WHAT IS THE THOUGHT OF THE POEM? A4. 141 A1 1. 11F't REll ,oF L:i NE g 1'1 s THE SAME FIRE OF L'I NE 2, THE FIRE OF THE TIGER1s EVES. FROM , 11 eURN .i NG11 '1· N L .INE 1, \'J E GET THE .I DEA THAT THE WH OLE TIGER : IS.CREATED FROM FIRE. Q12. WH AT DOES THE WORD 11s � NEWS 11 OF LINE 10 MEAN? A1 2. 245 A'J9. THE 1:-YRIC IS AN ART FORM WH ICH SEEMS ESPECIALLY DES I GNED TO EXP RESS FEEL ING AND EMOTION. Q4o. DOES 11 J sRAFEL ll EXP RESS PR.IMARILV FEEL.ING OR THOUGHT? Alto. IT IS THAT THE SUREST ENJOYMENT OF . POETRY COMES. FROM HEARING IT. READ ALOUD (OR READ I NG J T ALOUD YOURSELF) • . . WH AT DOES THE P,OET T�L YOU THROUGH THE SIMILE 11CARES •••L ll WESTERN FOLK SONG (c. 1S70 ) THE COWBOY 1 S LAMENT 557 A29. THEY ARE CALLED FREE VERSE BECAU SE THEY ARE FREE FROM THE RESTRICTIONS OF RHYME AND METER. 661 A19. TAKEN L.I TERALLV, TH IS IS NONSENSE, BUT SYMBOL.ICALLV IT SEEMS TO REFER TO AeRAH!<\M LINCOLN• Q20. THE STORM ( SEE THE PARENTHESES) ., S .I NCREAs'i NG. CAN YOU TE LL NOW WHAT THE STO RM ,"is? A20. 51 A4. T'lME AND YOUTH ARE PA'SSI NG. ENjoy THEM WH .iLE YOU CANe . Q5· -1 S IT POSs'iBL E TO REPHRA.SE THE L .I NE, 11W't TH . A HEY t AND A HO , AND . A . HEY NONlN0 11 SO THAT IT MAKES BETTER SENSE? 142 A12. THE WO RD 11SINEWS 11' :1s SYNONOMOUS WITH'"TENDONS. 11 Q1J. WHAT. P .iCTURE DO YOU GET, FROM TH E SINEWS BEING TWI STED? A1 J. A40. WH.S LE THE ·THOUGHT Is, OF COURSE, �MPORTANT., IT IS THE INTENSE FEEL- , ING THE POET EXP'RESSES WH ICH MAKES THE POEl\4 A SUCCESSFUL LYRIC. PERHAPS YOU 'M.IGHT L'.IKE TO . KNOW THAT TH.I S POEM SEEMS TO EXPRESS PoE1S BEL:l EFS ABOUT POETRY SO WELL THAT ONE OF H.I S BlOGR APHER IS CALLED THE 0 STO RY 0, PoE1s LIFE lsRAFEL . 350 A9 . TH0I S SIMILE SAYS THAT THE CARES WH ICH HAVE BEEN THE Ct(USE OF Tl:IE POET1 s MELANCHOLY WILL BE D .• SPELL ED BY THE POETRY-READ.I NG. Q10. WHAT ARE THE WO RDS BY WH.iC, H ..YOU 0I DENTIFY THE S.IMILES 0-F- STANZAS t, J, 6, 7, 9� AND 111 A10. Q1 . A COWBOY SONG IS CLOSELY RELATED TO THE BALLAD CI N FACT, MANY OF THEM ARE BALLADS)o DOES THl S ONE FOLLOW BALLAD FORM? A1 . RO BERT FROST. (.1.$75- ) THE RO AD NOT TAKEN 662 A20. THE: STORM IS 'Tl:IE C·l·VIL· WAR WH ICH ,THREATENS TO· DESTROY· THE HOU.S E OF THE UNIONe Q21.. Wi TH TH.I S '1 N MIND, YOU SHOULD BE: ABLE TO rD EN·TIFY THE GHOST- FROM THE· LAST STANZA? A21 . 52 A5. No;.TH .I S IS JUST A NONSENSI CAL REFRAIN. As YOU WELL KNOW, THESE ARE EXTREMELY COMMON TODAY. Q6. SHAK ESP EA RE USED TH IS LINE TO TELL US HOW PEOPLE FELT IN THE SP RING. How D 1 D THEY FEEL 1 A6 . 143 A1 3. PERHAP S 'THE 'POET HAO IN MIND THE TWI STING OF' Fl'BERS TO GETHER TO MAKE A CORO .OR ROPE. Q1 4; WHY DO ES THE POET REFER TO THE 11DREAD HAN0 11 ANO "DREAD FEET111 A1 4; 247 S.i R WAL TER SCOTT ( 1771�1 $32) LOCH INVAR 351 A1 00 THE POET. USES SIX . WELL-DEFINED SIMILES. �THREE O� T�EM (L I NES:1 , 3, AND 7) EMPt.:OY THE WO RD 11As11;- THE- OTHERS (LI NES 6 •. 9, AMO 11) EMPLOY THE ' WORO 111..:'iKE�n Q1 1. Dq YQU �i N� 0ANYTHi NG lN STANZA 5 TO SUGGEST A PERSONiFt CAT�ON? A1 1 . A1� EXCEPT FO R TH E :LACK OF' A REFRAIN, THE SIMPLE NARRATI VE F,ORM MAK ES 455 .. TH IS A· TYP I CAL BALLAD •. Q2� WH ERE 'i s LAREDO 1 A2. .. 559 Q1 0 WHAT TIME OF' YEAR DOES THE POET REFER TO IN LINE 11 A1 � 663 A21 . SINCE THE QHOST . IS!BLACK AND l;N CHAINS, IT SEEMS QU ITE .EVI DENT THAT BENET IS BEF'ERRING TO SLAVERY. Q22. WHAT IS THE FO RM OF' THE POEM? A22� 53 40 A6.. THEY. FELT: JUST AS YOU FEEL: IN' THE SP RING: GAYt CAREFREEt l.IGHT �EARTED,· EXHjLARATED. Q7. D1.o THE LINE, 11WHEN B·l.RDS Sl"NG , HEY o'l r:JG A DING, DrNG" DO THE SAME THING OR SOMETH·l.NG D.IFFERENT? 144 A1 4. THE 'POET IS REFERRING TO Goo IN THE; 11;cT OF CREATION, AND THE IDEA IS OF AWE RATHER THAN FEARe Q1 5. WH·AT IS THE IMAGE THE POET HAS IN MIND IN DISCUSSING THE CREATION OF THE Tl GER .I N STANZA 57 A15. TH IS POEM TELLS A STO RYe CAN YOU PICK THE CORRECT ANSWERS TO THE FOLLOWING QUESTIONS TO RETELL THE STORY? Q1 • WAS YOUNG LOCH.I NVAR R.I D.ING EAST OR WEST? A1 . 2 A1 1� THERE ARE EVEN MORE'' METAP HORS THAN �SI MILES. IDENT,IFI CAT'l ON OF THE:M 35 . . �S IN. PART DEPENDENT ON YOUR OPl NION OR WAY OF LOOK ING AT THEMe Q1 2. Do YOU F� ND ANYTHING IN STANZA 5 TO SUGGEST A PERSO� IFI CAT� ON? A1 2; A2. LAREDO IS IN TEXAS ON THE MEX.S CAN BORDER, SOUTH ANO:WEST OF SAN ANTON.I o. QJ. Wo ut.D 'YOU SAY THAT TH Is SONG Is SENTIMENTAL? A1 0 ME RELY BY THE USE OF THE ONE WO RD "vELLOW11 THE POET LETS us KNOW THAT .I T .I S AUTUMN� Q2. WH.1 CH OF THESE WO RDS IS A SYNONYM FOR 11DI VERGED 11 : 11D,l SAGREED , II 11FORKED,11 11uNj TED11? A2. 664 A22� THE POEM IS COMPOSEO' O F SEVEN STANZAS. THE METER SE£Ms IRREGULARLY TROCHAIC WI TH A VARYING. NUMBER OF FEET TO THE LINEe Q2J. WHAT P.ECUL.I ARI TV DO vou NOTICE ABOUT THE RHYME SCHEME OF TH.I s POEM? A23. .. 41 A7 •. IT. DOES . EXACTLY THE SAME TH ING ANO AC"l'UALLY ' s AS NONSEN·SICAL As THE OTHE Re QS.. WHAT ·wout.:D• YO.u: :SUPPOSE A 11PRETT,Y R·l.NG-T IME" TO BE? . AS. 145 A1 5., THE .I MAGE ·HERE USED, IS ·THAT OF: THE SMI THY .OR BLACKSMI TH SHOP. · (MACl:l.I NI ST? .METAL-WORKJNG ?). Q1 6� CAN YOU EXPLA� N L�NES 17 AND 1S? A1 6� A1. S.INCE YOUNG LOCH.I NVAR CAME OUT: OF THE WEST, ·H E WAS RIDING EAST. · Q2. DOES .THE BORDER LOCHI NVAR RODE OUT OF INDJCATE THE EDGE oF--:ri'.i'E FOREST OR THE BO RDER COUNTRY BETWEEN ENGLAND ANO SCOTl. ANO? A2 o 353 A1 2. YEs,_ TH E CA� I TAL IZATION OF' 11T� MEQ PLLlS THE ·FACT OF''T HE PdSSESS� ON OF' �ORRI OORS ,. CONS!I TU TE_8 A . P�RSON I F°i'CATl ONe 110.I STANT -FOOTSTEPS II ·ECHO.I NG IS NOT A ;PERSON I F'l. CATfON SfNCE MEN 00 POSSESS F'OOTSTEPSe Q1J•. IN L0lKE MANNER, 11l.I F'E 1S ENDL ESS TO.IL AND ENOEAVO Rll CAN BE CALLEO A PER SON IF'.ICAT.I ON (NOTE POSSESS.IVE FORM ) AL THOUGH CAP I TAL0IZATION 'i s CONCEALED BY THE 'f NfTIAL POSIT'ioN OF' THE WO RD. FIND ANOTHER PERSON.IFICATIONe A1 1. � 4 AJ. PILY, so , BUT THAT IF 57 YES, IT IS, ALMO ST SL OP. . IS ONE OF' ITS CHARMSe YOU WANT TO INDULGE IN SENTIMENT OCCASI ONALLY, WALLOW IN ITe Q4. Do YOU TH INK sn.<.TEEN GAMBLERS :WOULD BE NECESSARY TO CARRY THE coweoY 1s COFFJ �? ' A4;. 561 A2., 11FoRK ED11 IS THE SYNONYM WHEN THE ·WORD ·is APPL IED TO A ROAD. THAT . MEN1S OP .l:NIONS D.I V.ERGED MIGHT WELL MEAN THAT THEY DISAGREED. . QJ•. WHAT PROBL EM FACES THE POET -. IN TH IS POEM'( · AJ. 665 A2).. EACH STANZA HAS . ONLY ONE Rl'IYME t;F' ·WE OM IT THE . P.ARENTHESES WHICH At.L ENO WI TH TH E SAME ·wo·Ro. Q24•. Tl'I E' TITl.E'OF' T:HE POEM '1 s · A PERSONS-Fl.CATION.; · CAN YOU EXPLA.I N How?;;. . ,\ A24 •. 55 . . 42 AS. TH.I S SEEMS TO· i:tEF'ER TO THE OLD ENGL .I SH CUST01-i1 OF' DANC ING IN A RING, OR CIRCLE, OUTDOORS ON THE GRASSe Q9. WH AT IS ·THE· RHYME SCHEME OF THE POl;:M? A9. 146 A16. THESE ARE D�F'F'ICULT LINES. THEY MI GHT SIGNIF'Y LIGHTNING AND. RAI N, OR THE IDEAS OF' SURRENDER. ANO F'RU STRATION AT TME IMMENSE POWER OF TH .I s TH.I NG Goo HA S CREATED. Q17. Goo EVIDENTLY WA$ PLEA�ED WITH HIS CREATION IF' HE SM ILED, BUT WHAT PROBLEM OF' RECONC.ILIATION DOES THE POET F'ACE .I N L.I NE 20? A17� 2.50 A2e THE BORDER REF'ERRED TO Is BETWEEN ENGLAND AND SCOTLAND� THERE·· WAS CONTINUAL WA RF'ARE AND oiscORD BETWEEN THESE COUNTRIES. Q3. WA S LocH'i NVAR ARMED OR UNARMED? A3� A1 3• THE RE. MAY BE OTHERS,: BUT 11THE · RESTLESS PULSE OF' CARE11 IS SURELY. ONE -IN SP ITE OF THE F'ACT THAT THE PULSE-BEAT IS NOT SOLELY A HUMAN CHAR� ACTERISTICe Q14. How F'AR DO YOU, PROGRESS '1 N THE POEM BEFO RE YOU MEET WI TH ALL·l·TERATION? A14. . I A4� No 9.HERE.: AGA IN IS THE EXAGGERATED QUAL.iTV OF BALLADRY. AL SO ..IN -. . VOL VED Is THE EXTREME LONEL • NESS OF TH E COWBOY . s LI FE. . Wl:IEN HE HAS PEOPLE, HE. WANTS LOTS OF THEM. Q5. ARE THE IDEAS EXP RESSED IN STANZA 5, 0I DEAS OF REAL,'I TY FOR THE LAREDO . OF EARLY TIMES? AJ� HE IS FACED WI TH THE SA�E PROBLEM ALL OF �S CONSTANTLY MEE:f� HE MUST CHOOSE BETWEEN ALTERNATI VE COURSES OF ACTI ONe Q4. Do YOU BELS EVE THAT iT REALLY MADE MUCH DIFFERENCE TO· THE POET WH ICH . ROAD HE TOOK THROUGH THE wo oos? A4. 666 A24. THE Tl TL E REFERS TO THE OR l.G I NAL TH.I RTEEN STATES• · THESE ARE : NOT WOMEN� . NOT SISTE_RSt BUT UN ITS OF GOV ERNMENTe Q25. THERr;: : ·1 ·s A DEFINITE SIMILE 1N THE.SE COND STANZA. ·CAN YOU FIND IT? A25. 43 A9�· THE RHYME SCHEME- IS ABACDDe Q1 0. EXAM I.NE THE LAST STANZA AND SEE u=· YOU CAN TELL HOW IT VARI ES F"ROM TH IS RHYME SCHEME. A1 0•. 147 A1 7� THE POET F"INDS IT ALMOST l.MPOSSIBLE TO BEL IEVE Tl'IAT THE SAME Goo COULD CREATE THE FIERCE TIGER AND THE GENTLE LAMB� . . . Q18. IN WHAT WAY IS THE LAST . STANZA NOT A D IRECT REPETITION OF" THE F"IRST? A1S; 251 AJ� Yo1:.1 MIGHT sAv ScoTT 11BoO-BOOED11 HERE. HE sAvs LocH.INVAR wAs 11ALL UNARMED11 AND VET HE HAD 11A GOOD BROADSWO RDe 11 Q4� WAS LOCH� NVAR TRUE AND BRAVE , OR F"� CKLE AND COWARDLY? A4. 355 A1 4. THAT1s RIGHT, NO FU RTHER THAN THE ·TITLE. - THIS ALL ITERATION OF" . 11o 1s11 �s CONT� NUED �N THE F"� RST STANZA) 11oAv •••QO NE••• DAR KNESs •••oo wNWARD.11 . . Q1 5. THERE IS A.TOTAL ALL ITERATIVE QUAL .I TV TO TH.IS POEMe CAN YOU DIS- . COVER WHAT IT .I s? A1 5. 459 A5. No , THESE ARE. ONCE AGAIN SENTl�E�T�L "I DEAS OF" WHAT IS.CONSIDERED APPROP RIATE TO DEATH IN MORE CIVILIZED SECTIONS OF" THE COUNTRY. Q6. CAN YOU S�� ANY PURPOSE IN REPEATI NG THE F"IRST STANZA ATH THE END OF" THE SONG? A6. A4� IT .IS UNL IKELY THAT ANY IMPORTANT EVENT WOl.:JLD HAVE TAKEN PLACE HAD HE CHOSEN THE OTHER ROAD, BUT CHO.ICES MUST BE MADE AND EACH CHO ICE MAKES A DIF"F"ERENCEe Q5. THEN WHAT DOES THE POET MEAN IN THE F:INAL LINE WHEN HE SAYS THAT HIS CHO I CE HAS MADE � THE 0°1 F"F"ERENCE? 667 A25. 11THE WALLS ARE. SOL ID A� PLVMOU!li Roc1< 11 BY THE :US� OF" THE WORD 11�s11 COMP ARES DIR�CTLV AND IS A SIMILEe Q26. CAN YOU QUOTE THE �EY : �ORDS . OF" THE S�M�LE �N STANZA 6? A 26. 57 44 A10. THE "AJs" OF THIS1 STANZA END IN THE SAME SOUND AS THE "e's"; HOWEVER, THE WO RDS llTIME11 AND 11PR.IME,11 BECAUSE OF RHYME· OR ACCENT, DO NOT RHYM Ee ( Q1 1 � Now LOOK AT THE FOURTH LINE OF ANY STANZA AND SEE IF YOU CAN FIND ANY PECULIARITY THERE� A1 1. , A1S� AN EXCLAMATION POINT FOLLOWS , THE 'SECOND WO RD 111··1 .GERi" .AND 11COULD11 IN THE LAST LINE IS CHANGED TO . llDAREe 11 Q19. CAN YOU SEE ANY' REASON . FOR THESE CHANGES? 252 A4. 11FAJ THFUL IN LOVE AND DAUNTLESS IN WAR" INDICATE THAT LOCHINVAR WAS TRUE AND BRAVE• Q5• DID LOCHINVAR REST IN THE SHADE OF· THE TREES AND GO RAP IDLY PAST ROCKS, OR DID HE CONTINUE HIS JOURNEY WITHOUT REST? A15. "s� sou� o IT 1s THE EFFECT. ACHI EVED THROUGHOUT BY THE REPETI Tl ON OF DS .44 IN L:I NES TH is SOUND IS. REPEATED NO LESS THAN· 90 TIMES.· ·· Q16. THE METER 'a s ,:I RREGULARLY IAMBIC A'ND THE LINES CONSIST OF ALTERNA·T E TETRAMETERS AND TRIMETERS. HAVE YOU MET TH IS PATTERN BEFO RE? A16. 460 . A6. THS S IS QU ITE A COMMON PRACTICE, BOT!i - IN BALLADRY AND FOLK'- SONG·0 IT' ADDS' UN.iTV AND A SENSE OF COMPLETSON TO A LOOSELY ORGAN IZED· Bl T OF VERSE� Q,7. EXCEPT FOR THE NARRAT..SVE, WH ICH IS SL fGHT, IS THERE MUCH DIFFERENCE BETWEEN THE FOLK SONG AND A �YRi c? 564 A5;. THE POET IS ·ACTUALLY USING 11ROAD11 AS A SYMBOL, SOMETHING THAT STANDS FOR SOMETHING ELSE. , Q6. WHAT DO You THI NK THE ROAD IS SYMBOL IC OF? A6;. 66$ A26. SISTERS SLEEP LIKE: SWANS •.IT IS NECESSA'RY .TO IGNORE THE PARENTHETICAL REMARK �ND RESOLVE (DETERMINE) THE TWO ACTUAL ELEMENTS COMPARED BEFORE THE 'S IMILE IS COMPLETE. . . Q27. WH ICH METAPHOR ·, N STANZA 4 'a s THE MOST IMPRESSIVE TO YOU? (You CAN'T BE WRONG ,i F YOU CAN PiCK OUT EVEN ONE METAPHORo) 45 A1 1i OF cou�sE, 11s�R� NG-�i ME11 AND 11Ri NG-TiME11 RHYME� T�IS IS-KN6WN AS INTERNAL RHYME • . Q1 2. You ARE NOT THROUGH WI TH RHYME VET. THERE IS ONE MORE PECUL IARITY OF RHYME IN THE POEM� WHAT -I S :, T? A1 2. 149 A19� IN THE FIRST PLACE, . A SL l.GHTLV AL TERED REPETITION IS-MORE EFFECT.IVE THAN AN EXACT 'ONEe THE EXCLAMATION F?OINT ADDS EMPHAS.I S, AND 11DARE 11 Gi VES A MUCH MORE POWERFUL IMPLi CATION THAN "couLo .11 Q20. WHAT STRUCTURE DOES THE POEM HAVE? IGNORE METER UNTIL THE NEXT QUEST I ON. A20. 253 A5� HE CONTINUED� THE 11BRAKE11 OF LINE 7 REFER� :TO A GROUP OF TREES, BUT HE DID NOT. STOP. Q6. Is A FO RD A BRIDGE OR A SHALLOW PLACE? A6. 357 A16. YEs, TH IS IS THE COMMON BALLAD STANZA. (SEE "Si R'PATRICK SPtNs�) THE RHYME SCHEME IS AL SO THE SAME. NOTE, HOWEVER, THAT LONGFELLOW ACHI EVES AN ENTI RELY Dl FFERENT EFFECTo 461 A7. No ; AND IT tlS WELL TO REMEMBER THAT CL�SSIFICATIONS NEED· NEVER �E HARD AND FAST• THE FORMS FREQUENTLY . OVERLAP . QS . CAN YOU DESC�·l BE THE STRUCTU RE OF THE SONG? AS; A6� IT SEEMS THAT THE ROAD IS SYMBOL IC OF LIFEi LIFE IS OFTEN REFERRED TO AS A JOURNEY , AND THE 11ROAD OF L .IFE11 'a s A SOMEWHAT TR-ITE (OVERWORKED) METAPHOR. Q7. THE POET DOES NOT TELL US ANYTHING ABOUT THE CHO ICE HE HAD TO MAKEo WO ULD THE POEM HAVE BEEN BETTER -.- F HE HAD? A7� 669 A2.7• TMERE ARE ONLY Two : 11A HOUSE" SO STRONG AND BOLD11 AND 11w·1LL LAST TILL T; ME is A· pi�CH OF MOLD.11 Si NCE THE FiRST CLOSELY APPROACHES A PER- . . SONIFICATION1 THE LATTER SEEMS �HE MOST IMPRESS IVE METAPHO Ro · . . Q2S. IN. THE FOURTH STANZA WHY , as.GEORGIA CAP ITAL IZED? A2S� 59 46 A1 2.ll! TH.I S PECUL.···AR.I TV '1.s 'THE CONTINUAL.L.Y �ECURRl·NG pYL.L.Af3L.E· u·ING, 11 AS IN "se RING,n ii R.i N � , 11 11s '1 NG, 11 AND 11�1NG. 11 . Q1J� WHAT DOES THE ACCENT' MARK ON THE WORD , 11CROWNtoll IN THE TH.I RO l.·, NE OF THE LAST STANZA iNoi' cATE?. A1 J. 1.50 A20. !HE POEM · IS· COMPOSED ()F 6 F()UR-L'INE� STANZAS. RHYMED AABB. ACTUAL.LY, IT COULD HAVE BEEN WRITTEN ·1 N TWO-L I NED STANZAS CALL.ED COUPLETS. Q21 . CAN YOU MAKE A PATTERN FO R THE METER OF THE Fi RST TWO LINES? A21 ., 2Yl A6� A FORD IS A !?LACE WHERE A STREAM CAN BE WADED� Q7 • Oi 0 LOCHI NVAR ARR.i VE AT NETHERBY BEFO RE OR AFTER THE BRIDE GAVE HER CONSENT? .. - -- AL.FRED, LORD TEN�YSON (1$09-1$92) BREAK , BREAK , BREAK 462 AS. THERE ARE 6 FOUR:...LIN EO STANZAS (QUATRAINS) ,· RHYMED ABCB. THE METER IS ROUGHL.Y ANAP ESTIC TETRAMETERe A7• IT IS DOUBTFUL . THE POET IS DEALING WI TH A COMMON EXPERIENCE OF MANK IND ANO HE WAN TS EACH READER TO DRAW HIS CONCLUSIONS FROM H IS . OWN STORE OF CHO ICES• Q$. THE METER OF THE POEM IS SO IRREGUL.AR THAT IT MIGHT BE CALLEO 8FREE.11 Is THE RHYME SCHEME AL.SO I RREGUL. AR1 670 A2S. You THOUGHT TH IS WAS HARD, 0'10N1T. vou7 You1vE KNOWN FO REVER Tf.lAT: , THE NAMES OF STATES ARE.CAPI TAL IZ; ED• 60 .. . 47 A1 J. TH IS MARK ALWAY,S MEANS THAT · THE ACCENTED SYLLABLE IS TO BE PRONOUNCED , 1.E., CROWN-fQ.. , 1 51 A21.. YOUR PATTERN SHOULD LOOK LIKE TH tS: ·- _ ' - · ' 1 _ 1_ 1_ I Q22. WHAT IS THE tt 1- tt FOO T CALLED? A22� 255 A7. HE ARRIVED AFTER THE CONSENT WAS G;VEN, BUT BEFO RE THE WEDDING. QS. DOES THE WO RD 11GALLANT11 .I N LINE 10 REFER TO THE BRIDEGROOM OR TO LOCH.I NVAR? AS . 359 Q1 . THj s IS QU ITE A SlMPLE LYRIC. As YOU REMEMB�R , A LYRIC IS A POEM (u�UALL! SHORT) EXP RESSING A SINGLE EMOTION OR FEEL ING� WHAT EMOTION OR FEEL ING DOES TH IS POEM EXP RESS? A1 . 463 PAUL LAWRENCE DUNBAR (1S72-1906) THE CORN-STALK FIDDLE AS. No , THE RHYME �CHEME IS REGULAR. IN TH IG LYRIC. IT FOLLOWS · THE PATTERN ABAAB IN EACH OF THE FIVE STANZAS•: Q9. Do YOU D; SCOVER MANY . EXAMPLES OF FIGURATj VE LANGUAGE IN THE POEM? 671 ) CHANSON INNOCENT, 61 BEN JONSON (1573-1637) SONG TO CEL.l A 152 A22. IT IS THE TROCHEE� THE LI NE IS TETRAMETER EVEN THOUGH THE FINAL SHORT ACCENT IS OM I TTED. TH IS OMISSION IS CALLED CAT.ALEXIS (NICE WO RD). AS. 11GALLANT, 11 OF COURSE, REFERS TO LoCH I NVARe THE NEXT LINE CALL S. THE BRIDEGROOM A .DASTARD AND .A LAGGARD. Q9 . 0.1 D LOCH.I NVAR ENTER NETHERBV HALL AMONG FR't ENOS OR ENEMIES? )60 A1 . IT EXPRESSED REGRET AT ONE1S INABILITY EVER TO •RECAP TU.RE ·T IME ONCE IT IS PASSED. Q2. WHAT .I S THE ONLY 'POSSI BLE ACCENT PATTE RN FOR L.I NES 1 ANO 13? A2 •• 464 Q1 . TH IS IS A POEM BY THE FIRST OF AMER.ICA1s GREAT NEGRO POETS. WHAT TIME OF VEAR IS ESTABL ISHED IN STANZA 1? A1. A9 •• THE POEM IS ALMOST ENT.I RELV LACK l;NG IN· FIGURAT•I ON. THE YELLOW WO OD OF L.INE 1-CAN BE CONSIDERED AS LITERAL AS ·WELL AS METAPHO RI CAL , AND TH E llJusT: AS FAIR11 or LINE 5 .IS A WEAK SIM_ILEe THE PO.ET DEPENDS FO R HI S EFFECT ON A STRA I GHT-FORWA RD PRESENTATION OF THE POWERFUL META PHOR, THE ROAD OF LIFE, WH ICH OCCUP IES THE ENTIRE POEM. 672 Q1 . You KNOW THAT THE SENTENCE SIGNALS ARE THE CAPI TAL LETTER ANO THE PERIOD. DOES THE POEM USE THESE SIGNALS? A1 . 62 . 49 Q1 . TH IS SELECTION .IS QU ITE FAMOUS AS SOMETHING OTHER THAN A POEMe CAN YOU TELL WHAT .IT MIGHT BE'l A1 . 153 . - PHILIP FRENEAU (1752-1$)2) THE . INDIAN BURYING GROUND . . - � . 257 A9,. LocH'I NVA.R ENTERED AMONG EN EM I-ES s INCE »T HE. 11BRl.DESMEN t KINSMEN t AND BROTHERS11 WERE NOT H'1s, BUT THOSE OF THE WEDDING PARTY . Q1Q,. 0:·1 D THE :BRI DE1 S FATHER. MAKE LOCH.I NVAR WELCOME, OR TRY TO F'IND OUT WHAT HIS INTENTIONS WERE? A10. . . A2. TH E ONLY POSSI BLE . ACCENT p:ATTERN IS I t 11 THREE SUCCESSl.VE STRONG ACCENTS; HOWEVtR, A PAU SE BEING ASSUMED BEFORE EACH ONE (AS IN llJOHN: ANDERSON, MY Jo:11 ) MAKES IT IAMBIC (- BRE·AK, - BREAK, - BREAK). QJ. CAN YOU DESCRIBE THE METER FOR T-HE REST OF THE POEM? AJ. A1 • I T· IS LATE FALL; THE CO:RN HARVEST IS COMPLETED. Q2. WHAT DOES THE POET SUGGEST BE� NG DONE �N STANZA 2? A2. JQHN D. �CCRAE (1$72-1918) IN FLANDERS FIELDS A1.. No, . CuMMINGS. D.O ES NOT. USE El·THER.e HE BELI EVES_ .THAT THE WO RDS .THEM- SELVES. AND THE . WAY THEY ARE. SPACEO (oR READ) SHOULD CARRY THEIR OWN MEANING. Q2o WHAT, SORT OF A SPRING IS A 11JusT-SPRINGll? A2 .. A1 . TH; S POEM WAS SET TO .MUSIC AND IS NOW FAMOUS AS A SONG. Q2. DESCR� B� THE · F6RM bF TH; S POEM? A2� 154 Q1 o WHAT IS A WO RD (OR WO RDS) WH ICH Ml GHT BE SUBSTI TUTED FOR 11LEARNED11? A1 . 2.% A1 Q. THE FATHER1S. GREETING WAS RATHER THREATENING.• HE ASKED, HAND .ON SWORD , WHAT LocHiNVAR -WAS DOlNG THERE. Q1 1. DOES LOCH� NVA� A6MIT THAT · HE ST�LL LOVE� ELLEN , OR DOES HE· SEEM READY TO GI VE HER UP? A1 1� AJ. THE METER .IS MARK EDLY IRREGULAR, BUT THE UNDERLY I NG PATTERN SEEMS TO BE ANAP ESTIC TRI METERe Q4. THE RHYME SCHEME IS ABCB. HAVE YOU FOUND OTHER POEMS WI TH THIS RHYME SCHEME? A4. 466 A2. HE SUGGESTS THAT A FIDDLE BE MADE FROM A CORNSTALK AND GIVES DI RECTIONS FO R DO ING ITo QJ. Do YOU TH'j NK SUCH A F.I DOLE WOULD REALLY WO RK? AJ� 570 Q1 . 'Do YOU HAVE ANY .IDEA WHERE OR · WHAT FLANDERS - MIGHT BE? A1 . A20 BY . CAP� T�L� ZING TH IS, HE DEflNIT�LY ENHANCES TH� .IMPORTANCE OF A Ju sT-SPR� Nci· (ONE WH�CH HAS SUDDENLY BURST FORTH AFTER A BIGOROUS WINTER?). QJ. WHO . MIGHT THI NK OF MUD •AS LUSCIOUS? A1. 64 1 5 A2. TH IS POEM IS COMPOSED OF :2 EIGHT-L INED . STANZAS. QJ•. DETERMINE THE RHYME SCHEME FO R THE POEM. AJ. 155 A1 . 11PEOPLE WHO ARE WISE, 11 11EDUCATED11 : COULD BE ANSWERS TO THIS QUESTION. Q2. As 11LEARNED 11 'j S USED1 IS .I T A NOUN, PRONOUN, OR VERB? A2. 259 A1 1. LocH� NVAR �EE MS READY TO GIVE HER UP . Q1 2. IF YOU WERE .IN Et.:.LEN 1S PLACE AND BEL I EVED WHAT YOU HEARD , WOULD YOU BE EC STA Tlc· OR CHAGRINED AT WHAT' LocH I NVAR SAi Q? A1 2. A4. YES, 11SI R PATR� CK SP ENSll USES IT (REMEMBER, IT IS THE TYP ICAL BALLAD RHYME SCHEME)� LONGFELLOW1S "DAV �S DONE11 FOLLOWS THE SAME PATTERN. Q5. WHAT DO YOU UNDERSTAND THE POET TO MEAN BY 11sTATELY SH��s11? AS. AJ. ACTUAL�Y, MANY OLD TIMERS REMEMBER SUCH FIDDL ES BE��G MADE FROM CORN STALKS, BUT T�� s �s NOT. THE POET1s REAL �NTENTION. HE IS ASK�NG us TO GO ALONG WI TH HIM .INTO THE REALM OF FANCY . AND MAKE-BEL IEVE. Q4. AFTER THE F .I DOLE .IS MADE, WHAT WI LL HAPPEN? A4. 1 57 A1 • FLANDERS IS PROPERLY LOCATED IN BELG.'I. UM; HOWEVER, THERE ARE SECTIONS IN BOTH FRANCE AND HOLLAND WH.j CH ARE AL SO REFERRED TO AS FLANDERS• Q2. WHAT DOES THE POET SAY ··i S LOCATED IN FLANDERS Fl EL DS? A2. 675 AJ. A CHILD · MIGHT SO TH INK• Do YOU REME MBER MAK�NG MUD PIES1 AND HOW GOOD MUD FELT SQUISHING UP BET WEEN YOUR TO ES? Q4.; FROM READ� NG THIS POEM1 WHAT PICTURE DO YOU GET OF THE BALOONMAN? A4� 52 AJ. THE RHYME SCHEME IS ABCBABCBIFOR EACH STANZA. • Q4. CAN YOU 0 I AGRAM THE METER OF THE F"I RST TWO LINES OF STANZA 2? A4. A2. 11\.EARNE0 11 IS A NOON :1N THAT IT NAMES. QJ. DOES FRENEAU AGREE WITH THE HLEARNED11? AJ. 260 A12e THt S IS TAK�NG AN UNFA� R ADVANTAGE. -OR DID YOU KNOW THAT 11ECSTATIC tt MEANS HAPPY, :ANO" 11cHAGRINE0 11 MEANS DISAPPOtNTED. Q1 3. D'a o LocH.INVAR DRINK THE y/I NE OFFERED l'ltMOR 0'1 0 HE TH INK IT WAS Pai soNEO ANO ONLY PRETEND TO ·DRINK �T? ' A1 3. ;64 AS. THE WORD 11sTATELY11 SIGNIFIES TALL OR LOF'TY ,DIGN.ITV. THus, STATELY SH.IPS WO�LD BE SAIL I NG. SHI PS. (REMEMBER THE TALL SH.IP OF 11SEA FEVER11?) Q6� How DO YOU INTERPRET 11THE IR HAVEN UNDER THE H.fLL11? •. A6. 46g A4. THE NEI GHBO RS (OR AT ·LEAST THE NE.I GHBO R GIRLS) WILL GATHER FOR A DANCE. Q5� DOES THE USE OF NAMES IN STANZA 5 SERVE ANY REAL PURPOSE FOR THE POET? 572 A2. IN LINE 2 THE POET REFERS TO CROSSES -ROW ON ROW. THIS .tNDICATES A CEMETERY• QJ. HAVE YOU EVER SEEN A CEMETERY WITH -ROW ON ROW OF IDENTICAL HEAD- STONES? EVEN IF YOU HAVE NOT, CAN YOU GUESS WHAT KIND IT M.IGHT BE? AJ� A4. HE IS LITTLE, LAME, 1QUEER, OLD, AND GOAT-FOOTED. . ' Q5� WHY DO YOU SUPPOSE LINE 5 IS P.RI NTED AS .IT Is? A5. 66 . - I - . 53 A4. I SENT THEE LATE A ROS - .y WREATH : j. NOT . SO MUCH HONO -RI NG THEE (NOTE rHAT THE_ SUBST� TU T� ON Of THE . TROCHEE ( SEE ttNoT so tt ABOVE ) FO R AN ·� A�B. DOES .NOT C�ANGE· T�E NA�E ciF THE �ETERe ) Q5. NAME THE METER FOR EACH OF THE ABOVE TWO L .INES. 157 AJ. THE FIRST TWO LINES MAKE IT CLEAR THAT FRENEAU DOES NOT AGREE WI TH THE LEARNED, BUT HOLQS TO HIS OWN BEL IEF. Q4� WHAT DOES THE WO RD ttPOSTU REfl MEAN AS .IT ,"j S USED? A4: 261 A1 J •. HE :DRANK .IT; ALL RIGHTe THE -WORD 1!QUAFF11 MEANS TO DRINK DEEPLY OR REPEATEDLYe. Q1 4.; DOES LOCHINVAR NEXT ASK ELLEN TO DANCE .WI TH HIM, OR- TO GO :FOR A WALK ciN .THE CASTLE RAMPARTS? A14. A6. 11HAVEN11 MEANS HARBOR� THE HARBO R UNDER THE HILl COULD MEAN THAT" �T IS :pRO !ECTED FROM ·T�E WIND BY. THE HILL, � R THE P�ET COULD BE -VIEWING THE SHIP FROM THE HILL AND IT SEEMS TO DI AP· PEAR ·INTO THE HARBOR. Q7�- WHY DO YOU SUPPOSE THE PO.ET FEELS THAT .IT -IS WELL ( GOOD) FO R THE �i sHERMAN1s BOY AND THE SA� LOR LAD? A7� 469 A5� YEs, HE IS ASKIN� US TO PARTICIPATE · IN SOMETH ING WH� CH ·� SN 1T REAL AND THE USE OF ACTUAL PEOPLE AND ACTUAL NAMES MAKES IT SEEM REAL TO us� Q6. DO . THESE NAMES SEEM CHARACTERI STIC OF NEGRO NAMES? A6�· 573 AJ. IN A MIGI TARY CEMETERY THE GRAVESTONES ARE rN ORDERED Rbws. Q4. WHO is THE SPEAKER � N THj s POEM? A4. . 677 AtJ. THE :spAC ING OF' THIS LINE !NOi.CATES DISTANCE AND .FA INTNESSe THE WO RD t 11WEEt IS ABOUT AS LITTLE A WO RD AS . YOU CAN F:INDe Q6 .· Ho w DOES THE BALOONMAN CALL. THE ·cHILDREN? 54 A5e THE FIRST IS. IAMBIC TETRAMETER;· THE SECOND, IAMBIC T�lMETER� �N .SP ITE OF THE-. FACT· THAT WHAT SEEMS TO BE A'. FALSE PRONUNCIATION IS FORCED UPON 11HONORING.u Q6. DOES THE PATTERN OF THESE TWO LINES RECUR THROUGHOUT THE POEM? A6. A4. POSTURE IN TH IS POEM REFERS TO THE· POSITION IN WH ICH THE DEAD ARE PLACED FOR BURI AL · · · '(WI TH us: PRONE, fEET TO EAST.) . Q_5. IN WHAT DIFFERENT D I RECTI ONS M,I GHT THE HEAD BE PLACED? A14• HE ASKED HER ·yo DANCE WHEN HE SAID, 11Now, TREAD WE A MEASURE.·IJ . Q1 5. Is 11GALL'iARD 11 ANOTHER WO RD FO R 11GALLANT11 AND REFERS TO LOCH INVAR, OR IS IT0� bANCE WH ICH WAS COMMON AT THE ·T�Mt? · A1 _5. '"fi6 A7e IN KEEP ING WITH THE . THEME OF THE. POEM, THESE TWO POSSESS THAT YOUTH WH ICH THE POET HAS" LOSTe Q$. THE LAST STANZA REP EATS THE FIRST BUT WITH VARIATI ONS. CAN YOU. EXPLA,I N WHY? AS. 470 A6. YEs, ESPECIALLY THE NAME, MELLlE SNow. SLAVES HAD NO FINAt NAMES. AFTER THE EMANCIPATION, THEY c6vLD CHOOSt THEIR OWN •. MANY OF THtM CHOSE SYNONYMS FOR �L I GHT, 11 SUCH AS SNOW, FAI RCH.ILD, WH.ITE, STAR, AND THE LIK E. Q7. WH AT K,IND OF DANCE WAS IT? 574 A4. THE SP�AKER �S OBVIOUSLY ONE OF THE DEAD, ·BURIED IN TH IS C�METERY , SPEAK ING FOR ALL THE DEAD. Q_5; THE POET SEEMS TO SAY THAT THE BATTLE IS CONTINUING WI THIN THE CEMETERY ITSELF. WHAT DOES HE MEAN? ' 67S A6. HE WH I STLES� THERE IS A CONNECTION HERE BETWEEN Tf.IE-. BALOONMAN AND eAN, THE GREEK GOD OF SPR� NG� PAN HAD THE FEET.OF A GOAT, AND HE PLAYED ON Pl ES (wH.I STLEs). Q7. WHAT FOUR CH LOREN, SYMBOL IC OF ALL CHILDREN, DO YOU FIND NAMED IN TH.E POEM? 55 A6. YEs, IT DOES., THE METER IS NOT PERFECTLY REGULAR, ESP.ECI ALLV ,IN THE FIRST LINEe Q7. JOVE is THE: ROMAN SUPREME GOD. HE ·, s THE SAME AS Jup I TERe THE GREEK NAME FO R HIM WAS ZEus. CAN YOU TH INK OF A FAI RLY COMMON ENGL ISH WO RD WH ICH DERIVES FROM THE NAME llJovE11? 159 AS •. THE MAJOR DIRECTIONS IN WH ICH THE HEAD .MIGHT. BE PLACED ARE THE COM PASS PO INTS---NORTH, EAST, SOUTH , AND WEST, AND OF COURSE, UP AND DOWNe Q6. WHO ARE THE "ANCI ENTS 11 OF AMERICA? A6. A1 S. 11GALL IARD11 WAS A LIVELY DANCE, POPULAR IN ENGLAND AND SCOTLAt:JD IN THE 16TH CENTURY. Q16. WE RE ALL THE PEOPLE ·AT NETHERBY OPPOSED TO LOCHI NVAR, OR DID HE HAVE SOME ADMIRERS THERE? '!fi7 A$. THERt ARE MANY REASONS FOR TH IS REPET�TION. IT EMPHASlZES THE . MAIN IDEA, IT ADOS , TO THE STRUCTU RAL UNITY, IT SETS THE SEAL. OF FiNAL ITY ON THE POEM, ANO IT REPEATS THE CONTRAST BET WEEN TIMELESSNESS OF THE ETERNAL SEA ANO SH ORTNESS OF LIFEe 4 1 A7e THE POEM INDICATES THAT fT IS A SQUARE DANCE. 7 . QS. How DOES THE POEM END? '. AS. 575 AS •. BY 11sATTLE11 HE SEEMS TO BE REFERR,I NG TO THE ENTIRE WAR. THE CEMETERY WAS ESTABL ISHED ANO WELL F.ILLED BEFORE THE WAR WAS OVERe Q6. WHAT WAR WAS IN PROGRESS AT TH IS TIME? A6. 679 A7. EDDIE, BILL, BETTY, /,\ND ISBEL ARE THE CHILDREN NAMED. QS. WHY .DO YOU �UPPOSE C?uMM.IN�S WROTE THEIR NAMES THIS WAY? AS�. , A7. THE,WORD IS !1J6VIALll AND IT MEANS JOYF'UL :OR MERRY.,IN A Bl;:N·IGN ; ( GOD-l.I KE)· WAY• QS. THE GODS WERE SUPPOSED TO LIVE NOT ON F'OOD OR DRINK A$ MO�TALS, BUT ON AMBROSIA AND NECTAR F'ROM. FLOWERS. WHEN THE . POET· SAYS HE WO ULD NOT CHANGE 'JOVE1S NECTAR FOR CELIA1S DRINK, IS HE SPEAK ING LITERALLY? 160 A6. THE 11ANCIENTSU OF'AM ERICA ARE, OF' COURSE , THE TR l �ES OF'P£ 0PLE INHABITING THE COUNTRY WH EN IT Wl\S DISCOVERED, OR, THE INDIANS. Q7. GIVE A SIMPLE WORD (NOUN OR VERB) MEANING 11F'ROM LIF'E RELEASED. 11 COURSE, A�M� REO HIM, AND HER BRIDESMAI DS SEEMED TO HAVE 264 A160 ELLEN• OF. A BETTER OP I NI ON OF' HIM THAN OF THE BRI OEGROOMo· Q17. D1D LoCHl'NVAR KIDNAP ELLEN , OR- DID SHE GO wITH HIM WILL.I NGLY?» • .. A1 7. WAL T WHS TMAN (1819-1892) FOR YOU 0 DEIVOCRACY 472 AS . THE DANCE; IS· OVERt BUT THE POET DREAMS OF .IT, AND I NTENSI Fl ES I TS EXC� TEMENT INTO UAN IMPISH DANCE ON A RED-HOT GRIDDLEo11 Q9'• WHAT IS THE FORM OF THE POEM? 1914. 1918. A6. As YOU SHOULD KNOW,. WO RL. D WAR ONE WAS FOUGHT FROM TO THE UN I TED. STATES WAS INVOLVED DURING 1917 AND 191 8. HpwEVERt MCCRAE WAS A CANADIAN. Q7� CAN YOU PARAPHRASE (THAT IS, SAY IT IN YOUR OWN WO RDS) STANZA 2 ANO MAKE � T SHORTER? 6go AS. FOOLED YOU .TH IS TIMEe THE ANSWER IS GIVEN IN Q7, BE.CAUSE THEY ARE SYMBOL IC OF ALL CHI LDREN. Q9'· Do YOU FIND AN EXPRESSION IN THE POEM WHICH PARALLELS 11WHEN THE WO RLD Is MUD-LUSC,IOUs11? A9 . 70 - 57 AS � No , HE -I S: USING THE WO RD ."WINE11 TO SYMBOL IZE LOVE.: Q9. WE USUALLY TH� NK OF 11ROSY11 AS MEAN ING REDDISH IN COLOR. Is THAT WHAT THE POET ME.ANS? A9. 161 A7/0 THE REQU:l:RED WO RD IS DERIVED fROM THE VE�B·; 11DEATH 11 OR. 11DEAD11 IS THE ANSWER.: QS. WHAT DOES THE INDIAN DO �N �I NDIAN HEAVEN11? AS. A1 7. THE1 L:INE 110NE TOUCH TO HER HAND .AND ONE WO RD IN· HER EAR11 TELLS US THAT SHE KNEW OF LOPHINVAR1S PLAN • . Q1S. Dt D LOCHI NVAR AND ELLEN MAKE GOOb THE IR ESCAPE � bR WERE: THEY CAPTURED ON CANNOBIE LEE? A1S. Q1 . TH� S POEM HAS RHYTB� AND CADENCE (L�KE THE BEAT OF MUSIC), BUT IT HAS NEITHER A D. I SCOVERABLE METRl:CAL PATTERN NOR A RHYME SCHEME. WHA·T WOULD YOU CALL SUCH POETRY? A1 . 473 A9. IT CONSISTS OF 6 �·�-LINED STANZAS OF IRREGULAR METER, RHYMED: ABABCC. � Q10. THE�E IS A ��NE S�MIL E \N STANZA 1. CAN YOU F� N� IT?" A10. 577 A7. ABOUT THE ONLY TH.I NG YOU COULD SAY IS -THAT SHORTLY AGO THE- SOLD IERS EXPERIENCED LIFE AND LOVE, B.U T ARE NOW DEAD. QS. WHAT K�ND OF �ENTENCE IS THE F� RST LINE OF STANZA J? AS� 6$1 A9 . YES, THE EXPRESSION,. 11WHEN ·THE WO RL D IS- PUDDLE-WONDERFUL ,11-PARALLELS THE ONE GIVEN. _ Q10. CAN YOU DISCOVER ANY OTHER: PARALLEL ISMS?. A1 0. -- 71 . .. I � A9. IT: "1s Ml;ICH·MO RE L'I KELY THAT:JONSON M�ANT· �N ACTUAL. WREATH OF ROSES. Q10. � THE· POEM IS . ADDRESSED 01 RECTLY BY FASHIONABLE YOUNG MAN OF' THE COURT OF ELI ZABETH I TO HIS SWEETHEART• Do YOU FIND ANY LI TERAL TRUTH IN THE POEM , OR IS IT ENTIRELY IMAG.I NED? I A10. I I -- I 162 AS .;. THE INDIAN SITS AT:A FEAST WI TH HIS FRI ENDS. Q9 . WHAT FOUR TH INGS ARE MENTIONED AS BEING BURI ED WI TH THE INDIAN? A9 • .---. •· . ' 266 A18. IN SP ITE OF ALL THE EFFORTS OF. ELLEN 'S KINSMEN , 11THE LOST BRIDE OF NE�HERBY NE'ER DID THEY SEE. II Q19. Do YOU TH.INK LOCH I NVAR WAS SCOTCH AND ELLEN ENGL.ISH, OR WAS IT THE O THER WAY AROUND? A19.;. . 370 A1. FREE VERSE IS RIGHTI IT IS so CALLED BECAUSE IT IS FREE 9F THE 'L IMITATIONS IMPOSED BY METER AND RHYMEe - Q2. o!:F YOU OON1T KNOWt CAN YOU TELL FROM THE CONTEXT OF THE POEM WHAT lr"1 NOiSSO LUBLE11 MEANS? ' A2. .. 474 A10. ll8R.I GHT STALKS SHINE LIKE BURN ISHED SPEARS11 COMPARES THE CORNSTALKS TO SPEARS, WHICH THEY CERTAINLY ARE NOT, AND IS THUS A SIMILE. Q11. WHAT 1c°iND OF A FIGURE DOES THE POET USE IN LINES 15 AND 1 6? A11� 57$ AS. THIS Is AN IMPERATIVE SENTENCE, WI TH THE SUBJECT 11YOU11 UNOERSTOODo IT IS. ALSO AN ,EXCLAMATION. Q9. WHAT DOES THE POET ACHI EVE BY THE USE OF THIS SENTENCE? �"· - A9. 6$2 A10. YEs.• 11RUNNING FROM MARBLES AND P l'RACI ES11 PARAL. LELS lloANylNG FROM HOP-SCOTCH ANO JUMP-ROPE. II ·THERE .ARE OTHERS, FOR INSTANCE 11EOD.I E- I ANDS.ILL II ANO 11BETTYAND I SBELt II AND ·llTHE LAME BALOONMAN 11 AND 11GOAT- FOOTED BALOONMAN• II Q1 1� Now, CAN YOU FIND ANY EXACT REPETITIONS IN THE POEM? 72 A10. PERHAPS THERE IS A LITTLE ACTUAL TRUTH . HE MIGHT HAVE SENT THE WREA TH , BU T ON THE WHOLE IT I� ONLY IMAGI NED. Q1 1. JONSON .IS DEAL I NG IN THE REALM OF' TME . HI GHL Y EXAGGERATED AND lM PROBABLE. CAN . YOU TH INK OF' A SiNGLE WORD WH ICH WO ULD DESCRIBE ' . Ht s PRAISE OF' CELIA? A1 1. . ' 163 THE POEM SPECiF'ICALLV MENTIONS THE BOWL , THE PREPARED VENISON, THE B�W, AND . THE ARROWS. . ( 8:1 RD ON BOWL.?) Q10. WHY WILL THESE BE NECESSARY IN THE INDIAN HEAVEN? A1 o.· A19. LOCH.I NVAR WAS FROM SCOTLAND. HE CAME ACROSS THE BORDER INTO EN GLAND, AND THE COUPLE FL ED BACK INTO SCOTLAND.• Q20. WHAT ·, S THE F ORM OF TH.I s POEM? A20. 371 IT MEANS NOT CAPABLE OF BE ING DISSOL VED OR ·BROK·EN 'UP,; (REMEMBER, WH.1 TMAN WAS WRIT.ING SOON AF'TER'T HE C1 V·l·L WAR HAD THREATENED TO BREAK UP .DEMOCRACY.) QJ. Do YOU TH.I NK THAT YOU CAN SI MPL .I F'Y WHAT I T IS THAT WH I TMAN BEL I EVES W�L.L ASSU RE THE CONT� NUANCE OF DEMOCRACY? AJ� 475 A11 •• SINCE THE COMPARl'SON BETWEEN THE Music's FLOW ANO THE FA I RY BAND IS MADE DIRECTLY w'I THOUT 11L IKE11 OR llAs,11 TH:I S !'"'IGURE IS A METAPHO'R• Q12. WHAT UN.iFY ING DEVICE DOES THE PO ET USE TO TIE THE WHOLE POEM TOGETHER? 579 A9.- TH .Is SENTENCE BREAKS' THE THOU�HT o� THE POEM. THE POET HAS ES TAB-· LISHED THE SITUA_TION1 NOW HE IS GO ING TO ·INVOKE HIS READERS TO DO SOMETH ING ABOUT IT. Q10. CAN YOU EXPLA.I N WHAT IS MEANT BY 11To YOU F'ROM F'ALL·.I NG HANDS WE THROW • THE TO RCH11? A10. · 6SJ A11 •• You CAN F'IND TlilE WO RDS 11eALOONMAN itJ1-i1s:rL ES F'AR AND WEEll ·REPEATED TWICEe BUT IN EACH OF' THE THREE TIMES IT OCCURS, THE SPAC ING IS DIFFERENT. Q12. Do YOU SEE ANYTHING IN THE F'ORM OF' TH IS POEM TO MAKE YOU TH INK OF' A GOAT, F'OOT? 73 · 60 A1 1. THE WO RD". 11EXTRAVAGANT11 (EXCESS.I VE: OR E�EN WASTEFUL ) SEEMS BEST TO CHARACTERI ZE THE PRA1 SE EMPLOYED 1N TH IS.POEM. Q1 2. WHAT TERM MIGHT BE:APPL I ED TO THE EXTRAVAGANT FORMS OF PRA-I SE· WH ICH ·THE EL .IZABETHANS SO COMMONLY USED? A1 2. 164 A10. THESE ARE AMONG: THE· ·ITEMS WHICH _ WOULD B� MOST USEFUL TO Tl;fE -I ND' IAN :I N HIS 11HAPPY HUNTING GROUND;,11 Q1 1. WHAT IS MEANT BY 11VEN�SON F6 R A JOURNEY. DRESSED 11? A1 1. A20. THE POEM CONSISTS OF $ SIX-L INED STANZAS OF AN·AP ESTIC TEJR('METER-9 RHYMED AABBCC. Q21 . THE POEM, AS HAS BEEN SA� D, TELLS A STORY. WHAT is THE NAME OF AN OTHER FO RM OF THE POEM WH ICH TELLS A STORY? A21 . 372 AJ. You MA'.f HAVE SA_I D _I T ANO!HER WAY , BU-T .HE: BEL·IEVES TH/\T BRO THERLY,, LOVE WILL MAKE" IT IMPOSSI BL E FO R THE. NATION TO BE·. D.ESTROYED.·. Q4. ISN1T �T RATHER EGOTISTICAL OF WH� TMAN TO USE SO MANY 11 11s11 IN HIS POEM? A4. 476 A12. THE FACT THAT THE LAST L' INE OF EACH ST�NZA IS A REFERENCE TO , AND: ENDS WJ TH , 11THE CORN-STA�K FIDDLE11 D�VES: UNiTY TO 7HE LYRIC. l.T IS FU RTHER iNTENS� FIED BY THE PRECED�NG RHYME 11 1 DDLEe11 A1Q,. HE MEANS THAT THE DEAD HAVE NOT ACCOMPL.I SHED, THEIR UL T.I MATE GO"AL -OF ·WINNING THE WAR, AND THAT THE LIVING MUST_ CONTINU-E THE FIGHT·. Q1 1� WHAT W�LL BE THE RESULT SHOULD THE LIVING FAIL? A1 1'. 6S4 A1 2.e THE SPAC ING OF THE LAST EIGHT LINES :SEEMS TO MANY TO ·ACTUALLY PICTURE THE GOAT-FOO:T. Q1 J. W_H.I CH WAY, .IS THE GOAT GO ING? A1 J. 74 · 61 A1 2. THE WO RD 11CONCEI T11 IS COMMONLY: APPL IED TO 'THESE. FANC.IFUL IDEAS9. O:R HABl.T OF SAVING MUCH MORE THAN. -IS. ACTl'.IALLY. MEANT. A1 1. THE l�D� ANS DRIED DEER MEAT �o A GREAT HARDNESS FO R UBE ON JOURNEYS; HENCE, THE DRIED (DRESSED) VEN ISON FO R THE JOURNtY BEYO�D DEATH. Q1 2. How IS THE INDIAN HEAVEN D�FFERENT FROM OUR CALM, QU IET, RESTFUL -HEAVEN? A1 2. A21. THE BALLAD AND THE NARRATIVE:EACH TELL A STORY� Q22. WOULD YOU SAY THAT TH IS POEM COULD BE A BALLAD? A22. 373 A4. NOT AT :ALLe THE POtT IS USING THE FIRST PERSON SINGULAR PRONOUN TO ·INDICATE THAT HE, AS ONE INDIVIDUAL , IS SPEAKING WI TH THE UNI VER SAL VO ICE OF. ALL INDIVIDUALS•. Q5. WHAT. IMAGE DO YOU DEDUCE FROM n'jNSEPARABLE CITIES WI TH THE IR ARMS ABOUT EACH OTHER1S NECKS11? WHAT ARE THE ARMS? 477 VACHEL L�NDSAV (1$71-1931 ) THE LEADEN-EYED 581 A1 1� EVEN THE DEAD WILL BE UNABL E TO REST, SHOULD THE :LIV1NG FA IL TO CON TINUE THE WAR TO VICTO RYe Q12. THE .WORD' 11POPP:I ES11 WH ICH OCCURS IN L.I NE 1 AND' AGAIN .'1 N LINE 14 IS A SYMBOL (A DEVICE BY WH.ICH A WO RD OR WO RDS STANDS FOR SOMETH ING EL SE). WHAT DOES THE POPPY SVMBOL�ZE? A1 2 � 6S5 A1 J. IF YOU SEE THE GOAT AS MOST PEOPLE DO , HE is bo�NG ·OFF �HE. �AP E� TO THE LEFTe 75 - 62 ON HIS El.INDNESS 166 A1 2. THE INDIAN HEAVEN! OR HAPPY HUNTING GROUND� IS A PLACE OF GREAT ACTIVITY, OF HUNTING AND FEASTING. Q1 3� WHAT ;�S THE PO�� TION IN WH ICH THESE INDIANS BURl�D THEIR DEAD? A1 3. 270 A22� YES1 IT MEETS ALL THE REQU I REMENTS FOR A BALLAD - EXCEPT HAVI NG AN UNKNOWN AUTHOR. Q23; WHAT F'tGURE OF SP EECH DO YOU FIND IN 11LovE SWELLS LIKE THE SOLWAY , BU T EBBS L�KE ITS T� DE11? A23. 374 A5. THESE ARMS , WOULD BE THE LINKS OF TRANSPORTATION AND COMMUN I CATI ON BETWEEN CITIES. Q6 . 11MA FEMME11 -1- S FRENCH FOR 11MY .BELOVED11 ; WHEN WH.I TMAN USES THESE WORDS · WHAT FIGURE OF SPEECH DOES HE APPLY To - DEMOCRACY? (THE CAPI TAL llQ ll PROVES -I Te ) . A6. Qt. TH.I S IS A SHORT AND SIMPLE LYR.lCe CAN YOU BRIEFLY DESCRI BE ITS FORM? A1 . 5$2 A1 2. THE POPPY IS COMMONLY USED (FROM .I TS7 CONNECTION WI TH . OPIUM) AS A SYMBOL FOR SLEEP , AND, OF COURSE, HERE FOR THE SLEEP OF DEATH. . Q1 3. IN L IKE MANNER, THE LARK .'1 s AL SO USED AS A SYMBOL• WHAT - DOES IT SYMBOL .I ZE? A1 3. 686 T. s. EL�OT (1888- ) THE NAMING OF CATS 63 Q1 � TH�S IS ANOTHER SONNET AND A NEAR-P ERFECT EXAMPLE OF THE CLASS ICAL OR PETRARCHAN SONNET. CAN YOU GUESS WHO PETRARCH M¥GHT HAVE BEEN? A1 . 167 A1 J. THE INDfAN TRI BES .OF THfS PARTI CULAR LOCAL �TY BURIED THEIR DEAD IN A SfTTING POSITION. Q1 4. WHAT DOES FRENEAU :MEAN BY � "LOFTY ROCK"? A1'4.- A2J. TH-IS rs A SIMILE; IN FACT; :IT IS A DOUBLE SIMILE. Q24. LINE 44 HAS THE ALL ITERATION 11THEY RODE AND THEY RAN. 11 CAN YOU PICK OUT ANOTHtR ALL� TERAT�ON_�N THE SAME LINE? A24. i '// 375 A6 •. HE IS EMPLOYING PERSON IFICATION, AS HE DID WHEN HE TALKED OE"� Cl:TI ES AS SISTERSe Q7 •.CAN YOU FiND A CLEAR.. CUT SIMILE ANYWHERE .IN THE POEM? A7. 479 A1 . IT CONSISTS OF A SINGLE STANZA 10F EIGHT- IAMBIC PENTAMETER LI NES,_ W� TH L¥NES.2 AND 4 RHYM ING AND L�NES 6 AND S RHYMING. THE METER IS MADE IRREGULAR IN THE LAST FOUR LINES BY THE STRONG ACCENT IN MID-L INE. Q2. IN THE FIRST FOUR L-INES, .DOES L.INDSAY MEAN THAT THE SP I R.I T OF THE YOUNG SHOULD NOT BE CRUSHED, oa THAT THE YOUNG SHOULD NOT DIE? A2. A1 J. THE LARK (FROM -�TS MO RN� NG SONG) �S AN AWAKENING SYMBOL .AND HERE SYM BOL ! ZES LI FE. . Q14. Is THE WO RD 11TO RCH" SYMBOL I c , . AND IF so OF \VHAT? � A14. 6S7 THi s IS A FUN POEM� THE WR ITING OF HUMOROUS POETRY IS A VERY DIFFICULT ART WH ICH ACCOUNTS FOR THE FACT THAT THERE IS SO LITTLE GOOD HUMOROUS POETRY. AppLY THE SAME REASONING TO TH IS POEM AND SEE IF WE WOULD CALL IT GOOD •. _ Q1 . EXAM�NE · THE RHYM� SCHEME ; IS IT SUPERIOR, INFERIOR, OR ABOUT AVER�GE AS COMPARED WITH THE OTHER POEMS YOU HAVE STUDIED? 77 . 64 A1 • PETRARCH WAS AN ITAL.I AN POET WHO. PERFECTED THIS· FORM.· HE LI VEO FROM 1 J04 TO 1 J74. Q2. WHAT K�ND OF L�NES DO YOU FIND IN TH� S SONNET? A2. r: .• A14. FRENEAu · PERHAPS MEANS A:ROCK , �ITERALLY, CARVED WITH CRUDE INSCRIP TIONS; BUT MORE :LIKELY THE BURYING MOUND ITSELF. Q1 5. DOES IT ST.ILL LOOK AS IT ORIG'INALLY DID? A1 5. 272 A24. THAT1S RIGHT! 11FosTERS AND : FENWICKS11 IN THAT IT-. REPEATS THE INITIAL CONSONANT SOUND IN EACH WO RD IS AN ALL ITERATION. Q25. WHAT �S THE ALL ITERATION �N LINE 41 ? A25. )76 A7. YES. 11 •••coM PANI ONSH¥P . THICK:AS,TREES11 IS AN. :EXCELLENT EXAMPLEtOF A DIRECT COMPARI SON� Q8. WHAT ATTITUDE DOES WH.I TMAN EXPRESS. TOWARD 'AMERI CA .I N THIS POEM? AS . 4So A2. HE BEL IEVES THAT THE DEATH OF THE SP IRIT: IS A MUCH . GREATE� TRAGEDY THAN THE DEATH OF THE BODY. QJ. IN THE SECOND L�NE· L�NDSAY STATES THAT YOUTH SHOULD EXPRESS: ITSELFe · How SHOULD IT EXPRESS ITSELF? AJ. A1 4. THE TORCH (FROM THE ASSOCIATION WI TH FIRE) IS.SYMBOLIC OF PATRIOTIC FERVOR. Q15. WHAT CAN YOU SAY OF THE FORM OF THIS POEM? A1 5. 6SS A1 . IT SEEMS QU I TE A. SUPER.I OR SCHEME. Non CE HOW THE 11s11 RHYME CONTINUES THROUGH L .I NE 12, AND HOW COMPLEX AND INTERWOVEN THE WHOLE SCHEME .Is. Q2. WHAT ABOUT ·THE METER; DOES IT HAVE THE CHARACTERrSTt CS OF: GOOD POETRY? A2,. THEY ARE ALL RATHER 'REGULAR(.y .1:AMBIC PENTAMETE R.� '·· QJ. WHAT ARE THE· TWO PARTS OF A SONNET CALLED, AND CAN YOU GIVE THE RHYME SCHEME F'OR EACH? A). A15.. No , RO CK OR MOUND; ·. n d s NOW, WASTED {WEATHERED) HAL F' AWAY.� Q16. WHAT ·1 s THE RUDER RACE? A16. 273 A25. THERE ARE ACTUALLY ·Two , 11woN ••· .wE11 ANO· 11BANK-••·.·BU SH. 11 . 377 AS . ONCE MO·RE , THE ANSWER you: GAVE MAY 'BE A:S RIGHT AS 'TH.rs , BUT. 'HE EX PRESSES TRUE LOVE ANO AOMIRAT.ION F'OR AMERICA AS A DEMOCRACY AND BEL'IEVES' THAT THE FUTURE IS ASSURED IF'TH E PRINCIPLES- o:F' LOVE ANO . ' . COMPANIONSHIP ARE EXERCISED BY ITS CITI ZENS. 4$1 AJ. youT!:I SHOU�O EXPRESS ITSELF' BY DO ING QU.t.l:NT. DEEDS AND F'ULLY; F'LAUNT- . 'ING ITS PRIDE. • . Q4. WHAT SORT OF' QUAINT DEEDS. MIGHT A 'YOUNG PERSON DO. TO SHOW Hl;S. PRI D,E? A4. . A1 5. TH IS 16 A SHORT 'AND SIMPLE 'L.YRIC :o r Fl·F'TEEN: LINES. ffHE .METER i1 s . IAMBIC· TETRAMETER, EXCEP T F'OR THE L .INE 111N FLANDERS f/iEt:.:OS;11 VM .ICH IS BEST TREATED AS A· REF'RA I Ne THE: RHYME SCHEME IS AABBAAABAABBA. Q16. WHAT IS THE FIRST ALL ITERATION (A REPETITION OF' CONSONANT SOUNDS) THAT YOU F'i ND �N TH� S POEM? A16� A2·. . YEs, IT DOES. WHILE QU I TE .1 RREGULAR (MOST GOO'D POE_TRV Is):THE P'ROMl- NENT ANAPESTIC TETRAMETER GIVES l·T 'AN; l\PPROP'R l'ATE LILT• •• QJ. DOES THE AUTHOR u·sE OR ·, GNO:RE F''l'GUR'ATi VE LANGUAGE? . A.). 79 - 66 AJ. THE TWO . PARTS ARE· THE OC·TAVE-. AND Tl:IE SESTET•. Jl:IE RHYME SCHEME IS ABBAABBA �CDECDE. , Q4. IN A SONNET· THE �CTAVE OFTEN PRESENTS A SITUATION, AND THE SESTET ITS SOLUTION. WHAT IS THE SITUATION OR PROBLEM OF THIS OCTAVE? A4. 170 A16� "RuDER RACEU AGAIN REFERS TO THE INDIANS. Q1 7� DoES 11RUDE11 MEAN 11'1MPUDENT" OR 11RUSTIC11? A1 7. 274 WILLIAM WORDSWORTH (1770-18,50) I WANDERED LONELY AS A CLOUD J7S . ' NEGRO FQLK SoNG ( c. 1850 ) FOLLER DE DRINKIN1 GOU 1D 482 A4. ALMOST ANY' UNUSUAL OR IORIGINAL ACT�ON WOULD BE A QUAINT DEED. IN THE ARCHAIC SENSE .THE WO RD 11QUA�NT11 MEANS SK I LLFUL OR. ELABORATE� IF YOUTH . IS NOT ALLOWED OR ST�MULATED TO EXP RESS ITSELF, WHAT EFFECT DO L�NES J AND 4 SUGGtST W�LL HAPPEN? . · · A1 6. THERE ··1 S THE RATHER REMARKABLE ALLI TERAT.I ON OF THE Tl-TLE (wHI CH IS AL SO REPEATED THREE MORE TIMES) AND •\VHICH. ALL.ITERATES NOT ONLY THE �NITIAL 11F" BUT A�SO THE �NTERNAL 11L ,n 11D ,11 AND 11s. 11 Q1 7 • Do . YOU FIND OTHER EXAMPLES OF ALL0I TERAT! ON .I N TH.� S POEM? . A1 7� 690 AJ·. . THERE ·ARE MANY EX�MPLES :OF Fl GU RES OF SPEECH. CATS 'ARE ;PERSON IFl ED ' . . AND· COMPAR0I SONS -(B.OTH M_ETAPHOR ·AND. SIMILE) ARE EMPLO.YED,e t Q4 •. WijERE · DO YO� SUPPOSE EL l�T GOT. THE NAME 118� LL 8A ILEY11; � SIT APPRO I PRIATE FOR A CAT? so . 67 A4. THE PROBLEM; OCCASI ONED BY "HIS: BL I NONESs- (M.lLTON WAS BL .INO ) t IS:HIS ANXI ETY "LEST HE BE UNABLE TO ACCOMPL�SH H�S LIFE1S PURPOSE. Q5. WHAT DOES THE POET· MEAN BY llTHAT ONE TAL ENT11? A9. · 0 " 171 A17; 11RuoE11 CARRI.ES NO CONNOTATION OF n IMPOLITE11 OR 111 MPUOENT.11 11RusT1cll OR· 11CRUOEll ARE MUCa BETTER SYNONYMS •. Q1S. How LONG HAS THE ELM BEEN L0IVING? A1S. 275 Q1. THE STRUCTU RE OF TH IS POEM IS MORE REGULAR THAN MANY WE HAVE STUDIED. CAN YOU DISCOVER WHAT .IT IS? A1 . 379 You MAY NOT UNDERSTAND TH IS POEM ON A FI RST READING. IT IS BASED ON HISTO R ICAL FACT. LET1S SEE iF SOME QUESTIONS CAN HELP YOU DISCOVER WHAT IT ISo Q1 . WHAT TIME OF YEAR IS MENTIONED iN THE FIRST TWO LINES? A1 . A5� L; NOSAY SAYS THAT YOUTH WILL 11GROW OULL11 ANO BECOME �OXLIKEt.LlMP t ANO LEAOEN-EVE0.11 Q6. How Ml GHT A PERSON BE IF HE WE RE llox-L IKE11? A6. A17. ••• ••• ••• )57 HERE ARE· SOME. : 11sAw suNSETt11 �OEAo oAYs,11 11LtVED.�.LOVEo t�FE, 11 11FROM •••FALL I NG, II AND llsHALL SL EEP 11; -" ROW� .. Row" AND "LOVED··· .LOVED11 ARE REP ETI Tl ONS RATHER THAN ALL ITERATION So Q1S. WHAT ANNUAL EVEN T WAS TO A LARGE EXTENT- INSP I RED BY TH.IS POEM? A1S. A4. EL IOT MOST L.IKELY. GOT THIS NAME FROM. THE SONG, 11WoN1T You CoME:HOME, BiLL BAiLEY."· IF Y6U HAVE EVER HAD A WANpERING TOMCAT,_YOU KNOW HOW APPROPRIATE TH IS IS. Q50 CAN"YOU TELL WHERE EL IOT GOT THE NAMES HE USES IN LINE 11? CAN YOU .IDENTIFY ANY OR ALL OF THEM? $1 6$ A5. You WOULDN 1T UNDERSTAND TH IS.UNLESS YOU KNOW THE .PARABLE OF; THE THREE TALENTS (GOLD OR s"1LVER co"u;is) FOUND "IN THE B0I BL1t. THE SERVANT WHO HID HIS MONEY INSTEAD OF PUTTING IT TO USE WAS PUT TO DEATH. Q6. Do YOU UNDERSTAND WHAT THE WORD "FOND�v" MEANS iN LiNE S? IF YOU Do , GIVE A SYNONYM FOR IT. A6. 172 A1S. WE CANNOT BE SURE�. BU T FRENEAU BEL IEVES :IT WAS THERE IN THE TIME OF THE INDIANS. Q19. DOES nCHILDREN OF THE FOREST" MEAN ALL OF THE INDi ANS, OR JUST THE INDIAN CH.iLDREN? A19. 276 A1 . THE POEM IS MADE UP OF 5 SIX-L INED STANZAS, EACH OF WH ICH CONSISTS OF IA�BIC TETRAMETER LINES. Q2. THE RHYME SCHEME is ALSO REGULAR. CAN YOU LETTER iT FOR ONE STANZA? A2. A1 • WHE!'J THE SUN COMES BACK MEANS WHEN · 1 ! MOVES NORTHWARD; THE F0I RST: QUAIL CALL TELLS THE SAME TH l�G; IT .IS SPRING. Q29 SPRlNGT.IME IS THE TIME FOR SOMETHING, BUT WE CAN1T TELL WHAT, OTHER THAN IT IS TIME TO FOLLOW THE DRtNKING GOURD. THE "DRt NK IN1 GOU1D" IS IN THE SKYe WHAT DO WE CALL iT? A2. 4$4 A6. AN OX-L IKE CREATURE WOULD - BE ONE WHO "a s SUBMISSIVE, SPIRITLESS; AND DRIVEN. Q7. TH� METAL "LEAD" HAS TWO CONNO TATt ONS, "HEAvv" AND "DULL." How MIGHT A PERSON BE IF HE WERE nLEADEN�EYED"? A1S. THE ANNUAL POPPY DAV SPONSORED BY THE·AMERt CAN LEG:l.ON· AND THE.VETERANS OF FoREl"GN WARS .AUXILIARIES. WAS INSPIRED IN· PART BY THIS POEMe 692 A5• THESE NAMES ARE ALL FROM-GREEK MYTHOLOGY OR LITERATU RE. PLATO WAS � FAMOUS PHILOSOPHER, ADMETUS WAS A LEGENDARY RING, ELECTRA WAS A CHAR ACTER IN SEVERAL GREEK DRAMAS, AND DEMETER WAS THE GODDESS OF HARVESTS. Q6. WHERE DID HE GET THE. NAMES �N-LlNES 1$ AND 19? A6. 69 A6. 11Fool. ISH11 is THE SYNONYM . REQU;I REo.- S1NcE· GoD . HAS ALLOWED HIS BL IND · . NE·ss· · IT . IS" . FOOL.ISH TO ASK :.1F'Goo EXPECTS. ANYTH;I NG FROM HIM;. Q7. WHAT ANSWER ORISOLUTION DOES THE SESTET GIVE TO THE · PROBLEM ·OF THE OCTAVE? . . 173 A19. THl·S PHRASE REFERS TO _ ALL: THE ·INO i ANS. 1.ICH I LOREN 11 REFERS; TO . THE SUP- POSED SIMPLE AND CHILD-�IKE NATU RE OF THE ENTIRE TRIBE. . Q20 . _ 110FT11 ·.IS A POETIC ABBREVIATION FOR WHAT WORD? A20. 277 A2. TH� S RHYME SCHEME IS REPRESENTED ABABCC� QJ. CAN YOU DISCOVER �IMILES IN THE POEM? AJ. )$1 A2. THE 11oRi"NKiN1 GOU1o11 IS THE CONSTELLATION WE KNOW AS THE BIG"DIPPER. IT is SOMETIMES CALLED THE GREAT 8EAR0 QJ. IF "iT IS TIME TO" FOLLOW THE DR.I NK.IN' -Gou1o, WHAT IS IT" TIME TO oo? AJ. A7. A 11LEADEN-EYED11 · PERSON WOULD BE ONE WHOSE. OUTLOOK ON LIFE IS DULLED, OR WHO · IS WE I GHTED DOWN BY CARES SO THAT HE SEES ONLY THE GRAYS AND NOT THE COLORS. Q8o THESE QUESTi ONS HAVE SUGGESTED THE WAY TO EXAMINE THE POEM. Now, WHAT DOES THE WHOLE POEM MEAN? AS • .569 READ THE FOLLOWING SHORT POEMS AND LIMERICKS JUST FOR FUN. A6 � THESE, VERY OBVIOUSLY, ARE NAMES THAT - HE HAS MADE UPe .THEY "SEEM 693 . MODEL ED AF.TER NAME!? CHILDREN (WHO ARE THE wo ru::or.f! GREATEST HUMORISTS) MAKE UP• Q7 • WHAT ABOUT THE WO RDS IN LINES 29 AND JO ; ARE THEY WO RDS WI TH MEAN I NG9 OR MERE NONSENSE? · , 70 A7. PAT�ENCE (A PERSON� F� CATION) G� VEG THE ANSWER; Goo DOES NOT!NEED • ANYT�� NG FROM MAN �AVE H�S SUBM� SS10N TO H1s WILL. QS. How- CAN "THEY AL SO SERVE WHO ONLY STAND AND wA iT11? AS. 174 A20. 110FT11 Is .AN ARCHAI c · FORM OF OUR WO RD !1oFTEN•·" 11ARCHA1·c11 MEANS NO LONGER IN ORD� NARY USE. : Q21 . DOES THE NAME 11BHEBA11 MEAN ANYTH�NG TO you? A21 . 27S AJ. THERE ARE TWO CLEAR-CUT SllMILES---LONELY AS A CLOUD, AND CONTINUOUS AS STARS-. Q4� ARE THERE ANY METAPHORS? A4� AJ. S� NCE THE · BI� DIPPER IS IN THE NORTHERN SKY, IT IS TIME . TO !GO NORTH. Q4. WHAT K'IND OF PERSON DO YOU TH INK Tl:I� SP EAKER 'a s? A4. AS • . LIFE \•/1 THOUT IDEALS IS LIFE WI THOUT PURPOSE. 590 GELETT BU RGESS (1S66-19_56) MY FEET MY FEET, THEY HAUL ME ROUND THE HousE, THEY HO.I ST ME UP THE STAI RS; I ONLY HAVE TO STEER THEM AND THEY RIDE ME EVERYWHERES� A7. llEFFA�LE 11 MEANS; CAP�B�E OF BEI NG UTTERED; lljNEFFABLE� INCAPABLE OF BEING UT-TERED� -"EFFAN.I NEFF'ABLE�ll A COMBI NA-iTON' OF .THE TWO , IS A CONTkAD�CTiON AND THUS NONSENSE. QS. WELL, THEN,·. HOW ABOUT: n·l'NSCRUTABLE11? Ag. g4 - 71 AS. YoiJR ANSWER MIGHT READ SOME:rHING LIKE TH.i s:' THE POET DES·I RES TO SERvt :Goo) AND HE BE LiEvts Goo �IL( NOT AS� THE IMPOSSIBLE. Bi NCE TH IS SERVICE-NEED �OT lNVOLVE LABOR1 MERE FAITH AND ACCEPTANCE OF Goo ARE SUFF0ICIENT. (11WA1T11 MIGHT BE USED IN THE SAME SENSE THAT WE USE IT IN 11WAITER11---0NE WHO STANDS READY TO SERVE. 175 A21 . THi s REFERENCE IS.TO THE QUEEN OF SHEBA MENTIONED 1N THE BIBLE AS AN ETHiOP;AN WHO VISITED KING SOLOMON. Q22. DOE� T�E POET REALLY 11SEE11 THE INDIAN QUEEN? A22. 279 A4. YEs, THERE . ARE.· As LONG AS. SOMETH�I NG IS CALLED' BY ANOTHER NAME, IT IS A METAPHOR. JHE ��Ti RE SECOND STANZA USES A SPECIAL KIND OF META PHOR. CALLED HYPERBOLE, OR OVER-EXAGGERATION. Q5. DOES THE POET USE PERSONiFiCAT�ON -iN TH�S POEM? A5. A4. Bi NCE �T ls BEL IEVED TO DATE FROM ABOUT 1s50 AND - SINCE- -IT IS A NEGRO FOLK SONG, THE SPEAKER WOULD �E A SLAVE. Q5; CAN . YOU CHANGE ONE WORD .IN 11GO TO THE NORTH11 TO GIVE THE REAL MEANING OF THE SONG? 4S7 CARL SANDBURG (1S7S- ) LOSERS 591 ANONYMOUS LITTLE WILLIE L0I TTLE W.ILLIE HUNG HIS SISTER SHE WAS . DEAD BEFORE WE MISSED HERo �WiLLiE15 ALW�Y� UP TO T�� CKSl Ai �·T HE CUTE? HE1s ONLY s1xl11 695 THIS IS A REAL WORD AND MEANS -THAT WHICH .CANNOT BE SCRUTINIZED (LOOKED AT CLOSELY) OR :UNDERSTOOD. , · Q9. WOULD YOU SAY THAT EL.IOT USED THE CRAFTSMANSHIP OF POETRY IN WRITING . TH� S ,POEM1 ,OR THAT HE JUST SET DOWN WHATEVER CAME INTO H I S 1 HEAD? S5 · · 72 ALEXANDER POPE (16$�-1744) 176 A22. IN! THE ACTUAL PHVSI CAL SENSE OF' SEEi NG, 'NO;. BUT I Nl THE SENSE. ·oF' SEEi NG· THROUGH IMA'GI NAT1 ON, YES. Q2).. WHOSE. ARE THE BARBAROUS FORMS? '. A2J. 280 A5. FROM ONE POINT. OF' VIEW THE OAFFOOILLS ARE PERSONIFIED. 11CRowo ,�1 . 11HOST,11 11oANCING,11 11TOSSING THEiR HEAos,11 ANO 11 JOCUNO COMPANV,u WHILE ALLOWING L' I TERAL INTERPRETATION, SEEM To· IMP.LY HUMAN CHARACTERISTICS• Q6. WHAT ABOUT THE WORD 11JOCUND11i CAN YOU GUESS FROM THE CONTEXT WHAT .IT MEANS? . A6. A). IF_ WE CHANGE THE woRo "?o 11· To: 11ESCAPE1·11 WE HAVE 11EsCAPE:. Tot THE NOR:rH, 11 WHICH i's !NHAT THE .SONG IS 'URGING .SL·AVES, TO DO. Q6. THE MEANS OF' ESCAP ING CAME TO BE KNOWN AS THE -'1UNOERGROUNO R�·ILROAo.11 Do YOU SUPPOSE AN ACTUAL RAILROAD WAS INVOLVED? A6. TH.IS POEM POSSESSES NO GREAT PROBLEMS OF'ME ANING, FORM, OR FIGURATIVE LANGU AGE.t BUT IT DOES CONTA'i N NUMEROUS ALLUS.IONS (REFERENCES TO WELL-KNOWN HI s- TORI CAL OR LEGENDARY PERSONS OR EVENTS. LET:S S SEE HOW WELL '\jlOU KNOW THESE. Q1. WHO WAS JONAH AND WHAT FAMOUS EVENT IN HIS LIFE DOES THE POET REFER TO? A1 . 592 LADY OF. RYOE THERE, WAS A YOUNG LADY OF' RYCE, OF' EATING GREE� AP�LES SHE O� EOe WITHIN THE. LAMENTED TH.EV ' QUICKLY �ERMENTEO, . ANO MADE CIDER INSIDE ' HER INSIDE. A9. PERHAPS EL.IOT 010 JUST WBITE DOWN' WHATEVER c·AME INTO HIS· HEAD, BUT EVEN SO, GREAT POET THAT HE Is, THE RESULTS SHOW ALL THE EARMARKS OF 'CAREFULLY· CONSTRU'C TED VERSEe HUMOR GENERALLY HAS SERIOUS UNDER- TONES (oR, OVERTONES). Is TH.I S POEM NEC.ESSAR:l,LY ONLY ABOUT CATS? COULD �T BE ABOUT THE NAMING OF' PEOPLE? 86 - 73 Q1 . W.ILL.IAM BLAKE1S 11THE T.IGER11 WAS WRI TTEN IN COUPLETS. THIS POEM IS ALSO IN COUPLETS. CAN YOU DISCOVER HOW POPE1S DIFFER FROM BLAKE1s? A1 . 177 A2J. THE BARBARoua FORMS ARE GHOSTS, OR SP�R�Ts, OF :INDIANS THE PoEr iMAGI NES SURROUND�NG THE IND�AN �UEEN� THESE GHOSTS ARE HER SUBJECTS. Q24. WHY WOULDN 1.T A WH.I TE MAN WANT TO STAY THERE LONG? A24. 2$1 A6. 11JOCUND11 MEANS MERR¥ .OR GAVe Q7. ONCE MORE WE ARE .DEAL ING wi TH A ·LVRIC WH ICH IS A POEM THAT IS MARKEDLY PERSONAL , MELODIC, AND EMOTiONAL (ANOTH�� DEFINITION); DOES TH IS POEM Fi T .TH� S DE��NITION? A6� PROBABLY SOME SLAVES DID STEAL RIDES ON TRAINS, ��T THE OPERATION OF . SMUGGLiNG · SLAVES TO THE NORTH �NVOLVED ANV SECRET MEANS OF TRANSPOR- TAT IONe Q7. WOULD THE UNDERGROUND RAILROAD HAVE HAD TRACKS AND SECTIONS? A1 . JONAH WAS A PROPHET IN THE 0LD TESTAMENT. THE LQRD ORDERED HIM TO FORETELL THE DESTRUCTION OF N� NEVEH BUT . HE TRIED TO AVOID THE OBLt GATION AND WAS SWALLOWED BV A WHALEe Q2. WHo 'wAs NERO AND WHAT EVENT OF HIS LIFE IS MENTIONED? A2. 593 . GELETT BURGESS (1866-1956) WISH THAT MV ROOM HAD A FLOOR; DON IT. so MUCH. CARE FOR A DOoR;- BuT TH� S WALKiNG AROUND V{i THOUT TOUCH., NG THE GROUND Is GET�i NG to BE QU ITE A BORE! 697 HART CRANE (18�2�19J2) LACHRYMAE CHRISTI 74 At. IN 'NEARLY. ALL' OF'POP E 1 s 'COUPLETS THE THOUGHT IS COMPLETE; IN EACH TWO L:I NES. . Q2. COULD YOU TH� NK OF' A GOOD NAME FO R SUCH COUPLETS? A2. A24. THE POET SUGGESTS THAT THESE SP IRITS i. 2$2 A7.• INDEED IT DOES. A MAN TELL.S OF HIS EXPERIENCE, THE POEM ALMOST SINGS,. ANO IT 1·s FUt.;L: OF FEELING. QS. You M't cm;r SAY TH.i;S LYRIc HAS A ·DOUBLE-BARRELLED THEME. CAN YOU F·.tNO T!-IE TWO: IDEAS EXP RESSED? A$ . 'A7 .• You THOUGHT ·11No11 WAS THE ANSWER,:DIDN1·T YOU·, A!\10 ·IT ·J S IN THE' Ll·TERAL SENSE•: TH� UNDERGROUND RAI LROAD WAS SO CALLEO F�OM .I TS s.iMILA. RITY T� A RAILROAD. THE TRACKS WERE THE ROUTES SLAVES FOLLOWED, ANO STA- ' TIONS WERE RESTING PLACES WHERE SYMPATH IZERS WOU LD CONCEAL ANO AID THEM• Q$ . WHAT 11TRACK11 IS MENTIONED IN THE POEM? 490 A2. NERO WAS EMPEROR OF ROME (_54-6$ A.O.) •.HE IS SUPPOSED TO HAVE SET FIRE TO THE c'1.TY AND 11FIDDLED11 WH.ILE RoME' BURNED •. QJ. HAVE Yciu EVER 0 HEARD OF S� NBAD7 594 SEA FEVER TH� S IS AN EX�REMELY Dl�FICULT POEM---ONE WH ICH IS USUALLY RE�ERVEO FO R COL LEGE STDDENTS. HowEVER, IF YOU HAVE BEEN SUCCESSFUL THUS FAR, YOU SHOULD BE ABLE TO HANDLE THESE QUESTIONS. THI S IS A REAL CHALLENGE, SO GOOD L.UC.K 1. Q1 • Do YOU· KNOW. \VHAT·· 11LACHRYMAE CHR.I STI 11 MEANS? WHAT LANGUAGE . IS IT .IN? A1 . gg . 75 A2 •• "COMPLETE ' II ·11ENDED , II 11RHYMED;11 OR ·11sTOPPED11 WOULD BE 'GO"OD CHOICES; HOWEVER9 THEY ARE USUALLY CALLED . 11CLOSED 11 COUPLETS. THEY ARE ALSO SOMETIMES CALLED HEROIC COUPLETS, SO CALLED FROM I TS USE IN THE 11HERO�cll POETRY OF THE 1 7TH CENTURY. QJ.' THIS METER IS THE MOST COMMONLY USED ONE OF ALL. CAN YOU NAME �T? AJ. 179 A25., IN THESE LINES 11HABIT11 REFERS TO APPROPRIATE CLOTHING;· TH INK OF WHAT WE MEAN WHEN WE SPEAK OF A RI.DING HABIT. Q26.. BO TH THE HUNTER AND THE. DEER ARE SHADES. WHAT IS A SYNONYM FOR 11SHADEll? A26. 2s3 A8.. F1 RST9 IT SAYS ·THAT A PLEASANT EXP ER I ENCE 'CAN D:I SPEL LONEL !'NESS- AND SADNESS; AND9 SECOND, THAT THE MEMORY OF 'SWCH AN EXPERI ENCE CAN AL SO SERVE SUCH A PURPOSE. :f,7 M •. THE TRACK IS A RI VER BANK� AcrU.ALL.Y:,: :rH"l s S.ONG IS ABOUT. AL-ABAMA:,- AND THE ESCAP ING SLAVES WERE TO FOLLOW THE TOMBiGBEE RIVER NORT� TO I TS HEADWATERS NEAR CORI NTH, Ml SS.I SS.l'PP I. Q9. Ho.w WAS THEl.R ROUTE MARKED? · 491 AJ•• S 1NBAD .1s A CHARACTER FROM THE ARABIAN" N1GHT-s , A FAMous cot.:LECTION oF STORIES FROM THE EAST:. ·HE WAS A SAI LOR AND LIVED TO A GREAT AGE AL THOUGH WANTING TO DIE• . . Q4. WHO WAS NEBUC�ADNEZZAR? (How WOULD YOU L�KE TH IS ONE ON A SPELL ING TEST?) A4. 595 Q1 . Nor ALL OF YOU HAVE �EEN THE SEA ; HOWEVER, YOU ARE FAMILIAR WI TH IT FROM MOVIES OR TEL EV I SION. DOES TH IS POEM SEEM TO YOU TO CARRY THE SOUND OF THE SEA? A1 . 699 A1 • IF YOU HAVE TAKEN LATIN, YOU SHOULD RECOGN.I ZE THE LANGUAGE; THE. WO RDS . . • MEAN 11TEARS OF CHR� ST.11 Q2. THE POEM IS FREE VERSE, SO THERE WILL BE ·NO QUESTION$ ON STRUCTU RE. WHAT PICTU RE DO YOU GET FROM TH� Fi RST STANZA? A2•. ---- i i I 89 l .. 76 AJ. IT Is .IAMBIC. p:ENTAMETERt THA:r Is, IT CONSI STS OF 5 TWO-SYLLABLED FEET, ACCENTED __ , . ; Q4. POPE STOLE THE Fl_RST PHRASE,· 11KNOW THEN THVSELFo II , COULD YOU GUESS WHERE' OR FROM WHOM HE STOLE .'I T? A4: I 180 A26 • . 11SHADOW, II 11sP '1 RI T t n 11GHOST11 ARE ALL SYNONYMS FO R 11SHADE. 11. PERHAPS - . i 11SP I RI T11 IS THE BES-T FO R THE: POEM. Q27. 11TIMORous11 MEANS TIMID; DOES 11FANCV11 MEAN 11 1MAGINATIONll OR 11sHowv11? i A27 . > 284 , W1LL .IAM CULLEN BRYANT ( 1 794-1 878) TO A WATERFO\NL ))8 A9 � llDE DEAD. TREES SHOW DE WAVe II Ac TU'AL L. v , THIS SONG CELEBRATES THE, ACTI- VI Tl ES oF PEG · LEG ·JoE, A WH ITE MAN WHO HELPED NEGRO ES ESCAPEe . l::lE MARKED THE " . TREES. ' Q1 0. WHAT HAPPENED WHEN THE HEADWATERS OF THE TOMBIGBEE WERE REACHED? A10. 492 A4. NEBUCHAPNEZZAR WAS KING OF BABYLON (604-;561- B�C.) IN THE T·IME Of THE i PROPHET· DAN.I EL • HE CARRIED THE JEWS INTO CAPTIVI TV. ·HE BECAME MAD'. i ' AN D.'..ATE GRASS' LIKE A BEAST. ' Q5. WHO WAS JACK CADE? t A5. I ,! 596 A1 . YEs, IT DOE Se .THE LONG LINES AND THE METER · ITSELF MIMl·C : THE SOU NP OF WAVE Se I Q2. FOR THE SAKE OF- MEANING DOES IT SEEM TO YOU THAT A WORD HAS BEEN : OMI TTED FROM THE FIRST CLAUSE? I A2. i i . 700 A2. THE PICTU RE 16 ONE OF A, GROUP OF 'BU ILDINGS (MILLS) SEEN BY MOONL IGHT AND REFLECTED. IN WATER. (THE MILLPOND?) QJ. You CAN1T: TELL VET WH AJ KIND OF MILL IS REFERRED TO , BUT THERE IS A CLUE IN THE WO RD. 11BENZ I NEe 11 WHAT- IS BENZ-I NE, AND WHAT Is IT USED FOR? . 90 . 77 A4,. Soc_RATJ:;s, p. F'.AMO!.IS GREEK P.H ILO,SOPHJ::Rt WHO: LJ VED ABOUT .4op B-.c. WAS FAMOUS• FOR THE PHRASE 11KNOW THYS.ELF�ll MAYBE POPE D0IDN1T STEAL IT . . L BUT EXPECTED EVERYONE .TO. KNOW T.HE QUOTA Tl ON. · Q.5. WHAT DO ES THE WORD 11i STHMUS11 MEAN? TH.INK OF THE ISTHMUS OF PANAMA. 1$1 A27. IT ..IS OBVIOUS THAT THE PO'ET HERE 'REFERS -TO THE IMAGI NAT-I ON .WHl-CH PEOPLES THE FOREST WI TH SP I.RI.TS•• Q2$. WH;I CH WINS OUT, ONE1S ;I MAGI NAT.ION OR ONE'S REASON? ' A2$. . Q1 . IN YOUR OWN WORDS, HOW WOULD YOU SAY, 11WHI THER••• DOST THOU gORSUE THY SOL� TARY WAY?11 A1 . %9 A10. THERE WERE LOW HILLS TO BE CROSSED( ANO THEN THE TRAIL WAS PICKED UP, ALONG ANOTHER RIVER� Q1 1� Do YOU HAVE ANY .I DEA WHAT TH IS OTHER RIVER MIGHT BE? A1 1'. 493 A_5. JACK .CADE WAS THE LEADER OF .A PEASANTS'·· REBELLION AGA'I NST. HENRY VI OF ENGLAND :I N ;14_50. HE WAS, THEREFO RE, . ONE OF THE Fl RST LABO R LEADERS. Q6.. You SHOULD KNOW ABOUT JOHN BROWN ; DO You? A6. 597 A2. THE WORD 11G o �I 16 NEEDED 'TO COMPLETE THE MEANING. "I MUST "(Go.) DOWN TO THE SEAS AGAI N.11 QJ. Do THE WORDS 11LONELY: SEA11 CONST.I TUTE A PERSONIFI CATION? THINK CARE- FULLY 0 VER TH.I S? AJ. 701 AJ. BEN� INE IS A: PET�OLEUM PRODU�T MUCH-�IKE GASOL IWE. IT �S A CLEANING FLU ID USED MUCH IN DRY-CLEANI NG. Q4. WHAT FABRt'C ·'rs COMMONLY DRY-CLEANED' RATHER THAN WASHED;.NOW, WHAT K� ND OF M�LL IS iT? A4. 91 .. A5e AN ISTHMUS IS A NARROW STRIP OF L.AND JO INI NG TWO 1..A RGER L.AND MASSES0 Q6. WHAT COUl.. D BE THE l?THMU S POPE IS TALK ING ABOUT? . A6. 182 A2$. ACCORD ING TO THE POET, THE IMAG.I NATION WINS OUT; OTl::IERWI SE, Ol\IE WOUl..D ONl..V SEE THE FOREST AND �· THAT I NO i ANS WERE BU Rl_ED THERE; HE WOUI..!> NOT RECO�STRUCT MEN.'..:�s THEY HAD I.. I VEO NOR ATTEMPT TO Fl ND MEAN ING IN THE IR LIVES� ' Q29; CAN YOU 0 1 SCOVER THE ST RUCTU RE OF TH'j S POEM? A29. 286 A1 ; You WOUl..O PROBABLY SAY SOMETHING 1.. IKE, 11Wt;tERE ARE: YOU GO ING ALL. Al..ONE?11 THIS RESTATEMENT OS A PASSAGE IN OTHER (YOUR OWN) WO RDS IS CALL.ED PARAPHRASE•. Q2 • WHAT T.IME OE' DAV IS ·I T, AND WHAT TIME OF VEAR MIGHT IT BE? A2. J)O A1 1. IT WAS THE TENNESSEE RIVER WH ICH FLOWS NORTHWARD THROUGH TENNESSEE ANO KENTUCKY. Q12.� THE SONG SAYS THAT WHERE THE-1.. ITTl.. E RIVER (THE TENNESSEE) MEETS lloE GREA ' Bl G UN, rr THE 01.. 0 MAN (PEG LEG Jo e:) WILL BE WAITING. WHAT Is THE B .I G RI VER? A12. ' A6. JOHN B�OWN WAS AN ABO!.. I Tl ON 1 ST I ONE WHO BEL.I EVEO IN ABOI..'1 SH1 NG . SL.AVERV e He: ATTACKED THE ARSENAL AT HARPER1S FERRY, :yA� (NOW W. VA . )1 AND WAS EXECUTED FOR TREASON AND MURDER. Q7 . WHO WA S JESSE JAMES? A7. AJ. 0NL.V IF YOU TH� NK OF THE SEA As _iTSEl..F BEING LONELY FO� SOMEONE OR SOMETH l·NG; iF YOU THING_ OF .THE SEA AS .BE ING A 1..0NEl..Y (t.ONESOM�) PCACE, TH EN THE PHRASE IS SIMPLY DESCRIPTIVE. . Q4. Do· YOU GET ANY tDEA OF THE �MAGE OF A SH�P FROM LINES ) ANO 4? A4. 702 A4. WOOL.EN FABRICS . SHRI NK WHEN WA SHED ANO ·ARE· USU:A(.LV•DRV�Ci;.EANED . THE · Mll..Lt THEN, MUST BE A WA TER-POWERED WOOL.EN MILL. Q5. V{I TH TH.16.IN:MtND, CAN YOU GUESS THE MEAN.I NGS OF THE METAPHORS 1ft MMACUL.ATE VENOM" ANO 11Fox•s TEETH . "? 92 79 A6. PERRAPS HE IS REFERRING TO: THE p·RESENT AS" AN ISTHMUS BETWEEN THE PAST AND THE FUTU RE. Q7; CAN YOU GUESS FROM' L.1 NE 5 WAAT A SCEPT,I C M.I GHT BE? A29� THE POEM CONSISTS OF 40 LINES DIVIDED INTO 10 FOUR-LINED STANZAS. QJO. WHAT "iS THE RHYME SCHEME OF THE POEM?. AJO. A2. IT 'a s TWILIGHT, 'AFTER SUNSET.I WE CANNOT TELL THE TIME OF VEAR; THE POEM SEEMS TO SUGGEST EITHER SPRING 'OR FALL. Q)� WHAT '1 S ·, T THAT Ml GHT HARM THE WATERFOWL? A)� )91 A12. IT 1 S THE 0H.i 0 • THE 01'1.I 0 R.IVER WAS THE BOUNDARY BETWEEN FREE AND SLAVE STATES� ONCE ACRO SS 'i T THE SLAVES WERE IN FREE · TERRITORY. Q1 ). WHY WOULD THE QLD MAN BE WA I TH) IG AT Tl;IE OHIO? A1 3. 495 A7. TH.IS IS ONE YOU KNEW. HE Wff.S THE FAMOUS MISSOURI ;OUTLAW:(1$47-1$82) OF MANY REAL AND LEGENDARY DESP ERATE BANK AND TRAIN.ROB�ERIES. � Q$. WE HAVE NO NAME FOR THE SERGEANT OF STANZA 6. Do YOU KNOW WHAT WAR IS REFERRED TO BV THE MENTION OF BELLEAU WooDs? AS. 599 A4. IT IS A SAIL.ING SHIP. 11TALL11 1siL1TERAL WHEN vou· TH INK OF THE HEI GHT OF TAE MAST IN COMPARISON WI TH THE HULLe Q5. DOES THE WHEEL REALLY KICK?< A5: 703 11 1 MMACULATE!' MEANS. CLEAN OR WH ITE AND REFERS TO THE THREAD OR, VARN; THE 11Fox!s TEETH11 ARE THE NEEDLES OF THE KNITTING MACH. INE FROM WH ICH . . • THE SPUN THREA� Rl,INS (LIKE SALIVA?). Q6. TtiE REST OF' ST·ANZA 2 CAN BEST BE UNDERSTOOD IF'YOU KEEP THE I DEA OF' WOOL IN MINOe WHAT RICTURE CAN YOU DERIVE FROM IT? 93 so A7. A SCEPTIC (USUALLY SPELL.ED SKEPT.I c) IS AN INCREDULOUS PERSON OR DOUBTER. IN L·�IKE MANNER WHAT WOULD YOU TAKE A "sTo 1 (� 11 ·:ro MEAN? .....J�------ 1S4 A')O. TH IS RHYME 1s: ABAB9 BUT 'IT 1IS NOT; STRICTLY ADHERED· 'TO'•'· 11L·ANDS11 AND 11FRIE!'.JDSu OF s.TANZA 2, AND ''sTONE11 AND 11GONE11 o.F STANZA 4, ARE NEAR RHYMES BUT STILL ARE FAULTY. Q31 . CAN YOU DISCOVER THE METER OF THIS POEM? A31 . A3. THE. WO RD: 11FOWLER11. MEANS HUNTER OF WILD FOWL�e: HIS GUN: WAS KNOWN AS A FOWLI NG PIECE·. Q4. WHY· WOULD· THE BIRD BE A GOOD TARGE·T.?. A4. 'f}2 A1 3�· THE• GREATESTl.DANGER OF RECAP TU RE TO ·sLAVES WAS ·:rHE ACTUAL· c·ROSSl·NG OF THE 0H.IOo• PEG LEG JOE WOULD WA l'T THERE AND; HIDE THE ESCAPEES UN.Tl L HE COULD SMUGGLE THEM' ACRO SS· THE R't.VE·R;·o: Q14. WHY DO YOU SUPPOSE THESE IDEAS,,; WH ICH ARE REALLY DIRECTIONS FOR ESCAPE, SHOULD HAVE COME TO BE A. SONG? A1 4. AB . I. I TH IS wAs WO RLD WAR N THE BATTLE OF BELLEAU WooD. TN FRANCE,· A BRI GADE OF UN� TED STATES MAR� NES ATTACK ED THE GERMANS ON JUNE 6, 1918. THEY WERE LATER JOINED BY TWO INFANTRY DIVISIONS. THE BATTLE LASTED NINETEEN DAYS AND THERE WERE OVER 7800 AMERICANS LOST IN IT. I 600 A5� YES• IN MUCH: THE SAME SENSE THAT A SHOTGUN KICKS. WHEN THE. �URRENTS I I( STRIKE THE RUDDER OR KEEL-BOARD , THE IMPACT IS FELT ON THE · WHEEL o Q6. WHAT WO RDS (DR PERHAP S ONE WORD) WOULD YOU SAY ESTABL ISHES THE MOOD OF THE FIRST STANZA? A6. I I 704 A6. THE PICTURE IS OF THE FLOCKS OF SHEEP WH ICH SUPPLY THE WOOL FOR THE MILL. THE CLOSE-SHEARED SHEEP ARE UNFENCED· (UNDEFENDED) FROM THORNS. Q7. CAN YOU FIND ANYTHING IN THIS STANZA WH ICH MIGHT ALLUDE (REFER) TO 1 THE. Tl TL E OF THE POEM? A7. 94 S1 A8 o A "sl-oTc�ii IS A PERSON WHO IS INDIFFERENT TO PLEASURE OR PAIN. WHO IS iT THAT POPE SAYS CAN NEITHER BE SCEPTIC OR STOIC? ' A9. ' .. 1s5 AJ1 . IT IS IAMBIC TETRA�ETER-��THAT IS, EACH VERSE CONSISTS OF 4 TWO- SYL�ABLED FEET, ACCEN TED -1 -1 -1 ·-1• THERE ARE MANY MORE VARI ATI ONS OF' BOTK ACCENT AND SYLLABLES. QJ2. CAN YOU TELL WHAT TYPE OF POEM TH IS IS---LYRIC, NARRATIVE, OR EP IC? AJ2. i i i 2s9 A4. THE LINE 11As, DARKLY SEEN AGAINST THE CRIMSON SKY11 SUGGESTS THAT THE I BIRD STANDS'OUT AGAINST THE BACKGROUND OF THE SKYe ' i Q5. DOES BRYANT TH INK THE FOWLER .WOULD BE SUCCESSFUL? ' I l ! 393 A1 4. THE SLAVES WERE NOT ALLOWED TO COMMUNl'CATE FREEl,.Y1. ESPEC!ALLY W�,li TH SLAVES ·FRbM• OTHER PLANTATIONS� BU� NO ONE PAID MUCH ATTENTION TO THE:I R SlNG I NGe THE DIRECTIONS WOULD BE SP READ IN TH IS WAY FROM FIELD TO FIELD UNDER THE VERY NOSES OF THE OVERSEERSe Q1 5. WOULD YOU EX.P ECT A FOLK-SONG LIKE THI S TO HAVE A WELL-DEFINED STRUCTURE? A1 5• 497 NANTUCKET 601 A6 •. . IT pEEMS THAT THE WORDS_11LONELY!1 At.Jo·· 11GRAV11 ESTABL ISH THE MOOD, O.R PERHAPS THE WORD 11LONELY II ESTABf:,.il SHES IT AND; THE RE:PEATED WO RD , , 11GRAV11 INTENS IFIES IT. Q7. Do YOU FIND A PERSONIFICATION IN 11SEA1s FACE11? A7. A7. THERE; SEEM TO BE TWO REFERENCES HERE� THE WO RD 11THORNS11 BEUlilGS .. TO MIND, THE CROWN OF THORNS CHRIST WO RE,. AND THE BLEEDING SHEEP REMIND us THAT CHR� ST IS CALLED 11THE LAMB OF Goo.11 QS . THE IDEA OF STANZA J SEEMS TO BE THAT THE NIGHT CAN RESTO RE TO BEAUTY ' WHAT IS UGLY BY DAY. DOES TH IS HAVE ANY REFERENCE TO STANZA 1? --- 95 � r g2 A9., THE SUBJECT> OF· THE ENTI RE PlOEM IS MAN. You CAN TH INK OF IT AS BEING AQDRE;SSE;D TO MANK .IND OR EyERY�AN. I : . - Q10.' WHAT 'ooe:'s 'PoPE SEEM TO THINK IS ONE OF MAN1S CHI EF CHARACTERI STI CS1 A10; I I I 1g6 AJ2.;. IT IS A; l.YR 'I C. IN THAT IT ·EXPRESSES, A SI NGl.E EMOTfON: OR THOUGH-'T OF ' I THE POET. ; QJJ. WHAT Is THE THOUGHT EXP RESSED IN THE· POEM? AJ3; I yll 290 A5 ·No, THE WO RD ,"vA.I Nl. TEl.l.S US THAT HIS EFFORT WO Ul.D BE t •. . . FUTIl..E USEl.ESs, WI THou:r succEss. Q6 •. To ONE OF WHAT ,TH REE Pl.ACES DOES 'BRYANT TH INK ·THE Bl. RD MIGHT BE GO.I NG? I A6. 'f}4 A15�. No ,. WHAT we: CAl.l. METER IN A FOl.K SONG GI.Y ES WAY 'TO, TUNE, ANO'· .RHYME Is UNN.ECESSARY:e • ' - Q16. DOES THE REFRA'N OF TH� S SOt>!G HAVE ·ANY ESP EC I Al. IMPOR\l'ANCE? A1 6. . t . I \ ._, 49g Q1 . THE l.IMERI CK Al.WAYS HAS F.I VE . l.INES AND Is NEARl. Y BUT NOT Al.WAYS HUMO ROUS• CAN YOU TEl.l. WHAT THE METER OF A l.IMERICK 1.s? A1 . ! ' 602 A7 •. TH IS QU ESTION IS l.IKE QJ. IF YOU THI NK OF THE SEA AS HAVING A FACE (PERHAPS CAPABLE OF' EXP RESS I NG CHANG.ING' EMOTION , ' ' ) THEN IT IS PERSON- ' . IFI CATION; BU T� IF YOU · I NTE RP RET 11FACE11 AS SURFACE, THEN IT IS ONl.Y I : ' A DESCRIPTION. QS. Do Es THE MOOD. OF THE POEM CHANGE . IN THE SECOND STANZA? AS. -- ' . I f 106 AS-•. YEs; THE WOOL.EN Mll.l., WH ICH ' .IS MOST LIKEl.Y DEC I DEDi;Y UNATTRACTIVE BY ' . DAY ,: BECOMES A TH� NG OF. BEAUTY BY MOONl.I GHT• ' Q9. THE IDEA OF Tt:!E Tl Tl.E: lS - CARRIED TH ROUGHOUT THE POEM• Do ·You DIS- 1 . COVER. IT IN 11DISTIL.L.i NG Cl.EMENCI Es11? i A9. I i SJ A1 0. A:s PoPE s1.\?.S·1 ·M�N IS· C9NSTANTLY: IN poyBT ABOUT Tl:H ':'JG.s AN0, 1s NEVER I . . . · . .. SURE· OF. ANYTHING� : • Q1 1. POPE �LSO L�BTS A NUMBER OF OpPOSITE QUALITIES �A� IS· IN DOU�T , I ABOUT. How MANY CAN YOU FIND IN LINES 8�12? A11. 1g7 AJJ. THE• THOUGHT: SEEMS TO� BE THAT ONE1S LIFE WILL BE FULLER 1F HE CAN LIVE IMAGI NATIVELY IN THE PAST. QJ4. WHAT DEVI CE DOES THE POET EMPLOY TO ACHI EVE HIS PURPOSE? AJ4. A6. ST,6.NZA J TELLS US ·THAT BRYANT BEL I EVE$ THE Bl RD�S ·DESTI N.ATI ON :ro BE A LAK E1. A RIVER, OR THE OCEAN. Q7. "MARGE" MEANS ABOUT THE SAME AS ttMARG IN.tt CAN YOU THINK OF ANOTHER SYNONYM FOR ttMARGE1" A7. A1 6. YES1 THE POEM 'IS NOT ONLY GIVl·NG DIRECTIONS AS. TO HOW T9 E·SCAPE.1 BUT IT IS AL SO. URGING SLAVES TO ESCAPE. HENCE, THE REFRAIN WH ICH KEEPS REPEATING, "Go NORTH, GO NORTH, GO NORTH!11 TAKES ON ESPEC IAL IMPORTANCE. . 499 A1... A LIMER I CK IS · ALW.AYS COMPOSED .O F TWO TRI METERS FOLLOWED BY TWO DIMETER� AND ANOTHER ·TRIMETERo EACH FOOT I� COMPOSED OF THREE SYLLABLES, USUALLY ANAPESTSe THERE IS1 NATU RALLY,. MUCH VARIATION AND FEMININE ENDI NGS ARE COMMON. Q2. WHAT IS THE RHYME SCHEME OF THE L�MERICK? A2. 603 AS.• YEs,, , THE EXTREME CALM OF. THE SEA AT .DAWN GIVES WAY TO THE .EXHILAR ATION OF THE SEA ON A ·WI NOY, DAV. Q9 . GA.N Y,O,U P·I CK OUT· SOME OF ·THE WO RDS WH ICH CONTRIBUTE TO THIS EFFECT? A9. : 707 A9. THE WO RD 11CLEMENCY11 .MEANS MERCY OR PARDON. THE IDEA OF THE TEARS OF CH�� ST D1 ST1 LL ING (YIELD�NG) �ME�CY -IS �O� �T ALL FAR-FETCHED. Q1 0. MANY WO RDS· 1.N TH l.S. (AND OTl:IER) POEMS HAVE MORE THAN ONE MEANING. WHAT Is SUGGESTED TO YOU BY "wQRMS11? A10. -- 97 l I g4 A1 1. THEY ARE ACT.,REST1 Goo-BEAST, MIND-BODY1 LI F'E-D EA TH, AND REASON-ERROR. I THE F'IRST THREE ARE CLEARLY STATED , AND THE LAST TWO ARE IMPL IED. ! Q1 2. THE WO RD 11ERR11 IS F'ROM TH.E SAME SOURCE AS 11ERRO R11 i BUT POPE USED IT TO RHV.ME WI TH .PREF'ER. 1 s HE R·I, GHT 0 R WRONG? I A12 •. I 1gg AJ4• • CONTRAST! THE CONTRAST BETWEEN THE BURI AL CUSTOMS OF' WH ITE MEN AND I ND.I ANS. ' QJ,5. ARE THERE ANY METAPHORS OR SI MILES IN THE POEM WE ARE D.I SCUSSI NG? A3.5•• l I 292 A7., 11EDGE11 IS A GOOD SYNONYM; 11BORDER11 Is ANO THER; AND 11LIMITfl ·IS A THIRD. QS •. CAN YOU TH INK OF A GOOD SYNONYM F'O R 11 enL:Lows 11? WHAT WOULD ·11ROCKI NG B.iLLOWS 11 INDICATE? M., . 'fj6 ' � ! ( EM.I LY D.t CK 'i NSON. ( 1$30-1886) THE 'SNOW l,, 500 A2 •• IT i:s AL.WAY S! AABBA. THE " THE LAST LINE F'REQUElll TL Y REPEATS Fl RS·T. QJ. THE REPETITION OF THE WO'RDS 11NANTUCKET11 CONSTI TUTE A PUN. CAN YOU MAKE A·oEFJNI TION OF' A PUN F·ROM WHAT ·TH I S WO RD DOES IN THE LAST' I L.I NE? ' ' .. A3.'. t 604 · A9�· SOME (PERHAPS NO T ALL) OF' THEM ARE 11RUNNING·, 11 11WILD, II llCLEAR, 11· 11FLV ING, II 11FLUNG,11 11BLOWN ,11 AND -11CRY I NG. 11 Q1o • • Do Es THE WORD 11VAGRANT11 MEAN 11EVIL111 11swEET, " OR 11WANDERI NG II IN ' . . YOUR EST,I MATI ON? A10. I I 1 7og A10. THE .�D EA OF DEATH IS OF'TEN ASSOCIATED WI TH WO RMS, BUT IT SEEMS THAT I HERE IT Ml GHT ALSO REF'ER TO THE WO RKE·RS IN THE MILLS• Q11. Do YOU KNOW THE MEANING OF THE WO RD 11 T- I NDER11? , A1 1. ·-· ... A1 2. Po�E IS RIGHTe M�NV PEOPLE PRONOUNCE tt�RRtt THE SAM� AS "AI R,tt WH.ILE IT. SHOULD RHYME WITH ttFUR.tt ,HOWEVER, ttERRORtt IS PRONOUNCED 11A I RERe 11 Q13•. WHAT DOES THE WORD "cHAOS11 MEAN TO vou? A1 3. 1S9 A35• THERE �S ONLY ONE CLEAR-CUT EXAMPLE OF METAPHOR; STANZA g COMPARES TH� IND; AN QUEEN TO THE QUEEN OF SHEBA. QJ6. 11PALE SHEBA11 .I S ANOTHER EXAMPLE OF 'A LITERARY DEVICE; DO YOU KNOW WHAT .I T I S? . 293 A8. "WAVES11 '1 s SYNONYMOUS WITH BILLOWS •. 11RocK-I NG BILLOWS11 WOULD INDI CATE SURF , OR THE WAVES BEING BROKEN UPON THE SHOREe , Q9. SINCE THE .WO RD 11POWER11 IS CAP IT. AL IZED, WHAT MIGHT BE A GOOD SYNONYM FO R IT? A9. • ])7 Q1 . MANY, MANY POEMS HAVE BEEN WRI TTEN ABOUT SNOWe IN FACT SO MANY THAT IT SEEMS SOMETIMES THAT THERE IS NOTHING MORE TO SAY ABOUT ITe HERE IS ONE. Wl,TH EXTREMELY DIFFERENT IMAGES. WHAT ARE THE SIEVES OF L .I NE 1? A1 . 501 A3e THE WORD , OF COURSE, STANDS FOR 11NAN TOOK IT11 IN THE LAST �INE� TH� S FORC� NG OF A DIFFERENT MEAKING ON A WO RQ IS WHAT W� MEAN BY A PUN. . Q4. WHAT IS ANOTHER DEVICE IN THE LAST LINE OF THIS LIMERICK WH ICH ADDS TO I TS HUMOR? A4. 605 A10. llVAGRANT11 MEANS WANDERING OR HOMELESS. Q1 1. WHAT DOES THE WO RD 11GVPSX11 MEAN? ARE XOU SURPRISED TO FIND IT IN A SEA POEM? A1 1. 709 A1 1. 11T�NDERll MEAN S SOMETH�NG THAT BURNS READILY (Kl�DL ING)e THE POET USES IT.HERE IN THE SENSE OF GLOWING OR · BURNING EVES, BUT AL SO IN THE SENSE OF 11TENDER11 WH.I CH IT RESEMBLES. Q1 2. Do YOU KNOW WHAT IT IS CALLED WH EN A WO RD IS USED FOR ANOTHER WHICH SOUNDS LIKE IT? 99·· . $6 A1 J. "CHAos" MEANS CONFUS� ON OR" DISORDERi IT OR�GI NALLY MEANT iTHE STATE o�· THE .UNIVERSE BEFORE :THE CREATION. Q1 4. WHAT. DOES "CHAOi _OF THOUGHT AND PASSION" SIGNIFY TO vou? A1 4. A')6. 190 TH IS IS AN' AL. LUSION, A·REFERENCE" TO SOME PAST HISTORIC OR·LITERARV EVENT; ; IN THIs CASE TO THE QuEEN OF SHEBA IN THE s·. BLE. QJ7.. IN· TH.IS POEM� AS IN ANY, WHAT IS THE UNIT BY. WH l-CH THOUGHT IS EXPRESSED'? AJ7.. 294 A9. As YOU KNOW, WO RDS REFERRING' TO THE DEITY 'ARE CAP ITAL IZED. T.HEREFORE THE WO RD "Goo" IS � NTENDED . Q1 0. How �s THE BIRD ABLE TO FIND .HIS :wAv? A10. At. THE .S�EVES ARE THE CLOUDS. PERHAPS THE POET .IS COMPARl NG THE �NOW T.O FLOUR BEI NG SIFT.ED. Q2. .WHAT Fl GU.RE OF SPEECH l!S . IT WHEN THE P.O ET CALLS THE CLOUDS SI EVES? A2. 502 A4. THE REPETITION OF THE WO RD ttBUCKETtt THUS MAK ING A DOUBLE RHYME AT THE END MAKES THE P.OEM EVEN . FUNNIER. . . 606 A1 1.. A ttGVPSY tt .IS A MEMBER .OF A WANDER I NG.. TR I BE OF PEOPLE. MASEF1 ELD WOULD LIKE TO WANDER ON THE SEA AS THE GYPSY DOES ON .LAND. Q12. A.REDUNDANCY IS THE USE OF EXCESS WO RDS CARRY ING THE SAME MEANING. "VAG�ANT" AND "GvPsv" HAVE QU I TE SIMILAR MEANINGS. Is MASEF� ELD GU I LTY OF REDUNDANCY? A1 2� 710 A1 2:. TH IS USE ( oR M.ISUSE ) ·OF WO RDS IS THE �· IT •1s USUAL·LV USED FO·R A HUMOROUS EFFECT,. BUT SOMETIMES, AS :HERE, EFF·ECTI VELV. IN "A SERI o:us CONTEXT. Q1 ). WHO IS THE NAZA·RE•NE ·WHO HAS THESE 11 'T I NDER ·EVES 11? A1 1.• 100· A1 4� THE POET REFERS HERE : To THE STATE OF DISORDER :WHl.CK RESOLTS.�RO� THE CGNFLICT'BETWEEN REASON AND DES�RE1 AS WHEN YOU WOULD RATHER WATCH TV BUT YOU KNOW YOU SHOULD STUDY. Q1 5. CAN YOU F�ND EXAMPLES OF FIGURATIVE LANGUAGE IN TH IS POEM? A1 5. 191 A37. IN•PROSE AND· POETRY . AL �KE1. THE UNIT OF THOUGHT IS THE SENTENCE. · (REMmABER THAT A CLAUSE IS ESSENTIALLY A SENTENCE.) QJS. ARE�T�E SENT�NCES 1HARD TO DETE8MINE IN THi s POEM? A)S. 295 A10. THE POET BELI EVES THAT THE BIRD IS GU1 DED BY Goo�; Q1 1. How !S JHE AIR �IKE A DESE�T? A1 1. 'f)9 A2. ONCE AGAIN,· iT1s OUR OLD FRl END THE METAPHOR. · THE POET IS-CALL ING SOMETH� NG BY A �AME WH� CH LiTERALLY DOES NOT APPLY TO IT. Q3. Do YOU : KNOW WHAT ALABASTER Is.? A3. 503 Eow.iN ARL INGTON Ro B.I NSON (1869-1935) RICHA RD CORY 607 A1 2. IF WE W1 SH . TO- BE UNKIND, WE CAN INTERP RET "VAGRANT GYPSY LIFE» AS . »wANDERING WANDERING L.IFE11 WH.I CH IS CERTAINLY REDUNDANT ••HOWEVE R, . . LET US BE KIN� AND SAY' THAT THE ONE IS USED TO INTENS.IFY THE OTHEQe Q1 3. WHAT DO You: UNDERSTAND THE "GULL 1S'WAY11 AND THE "wHALE1s WAY � TO MEAN? A1 3• . 71 1 A1 3� THE NAZARENE �S JESUS OF NAZARETH� AND TH IS IS:A DIRECT REFERENCE TO THE TEARS OF,CHR� ST OF THE T� TL E. . . Q1 4. CAN YOU SEE ANY REASON WHY STA�ZA 4 SHO�LD BE IN PARENTHESES? A1 4; 101 · ss A1 5. THERE ARE SOME F1 GURES9 OF' COURSE, BUT' WI TH THE EXCEPTION�OF. THE METAPHOR OF�THE� "isTHMus" THEY ARE NOT. TOO EASILY �DENT1 FIED� THE LANGUAGE �S �NTELLECTUAL RATHER THAN FIGURATIVE. Q16. IF YOU WERE GRAD.ING PoPE•s:PAPERj WH'A T WOULD YOU GIVE HIM ON CAP0I TAL.I ZATION? A16. 192 A'jS. No , THEY ARE EASY. EACH STANZA COMPRISES A COMPLETE SENTENCE •. (THERE FREQUENTLY ARE SEPARATE CLAUSES WITH�N THE- STANZA-SENTENCE. . ) QJ9. THE PO.EM CAN BE CALLED ROMANTI c •. WHAT DOES 11 ROMANTI c11 MEAN IN A LITERARY SENSE? AJ9. A1 1. A DESERT IS AN EMPTY PLACE WI THOUT MANY GU IDES TO DIRECTION. THE AIR IS AL SO AN EMPTY PLACE WITH EMEN FEWER GUI DES. Q1 2� Ho w LONG HAS 0 THE 0BIRD BEEN �LY1 NG? A1 2� 400 AJ. ALABASTER 1s:A;FINE, WHITE9 ' TRANSLUCENT STONE OFTEN CARVED ·INTO . ORNAMENTS OR VASESe Q4. Is THE COMBINATION. OF IDEAS EXP RESSED IN STONE AND WOOL A USUAL ONE? A4. 504 Q1 . HERE IS A POEM OF SIMPLE STRUCTURE. How MIGHT YOU DESCRIBE IT? A1. 608 A1 J. THESE PHRASES SEEM TO INDICATE THE .SHIP SAILING ON THE OPEN OCEAN, FAR FROM LAND. Q14. THE WIND IS:MENTIONED JN ALL THREE STANZAS� CAN YOU SEE ANY DlFFEB ENCE .I N THEM? A14. 712 A1 4. IT IS A DISTINCT BREAK: ·rn THE POEM, THE . POET. COMMENTS RATHER THAN RELATES, AND IT SEEMS . TO REFER TO T�E IDEAS MENTIONED IN STANZA J. You KNOW THAT THE'PYRAMIDS AR��HUGE TRI ANGULAR STONE MONUMENTS IN EGYPT; DO YOU KNOW WHAT THE 8PH.I N� Is? A 1 '). g9 A16. 11F ,11 OF COURSE.· 1HE us�s FAR TOO MANY CAP I TAL S BY OUR' STANDARDS; BUT; NOT LONG BEFO RE POPE,·ALL NOUNS WER E CAP ITA� IZEO AND IN.POPE'S ---- . . DAV ANY NOUNS · THAT SE EMED· IMPORTANT WERE CAP ITAL IZED. Q17. · CAN YOU SEE ANY �I MILARI TY BETWEEN TH� S USE OF CAP � TALS ANO PERSON .I F.1 CATI ON? A17� 193 A'Y}. Ess�NTIALLY, ROMANTICISM MEANS THAT A'POEM DEALS' WI TH FEELING, IS INTERESTED IN MAN AND IN NATUREe Q40. DOES TH.IS POEM SEEM TO YOU TO . SATISFY ONE OR MORE OF THESE QUALIFl CAT.I ONS? A40. 297 A1 2. THE POET SAYS 11ALL DAV. 11 TH IS WO ULD INDICATE MI GRATION.; BI RDS Ml GRATE IN THE .SPRI NG ANO THE FALL. THE 11FOWLER11 I NOi CATES HUNT ING SEASON, OR THE FALL. Q1 J� STANZA 6 TELL S us '1 N 11SooN SHAL T THOU" Fl ND A SUMMER HOME11 THAT IT Is SP RING. CAN YOU ACCOUNT FOR BRYANT'S 11M; STAKE11 IN INTROOUC�NG THE FOWLER? A1 '3. 401 A4. No, SUCH A COMBINATION OF QPPOSITES IS SO .CONTRAD ICTORY THAT WE HAVE A SPEC IAL NAME, OXYNORON (BR.I GHT-DARKNESs) FO R IT. (MAYBE THE POET ONLY MEANT THE WH I TENESS OF AL ABASTER.} Q5• WHAT WO RD WO ULD YOU USE AS A SYNONYM FOR 11 WRINKLES11 IN LINE 4? 505 A1 . IT IS A LYRIC (BUT .I T TELL S A STORY, TOO ) OF 4 FOUR-L INED IAMBIC PENTAMETER STANZAS, RHYM ING ABAB. Q2 � SOME WO RDS SEEM TO BE OMI TTED FROM LINE J. IF YOU ARE SU RE OF THE MEANING, CAN YOU WRITE THE LINE AND SUPPLY THE MI SSING WORDS? A2. A1 4. IN STANZA 1 THE WI ND I S A·SONG• IT INCREASES IN INTENSITY T·I LL IT 609 . . IS LIKE A WHETTED KNIFE. Q15. 11 THE w'IND1S A WHETTED KNIFE" IS A CL EAR-CUT EXAMPLE OF ONE OF THE FI GURES OF SP EECH WE HAVE BEEN EMPHAS IZING.· WHAT IS IT? A1 5. 713 A1 5. THE SPHINX IS AN ENO RMOUS STATU� O� A LION WI TH THE HEAD OF A.MAN, LOCATED .NEAR THE PYRAMI DS. THE STANZAS ARE LINKED BY THESE REFERENCES. Q16. THE SPHINX IS SYMBOL IC OF WISDOM OR:KNOWLEDGE AND THOUGHT; BORAGE IS A PLANT, AND AN INTOXICATING DRINK MADE FROM ITe WHAT HAS THE POET'S 103 -- - 90 A1 7 •• IN ,A SENSE THES,E NOUNS ARE CAP.I TAL I ZED AS PROPER .NAMES AND THUS IMPLN THAT THEY ARE BEINGS RATHER THAN ABSTRACTIO�S. Q1 8. DOES POPE USE ALL ITERATION TO ANY GREAT EXTENT tN HIS. POEM? A1 t; 194 A4-0., IT FITS ALL _THREE----THE INDIANS, MAN; THE FOREST, N:ATURE; ·AND ,T HE POET1S INTERP RE·TATION1 FEEJ- ING. 298 A1J._, TH IS WAS NOT A M.I STAKE.. AT THE Tl ME OF THE "POEM , THERE ,WEREi NO HUNT- . . 1 N.G SEASONS. GAME WAS PLENT0I FUL ·AN_D NEEDED FOR FOO.D e BI RDS WERE- HUNTED VEAR-LONG. Q1 4� WHAT HAS BEEN THE PURPOSE OF THE B� RD1s FL I GHT? A1 4. 402 A5 •. 11Ru,Ts" Is THE WO.RD -MOST PEOPLE WOULD :U SE, BUT -.SEE '.WH_AT _A ·FRE.SHNESS AND WHA.T A WEAL,TH O.F ASSOC-I AT.ION 11VJRINKLES 11 .VIELDS•• (OLD FACES, PRUNES) Q6 . THE 'POET HAS. USED AT LEAST FOUR FIGURE.S IN. THE FIRST FOUR LINES. WHAT! :ONE NAME ·WI LL DE SC RI BE ALL OF THEM? A6., . A2 •• THE L INE WOUL·D READ, 11HE · wAS A GENTLEMAN FROM THE . SOLE.S OF :HIS .FEET TO THE CROWN OF HIS HEAD • .11 QJ •. IN STANZA 2 ROBINSON SPEAKS OF CORY AS BE-..NG 11QU IETL V ARRAVED11; _ HOW WOUL_D YOU SAY TH-. s? AJ., . 610 A1 5 •• THAT1S RIGHT. THE USE OF THE WO RD 11L:IKE11 MAKES TH IS A D.IRECT. COMPAR- ISON AND A SIMILEe Q1 6. WHAT DO YOU UNDERSTAND THE WO RD 11TRI CK 11 TO MEAN IN THE LAST LiN�? A1 6. 714 A16� IT HAS ENABLED HIM TO CLEAR HIS UNDERSTANDIN� AND COME TO A REAL IZA- Tl ON ABOUT CHRIST. WE :CANNOT VET TELL WHAT IT Is. Q1 7. VERMIN ARE .SUCH TH INGS AS L-.CE, BEDBUGS, AND THE L-.KEe CAN YOU GET ANY MEAN-. NG ;FROM 11VERM IN AND ROD NO LONGER Bi ND11? A1 7. 104 - 91 A18�· YEs·, HE USES :I T FREQUENTLY, BUT USUALLY IN PAI RS, AS 11MANe eeMANK .I NDll OR ·11:roo L:I TTLE ••.• TOO MUCH11 ; BUT LOOK AT THE REPEATED 1.1o1s11 IN L0I NES 7 THROUGH 10. Q19. POPE CALLS THIS AN ESSAY. WHAT DOES ESSAY· USUALLY MEAN? A1 9 . 195 SEA CHANTEY (c. 1820 ) HAUL AWAY 1 JOE 299 . A1 4. WE· HAVE ALREADY NOTED :ro FIND A SUMMER HOME, BUT. THE REAL PURPOSE IS· :ro BU.ILD .I TS NEST (AND RAISE. ITS YOUNG). Q15. WHAT DOES THE POET SAY HE HAS RECE.I VED FROM WATCH I NG THE Bl RD? A1 5� 403 A6. 11METAPHOR11 IS RIGHT AGAIN. WE DON1T MEAN TO �VERWORK IT� WE ONLY WANT YOU TO Dl'SCOVER WHAT A USEFUL TOOL' IT IS'. WHEN. YOU WANT TO, WRITE ORIGINALLY AND CREA�I VELY� Q7� A NEW. FIGURE OF SPEECH SHOWS UP IN THE SECOND STANZA. CAN YOU !DEN T.I FY I TT A7. AJ� You WOULD MOST L�KELY DESCRIBE HIM AS CONSERVATIVELY DRESSED� BR YOU MIGHT HAVE A MO RE MODERN SLANG EXP RESSION THAN 11NEAT BUT NOT GAUDY11 TO DESCRIBE HIMe Q4. · (F YOU KNOW SOMEONE WHO .IS 11ALWAYS HUMAN11 WHEN HE TALKS, WHAT KIND OF A PERSON �S HE? A4. 61 1 A1 6. TH.IS WO RD AS HERE USED MEANS A TU RN 'OF DUTY , AS IN· 11HE WO RKED THE TH IRD TRICK.11 I� �S COMPARABLE TO A 11 SHI FT11 IN A FACTO RY. HERE IT MEANS ONE1S TU RN AT THE WHEEL e Q1 7. Now FOR A HARD ONEI SOME PEOPLE HAVE FOUND A HIDDEN METAPHOR IN THE LAST LINE. CAN YOU FIND �T? A1 7� 71 5 A17. TH� S REFERENCE IS TO THE OLD PRACTICE OF PUNISHING THE BODY BY ENDUR ING VERMIN AND. BY. BEATING TO GA�N FAVOR w� :rH· CHRIST. TH� S IS NOT NECESSARY AND lg ONE CAUSE FOR, CHR� ST1S, TEARS. Q1 8. WHAT MEAN�NG DO YOU ATTACH TO 11TENDONED LOAMI!? A1 8. 105 92 A19. WE USUALLY TH INK'OF·AN ESSAY AS BEING' A SHORT .NON-FICTIONA� ·WORK :IN PROSE. IN PoPE�s· TIME ESSAYs IN" VERSE .WERE POPULAR. Q20. WE HAVE SA�D-THAT POPE QUOTED SOCRATES. Has SECOND LINE, 11THE PROPER STUDY OF- MANK IND .I S MAN, 11 IS FREQUENTLY QUOTED. WHAT DOES . IT MEAN? A20. Q1 . A CHANTEY (oR "cHANTY 11 IS PRONOUNCED 11sHANTY11) IS A WO RKSONG OF THE SEAe IT WAS ESPEC�ALLY DESI GNED FOR A JOB� .CAN YOU TELL FROM THE REFRAIN WHAT THAT JOB WAS? A1 . JOO A1 5� THE POET SAYS THAT THE �ESSON TAUGHT BY THE ·Bl �6 HAS auN� O�EP l�Td HIS HEART.' Q16. WHAT IS THIS LESSON? A1 6 •• . . 404 A7 •. ATTRIBUTING :HUMAN FEATURES TO A LANDSCAP E IS PERSONIFICA'f.ION� 'THI S ONE IS UNUSUA� IN:THAT �T �s A SECOND NON-HUMAN AGENT (THE :s�ow) . I \Vl-lliCH MAKES THE PERSONIFI CATION. QS.. IN THE Tlil.j RD STANZA WE HAVE NOT SO MUCH METAPHOR AS l·MAGE---THE 'POET· MAKES '.US SEE TH.I NGS. WHAT QUI TE UNUSUAL P .I CTURE DO YOU SEE? A$ •. 50s A4.. HE - IS A PERSON WHO NEVER ACTS SUP.ERiOR OR P UTS ON Al,.RS , BUT 1,S ALWAYS WARM AND FRI ENDLY AND SEEMI NGLY INTERESTED IN YOU. Q5. WHAT TWO PHRASES. l N STANZA 2 SUGGEST THAT CORY IS PERHAPS SOMEWHAT SHALLOW AND NOT TRULY THE GENTLEMAN HE SEEMS? 612 A1 7� THE COMPARISON IS OF LIFE TO A V6YAGE; THE 11QUlET SLEEP11 AND 11SWEET DREAM11 ARE THEN TAKEN TO MEAN DEATH. Q1$. WHAT .I S THE FORM OF THE POEM? .. 716 A1 $� TH� S MEANS L�V�NG MAN. As MAN WAS MADE FROM -OUST , THE POET USES TH IS METAPHOR TO ·DESCRl·BE HIM. CHRIST1S TEARS ARE SHED F·O R 'H IM. Q1 9. THE POET LOADS HIS WO RDS WI TH MANY. MEA:N I NGS AND USES THEM EVEN AS CROSS-REFE:RENCES.. CAN YOU F.I ND SUCH A REFERENCE FOR THE WO RD 11FLOCK S11? 106- 93 A2qo IT SEEMS TO MEAN THAT THE BUSINESS OF MAN IS TO STUDY HIMSELF, NOT 1i0 PRY INTO THE WAYS OF Go:o . 197 A1 . THE WO RDS 11HAUL AWAV11 l'NDICATE THAT IT WAS SUNG WH ILE PULLING ON A ROPEo AT THE WO RD llJoE11 ALL HANDS WOULD G.I VE A MI GHTV TUG0 Q2. CAN YOU GUESS WHAT THE MEN WOULD BE DO ING WH EN THEY HAUL FOR BETTER WEATHER? A2. 301 A1 6. THE POET HAS LEARNED TO BEL IEVE THAT EVEN AS :Goo GU I DES THE BI RD i SO DOES HE GU IDE HIMo Q1 J. CAN ¥OU G�VE THE STRUCTURE OF TH� S POEM? A1 7,. 405 Af!:,. THERE ARE REALLY T�O : THE .IDEA OF THE W.l'RE BE.ING'WRARPED llN ,SNOW,• WH ICH IS FOLLOWED - IMMEDI ATELY BY THE IDEA THAT THE WRAPP ING IS WOOL. IF YOU P�CKED 11CRVSTA� VE�L,11 TOO BAD. MAYBE �T WAS NEW TO EM�LV D� CKINSON, BUT . IT HAS BEEN OVERWO RKED siNcE IN BO TH �PROSE AND POETRY. Q9 . WHAT DO YOU UNDERSTAND 11suMMER1S EMPTY ROOM11 TO MEAN? A9. . 509 A5. THE PHRASES 11FLUTTERED PULSES11 AND �11GL ITTERED WHEN 'HE ,WALKE0 11 Sl'.JGGEST TH IS AND ALSO PREPARE US FOR THE SUBPRISING ENDING0 Q6. WHAT K.I ND OF PEOPLE DOES THE POET MEAN WHEN HE USES THE WO RD 11WE11 .I N THIS POEM? A6. 613 A1 $. THE POEM �S COMPOSED OF FOUR EQUAL STANZAS OR QUATRAINS, RHYMED ABABo THE L�NES ARE SEVEN-FOOTED (HEPTAMETERS), AND THE METER IS VARIABLY IAMBICo MANY SPONDEES AND PVRRHICS BECOME SUBSTI TUTED FOR IAMBSo ACTUALLY, THE METER �s THAT OF THE OLD ENGL ISH BALLAD, AND MASEFIELD1S HEPTAMETERS ARE TETRAMETERS SUCCEEDED BY TR I METERSo 717 A19. ALTH OUGH 11FLOCKS11 IN THE CONTEXT MEANS FLOWS OR qATHERS , A FLOCK IS 10 . A GROOP OF SHEEP . A�D REFERS STANZA 2� � ' , Q20. 11BETRAVED STONES11 MIGHT REFER. TO MAN 1S DISREGARD FOR NATU RE WH ICH CHRI ST DOES NOT.oSHARE, BUT IT· HAS ANOTHER MEANING WH ICH IS ONE KEV TO T.J:i E ENT.I RE POEM; CAN YOU TELL WHAT .IT .I s? '' 1 07 · 94 EDWARD TAYLOR (1646?-1729) HUSWIFERY 19s A2. ON A SAILING SH.IP THE SA.lll.S (CANVAS) !HAD TO BE FURL:.ED WHEN ;THERE WAS TOO MUCH WIND (� STO RM � PERHAPS). THEY ARE TAK ING IN SAIL. QJ. WHAT ,-l S THE GALLEY OF A SHIP? AJ. 302 A17. IT IS A0LYR1c · oF EIGHT IAMBfC STANZAs,:EACH COMPOSED OF A TRI METER, TWO PENTAMETERS, AND .ANOTHER TRIMETER, RHYMED ABAB� Q1S. WOULD YOU . SAY THAT THE WATERFOWL '1 s A PERSONl·F.ICAT.ION? (THINK HARD , NOW. ) A1 8. 406 A9� TH.IS WOULD SEEM TO MEAN THE Fl ELDS FROM :wHI CH HARVESTED. · Q1 0. SAY� NG THAT SUMMER CAN POSSESS A ROOM .(�N A HOUSE) IS EMPLOY�NG· WHAT F� GURE OF . SPEECH? 510 A6. HE IS SPEAK ING· FOR THE ORDINARY PEOPLE OF A SMALL TOWN (NEW ENGLAND) AND FOR THE COMMON PEOPLE EVERYWHERE. . Q7 • WERE THESE PEOPLE SATI SF I ED OR D·l-SSATI SFI ED WI TH THEIR LOT? A7. 614 JOHN v. A. WEAVER (1893-193$) TWO WAYS . 718 A20. THE ACTUAL SUBJECT ;oF-TH IS POEM . i s-THE CRUCI Fl.XION .OF Ci-jRISTe. THE BE TRAYED STONES REFER TO THE EARTHQUAKE THAT SHOOK THE AREA AND MADE THE . STONES _SP EAK (RUMBLE). : Q21 . 11NA�ES PEEL.I. NG FROM T!-!INE E'1'.ES11 IS Dlf".FI CULT Bl)T WOULD SE;EM TO REFER . . TO THOSE RESPONSIBLE FOR THE CRUCIFI XION, .AND FOR LATER DOCTRINES 10$-- - 95 Q1 . 11Husw1 FERV " -I S AN OLD ENGL0I SH WO RD� WHAT WOULD YOU USE IN ITS P12.tlCE?. A1 � 199 AJ. THE GALt:.EV .IS Tf.IE SH.I P 1 S: KI TCHENe. Q4� WHAT WOULD ' YOU SUPPOSE' THE DUFF THAT' THE COOK I'S MAK I NG TO . BE? A4. 303 A1 $. NOT.QU�TE. ·THE FACT THAT Tf.IE POET 1S.ADDRESS�NG THE B1 RD AS:ONE MIGHT A HUMAN COULD LET US CALL IT PERSONIFICATION� BUT THE BIRD -ITSELF DOES NOT POSSESS ANY STRI CTLV HUMAN AT:fRl'BUTES. THE; POEM IS RATHER A METAPHOR COMPARING THE FL IGHT OF THE BIRD TO THE JOURNEY OF LIFE. 407 A10, 0NcE MORE,· THE. ATTRIBUTING OF; H�MAN CHARACTERl'.STIPS ·TO · NON-H!JMAN AGENTS- IS. CALLED PERSON IFI CAT,IONe REMEMBER TO USE IT OCCASIONALLY TO �DD SPARKLE TO YOUR WRI TING. Q1 1� WHAT DO YOU SUPPOSE THE 11sEAMS11 OF L�NE 15 COULD .BE? A1 1.. 511 A7. LINES 1J AND 14 TELL US BV ; MEANS OF A FIGURE O� �PEECH WHICH YOU NEED NOT WO RRY ABOUT (SY�ECHOOCHE , A.PART STAND�NG FOR THE WHOLE) THAT THEY WERE DISSATI SFIED. . Q$. CAN YOU EXP RESS .IN YOUR OWN WO RDS THE IDEA RO BINSON EXP RESSES IN TH IS POEM? AS. 615 Q1 . HERE IS A POEM WH ICH THE AUTHOR CLAIMS IS WRI TTEN .!!:!. AMER-I CAN. WHAT ooEs HE MEAN BY TH� s? A1 . 719 A21 . TH� S IS ANOTHER DESCRIPTION OF THE EVES OF 8HR� ST ANO IS. IN �EEP.I NG WI TH 11T� NDER EVES.11 Q22. WHAT WOULD llPALM A'ND P.AIN11 SIGN.IFV IN THE LIGHT OF WHAT YOU NOW KNOW OF THE POEM? A22. 109 . 96 A1 � IT IS:OBVIOUSLY FROM THE SOUND OF IT THAT TH IS IS SIMPLY :AN :OLD SPE�L�NG FOR 11HOUSEW� FERY .11 Q2� THE SP I NN�NG WHEEL WAS AN �MPLEMENT USED BY THE COLONIAL HOUSEWI FE TO CONVERT WOOL (FLAX OR COTTON) INTO YARN . WHAT DOES TAYLOR ASK THE LORD TO MAKE OF H�M? A2. 200 A4. DUFF WAS A BO I LED l?UDDING MADE OF. DOUGH AND DRIED FRU l·T•!, Q5. WHY DO YOU SUPPOSE THE SONG MAK ES THE UNCOMPL. IMENT• ARY• REFERENCE. TO I THE CAP TA.IN? J04 GEORGE GORDON, LORD BYRON (1788-1824) . THE DESTRUCT ION OF SENNACHERI B 4oS A1 1. THE SEAMS, COULD HARDLY BE ANYTH fNG BUT THE REGULAR LINES MADE BY STUBBLE: STI CK'I NG UP THROUGH SNOW. J F .I T WERE NOT FOR THE STUBBLEi THERE WOULD BE NO RECORD OF: THERE EVER HAVING BEEN A CROP. . Q1 2. llWR.I STS OF POSTS II ...s · ONCE MORE A PERSON I Fl CATI ON, BUT WHAT DOES THE UNUSUAL ('1N TH IS SENSE) WO RD 11RUFFLES11 INDICATE? A1 2� 512 A$ •. THERE WOULD BE MANY WAYS TO SAY IT. 11MONEY ISN1T EVERYTH !NG11 WOULD BE ONE.· 616 A1 . HE MEANS THAT �T �S WRI TTEN . IN THE �ANG�AGE OF THE·COMMON! SPE�CH OF AMERiCAN PEOPLE, �ATHER, THAN IN MORE FORMAL ENGL ISH. Q2. WouL� YOU CALL TH IS POEM SENT�MENTAL? A2. 720 A22. llPALMll SEEMS' TO REFER• TO . THE -TRIUMPHAL ENTRY INTO JERUSALEM OF PALM SUNDAY,. AND llp�� NP TO THE SUBSEQUENT CRUC� FIXIONe Q23. WHAT COULD BE MEANT BY PcoMPULS�ON OF THE YEARS11? A23. 110 . , 7 A2. TAYl:.OR ASKS THE LORD TO MAKE OF HIM.Hts. SP INf)l ING WHl;.:EL. 9 . . QJ. TH E· DISTAFF WAS USED: TO HOLD THE COMBED-OUT WOOL (oR OTHER MATERI AL ) . USED FOR SP. .iN NING'• (F TAYLOR' WERE TO SE THE SP INN ING.\'JHEEL t WHAT. WOULD BE H.I s D1.sTAFF? A3. 201 A5. THE CHANTY WAS THE COMMON SA ILOR1S SONG, AND THERE IS THE USUAL RESENTMENT OF AUTHORITY. (cF. PRIVATE VS. GENERAL JOKES) Q6� ls'THERE ANY CONTINUITY OR CONNECT.ION BETWEEN 'STANZAs? A6. 305 SENNACHERIB WAS A KING OF AsSYR,I A MENTIONED IN THE BIBLE AS HAVING INVADED' PALESTiNE iN THE 7TH CENTURY B.C. (699-600) Q1 . WHERE is AssvR� A LOCATED, AND CAN YOU GIVE ITS PRESENT NAME? A1 . A1 2. You HAVE SEEN· HOW'. SNOW WILL COLLECT AROUND LITTLE IRREGULARI TIE S ON A POST OR T\V,I G AND su 'tLD OUT INTO FANTASTIC FORMS. TH IS IS vVH AT THE POET REFE'RS TO . Q1 J. Oi DiQUEENS WEAR RUFFLES ON THE IR ANKLES? A1 3. 51 3 EDGAR LEE MASTERS (1869-1950) LUCI NDA MATLOCK c 617 A2. I T DEFINITELY rs. PERHAP S Tl-:IE POET BEL IEVED THAT THE EMOTIONS OF THE ' COMMON PEOPLE· A�E SENTIMENTAL EMOTIONS. QJ, THE· POET CONTRASTS TWO IDEAS •BOUT LOVE. WHAT ARE THEY? AJ. . . 721 A23. IN GHR IST iAN TRADITION'. THE CRUCIFIXION TOOK Pt.ACE IN THE SPRING, (EASTER). THE POEM IS»FULL 'OF REFERENCES TO SPRING WHICH AL WAYS . SEEMS TO' COME ON AS IF COMPELLED OR ORDERED • Q24. WHAT ARE THE nSABLEt SLENDER BOUGHS11 OF L.INE 371 A24. 111 . 9g AJ. TAVLOR1s DISTAFF (oR THE RAW MATER-I AL) WO ULD BE 11THV HOLY WoRD11 OR THE 8.1 BLE. Q4. THE 11FL VERS11 ARE THE DEVICE WHICH ACTUALLY TWISTS THE VARN IN SPIN NING. WHAT .DOES TAVLOR SAY H.t S FLYERS WOULD BE? A4. 202 A6; No ! THESE SONGS WERE IMP ROMPTU (MADE-u� ON THE SPOT). ONES THAT . SEEMED GOOD WERE REMEMBERED AND- RETAINED,. . OTHERS PROMPTLY FORGOTTEN. Q7 ; WHAT �S THE REFERENCE TO THE KING OF FRANCE? A1 . ASSYRIA IS LOCATED IN ASIA M� NOR (THE EAST COAST OF THE MED�TERAAN EAN). ITS MODERN NAME IS SYRIA, ONE OF THE UNI TED ARAB REPUBL ICS. Q2. THE . POEM RELATES AN EVENT. CAN YOU CONDENSE THE STORY ON THESE LINES? A2. 41 0 A1 J. TH� S LINE IS DIFFICU6Tt BUT NOT TOO MUCH SO IF YOU TH INK OF 'OCD FASHIONED COSTUMES WI TH RUFFL ED PETTI COATS AND PANTALOON S• 110N11• MIGHT MEAN AROUND OR ABOUT. Q1 4. WHAT IS AN ART.I SAN? A1 4. 514 TH� S POEM COMES FROM A BOOK OF POEMS WR I TTEN ABOUT A HILLSIDE CEMETE RY. Q1 • WHAT SORT OF T,l Tll.ES'.'DO·'YOU SUPPOSE THE OTHERS IN THE COLLECTION WOULD HAVE? A1 . 61$ AJ. STANZA 1 SPEAKS OF SLOWLY MATURING, PR�SERVED LOVE ; STANZA J2 , OF A WILD, QU ICKt FLEETING �OVEe Q4,. WHEN THE POET SAYS (IN AMERICAN), 11LoVE*.IS P .ICKLED RO SES,11 AND llLovE IS FI REWORKS,11 WHAT FIGURE -. f? HE EMPLOYING? A4. 722 A24. TH.j S SENTENCE :IS ADDRESSED TO GHR.I S'F AND SINCE HE LEANS FROM ,THESE BLACK BOUGHS, THEY MUST-BE THE CROSS. Q25� CAN YOU RESTORE THE WORDS WHt.CH THE POET HAS LEFT OUT IN REGARD TO 11UNSTANCHED 11 AND llLUMINOUS11 AND REWRITE THE SENTENCE TO SHOW THAT you UNDERSTAND IT? 112· . . 99 A4.. IN "THE. COMPA"R ISON TAYLOR IS ORAWt N;G ; HIS AFFECTIONS (INCL INATIONS) . WOULD' BE ti IS FLYERS, TO TWI ST_ (INTERPRET OR UNDERSTAND) Goo 1s WORDo Q_5. THE: SPOOL IS A PART OF Tf.!E SP INNING "WHEEL ON -V'IH"I CH THE VARN: IS WOUND. WHAT WOULD BE Goo's SPOOL ? 203 A7 .• THESE soNGs WERE POPULAR IN THE EARLY ·1S001s. Louts XV I WAS BEHEADED DURING THE FRENCH REVOLUTION. QS. THERE IS A PHRASE APPL IED TO SAILORS TODAY WHICH MEANS MUCH THE SAME AS THE REFERENCES TO A GIRL IN THIS CHANTY. CAN YOU TH INK WHAT IT ts? AS. . J07 A2•• THE 8 IBLE DOES IT TH IS WAY : THE ASSYRIAN ARMY "THREATENED JERUSALEM BUT 11 THAT N.I GHT THE ANGEL OF THE LORD WENT FORTH AND SL EW A HUNDRED AND EI GHTY-FtVE THOUSAND IN THE CAMP OF THE �SSYR�ANs. 11 QJ. , TH IS POEM HAS A SPECTACULAR, SWI FT RHYTHM. CAN YOU DETERMINE WHAT METER THE POET USES TO ACHi EVE IT? A). 41 1 A1 4.• AN 11ARTI SAN11 ·, S A WO RKMAN OR A LABORER, . BUT .'l.N ·.THE SENSE THAT HIS WORK REQU IRES SK ILL•' Q1 5. WHO ARE THE ARTI SANS REFERRED TO �N LINE 19? A1 5� A1 . THE Tl TL ES OF THE OTHER POEMS ARE. THE NAMES OF OTHER'. PEOPLE BURl,ED IN THE CEMETERY � Q2. How oo WE KNOW THAT Luc.I NDA MATLOCK ENJOYED HER YOUTH? A2.. 619 A4. HE IS US ING METAPHOR. Q5. WH ICH LOVE ·a ID THE' GIRL ( B·ov) CHOOSE? A5. 723 A25,. LEAN (HANG) FROM THE CROSS, YOUR :WOUNDS UN.STAUNCHED , AND YOUR. EVES LUMI NOUS •. Q26. WHAT ARE THE 11PERFECT SPHERES11 OF LINE )9 1 A26. 113. . 100 AS •. TAVLOR1s SOUL .WOULD BE THE SPOOL ·OF ,Goo. Q6. WH EN T!"IE SP.OOL · .IS FU.LL, :!HE VARN IS TRANSFERRED TO · A REEL . 'WHAT, ACCORDING TO THE POET, WILL BE Goo1s REELl A6. f, 204 Ag �, A SAILOR IS COMMONLY REFERRED TO AS HAVING 'A .GIRL IN EVERY . PORT. AJ� THE POEM IS WRI TTEN l'N ANAPEST� C TETRAMETERS, A�ETER OFTEN USED TO SUGGEST THE ;GALLOP I NG OF HORSE Se Q4. CAN YOU DESCRIBE THE REST OF THE STRUCTURAL ELEMENTS OF THE POEM? 41 2 A15� THESE ARTI SANS CAN ONLY BE THE lNDIVI DUAL SNOWFLAKES AND �ERHAPS THE WIND WH ICH HAS HELPED TO ARRANGE THEM. Q16� WHAT DOES THE L�NE "DENY� NQ THEY HAVE 'BEEN" MEAN TO vou? A16. 516 A2.. SHE WEN.T TO DANCES,: PLAYED GAMES, AND WAS COURTED. QJ. How DID SHE MEET HER FUTU RE HUSBAND? AJ. 620 A5� THE F� RST LINE OF THE FINAL COUPLET MAKES IT SURE THAT SHE CHOSE THE WILD, QU ICK LOVE. Q6; Do YOU AGREE WI TH THE POEM OR DO YOU TH INK THE FINAL LINE IS RIGHT IN SUGGESTING THERE MIGHT BE ANOTHER KIND OF LOVE? A6 . . 724 A26o, THESE PERFECT SPHERES ARE T:HE TEARS ·cff CHR I ST OCCASl:ONED BY PI TY. FOR MAN STILL IN A STATE OF DARKNESS (NIGHTS). Q27 •· WHY DOES CRANE USE THE HYPHENATED irL:I LAC.,.EMERALD"? A27 •• 114. 101 A6. Goo 's REEL WO ULD "THEN BE TAYLOR1s 'CONVERSATION (ALL OF H.IS ACTIONS). (HER� is SOMETH� NG YOU, PROBABLY DIDN1T KNOW: TAYLOR WAS A MINIS�ER AND HIS CONVERSATIONS. COULD BE H.I S: SERMO"NS.) Q7 . A LOOM .IS A MACHINE FOR WEAVING CLOTH. CAN _YOU PICK OUT TWO OTHER ·tMPLEMENTS USED IN WEAVING MENTIONED IN STANZA 2? 205 EDGAR A1..;LEN PoE (1 809-1849) ISRAFEL 'fJ9 A4. THE POEM CONSI STS OF�6 �DENTICAL FOUR-L INED STANZAS, RHYMED AAss. ONCE AGA� N THERE ARE ACTUALLY C0UPLETS COMBINED iNTO QUATRAINS (AA, es, cc , ETC.)� Q5. BYRON USES MANY S;MILES; HOW MANY CAN YOU COUNT? 41 3 A16. ONCE THE SNOWSTO RM HAS . CEASED, WE NO i LONUER SE�·OR REMEMBER THE SNOWFLAKES, BUT SEE ONLY SNOWe Q17. THE PRONOUN "� Tp HAS ONLY ONE ANTECEDENT THROUGHOUT THE POEM (EXCEPT ANOTHER "1T".IN .LINE 10). To WHAT DOES 111T11 REFER? A17. 517 AJ� SHE CH ANGED PARTNERS AT A PARTY,.AND DAv; s MATI.OCK DROVE HER HOME IN THE MOON. L�GHT OF MIDDLE JUNE. Q4; WHAT EVI DENCE DO WE HAVE THAT THEIR MARR-I AGE WAS A SUCCESSFUL ONE? A4; 621 A6. BOTH OF THESE LOVES ARE. WRONG. IN THE FIRST, NOTHING HAPPENS1 IN THE S�COND, TOO MUCH HAPPENS AT ONCE. TRUE LOVE CAN BE EXCITING AND LASTl.NGe 725 A27. TH; S SEEMS TO BE A DOUBLE SPRING IMAGE OF FLOWERS AND GRAss. �IT SYM BOL.; IZES THE HOPE FOR MAN -�N THE COMING" OF. SPRING AND IN THE RESURREC TION. Q2S. WHAT Is THE 11GRA ILII (OR HoL Y GR.A:IL)? A?1._ 115 .. 102 A7. THE :WINDING . QU ILLS CARRIED THE YARN THROUGH THE LOOM • . THE FULl..: ING MILL WAS USED TO FINISH THE Cl:.OTH ·BEFORE MAK ING Cl:.OTHING •. ". . . QS. WHAT WILL Goo DO WI TH THE'CLOTH WHEN HE HAS FINISHED WEAVING IT? 206 Q1 . WHO IS ISRAFEL? A1 . 310 THERE ARE AT LEAST SIX. , (BUT NOTE THAT .,T HE .WORD· 11As11 IN LINE 10 IS NO� TfflE SIGN OF A Sl� ILE.) . • Q6; THERE �RE NUMEROUS METAPHO RS . IN THE POEM; HOW MANY PERSONIFICATI ONS DO YOU F.I ND? A6� 41 4 A1 7. THE ANTECEDENT OF TH.I s PR�NOUl)I Is THE· WQ RD 11sNow.11 THE WHOLE; f'OEM CAN 8� A PERSONIFICATION IF W� THINK OF THE . SNOW AS DOING ALL THESE THI NGS WILLFUl:.LY. QH�. WHAT IS TlrlE COMMON METER. PATTERN OF THE POEM? A1$. A4. Luc.1NDA AND DAv:1-s MATLOCK ENJOY(i:D AN EXC�PTIONALLY LONG MARRIED LIFE. Q5. To Luc'1 NOA MATLOCK. WAS IT UNUSUAL THAT SHE HAD TWELVE CH I LOREN? 622 . WILLIAM BUTLER YEATS (1$69-19J9) THE LAKE ISLE OF INN I SFREE: 726 A28. THE HOLY GM.IL WAS THE CUP .use:o By CHR.I ST f>.T THE LAST SuPPEft. HERE I� REPEATS THE ;DEA OF· RENEWAL. THROUGH SPR� NG, AND THROUGH CHRI ST. Q29. 0'1 ONYSUS Is THE GREEK GOD OF SPRING �- WHY DOES THE POET MENTION HIM IN THE LAST SENTENCE OF A POEM A�OUT CHR� ST? A29. 116 103 M. Go o WILL DYE ANO· DECORATE THE Ct.;OTHe. Q9� IN THE TH IRD STANZA THE POET ASKS Goo TO CLOTHE H'I M IN THIS CLOTH. Ho w v/1 1.:.L· THE CLOTHING AFFECT HIS WO RDS AND ACTIONS? A9. 207 A1 . ISRAF."EL IS THE . MOHAMMEDAN ANGEL OF MUSIC, THE ONE WHO WILL SOUND THE TRUMPET AT THE RESURRECT.I ON (CF. GABR.IEL). Q2� WHAT IS ANOTHER NAME FOR 11 sP·I R.I Tll? A2. 311 A6,. THAT• WAS A SNEAKY QUESTION. No MATTER HOW HARD YOU LOOKEDi YOU . WO ULDN t T F I ND ONE. Q7. THERE ARE MANY EXAMPLES OF ALL ITERATION IN THE POEM� BUT. CAN YOO FIND ONE (OR MORE) THAT REPEATS THE SOUND !2.!::!.!! Tl MES IN ONE L.I NE? A7. 415 A1g •. MOST OF THE LINES ARE IAMBIC TRIMETER, BUT THERE •"I S MUCH VARIA.TION, SUFFICIENT TO AVOID MONOTONY. Q19. DOES THE POEM HAVE A REGULAR RHYME SCHEME? 519 A5• No , BACK AT THAT TIME LARGE FAMILIES W�RE THE ORDINARY THING� Q6. WHAT WAS THE GREAT PERSONAL TRAGEDY OF LUCI NDA MATLOCK? A6 . 623 Q1 . Is THERE ANYTHING ABOUT THE TITLE OR THE POEM ITSELF WH ICH MIGHT SUGGEST THE SETT.I NG (THE COUNTRY) OF THE POEM? A1 . 727 A29.. THERE IS A 0 I STI NCT -PARALLEL BETWEEN. THE LEGEND OF 0 l·ONVSUS AND THE DEATH OF CHRIST;' EACH· \VA_S· V.I OLENTLY SLAIN ANO EACH . WAS RESURRECTED. THE POET SEEMS TO MAKE HIS POEM �ORE UNIVERSAL AND ALSO lMPGi CHRI ST1S CONCERN WI TH iHE PAST. 117 104 A9... TAYLO'.R1s WORDS AND Acn·oNs wou1.;;o BE.TTER Gl.ORIFY Goo. Q1o·. WHAT wouLD AcTuALt.Y sE TAYt.oR1s 11HOLY ·Rose'.s FOR Gl.oRY 11? A10. . 20S A2.• 11SP.S RI T11 MEANS THE PRINCIPl.E OF l.IF"E AS ,SEPARATE FROM THE sooy; IN THE SENSE OF TH IS POEM, AN ANGEL . QJ. WHAT ·1 s A LUTE? IF YOU DON'T KNOW, TRY TO GUESS FROM THE WAY THE WORD ·IS USED IN THE POEM. AJ. 31 2 A7... YEs, LINE 3 HAS FOUR l"N'I Tl.AL 11s11 SOUNDS Pl.US TWO FINAL. 11s'.�··" QS . WHAT DOES THE PHRASE 11L I KE A VIOLF ON THE F0t.D11 MEAN TO vou? AS .. 416 A19,. No! THERE IS A RHYME IN EYERY ·.STANZA. (1·F YOU ARE Wit.LING TOi c·,..LL � 11wooo11 AND 11ROAD11· A RHYME). AND THE LAST STANZA HAS TWO RHYMES. BUT THE RHYMES FOLL.OW NO PATTERN •. Q20. A LYRIC IS A POEM EXPRESSING A SINGl.E EMOTION OR FEEL. ING; IS THIS A l.YRIC? IF so, WHAT .IS THE EMOTION OR FEEL ING EXPRESSED? A20. 520 A6. THE FACT THAT El GHT OF HER CH.I LOREN DI ED BEFO RE SHE REA:CHED �T HE AGE OF 60 is HER PERSO NAL TRAGEDY. Q7. How DO WE KNOW THAT Luc I NOA MATLOCK Is LI.FE WAS NOT AN EASY ONE? 624 A1 . INNISFREE IS AN ISLAND IN LAKE G�LL , SL �GO COUNTY r IRELAND; MANY REFERENCES WILL BE MORE CLEAR IF WE KEE. P IRELAND � N MIND. Q2� WHAT K.I ND OF A CAB.I N WOULD BE ONE BU ILT OF CLAY ANO WATTLES? A2. 728 IT .·i S NOT S�PPOSED· THAT YOU NOW UNDERSTAND TH IS POEM , BU T WE ·BEL I EVE THAT THESE QUE·STI ONS HAVE AT LEAST PO 1-NTED THE WAY TO CLEAR I NG UP MANY OF ·I TS, IS TO READ ·l·T9 DETERM INE WHAT COMPLEXITIES. THE WAY TO UNDERSTAND AN-Y POEM. . IT ACTUALLY SAYS, AND TH; NK ABOUT IT. Do TH IS AND SEE WHAT REAL ENJOYMENT CAN BE DERIVED FROM POETRY. CHAPTER IV THE POEMS FOR USE WITH THE PROGRAM T1-tlS CHAPTER CONSISTS O'F THE TEXTS OF THE POEMS TO WH ICH THE QUESTION-ANSWER SERIES OF THE PROGRAM REFER. IT HAS BEEN FOUND IMP RACT- ICAL TO LIST THE POEMS IN THE ORDER OF THE PROGRAM; THEREFORE, THEY WILL BE FOUND IN TH IS CHAPTER ARRANGED AL PHABE TICALLY BY TI TLE. IN EACH CASE THE DEFINITE OR INDEFINITE ARTICLE . HAS BEEN RETAINED; THE TEN POEMS : • WHOSE Tl TL ES START WI TH "THE11 ARE LISTED TOGETHER AND SUB-ALPHA BE Tl ZED BY THE SECOND WO RDe IN THE INDEX THE ARTICLES ARE DROPPED. WHEREVER POSSI BLE ORIGI NAL BOOK SOURCES HAVE BEEN CONSULTED FOR THE TEXTS OF THE POEMS AND SUCH 'I NFO RMATION ACCREDITED IN A FOOTNOTE. IN A FEW CASES THE ORIGINAL SOURCES WERE NOT AVAILABLE AND THE TEXT HAD TO. BE TAKEN FROM THE COLLECTED· WO RK S OF THE AUTHORt AND SOME POEMS WERE AVA.ILABLE ONLY IN STANDARD ANTHOLOGIES. IN EVERY CASE AN HONEST EFFO RT WAS MADE TO SECURE THE AUTHENTIC AND MOST GENERALLY ACCEPTED VERSION o·F THE POEM. 119 ANONYMOUS LIMERICK AN OLD MAN OF NANTUCKET THERE WAS AN OLD MAN OF NANTUCKET WHO KEPT ALL HIS CASH IN A BUCKET; BUT H� S ciAUGHTER, NAMED NAN, RAN AWAY WI.TH A MAN--- AND AS FOR THE BUCKET, NANTUCK ET0 .5 LANGFO RD REED, EDo, THE COMPLETE LIMERICK � ( GARDEN CITY, N.Y: G. P. PuTNAM1S SONS, 1925) ,-;:" 72. 120 BREAK , BREAK , BREAK BREAK , BREAK , BREAK , ON THE COLD GREV "STONES, 0 SEA! AND I WOULD THAT MY TONGUE COULD UTTER THE THOUGHT THAT ARISE I� ME. 0 WELL FOR THE FISHERMA�1s �ov, 5 THAT HE SHOUTS WITH HIS SISTER AT PLAY i 0 WELL FOR THE S�I LO� LAD, THAT HE SINGS IN HIS BOAT ON THE BAVI AND saE7ST�TELV SHIPS GO ON To THE� R HAVEN UNDER THE H�LL; 10 BUT 0 FOR THE TOUCH OF A VANISH1D HAND, AND THE SOUND OF A VO ICE THAT is STILL ! BREAK , BREAK, BREAK , AT THE FOOT OF THY CRAGS, 0 SEAi BUT THE TENDER GRACE OF A DAV THAT IS DEAD 15 WILL NEVER COME BACK TO ME. ARCH.I BALD MACMECHAN, ED. , SELECT POEMSr.2.E, ALFRED TENNYSON. (BOSTON: ' ' .. D. c. HEATH �ND COMPANY� ·1907) , P. 1J2. � . . t • 121- .CHANSON INNOCENT, ·1 N . JusT- SP RING WHEN 'THE WO RLD IS MUD- LUSC IOUS THE LITTLE LAME BALOONMAN WH ISTLES F'AR ANO .WEE 5 AND EDDI EANOBILL COME RUNNING F.ROM MARBLES AND PIRAC I ES AND jTIS SP RING WHEN THE �O RLO IS PUDOLE-WONDERF'UL 10 THE QUEER OLD BALOONMAN WH ISTL ES F'AR ANO WEE AND BETTYANDI SBEL COME DANCING FROM HOP-SCOTCH AND JUMP-ROPE AND 1 5 SP RING AND THE GOAT-FOOTED 20 BALOONMAN WH ISTL ES FAR AND WEE E·. E� CuMM1 NGs, Col..l..EcTE:o Po·EMs · {New--vo�RK :: HA·Rcou·RT-,: BRACE· AND-. COMPANY, 1923)', p. JO'. ' DANNY :DEEVER 11WHAT ARE THE BUGLES BLOW.I N' F'O R1 11 SA.I D F.ILES-ON-PARADE. "To TU RN YOU OUT, TO TURN. YOU OUT, II THE CoLOR-S�RGr;;ANT SA.I o. . 11WHAT MAKES YOU LOOK 60 WH.I TE, SO WH .I TE1 11 SAID F'ILES-ON-PARADE. 11 I1M DREAD.I N 1 WHAT I tvE GOT TO WATCH, II · 'FHE COLOR-SERGEANT SA.ID. FoR THEV 1RE HANGIN1 DANNY DEEVER,_. vou CAN 1EAR THE DEAD MARCH PLAY 5 THE REGIMENT1S IN 'oLLOW SQUARE--THEV1RE HANGIN1 HtM TO-DAV; THEV 1VE TAKEN OF' H.IS BUTTONS OFF' AN 1 CUT HIS STR.IPES AWAY, AN1 THEV1RE HANG� N1 DA�NV DEEVER IN THE MORNIN1• "WHAT MAKES THE REAR-RANK BREATHE so fAR0?11 SA.ID F1LES-ON-PARAOE. �Ir's BI TTER COLO, IT1S BITTER COL0,11 THE··COLOR-SERGEANT SA� D. 10 1.1WHAT MAKES THAT F'RONT-RANK MAN FALL . oowN?11 SA IO F.ILES-ON-PARAOE. 11A roucH o1 suN, A roucH o1 sON, 11 THE :COLOR-SERGEANT SAID. THEY ARE HANG.I N' DANNY DEEVER, THEY ARE MARCHIN1 OF' 11M ROUND, THEY 1AVE tALTEO DANNY DEEVER BY 1ts COF'FIN ON THE GROUND; AN 1 1E1LL SWING .I N 1ARF A M.INUTE·F'O� A SNE.f\K t.N1 Sl:IOOT.IN1 HOUND-- 1:5 0 THEV1RE HANG IN1 DANNY DEEVER �N THE MORN� N11 "'Is COT WA S RIGHT-'AND CO T TO M.INE,11 SA·l. D_FILES-ON-PARAOE. 111E1s SL EEPlN1 OUT AN1 FA� TO-�-IGHT,1.1 THE COLOR-SERGEANT SAID. "l'vE DRUNK 1'1s !3EEB A SCORE o' TIMES,11 SAID FILES-ON-PARADE. 11 1E1s ORINKIN1. BI TTER BEER ALONE,11 T�E .C9LOR-8ERGEANT SAID. 20 THEY ARE HANGIN1 DANNY DEEVER, YOU MU ST MARK 1!M 'TO 1tS PALCE, R 1E SHO T A COMRADE SLEEP IN1--vou MUST LOOK ·�M IN THE F'ACE; FO. N INE 1UNDRED OF 'as· COUNTY AN.• THE REGIMENT'S DISGRACE, WH.ILE THEY1RE HANGIN1. DANNY DEEVER IN THE MORNIN1 • 11WHAT1 S THAT SO BLACK AG.IN. THE SUN? 11 SA.ID F.ILES-ON-PARADE. 25 11 lr1s DANNY F'� GH�iN1 1ARD FOR L�F'E�11 THE COLOR-SERGEANT SAID. 1.1WHAT1 s THAT THAT WHt MPERS OVER1EAD?11 SA ID FILES-ON-PARADE� 1.11T1S DANNV 1S SOUL THAT1s A PASSIN1 ·NOW,11 THE COLOR-SERGEANT SAID. FOR THEY I VE DONE W.I TH DANNY DEEVER, YOU CAN 1 EAR THE QUI CKSTEP PLAY t THE REGIMENT1S �N COLUMN, AN1 THEY 1RE MARCH IN1 US AWAY; Ho ! THE YOUNG RECRU ITS ARE SHAK�Nt , ANi THEV 1LL WANT THE IR BEER TO-DAV, AF'TE R HANG� N1 DANNY DEEVER IN THE MORNIN1• · RuDVARD· KIPL.ING, DEPARTMENTAL DITTIES AND BALLADS AND BARRACK-ROOM BALLADS .(NEw YORK : Dqu!3L !==DAV , ����- AN!l CoMPA;;;;. 1:90 5) , p·. ·1A3-1"45. 123 ANONVMOus· NEGRO FOLK SONG ( c. 1g50) FOLLER "DE DRINKIN1 GOU 1D WH EN DE SUN COME BACK , WHEN DE FI RS1 QUAI� CALL• : DEN D,E T.I ME I 6 COME-- FOLL ER DE DR;NKIN1 GOti� �. :CHORUS: FOLLER bE DRi N�IN1 GOU 1D; FOLLER DE DRINKl-N 1 GOU 1D, FoR DE OL 1 MAN "sAv, "FOLLER �t DRINK�N1 GOU1D." 'DE RIVA1s BANK AM A VERY GOOD ROAD,, ; 5 Dt DEAD TREES SH00 DE �AV ; � . LEF1 Foo,T PEG FOOT. GO fN1 .oN ; . FOL_L. ER DE DRINKi N1 G._ou 1D. (CHo:Rus.) OE RIVER ENDS ATWEEN TWO HILLS,. FOLLER. DE DR,INKIN'1 G'ou 1D;" 10 1NOTHER RIVER . ON DE �THER SIDE, FOLLER DE DR·l. NK.I N1: GOU.1 D. ' (CHORUSo.) WHA DE LITTLE RI VE.R MEET DE GREA1 Bl� PN, DE OL 1 MAN WA I TS--- 15 FOLL ER DE DRINKIN1 GOU 1�� · JOHN A.· LoM:Ax ·AND. . At.:AN' LoMAx; E:Ds�, :AME·iitc AN ·BALLA0o s· AND � � (NEW YORK : THE MACM�LLAN COMPANY, 1934) , PPe 227-228. WAL T WH I TMAN ( 181 9-.1892) FOR YOU 0 DEIVOCRACY COME, I WlLL MAKE THE CONTINENT INDISSOLUBLE, I W.ILL MAKE Tl;IE MOSJ Sf'LEND_I D RACE THE SUN EVER SHONE UPON, · . I wILL MAKE. �IVINE MAGNETIC LANDS, . W� TH tHE LOVE QF COMRADES, WI TH THE LIFELONG LOVE OF COMRADES. 5 WILL PLANT .C_OMPANIONSHIP TH ICK AS TREES ALONG ALL THE R t VERS OF AMER.I CA,. AJ:JD ALQNG ALL SHORES o� THE GREAT LAKES, AND ALL 6vER THE PRAI RIES, WILL MAKE INSEPARABLE 91TiES.WITH THEiR ARMS ABOUT EACH OTHER1S NECKS, 10 BY THE LOVE OF COMRADES, By THE. MANLY LOVE OF COMRADES, FOR YOU: THESE FROM ME, _0 0E�OCRACY 1 TO SERVE YOU MA FEMME! FoR You , FOR ·vou I AM . TRIL� ING TRESE soNGs. . WALT. WH i TMAN , LEAVES oF GRASS ( GARDEN .C l.TV , N.Y.•. : DousLEDAV:, DORAN AND COMPANY, .INc., 1937), PP-;-9$-99.' • • • 1 125 ANONYMOUS SEA CHANTY (c� 1s20) HAUL AWAY JOE WHEN I WAS A LITTLE LAD AND so MY MOTHER TOLD ME; WAY , HAUL AW�Y� WE 1L� HAUL AWAY JoE, THAT IF ' ( DID NOT Kl$S THE G� RLS MY L'PS WOULD GROW ALL MOLDY. WAY , HAUL AWAY, WE 1LL HAUL AWAY 'JoEe CHORUS: . WAY, HAUL AWAY , WE 1LL HAUL FOR BETTER WEATHER! WAY, HJl.UL AWAY ,.WE 1LL HAUL AWAY JQEe Lou is WAS THE K�NG OF FRANCE BEFORE THE REVOLUTION; 5 WAY , HAUL AWAY, WE 1LL HAUL AWAY JoE, KING Lou is GOT HIS HEAD CUT OFF WH ICH SPOILED HI S CONSTI TUTION. WAY � HAUL AWAY , WE 1LL HAUL AWAY Joi::•. OH, THE COOK IS IN THE GALLEY MAK ING DUFF SO HANDY, WAY , HAUL AWAY, WE 1LL HAUL AWAY JoE, 10 AND THE CAPTAIN1S IN HIS CABIN OR�NK�N1 WINE AND BRANDY. WAY , HAUL AWAY, WE1LL HAUL AWAY JoE. BuRL · lvEs; THE· BU.RL. JvE.s .SoN.G. BooK ··(NE:w YORK : BA�LANTI NE. BooKs, 1953) , PPe · 1-60-10� --::- --:-- -:---. - EDWARD TAYLOR (1646?-.1 729) HUSWIFERY MAKE ME, 0 LORD1 THY SP INNING WHEEL COMPLEAT, THY HOLY WORD. MY DI STAFF MAKE FOR. ME; ' MAKE Ml NE AF)'"ECTIO NS. ,T HY SWI FT. FLYERS NEAT' AN D MAKE MY S.OUL. THY HOL v SPOOL TO BE; Mv CONVERSATl ON MAKE TO BE THv' REEL , 5 AND REEL THE VARN THEREON SPUN OF THY WHEEL • .. MAKE ME THY LOOM THEN; KN:l· T THERE IN THIS TWINE, AND MAKE THY HOLY SP 1RiT� LORD, WIND QU ILLS; . THEN WEAVE THE WEB THYSELF• THE VARN "1 s FINE TH�NE ORDINANCES MAKE MY FULL�NG MILLS. 10 THEN DYE THE SAME �N HEAVENLY COLORS CHO�CE1 ALL· P.INKED WI TH VARNISHED FLOWERS OF PARADISE. THEN CLOTHE �HER�WITH MINE UNDERS�ANDI NG� WILL, AFFECTIONS, J�DGMEN T, CONSC�ENCE, MEMORY; Mv WO RDS AND ACTIONS, THAT. THEIR SHINE MAY FILL 1 5 Mv WAYS W.ITH GLORY AND THEE GLO RIFY. THEN Ml NE APPAREL SHALL- DI SPLAY BEFORE YE THAT I AM_. CLOTHED IN HOLY ROBES FOR GLORY• ROBER� C. POOL EY, WALTER 8LA� R, THEODORE HORNBERGER, AND PAUL FARMER, EDS.' THE. UN I TED STATES .1 N L'1 TERATU RE (CHrCAGO :.ScQTT,-FoR��MAN AND • COMPANY:°"1952) , P� 116. - .� .. . � IN FLANDERS FIELDS . l N ft. ANDERS. F I Et. OS :THE. POPP I ES BL.OW BET\'IEEN THE .. CROSS.ES, ,ROW ON ROW, THAT MARK OUR Pt.ACEj AND JN ·THE SKY THE !..ARK S., STILL. . 8RAVEL.Y SING.I NG, Ft.Y SCARCE HEARD AMID THE GUNS BEL.OW. 5 WE ARE THE DEAD. SHORT DAYS AGO WE LIVED, FELT DAWN , SAW SUNSET Gt.PW� LOVED AND WERE ·t.OVED 1 A�D NOW WE LIE IN Ft.ANDERS F,1.Et.os. ' TAKE UP ·OUR QUARREL. WI TH THE FO E! 10 .To YOU FROM. FAl·t. I NG. HAND�1 WE THROW THE TORCH-- BE YOURS. TO HOl..D IT. H� GHI J F YE BREAK ·FAl.TH WI TH US WHO. DIE, WE Sl-!ALL ,NO T St.EEP.t, THOUGH. POPP) ES GROW IN Ft.AN,OERS .Fl·Et. os. 1j ,: • · JOHN :D. McCRAE, . !'.N. Ft.!ANDERS F.1 Et.os :AND OTHER ·P oe:Ms · (NEw YORK : . . - -- G. P. P,urnAM 1s· SoNs, ·1919') , P. 3. EDGAR AL LEN PoE (1809-1 849) ISRAFEL IN HEAVEN A SP IRIT DOTH DWELL" WHOSE - HEARTSTRINGS ARE A LUTt; NONE S�NG SO WILDLY WEtL As THE . ANGEL lsRAFEL � AND THE GIDDY STARS (so LEGENDS TELL), 5 CEASING THEIR HYMNS, ATTEND THE SPELL OF HIS vo icE, ALL MUTE. TOTTERING ABOVE IN HER HIGHE ST NOON THE ENAMORED MOON 10 BLUSHES WITH LOVE, • WH.ILEt TO L ·, STEN t THE RED LEVIN (WI TH THE RAP10 PLEIADS� EVEN, 1 WH ICH WERE SEVEN) PAU SES IN HEAVEN . 1 5 AND THEY SAY (THE STARRY CHO IR ANO THE OTHER LISTENING THINGS) THAT lsRAFELi's FIRE Is OWING TO THAT LYRE BY WH ICH HE SITS AND SINGS, 20 THE TREMBLiNG LIVING WI RE OF THOSE UNUSUAL STRINGS. BUT THE SK.IES THAT ANGEL TROD, WH ERE DEEP THOUGHTS ARE A DUTY, WHERE LovE1s A GROWN-UP GO D, 25 WHERE THE HOURI GLANCES ARE IMBUED WI TH ALL THE BEAUTY WH ICH WE WO RSH.IP IN A STAR. THEREFORE THOU ART NOT WRONG, . I SRAFEL l _t WHO DESP I SEST 30 AN UNIMPASSI ONED SONG; To THEE THE LAURELS BELONG, BEST B�RD , BECAUSE THE W� SESTI MERRiLY LIVE, AND LONG! THE ECSTASI ES ABOVE 35 WI TH THE BURNING MEASU RES SUIT; THY GRIEF, THY JOY, THY HATE, THY LOVE , W.I TH THE FERVOR OF THY LUTE-- WELL MAY THE STARS BE MUTE! YES, ·HEAVEN IS TH INE; BUT TH[S Is A WO RLD OF SWEETS. AND SOURS; OUR FLOWERS ARE MERELY--FLOWERS, AND THE SHADOW OF THY PERFECT BL ISS Is THE SUNSH INE OF OURS. IF I COULD DWELL ; WHERE ISRAFEL HATH DWELT, AND HE WHERE I' HE Mi GHT NO� SING sb 'WILDLY WELL A�MORT�L ,MELODY , WH ILE A BOLDER NOTE 'THAN mHtS MIGHT SWELL 50 F�oM :MY L�RE 'WI THIN TH� SKY. ERNEST RHYS, ED. , PoE1s PoEMS .!!::!.!?. EssAYS (LONDON: J. M. DENT AND SONS, LTD., 1927), PP. 14=1 5. 1 JO WILL. IAM WORDSWORTH (1770-1S50) I WANDERED LONELY AS A CLOUD I WANDERED LONELY. AS A CLOUD THAT FLOAT.S ON HIGH 01ER VALES AND HILLSt WHEN ALL AT ONCE I SAW A CROWD , A HOST, . OF GOLDEN DAFFODl�s; BES�DE �HE LAKE, BENEATH THE TREES 5 FLUTTERING AND DANCING IN THE BREEZE•- CONT�NUOUS AS THE STARS THAT SHINE AND TWI NKLE ON THE MILKY WAY, THEY STRETCHED IN NEVER-ENDING LINE Al.ONG THE MARGIN OF A BAY: 10 TEN THOUSAND SAW I AT A GLANCE, TOSS.ING THEIR HEAD S IN SPRIGATLY DANCE. THE WAVES BESIDE THEM DANCED; BUT THEY OUT-DID THE SPARKL�NG WAVES IN GLEE: A POET COULD NOT BUT BE GAY 15 IN SUCH A JOCUND COMPANY: I GAZED--AND GAZED--BU T LITTLE THOUGHT WHAT WEALTH THE SHOW TO ME HAD BROUGHT! FOR OFTt WHEN ON MY COUCH I LIE IN VACANT OR IN PENSI VE MOOD, 20 THEY FLASH UPON THAT INWARD EYE WH ICH IS THE BL.ISS OF SOL ITUDE; AND THEN MY HEART WITH PLEASURE FILLS, AND DANCES WITH THE DAFFODILS• THOMAS HuTCH 1 NSON, ED�, THE Po ET I CAL WO RKS .2.E W1Li..1 AM Wb RoswbRTH (LONDON: OXFORD UNI VERSITY" PREsS,-1907) , P. 1s7. :i-31 ROBERT SuRNs· (1759-1796) JOHN ANDERSON , MY JO -JOHN ANOE�SO� MY JO� JOHN, WHE� WE WE�E F�RST ACQUENTt YOUR !-OCKS WERE LIKE THE RfWENt you.R BONNY· BROW WA'f,3·. BRENT; :BUT NOW YOU� BROW !S BELO� JOHN, 5 Y9uR LOCKS AR� Ll�E rHE SNAW; , BUT BL ESSINGS ON YOUR FROSTY POW, JOHN ANDERSON MY JO. JOHN ANPERSQN MY JO, JOHN1 WE CLAMS.THE HILL THEGITHER; 10 AND MpN�E A C�NT!E DAV , JO�N1 : WE1VE:HAD wJ 1 �NE ANI THER1 Now WE MAUN TOTTER DOWN , JOHN, AND HAN� �N HANO WE 'LL · GO , .�D !?LEEP THE ...... "!/.o. .E.• . H!==NLEY,t ED. t .I!:!!:. COMPLETE POETICAL. WORKS .2!, ROBERT BURNS (BosToN: HouGHT9N M�FFL.J N COMPANY_, 1897) , !" • 223. 1)2 HAi�i LACHRYMAE CHRISTI WH ITELY, WH ILE BENZINE : RINSINGS FROM THE MOON DISSOLVE �LL BUT THE WINDOWS OF THE MILLS (INSIDE THE SURt MACHINERY ls STILL 5 AND CURDLED ONLY WHERE 'A SILL SL UICES ITS O�E UNYIELDING SM ILE) IMMACULATE VENOM B� NDS THE Fox 's TEETH , AND SWART THORNS FRESHEN ON THE VEAR1S· 10 FIRST BLOOD� FROM FUANKS UNFENDED , TWANGED �ED PtRFIDiEs OF SPRING : ARE TRILL�ON ON THE HiLL . AND THE NIGHTS OPEN ING CHANT PVRAMIDS,-- 15 ANO� NT WITH iNNOCENCE, --RECALL To MUSIC AND RETRI EVE WHAT PERJURIES HAD GALVAN. IZED THE EVES WH ILE CHIME BENEATH AND ALL AROUND 20 D�sTILLING CLEMENC�Es,--woRMs1 INAUDIBLE WH.I STLE, TUNNEL I NG NOT PENI TENCE BUT SONG, AS THESE PERPETUAL FOUNTA� NS, VINES9- 25 THV NAZARENE AND TINDER EVES. (LET SPHI NXES FROM THE RIPE Bo RAGE OF DEATH HAVE CLEARED MY TO NGUE ONCE AND AGAi N; VERMIN AND ROD No LONGER BiND. SOME SENTi ENT CLOUD 30 OF TEARS FLOCKS THROUGH THE TENDONED LOAM : BETRAYED STONES SLO��V SPEAK.) NAMES PEELING FROM THINE EVES AND THE IR UNDiMMING LATTICES OF FLAME, SPELL OUT IN PALM AND PAIN 35 COMPULSION OF THE VEAR, 0 NAZARENE. 1 33 LEAN LONG F,ROM·SABL�, SL�NDE� BOUGHS, UNSTANCHED AND LUMI NOUS. AND AS THE NIGHTS STRIKE FROM THEE PERFECT SPHERES, LIFT UP IN LILAC-EMERALD BREATH THE GRAIL OF EARTH AGAI N-- THY FACE FROM CHARRED AND RIVEN STAKES, 0 DloN�su s, THY LJ�MAN�LED TARGET SM ILE� WALDO FRANK , ED., THE COLLECTED POEMS OF HART CRANE (NEW YORK : LIVERIGHT PUBLISHING CORP�TION, 1933) , PP. e4-s5. 134 JOHN GouLD FL ETCHER· (18S6-1950 ) LINCOLN LIKE A GAUNT, SCRAG9LV PINE WH ICH LiFTS ITS HEAD ABOYE.THE MOURNFUL SANDHILLS; AN o PATI ENTLY, THROUGH DuLL YEARS OF BITTER SILENCE, UNTENDED AND UNCARED FOR, BEG INS TO GROW. UNGAINLY , LABOR� NG, HUGE, 5 THE WI ND OF THE NORTH HAS TW I STED AND GNARLED ITS BRANCHES; YET IN THE HEAT OF MIDSUMMER DAYS, WHEN THUNDER-CLOUDS RING THE HORIZON, A NATION OF MEN SHALL REST BENEATH ITS SHADE. AND IT SHALL PROTECT THEM ALL , HOLD EVERYONE SAFE THERE , WATCHING ALOOF IN SILENCE; 10 UNTIL AT LAST ONE MAD STRAY BOLT FROM THE ZEN ITH SHALL STRIKE IT IN AN INSTANT DOWN TO EARTH. 11 THERE WAS A DARKNESS IN TH IS MAN; AN IMENSE AND HOLLOW DARKNESS, OF WH .I CH WE MAY NOT SPEAK, NOR SHARE WI TH HIM1 NOR ENTER; A DARKNESS THROUGH WH ICH STRONG ROOTS STRETCHED DOWNWARD S INTO THE EARTH 15 TOWARDS OLD TH INGS; TOWARDS THE HERDMAN-K INGS WHO WALKED THE EARTH AND SPOKE WI TH Goo, TOWARDS THE WANDERERS WHO. SOUGHT FOR THEY KNEW NOT WHAT, AND FOUND THE IR GOAL AT LAST; TOWARDS THE MEN 'WHO WAI TED , ONLY WA I TED PATIENTLY WHEN ALL SEEMED LOST MANY BITTER WINTERS OF DEFEAT; 20 DOWN TO THE GRANITE OF PATI ENCE THESE ROOTS SWEPT, KNOTTED FIBROUS ROOTS, PRYING, PIERCING, SEEK ING, ANO DREW FROM THE LIVING ROCK AND THE LIVI NG WA TERS ABOUT IT THE RE6 SAP TO CARRY UBWARDS TO THE SUN. No r PROUD, BUT HUMBL E, 25 ONLY TO SERVE AND PASS ON, TO ENDURE TO THE END TH ROUGH SERVICE; FoR THE AX IS LAio AT THE ROOT OF THE TREES, AND ALL THAT BRING NO T FORTH GOOD FRUIT SHALL BE CUT DOWN ON THE DAV TO COME AND CAST INTO THE FIRE. 111 THERE �S S�LENCE ABROAD IN THE LAND TODAY , ANO :I N THE HEARTS OF MEN, A DEEP AND ANXI OUS SILENCE; 30 AND, BECAU.SE WE ARE STll,-L AT LAST, Tl:;IO SE BRONZE LIPS SLC:WLV OPEN , THOSE �OLLOW ANO WEARY EVES TAKE 9N A GLfAM 9F klGH�. SLOWLY A PATI ENT, FIRM-SVLL/\BLED VO fCE CUTS THROUGH THE ENDL ESS SILENCE LIKE A LABORING OXEN THAT DRAGS A PLOW THROUGH THE CHAOS OF RUDE CLAY-FIELDS: "I WENT FO RWARD AS THE LIGHT GOES FORWARD IN EARLY SPRING, 35 BU T THERE WERE AL SO MANY TH INGS WH�CH I LEFT BEHIND. "TOMBS THAT WERE QU IET; ONE, OF A. MOTHER, wHqsE BRI EF LIGHT WENT OUT IN THE DARKNESS, ONE,, OF A LOV�D ONE1 THE SNOW ON WHOSE .GRAVE IS .LONG FALL I NG 1 . . ONE·, ONL,V OF A CHI LD.1 ,BUT .1 T . . WAS MI NE. 4o "HAVE YOU FO RGOT YOUR GRA�Es7 . Go , QUESTlbN THEM IN ANGUISH, LISTE� LONG TO TH EI R UNSTI RRED LIPS. FROM YOUR HOSTAGES TO SILENCE1 LEARN' THERE IS NO L.IFE WITHou:r DEATH , NO DJ\WN W,I' THOUT SUN-S.ETTING, No VIC�O RV BUT TO H�M WHO HAS. GIVEN ALL.n THE CLAMOR DIES DOWN � .THE FURNACE-MOU.TH OF THE, BA.TTL� IS SILENT. 45 THE MIDWINTER. SUN DIPS ANb DESCENDS, THE EARTH. TAKES. ON AFRESH ITS BR'l! GHT COLORS. BUT HE WHOM WE; MOCKED A�D OBEYED NOT1 HE WHOM WE SCORNED AND MISTRUSTED, HE HAS DESCENDEri , LIKE A GOD, TO HIS REST. OVER THE UPROAR OF C� TIES1 OVER THE MILL�ON iNTRICATE THREADS OF L ,FE W�VERING AND C�OSSING: 50 IN THE: MIDST OF. PROBLEMS W� KNOW NOT1 T�NGL��G� PERPLE�ING1 ENSNARING, R� SES ONE WH ITE TOMB ALONE. BEAM O�ER �T1 STARS. WRAP IT ROUND� �TRIP ES---STR IPES RED Fp R THE PAIN THAT HE BO RE FOR VOU-- ENFOLD �T FO REVER, 0 FLAG, RENT, SO ILED, BUT REPAIRED THROUGH YOUR ANGU ISH; 55 LONG AS YOU KEEP HIM THERE SAFE1 . THE NATIONS SHALL BOW T� YOUR LAW� i STREW O�ER HIM. FLOWERS: BLUE FO RGET-ME-NOTS FROM THE NORTH, AND THE BR�GHT PINK ARBU TUS FROM THE EAST, AND'FROM . THE WEST R� CH ORANGE Blos§OMS, BUT FROM THE HEART OF THE LAND TAKE THE PASSI ON-�LOWER; 60 RAVED , V� OLET, DIM W� TH THE NA�LS THAT PIERCED, THE CROSS THAT HE BO RE AND THE CIRCLET, AND. BESIDE IT THERE LAV ALSO ONE LONELY SNOV·J-VIH.I TE MAGNOL IA, , B.I TTER FO R REMEMBRANCE OF THE HEAL.I NG WH.I CH HAS PASSED� J. G. FL ETCHER, SEL ECTED PoEMs (NEw VoRK : FARRAR AND RINEHART, INc. , 19)8), PP. 99-103. 1J6 St R ·WAt.: TER ·SC.OTT (1.771--lSJ2) LOCH I NVAR OH, YOUNG .LOCH INVAR IS COME OUT OF THE WEST: THROUGH ALL . THE \IJ t DE BO RDER H"j S STEED WAS THE BEST;' AND SAYE HI S GOOD BROADSWO RD HE WEAPONS HAD 'NON�; HE RODE .ALC UNARMED AND HE .RODE ALL ALONE. So FAITHFUL IN �OYE, AND SO DA�NTLESS IN WAR, 5 THERE NEYER WAS KNIGHT t:IKE THE YOUNG LdCHINYAR! HE ; STAVED :NOT �OR BRAKE, AND HE STOPPED NOT FOR . STONE; HE ·S\';AM THE EsK R1 YER ·wHERE F'd'RD THERE wAs NONE: BUT ERE HE AL I GHTED .AT NETHERBV GATE, THE BRIDE HAD CONSENTED, THE GALLANT CAME LATEj 10 FoR A LAGGARD IN LOVE, AND A DASTARD IN WAR, WAS TO WED 'tHE FAIR ELLEN OF BRAYE LoCH I N�AR� So BOLDLY. HE ENTERED THE NETHERBV HALL, AMONG BRIDESMEN, AND KINSMEN, AND BROTHERS , AND ALL:· THEN S�OKE THE BRIDE1S F�THER, RI S HAND ON HIS SWO RD 15 (foR THE POOR CRAVEN BRIDEGROOM SAID NEYER A WO RD), 110 COME VE. IN PEACE HERE, OR COME VE IN WA R, OR TO DANCE AT OUR BRIDAL , YOUNG LORD toCH) NYAR?11 ' �- 11 1 · LONG wooED vo1YR DAUGHTER, MV SU IT vou DENIED;- tovE SWELLS LIKE THE SOLWAY, BUT EBBS LIKE ITS TIDE! 20 AND . NOW AM I COME, wi TH TH IS LOST LOVE OF MINE, To LEAD.BUT ONE. MEASU RE, DRINK ONE CUP OF WINE: THERE AR� MAI DENS IN SCOTLAND MORE LOVELY BV F'AR, THAT WOULD GLADLY BE BRIDE TO THE YOUNG LoCHINYAR. 11 THE BRIDE KISSED THE GOBLET: THE KNI GHT. TOOK IT UP , 25 HE QUAFFED OFF THE WINE, .AND HE THREW DOWN THE CUP� SHE . LOOKED DOWN TO BLUSH� AND SHE LOOKED up·�o SIGH, Wt TH A SM ILE ON HER L�PS, AND A TEAR IN HER EVE. HE TOOK HER SOFT HAND, ERE HER MOTHER COULD BAR,-- 11Noiv TREAD WE A MEASURE ! II SAID YOUNG LOCH I NYAR. So STATELY HI S FO RM, AND SO LOVELY HER F'ACE, THAT NEYER A HALL SUCH A GALL IARD D�D GRACE: · WH ILE HER MOTHER DID FRET, AND HER FATHER DID FUME, AND THE BRIDEGROOM STOOD DANGL�NG HIS BONNET AND PLUME; AND THE SRI DE-MAI DENS WH .I SPERED, 111 TVJERE BETTER BV FAR 35 To HAYE MATCHED OUR FA IR COUSIN WITH YOUNG LOCHINVA R. » 137 ONE TOUCH TO HE:R HAND, AND· ONE WO Ro·· IN HE:R E:AR, WHE:N THE:Y RE:ACHED THE HALL DOOR, ANO THE: CHARGER STOOD NEAR; So LIGHT TO THE CROUPE:· THE:· FAIR LADY HE SWUNG, So L.I GHT TO THE: SADDLE: BEFO RE: HE:R HE: SPRUNG! 4o 11SHE: IS WON! WE ARE GONE, OVER BANK , BUSH, AND SCAUR: THEY1LL HAVE FLE:E:T STEEDS THAT FOLLOW,11 QUOTH YOUNG LOCHI NVAR. ; . THERE: WAS MOUNTING .MONG GRAEMES OF THE NETHE:RBY .CLAN: FoRSTERs,. FENWICKS, AND Mu sGRAVE:S�. THE:Y RODE AND THEY RAN; THERE WAS RAC I NG AND CHAS I NG ON CANOB I E LEE t 45 Bur THE LOST BRIDE: . 6F NE}HERBY NE1ER DID T�EY se:e:. So DAR I NG IN LOVE t AND SO DAUNTLE:SS IN WAR, HAVE: YE: e:•e:R. HE:ARD OF GALLANT LIKE: YOUNG LOCHI NVAR? Ho RACE: E. ScuDDE:R, ED., ScoTT1s CoMPLE:TE: PoE:TICAL WO RK S (BosroN: Hou GHTON M"1 FFL IN COMP ANY t 1900) t p.1 30. CARL SANDBURG (1878- · LOSERS · IF I SHOULD . PASS THE TOMB OF JONAH I WOULD STOP THERE AND SIT FOR AWHILE; BECAUSE I WAS ' SWALLOWED ONE Tl ME DEEP IN THE DARK ANO CAME OUT"ALi VE AFTER AL( • . IF I PASS THE BU RIAL SPOT OF NER6 5 I SHALL SAY . TO THE WIN�t 11WELL � WELL 1 11- I WHO HAVE FIDDLED IN A WO RLD ON FIRE, I WHO HAVE DONE SO MANY STUNTS NOT WO RTH DO ING. AM LOOKING FOR THE _GRAVE OF S1NBAD Too. WANT TO SHAKE HIS GHOST-HAND AND SAY, 10 11NE� THER OF us DIED VERY EARL� , oio WE?11 AND THE LAST SLEEP � NG-PLACE OF NEBUCHADNEZZAR- WHEN I ARR.I VE THERE I SHALL TELL THE WI ND: 11You ATE GRASS; I HAVE EATEN CROW-- WHO is BETTER OFF NOW OR NEXT VEAR1 11 15 JACK CADE, �OHN BROWN , JESSE JAMES, THERE TOO I COULD S.I T DOWN AND STOP FOR AWH ILEe I THi NK I COULD TELL THEIR HEAD STONES: 11Goo, LET ME REMEMBER ALL GOOD LOSERs. 11 I COULD ASK PEOPLE TO THROW ASHES ON THEi R HEADS 20 IN THE NAME OF THAT SERGEANT AT BELLEAU Wooos, WALKING INTO THE DRUMFi RES, CALLiNG HIS MEN, 11CoME ON, YOU I Do YOU WANT TO L�VE FOREVER?" CARL SANDBURG, CbMPLE:TE Po EMS' (NEW YORK : HARCOURT' BRACE AND. CoMPANV, 1950), PP. 189-190. . 1J9 VV°I LL I AM · SHAK ESPEARE ( 1564-161 6) LOVERS .LOVE THE SPRING IT WAS A LOVER AND HIS LASS, WITH A HEY, AND A HO� AND A HEY NONINO, THAT 01ER THE GREEN CORN-FIELD D�D PASS IN THE SPRING-TIME, THE ONLY PRETTY RING-TIME, WHEN B� RDS DO SING, HEY DING A DING, DING; 5 SWEET LOVERS LOVE THE SPRING. BETWEEN. THE ACRES OF THE RYE, WI TH A HEY, AND A HO , AND A HEY NONINOt THESE PRETTY COUNTRY FOLKS WOULD LIE, IN THE SPRING-T� ME1 THE ONLY PRETTY RING-TIME, 10 WHEN BiRDS DO S�NG, HEY DING A D�NG, DING; · SWEET LOVERS LOVE THE SPRING•; THIS CAROL THEY BEGAN THAT HOUR, WITH A HEY, AND A HO, AND A HEY NONINO, How THAT A L.IFE WAS BUT A FL9WER 15 IN THE SPR; NG-T�ME, THE ONLY PRETTY Rl�G-TIME, WHEN &LRDS DO SING, HEY DING A DING, DING; SWEET.LOVERS LOVE.THE SPRINGe . AND THEREFORE TAKE THE PRESENT TIME, WITH A HEY� AND A HO , AND A HEY NON�NO , 20 FoR LOVE ·1 s cRowNtD w1 TH THE PRIME · IN THE SPRING-TIME, THE ONLY PRETTY RING-TIME, WHEN B� RDS DO SING, HEY DING A DING, DING; SWEET LOVERS LOVE THE SPRINGi Ho RACE HowARD FuRNEss, ED.� SHAKESPEARE1s As You L�KE IT (PHI LA . DELPHIA: J. B • . L IPPlfo.!COTT COMPANY, 1$90) , PP. 262-26� -- EDGAR LEE MASTERS (1869-1-950) . LUC I NDA MATLOCK I WENT TO DANCES AT CHANDLERVl�LE, AND �LAVED SNAP-OUT AT W� NCHESTERo ONE T��E wt CHANGED PARTNERS� DRIV�NG HOME fN THE MOONLIGHT" OF MIDDL E JUNE, · AND THEN I FOUND DAVIS. 5 WE WERE MARRi ED AND LIVED TOGETHER FOR SEVENTY YEARS, ENJOYING, WO RKiNG, RAISING THE TWELVE CHILDREN, E.1 Gf-IT OF. WHOM WE LOST. ERE I HAD REACHED THE AGE OF si xTv . I. SPUN, I WO VE, I KEPT THE HOUSE, I NURSED THE SICK, 10 I MADE THE GAADEN, iANO FOR HOLiDAV RAMBL ED OVER THE F�ELDS WHERE SANG THE iLARKS, AND BY SPOON R� VER GATHERING :MANV A SHELL , AND MANY A FLOWER AND MEDIC� NAL WEED-- 8H6UTING TO THE WOODED HILLS, SlNG ING TO THE GREEN 'VALLEYS. , 15 AT NiNETV-S� � I HAD LlVED ENOUGH , THAT IS ALL , AND PASSED TO · A swtET - REPOSE.· WHAT .I S TH.I S I HEAR OF SORROW AND WEARINESS, ANGER, Di BCONTENT, AND DROOP ING•HOPES? DEGENERATE SONS AND DAUGHTERS, 20 LIFE �S TOO STRONG FOR YOU-- IT TAKES LIFE·TO LOVE LiFE. : EDG·A R LEE: MASTER.s ; � R:1 VER AN:rHOLOGV {NEW· YORK : THE MACMILLAN COMPANY, 1927) , P.229. 141 ALEXANDER POPE (1688-1 744) MAN (FROM 8.!::!, EssAv .2!i �) KNOW THEN THYSELF, PRESUME NOT Goo TO SCAN, THE PROPER STUDY OF MANKIND �S MAN. PLACED ON TH IS ISTHMUS OF A MIDDLE ST�TE 1 A BEI NG DARKLY WI SE, ANO RUDELY GREAT: \'{I TH TOO MUCH KNOWL EDGE FOR THE SCEPTIC SIDE, 5 Wa TH Too' MUCH WEAKNESS FoR· TH E ST01c1s PRIDE, HE HANGS BETWEEN, iN DOUBT TO ACT, OR REST; IN oouBT TO DEEM HiMsELF A Goo, OR BEAST; IN oouBT �� s M1No1 oR Boov TO PREFER; BORN BUT TO DIE1 AND. REASONING BUT TO ERR; 10 . , AL IKE IN IGNORANCE1 H'1 s REASON SUCH1 0 WHETHER HE TH.I NKS TOO L ITTL E OR TOO MUCH: CHAOS OF THOUGHT ANO PASSION, ALL CONFUSED; ST�t..L BY H�MSELF ABUSED OR DISABU SED; CREATED HALF TO' R.1 SE ANO_ HALF TO FALL; 15 GREAT LORD OF ALL TH.INGS1 VET A PREY TO ALL; SOLE JUDGE OF TRUTH, IN ENDLESS ERROR HURLED: THE GLORY , JEST, ANO RIDDLE OF THE WORLD! * * * MAYNARD MACK , ED., ALEXANDER POPE1S. AN ESSAY .2!.i� (LONDON: - . METHUEM AND CoMPANV1 LT0. 1 1950) , PP.5J-56. 142 ROBERT BROWN ING (1812-1$!9) MY STAR AL!.. THAT I KNOW OF A CERTA�N STAR ls, IT CAN THROW 1 . (LIKE THE ANGLED SPAR) Now A DA�T 10F !R�o, 5 'Now A DART 6F BLUE; ·T�L� MY FRIEN�S HAVE SAID THEY WO ULD FAIN SEE, T001 My ST.AR THAT DARTLES THE RED AND THE BLUE! THEN IT STOPS LIKE A BIRD; LfKE A FLOWER, . HANGS FURLED. 10 . THEY �UST SOLACE THEMSELVES W� �H THE SATURN ABOVE IT•. WH AT MATTER:TO ME IF THEIR STAR IS A WO RLD? Mi NE HAS OPENtD 1Ts SOUL TO ME= THEREFOR� LOVE IT. HoRACE E. ScuooER1 to., THE COMPLETE POETIC· AND DRAMAT� C· WoRKs oF ROBERT BROWNING (BosTON; Ho u_G,H TON MJ FFLIN COMP-ANY,--:rn-95) , pp� 1g4W01s5:- , . t4J JOHN ·KEATS (1195-H�21 ) ON FIRST LOOK ING INTO CHAPMAN 'S HOti!ER MucH 'HAVE ·I TRAVELL 1D .I N THE REALMS OF GOLD, AND MANY GOODLY STATES AND KINGDOMS SEEN; ROUND MANY WESTERN ISLANDS HAVE I BEEN WH.I CH .BARDS .IN FEALTY TO APOLLO HOLD. OFT OF ONE WIDE EXPANSE HAD I BEEN TOLD THAT DEEP-BROWED HOMER RULED AS Hi s DEMESNE; YET DID I NEVER BREATHE 'ITS PURE SERENE TILL I HEARD CHAOMAN SAEAK OUT LOUD AND BOLD! THEN . FELT I ·L IKE SOME WATCHER OF THE SK IES WHe:N ll"Ne:w PLANET sw1Ms 11'JT0 :H1s KEN; fo OR LIKE ST00T Co RTEZ WHEN *� TH E�ciLE E�ES . He: STAR10 AT �HE P�c�F� c�-AN� AL� H�S MEN LOOK �D AT EACH OTHER WI TH A WILD gURM I SE-- S.tLENT, UPON A PEAK IN DAR.I EN. WALTER S. SCOTT, ED. , THE POETICAL WORK S .2.f:. � KEATS (NEW YORK! 'THE .MAcr.A'iLLAN 'doMPANY_, 1907),� 14• . ' 144 JOHN; MI LTON (1608-1674) ON HIS BL I NDNESS . · WHEN I CONSI DER HOW �AV LIGHT l·S SPENT '· ERE. HALF MV· DAVS -I N TH_�fS Df-RK WO RLD AND WI DE, ANO THAT ONE TALEt./T- WH.ICH IS D�ATH TO HIDE �ODGED W� TH ME USELESS, THOUGH M� SOUL MORE BENT To SERVE Tf:IEREWl.TH MV MAKER, AND PRESENT 5 My TRUE A,CCOUNT, LEST HE RETU RN.I NG CHI OE; - 11Do!J'H SoD _EXACT DAV-LA�OUR, LIGHT OEN i ED?11 I- FONDLY AsK. Bur P-AT.IENCE, -TO PR. EVENT "- rHAT MU RMU RJ SOON �EPLiEs, 11Goo DOTH �OT NEED E'I THER MAN-'s WO RK OR H'i s OWN : GIFTS. WHO BEST 10 BE�R HIS M1LD VOKE, TH�V PERVE H�M BEST. H� s STATE Is K� NGLV; THOUSANps. AT H� S BIDDi�G SPEED, AND �OST oJER LAND AND OCEA� W� THOUJ REST; THEV .. AL SO SERVE WHO ONLV- ST�ND AND WA-IT. 11 FRANK Ai..t.::EN PATTERSON, -Eo.-,. Mn.TO N' s CoMPL-E-TE- POEMS .(NEw YoRK: F,. s. CR6-FTs AND CoMPANv, 1930); PP: 35-36. 145 PERCY BvssHE SHELLEY (1792-1822) OZYMAND IAS I MET A TRAVELER FROM AN 'ANT� QUE LAND WHO SA.iD: 11Two VAST AND TRUNKLESS LEGS oF: sTONE STAND � N THE DESERTe NEAR : THEM t ON. THE ISAND, HALF SUNK � A SHATTERED ,VISAGE L � ES, WHOSE FROWN t AND WRI NKLED LIPt AND SNEER"OF COLD COMMAND, 5 TELL THAT ITS SCULPTOR WELL THOSE PASSIONS READ . WH IC- YET SURVIVE, STAMPED ON THESE LIFELESS TH INGS, THE HAND THAT MOCKED THEM, AND THE HEART THAT FED! AND ON THE PEDESTAL THESE ;WORDS APPEAR:- 1Mv NAME IS OZYMANDI AS� KING OF KINGS: 10 LOOK ON MY -WOR�St VE MIGHTV,.AND DESPAIRl 1 NOTHING BES�DE REMA� NS� RouND THE DECAY • OF THAT CO�OSSAL WR�CK , BOUNDLESS AND BARE THE .LONE AND LEVEL SANDS STRETCH FAR AWAY. II GEORGE E. Wo oDBERiW; ED.; THt CoMPLtTE PoETICAL WORKS OF PERCY BvssHE SHELLEY (BOSTON: HouGHTON"11i"FFLIN COMPANY, 1901), P. 356. 146 EDWIN ARL INGTON ROBINSON (1869-1935) RICHARD CORY WHENEVER RICHARD CORY WENT DOWNTOWN ,· WE PEOPLE ON THE PAVEMENT LOOKED AT HIM: HE WAS A GENTLEMAN F'ROM SOLE TO CRpWN t CLEAN-F'AV9 RED, AND IMPERIALLY SL IM. AND HE WAS ALWAYS QUI ETLY ARRAYED, 5 AND HE WAS ALWAYS HUMAN WHEN HE TALK�D ; BUT STILL HE F'LUTTERED PULSE.$ WHEN HE SA'IJD, "GooD MORNING," AND �E GL� TTERED WHEN HE WALKED. AND HE WAS RICH--YE.$ , R.iCHER TtiAN A KiNG-• A�D ADMI RABLY SCHOO��D. IN EVERY GRAC�: 10 IN F'INE, WE THOUGHT THAT HE WAS EVERYTHING To MAKE US Wl�H T�AT WE WERE IN HIS PLACE. So ON WE WORKED, AND WAI TED F'OR THE LIGHT, AND WENT W� THOUT THE MEAT, AND CURSED THE BREAD; AND RICHARD CORY, ONE CALM SUMMER N � GHT, 15 WENT HOME AND PUT A BULLET THROUGH HIS HEAD. EDWIN ARL INGTON RoB,NSONt COLLECTED POEMS (NEW YORK : MACMILLAN COMPANY, 1921 ), P. S2. 147 JOHN MASEFIELD (187$- SEA FEVER I MUST DOWN TO THE SEAS AGAI Nj TO THE LONELY . SEA AND THE SKY, AND ALL I ASK· �S A �ALL SHIP AND A STAR TO STEER HER BY, AND THE WHEEL 'S KICK ANO THE W� N01s SONG ANO THE WH ITE SAIL'S SHAK ING, ANO A GRAV Ml�T ON THE SEA1S FACE AND A GRAV DAWN BREAK ING• I MUST DOWN TO THE SEAS AGAIN� FOR THE CAL� OF THE RUNNING TIDE 5 Is A W� LO CALL AND A CLEAR CALL THAT MAY NOT BE DENIED; AND ALL I ASK IS A WINDY DAV WITH ·THE WH ITE CLOUDS fLY ING, AND THE FLUNG. SPRAY AND T�E BLOWN SPU�Et AND THE SEA GULLS CRYING. [ MUST DOWN TO THE SEAS AGAIN, TO THE VAGRANT GYPSY LIFE. To THE GULL 'S WAY AND THE WHALE.t s WAY WHERE THE WIND1s LIKE A WHETTED KNlfE; 10 AND ALL I ASK IS A MERRV:YARN FROM A LAUGHING; FELLOW ROVER, AND QU IET SLEEP AND A SWEET DREAM V� EN THE LONG TRICK1S OVER• . JOHN MA.SEFIELD, � (NEW YORK : THE MACMILLAN COMPANY, 1955) PP. 20-21 •. ANONYMOU� BALLAD :(b. 13TH 0ENTURY) SIR PATRICK SPENS THE KING SITS " IN DUMFERL iNG TOUNE, DR� �K iN� · THE ·BLUDE-REID w� �E: 110 VJHAR WILL I GET GU ID SA ILOR, To SA�L THIS. SCHIP OF M�NE71 �· Up AND SPAK AN ELDERN KNICHT, .5 . SAT AT THE KINGS RICHT KNE: os� R PATR� CK SPENCE is THE BEsT· SAILOR, . THAT ·SA�LS UPON THE SE.II • THE KING HAS �RtTTEN - A B�AID LETTER, ANb SIGN6 IT w1· Hts HAND, 10 ANO SENT IT TO SIR PATRI CK SPENCE, WAS WALK ING ON THE SAND� THE FIRST LINE THAT SIR PATRI CK RED, A LOUD LAUCH LAUCHED HE; THE NEXT LINE THAT SIR PATRICK RED, 1.5 THE TEIR BL I NDED HI S EEe 110 WHA IS TH� S HAS DON THI S DEID, TH IS ILL DEID DON TO ME, To SEND ME OUT TH� S TIME o1 THE VEI R, To SA IL UPON THE SE! 20 MAK HAST, MAK HASTE, MY MIRRV MEN ALL , OUR GUID SCHIP SA�LS THE MORNE.11 110 SAY NA SAE, MY MASTER DEIR, FoR I FE IR A DEADL IE sTORME. llLATE, LATE VESTREEN I SAW THE NEW MOONE, 2.5 W1 THE AULD MOONE IN HIR ARME, ANO I FE� R, I FEIR, MY DEIR MASTER, THAT WE \1.,"ILL CUM TO HARME.11 0 OUR SCOTS NOBLES WER RICHT LAITH To WEET THEIR CORK-HEILD SCHOONE; 8oT LANG OWRE At THE PLAY WER PLAYO , THAIR HATS THEY SWAM ABOONE. 0 LANG, LANG MAY THEIR LAD�ES SIT, W1 THAIR FANS INTO THEIR HAND ; OR EIR THEY SE SIR PATRICK SPENCE 3.5 : Cuw sAt.L .l NG To· ·T HE LAND. . . 149 0 LANG,.,.. LA NG MAY THt:: (.ADI ES STAND ·t \'{1 THA IR GOLD KEMS i N THE IR HA IR, WA.I T.I NG FOR THAI R AIN DEI R LORDS, FOR THEY1LL SE THAME �A MAIR. 40 HAF OWRE, HAF OWRE TO AsERDOUR, b6 IT1S �; .FT). � FA M . 6E� P,· I ANo THA iR L·1Es· Gu10 s·,R P ATRl cK SP ENCE, Y./i THE Scc>T"s (.OROS AT1 H.I S FEIT� R1 2.f. ALAN SWALLOW, ED. t !!:!£ NEHART � � (NEW YORK � RINEHART AND COMP ANY, INc., 1958), P. 19. 150 �EN JON SON ( 157)-1 �)7) SONG TO CEL I A ' DR� NK TO ME ONLY WITH TH INE EVES, AND :I w� LL PLE6GE w� TH MINE OR �EA�� A Klas BU T IN T8E CUP , AND t1L� NOT ASK FOR WINE. THE THIRST THAT FROM THE SOUL DOTH RI SE 5 DOTH ASK A DRINK DEVI NE; BUT MIGHT I OF JovE's NECTAR SUP , I WOULD NOT CHANGE FOR TH INE. SENT THEE LATE A ROSY WREATH , NOT SO MUCH HONORI NG THEE 10 As GIVING IT A HOPE, THAT THERE IT COULD NOT WH.I THEREO BE. BUT THOU THEREON DIDST ONLY BREATHE, ANO SENT'ST �T SACK TO ME; 81 NCE WHEN ·, T GROWS, ANO SMELL St I SWEAR 15 NoT OF ITSELF BUT THEE. GEO RGE BU RKE JOHNSTON t ED�' Po EMS OF BEN JONSON (CAMSRI DGE t MASSACH� SETTS: .. HARVARD UN I VERSl_TV PRESS, 1955)." p,. ss. '' 151 PAUL LAURENCE DUNBAR (1872-1906) THE CORN-STALK FIDDLE WHEN THE CORN1S ALL .CUT AND THE BRI GHT STALKS SH INE LiKE THE BURNI SHED SP£ARS OF A FIELD OF GOLD; WHEN THE FIELD-M ICE RICH ON THE NUBBI NS DINE, At.Jo THE FROST COMES WH-i TE ANO THE WIND BLOWS COLD; THEN IT1S HEi GHHO ! FELLOWS AND Hl-D; DDL E�DIDDLE, 5 FoR THE TIME is RIPE FOR THE CORN-STALK Fi DDLE. AND YOU TAKE A STALK THAT IS STRAI GHT AND ·LONG, V{1 TH AN EXP ERT EYE TO IT� WORTHY PO I NTS, ANO YOUi:TH.INK OF THE BUBBLING STRAINS OF SONG THAT ARE BOUND BETWEEN ITS PITHY JO I NTS-- 10 THEN YOU CUT OUT STRINGS, WITH A BRI DGE IN THE MIDDLE, Wt TH A COR,N-STALK 80\'/ FOR A CORN-STALK Fl DOLE. THEN THE STRAINS THAT GROW AS YOU DRAW THE BOW 01ER THE YE� LDi NG STRINGS WI T� A PRACTi BE9 HANOI ANO THE MUSIC1s FLOW NEVER LOUD BUT LOW 15 Is THE CONCERT NOTE OF A FAI RY BAND. OH, YOUR DAI NTY SONGS ARE A MISTY RIDDLE To THE SIMPLE SWEETS OF THE CORN-STALK FIDDLE. WHEN THE EVE COMES ON, AND OUR WORK IS DONE, AND THE SUN DROPS DOWN WI TH A TENDER GLANCE, 20 W1 TH THE.I R HEARTS ALL PR-I ME FOR TH E HARMLESS FUN, COME THE NE.I GHBOR GI RLS FOR THE EVENING1S DANCE, ANO THEY WA.I T FOR THE WELL-KNOWN nv'1 ST AND TWI DOLE- Mo RE Ti ME THAN TUNE--FROM THE CORN-STALK FIDDLE• THEN BROTHER JABEZ TAKES THE BOW, 25 ' WH.I LE NED STANDS OFF w 1 TH Su SAN BLAND t THEN HENRY STOP S BY M� LLY SNOW, ANO JOHN TAKES NELL.I E JONES 1s HAND, WH ILE I PAI R OFF WI TH MANDY BIDDLE, ANO SCRAPE, SCRAPE, SCRAP E GOES THE CORN-STALK FIDDLE. 30 "SALUTE YOUR PARTNERs, tt COMES THE CALL , 11ALL JOIN HANDS AND CIRCLE ROUND,11 11GRAND TRAIN BACK ,11 ANO 11BALANCE ALL ,tt Foo:TSTEP S L.IGHTLY SPURN THE GROUND. ' llTAKE YOUR LADY AND BALANCE DOWN THE Ml DOLE11 35 To THE MERRY STRAi Ns OF THE CORN-STALK FIDOLE. 152 So THE N � GHT GOES ON ANO THE DANCE IS o1ERt AND THE MERRY GI RLS ARE HOMEWARD GONE, BUT I SEE IT ALL IN MY SLEEP ONCE MORE, ANO I DREAM TILL THE VERY BREAK OF DAWN 40 OF AN IMPISH DANCE ON A RED-HOT GRIDDL E To THE SCREECH ANO SC RAP E OF A CORN-STALK FIDDL E. PAUL LAURENCE DUNBAR, CoMPLETE POEMS ( NEw YoRK : OooD, MEAD AND COMPANY , 1915), PP. 16-17. 1-53 A�oNvMous WE§TERN FOLKSONG (c. 1�70) THE COWBOY t S LAMENT As I WALKED OUT IN THE STREETS oF LAREDO, As I WALKED ouT IN LAREDO ONE DAV, I SP IED A POOR COWBOY ALL WRAPPED IN WH ITE LINEN, WRAPPED �N WH ITE LINEN, AS COLO AS THE CLAY . "I SEE BY YOUR OUT-F IT THAT YOU ARE A COWBOY ," 5 THESE WO RDS HE DID SAY AS I BOLDLY WALKED BY , . »COME SIT DOWN BESIDE ME ANO HEAR MY SAID STORY, 11M SHOT IN THE BREAST, AND I KNOW I MUST DIE.» "IT WAS ONCE IN THE SADDL E I USED TO GO DASHING, ONCE IN THE SADDLE I USED TO Go; GAV , 10 F't RST DOWN TO Ros 1E's AND THEN TO THE CARD HOUSE, SHOT �N THE BREAST AND 11M DYING TODAY . 11GET SIXTEEN GAMBLERS TO CARRY MY COFFIN S1x PURTY MA�DENS TO S� NG ME A SONG; TAKE ME TO THE VALLEY AND LAV THE SOD o1ER ME, 15 FoR l'M A YOUNG COWBOY AN' KNOW 11vE DONE WRONG. 110, BEAT THE RUM SLOWLY AND PLA'(, THE FIFE LOWLY, PLAY THE DEAD MARCH· AS THEY CARRY ME ALONG, PUT BUNCHES OF ROSES ALL OVER MY COFFIN, RosES TO DEADEN THE CLODS AS THEY FALL. 11 20 As I WALKED OUT IN THE STREETS OF LAREDO , As I WALKED ouT IN LAREDO ONE DAY, I SP IED A YOUNG COWBOY ALL WRAPPED IN WH ITE LINEN, WRAPPED IN WH� TE LINEN, AS COLD AS THE CLAY . , ' BU RL IVES, lt:!£ � � � (NEW YORK : 8ALLANTI NE BOOKS, 1953), PP. 2SS-2S9. HENRY WADSWORTH LONGF.'EL.L.OW (1$07-1$$2) THE DAY:. I S DONE THE DAV ·IS PONE, AN� THE DARKNEqS FALL.q F'ROM THE WINGS O,F' NtGHT, As A F'EATHER· IS WAFTED DOWNWA RQ , FROM AN. EA�L.E IN HI S FL. lGHT. I SEE THE L.�GHTS OF THE VlL.L.AGE .5 GL.EAM TH ROUGH TH E RA IN AND THE MIST, AND A F'EE�ING oF sADNEss COMES .o 1ER ME THAT MY SO\..!L. CANNO T RESl"ST: A FE�L. ING OF SADNESS ANO L.ONGING, THAT- IS NOT AK IN TO PAIN, ·10 ANO RESEMBt..:ES SORROW ONL.Y • As TH� M� ST RESEMdL.ES THE RAIN. COME, READ TO ME SOME· POEM, SOME S.IMPL.E AND HEARTFEL. T L.AV, TH�T SHALL. SOOTHE TH IS RESTL.ESS F'EEL.l_ . NG, ·1.5 AND BAN ISH THE THOUGHTS OF' DAY. NOT F'ROM THE· GRANO OLD MASTER�, NoT FROM THE BAROS SUBL. IME, WHOSE D.I STANT FOOTSTEPS ECHO · THROUGH THE CORR� DORS OF Tl�E. 20 FoR, �IKE STRAl�S OF MARTI AL. MU��c, THEI � Ml GHTV THOUGHTS SUGGEST L�F'E1s ENDL.Ess TO IL. AND iNDEAVo �; A�o TO�NIG�T I L.ONG FOR REST. READ F'ROM SOME HUMBL.ER POET, 2.5 W!-:!OSE SONGS GUSHED FROM HI S HEART , As SHOWERS FROM THE CL.CUDS OF' SUMMER1 OR TEARS F'ROM EVEL.·, DS START; WHO , THROUGH L.ONG DAYS OF L.ABOR, AND NIGHTS DEVOID OF' EASE, STtL.L. HEARD IN H� S SOUL. THE MUSIC OF' WONDERFUL. MEL.ODIES. SucH SONGS HAVE POWER TO QU IET THE RESTL.ESS PUL.SE OF CARE , AND COME L.IKE THE BENEDICTION 3.5 THAT F'OL.L.OWS AF'TER PRAYER. 155 THEN READ FROM THE TREASU�ED V6LUME THE POEM OF THY CHO ICE, AND LEND TO THE RHYME OF THE POET THE BEAUTY OF THY VO ICE . AND THE NIGHT SHALL BE FILLED WITH MUSIC, AND T�E CARES, THAT INFEST THE DAV, SHALL �OLD THE� R TE�TS, LiKE .THE 'ARABS1 AND AS SILENTLY STEAL AWAY� HORACE E. SCUDDER, ED. , I.!:!£ COMPLETE POETICAL WORKS .2£:. LONGFELLOW ( BOSTON: HOUGHTON MIFFLIN COMPANY, 1863) , PP. 64-65. GEORGE GORDON, LORD 8YRON ·(1788-1$24) THE DESTRUCTION OF SENNACHERIB THE AssY R'I AN CAME DOWN L ·, KE A �/OLF ON THE FOLD' AND HIS COHORTS WERE GL tAMING IN PURPLE AND GOLD; ANO THE SHEEN OF THEIR SP EARS ' WAS LIKE STARS ON THE SEA, WHEN THE BLUE WAVE ROLLS NI GHTLV ON DEEP GAL ILEE. LIKE THE LEAVES OF THE FOREST WHEN SUMMER IS GREEN, 5 THAT HOST WI TH THEIR BANNERS AT SUNSET WERE SEEN: LIKE THE LEAVES OF THE FOREST WHEN AUTUMN HATH BLOWN , THAT HOST ON THE MORROW LAY WI THERED AND STROWN e FoR THE ANGEL OF DEATH SPREAD HIS WINGS ON THE BLAST1 AND BREATHED IN THE FACE OF THE FOE AS HE PASSED; 10 AND THE EYES OF THE SLEEPERS WAXED DEADLY AND CHILL1 AND THEIR HEARTS BUT ONCE HEAVED, AND FO REVER GREW STILL ! AND THERE LAY THE STEED WITH HIS NOSTRIL ALL WI DE, BUT THROUGH IT THERE ROLLED NOT THE BREATH OF HIS PRIDE; AND THE FOAM OF HIS GASP ING LAY WH ITE �N THE TU RF , 15 AND COLD AS THE SPRAY OF THE ROCK-SEATI NG SURF. AND THERE LAY THE RIDER DISTORTED AND PALE, WITH THE DEW ON HIS BROW, AND THE RUST ON HIS MAIL: �D THE TENTS WERE ALL SILENT--THE BANNERS ALONE- THE LANCES UNLI FTED--THE TRUMPET UNBLOWN. 20 AND THE WI DOWS OF ASHUR ARE LOUD IN THEIR WA IL, MD THE ,I DOLS ARE BROKE IN THE TEMPLE OF BAAL ; ANO THE M.IGHT OF THE GENTILE, UNSMOTE BY THE SWORD1 HATH MELTED LIKE SNOW IN THE GLANCE OF THE LORD ! ...... PAUL ELMER, ED., THE COMPLETE Pot:. 1 Tl CAL ;WeiRKS oF Lo RD BY RON (BOSTON: HOUGHTON Mt:FFL l ;:;-GOMPANY.,. 1905),. P. -22� - - 1:57 PH1L� P FsENEAu (1752-1SJ2) THE INDIANBU RYING GROUND IN SPlTE OF ALL THE LEARNED HAVE SAID, :I ST�LL " MY OLD O�INION KEEP ; THE POSTURE THAT,WE GIVE THE DEAD PO I NTS OUT THE SOUL1S ETERNAL SLEEP . NOT SO THE ANCI ENTS OF THESE LANDS- 5 THE _I NDIAN, WHEN FROM LIF:E RELEASED, AGA IN IS SEATED WI TH HIS -FRIENDS, AND SHARES AGAIN THE JOYOUS FEAST. _ H"1s IMAGED BIRDS; AND PAINTED BOWL, AN D VENISON, FOR A JOURNEY DRESSED, 10 BESPEAK THE NATU RE OF THE SOUL, AETIV� TY , THAT KNOWS NO RE?T• HIS BOW FOR ACTION RE�DY BENT, AND ARROWS WI TH A HEAD OF STONE, CAN ONLY _MEAN :THAT L � FE 1S SPENT, 1 5 AND NOT THE OLD IDEAS GONE. THou, STRANGER, :THAT SHAL T COME TH IS· W�Y . No FRAUD UPON THE QEAD COMMI T-- . OBSERVE · THE SWELL-I NG TURF t AND SAY 11THEY DO NOT L-IE, BUT HERE THEY SIT•" 20 HERE STILL A LOFTY ROCK REMAINS, ON WH ICH THE CURIOUS EVE MAY TRACE (Now WASTED. HALF OF WEARING RAINS) THE FANC�ES OF A RUDER RACE. HERE STILL AN AGED ELM ASP IRES, 25 BENEATH WHOSE FAR-PROJECT I NG SHADE (AND WH ICH THE SHEPHERD STILL ADMIRES) THE CHILDREN OF THE FOREST PLAYED. THERE OFT A RESTLESS INDIAN QUEEN (PALE SHEBA WITH HER BRAIDED HAS R) JO AND MANY A BARBAROUS FORM IS SEEN, To CHI DE THE MAN THAT L� NGERS THERE. Bv MIDNIGHT MOONS, o1ER MO I STENING DEWS, IN H�BIT FOR THE CHASE ARRAYED , THE HUNTER STILL THE DEER PURSUES, 35 THE HUNTER AND THE DEER, A SHADE! ANO LONG� SHALL Tl�OROUS FANCE. SEE THE PAINTED CH IEF, AND POI NTED SPEAR, ANO REASON1S SELF SHALL BOW THE KNEE To SHADOWS AND DELUSIONS HERE. 40 ROBERT c. POOLEY, WAL TER BLA IR, THEODORE HO RNBERGER, AND PAUL FARMER, EDS., THE UNI TED STATES .!..!'! LI TERATU RE (CHI CAGO : SCO TT, FORESMAN AND COMPANY , 1952) ' -;;: 550. 159 W-I LL�I AM B.u:rLER YEA·TS (1869-1939) THE LAKE 'f SLE OF INN I SF REE . ' I W�LL ARISE AND GO NOW, AND GO TO INNISFREE, AN D A SMALL CAB.I N BU ILD THERE , OF CLAY AND WATTLES MADE: N�NE BEAN-ROWS WILL I HAVE THERE , A HfVE FOR THE HONEY-BEE, AND LI VE ALONE ·, N THE BEE-LOUD GLADE• AND I SHALL HAVE SOME PEACE THERE, FOR PEACE COMES DROPPING SLOW, 5 DROPP ING FROM THE VEILS OF THE MORN.I NG TO WHERE THE CR I Cl .WILL.IAM SUTLER YEATS, � COLLECTED POEMS .2!, W. 8. YEATS (NEW YORK : MACMILLAN CoMPAJ"'Y t 1-952) , P. 39•· ·160 ' VACHEL L l'ND SAY _( 1$71-1931 ) THE LEADEN-EYED LET NOT THE. YOUNG SOULS; BE SMOTHERED OUT BEF'ORE THEY DO QUAINT DEEDS AND F'ULLY F'·L AUNT THEIR PRIDE• IT IS THE WORLD1 S ONE CRIME I TS BABES• GROW DULL , ITS POOR ARE ox-L IKE, LIMP AND LEADEN-EYEDe NoT THAT THEY STARVE, BUT STARVE so DREAMLESSLY; 5 NoT THAT THEY sow, BUT THAT THEY SELDOM REAP ; NoT THAT THEY SERVE, BUT HAVE NO GODS TO SERVE; NoT THAT THEY DIE, BUT THAT THEY DIE LIKE SHEEP • VACHEL LINDSAY , COLLECTED POEMS (NEW YORK : MACKM,I LLAN COMPANY, 1931 ), PPe 69-70. 161 T. S • EL I o T ( 1 ggg_ THE NAMING OF CATS THE NAMING OF' CATS' IS A DIFF'ICULT MATTER, IT ISN�T JUST ONE OF YOUR HOL IDAY GAMES; YOU' MAY TH INK AT F'IRST 11M AS MAD AS A HATTE� WH EN ' I TELL vou, /1. CAT MUST HAVE THREE OIFFERENT NAMES. FtRST OF ALL , THERE 1S THE NAME THAT THE F'AMILY USE 'DAILY, , 5 SucH·As PETER, ,AuGusTus, ALONZO OR JAMES, SucH As V1cTOR,OR JONATHAN, GEOBGE· oR BtLL BAILEY-- ALL OF THEM SENSIBLE EVERYDAY NAMES. THERE ARE FANC IER NAMES IF'YOU THINK THEY SOUND SWEETER, SOME FOR THE GENTLEMEN, SOME FOR THE DAMES: 10 SucH As PLATO , ADMETus., ELECTRA, DEMETER- BuT ALL OF THEM SENSIBLE EVERYDAY NAMES• BUT I TELL YOU 1 A CAT NEEDS A NAME THAT1S PARTICULAR, A NAME THAT1S PECUL IAR1 AND MORE DIGNIFIED, ELSE HOW CAN HE KEEP HIS TAIL PERPENDI CULAR, 15 OR SPREAD OUT HIS WH ISKERS , OR CHERISH HIS PRIDE? OF NAMES OF THI S KIND1 I CAN GIVE YOU A QUORUM, SucH AS MuNKUSTRAP , QuAxo, CoRICOPAT, SucH AS BOMBALUR,INA, OR ELSE JELLYRUM-- NAMES THAT NEVER BELONG TO MORE THAN ONE CAT. 20 BUT ABOVE AND BEYOND THERE 1S STILL ONE NAME LEF'T OVER, ANO THAT . IS THE NAME THAT YOU NEVER WILL GUESS; THE NAME THAT NO HUMAN RESEARCH CAN DISCOVE R-- BUT THE CAT HIMSELF KNOWS, AND WILL NEVER CONF'Ess. WHEN YOU NOT� CE A CAT IN PROF'OUND MEDITATION, 25 THE REASON, I TELL YOU, IS ALWAYS THE SAME: H� s MIND �s ENGAGED IN RAP T CONTEMPLATION OF THE THOUGHT, OF THE THOUGHT, OF'THE THOUGHT OF HIS NAME: H�s INEFFABL E, EFFABLE EF'F'AN INEF'F'ABLE JO DEEP ANO JNSCRUTABLE SINGULAR NAME. T. S. EL IOT, T1::1E COMPLETE POEMS �� .(NEW YORK : HARCOURT' 8RACE,AND,COMPANY , 1952), P. 149. 162 THE ROAD NOT TAKEN Two ROADS DI VERG�D IN A Y�LLOW WOOD, ANO SORRY I· COULD NOT TRAVEL · BOTH ANO BE 9NE TRAVEL ER, LONG J STOOD AND LOOKED DQWN ONE AS FAR AS I COULD To WHERE JT BENT. IN THE UNDERGROWTH; 5 , THEN TObK TH� OTHER, A? JUST AS FAI R, AND HAYING PERHAPS THE �ETTER CLA IM,; BECAUSE IT WAS �RASSY AND WANTED W�AR; THOUGH AS FOR THAT THE PASSING THERE HAO .WO RN THEM REALLY �BOUT THE SAME, 10 AND BOTH THAT MORNING EQUALLY LAY IN LEAVES NQ STEP HAD TRODDEN BLACK•" OH, I KEP T' THE Fl�ST fOR ANOTHER pAY' YE T KNOWING HOW WAY .. LEADS TO WAY, ; 15 I DOUBTED IF ( .. SHOUL' D EVER; COME BACK�. SHALL BE TELL ING TH IS p1 TH � SIGH SOMEWHERE 41-·GES AND AGES HENCE: Two ROADS DIV�RG�D IN A WOOD, AND 1-- 1 TOOK THE ONE LESS TRAVELED BY , ANO THAT, HAS MADE ALL THE DIFFERENCE. 20 RoeERJ FROST� COLLECTED PoEMS ,_(NE�.YORK : _HENRY HoL� -AND CoMPAN¥ , 1930 ) t p.. 1 31 • THE SNOW IT SIPTS · FROM LEADEN SIEVES, IT POWDERS ALL THE WOO D, IT FILLS WI TH ALABASTER WOOL T�E WRI NKLES OP THE ROAD. IT MAKES AN EVEN PACE .5 Or.MOUNTAIN AND OF PLAIN,-- UNBR6KEN POREHEAO FROM THE EAST UNTO THE EAST AGA IN. IT REACHES TO THE PENCE, IT WRAPS IT, RAIL BY RA IL, 10 TILL IT IS LOST 'IN PLEECES; IT FL INGS A CRYSTAL VEIL ON STUMP AND STACK AND STEM 1 -� THE SUMMER1S EMP TY ROOM, ACRES OP SEAMS WHERE HARVESTS WERE, 1.5 RECOROLESS, BUT POR THEM. IT RUPPL ES WRI STS OF POSTS, As ANKLES OP A QUEEN,--- THEN STILLS ITS ARTI SANS LIKE GHOSTS , DENYING THEY HAVE. BEEN . 20 Louis UNTEm11 EV ER, Eo. , POEMS .2.E EM ILY DICKINSON ( NEw YoRK : · THE HERI TAGE- PRESS, f9_52)·, P . ·193. 164 THE TIGER T�GERI TIGER, BURN l�G BR� l·GHT . . . . ) IN THE FORESTS OF THE N!GHT, WHAT· IMMORTAL HAND OR EVE COULD �RAME THY FEARFUL 9YMMETRV? IN WHAT DISTANT DEEPS OR SK IES 5 BURNT THE·F' IRE OF TH INE. EVES? , ON WHAT WINGS DARE HE ASPIREi � WHAT THE HAND DAR� QEIZE THE ·FI RE? AND WHAT SHOULDER, AND \'.JHAT ART, COULD Twi sT ,THE :SI NEWS �F,THV HEART? 10 A�D W�EN ;THV HEA�T BEGAN TO BEAT, WHAT DREAD HAND? AND W�AT DREAD FEET? WHAT .THE HAMMER? WHAT THE CHAI N? IN WHAT FURNACE ·\'!AS THY : BRAIN? WHAT THE ANVIL? WHAT DREAD GRASP 1 5 DARE ITS D�ADLY TERRORS CLASP ? WHEN THE STAR$ THREW DOWN "fHEIR SP EARS, AN D WATERED HEAVEN W� TH :THE IR TEARS, D� D HE SM ILE;HIS WORK TO QEE? D� D HE WHO MADE THE LA�B MAKE THEE? 20 TIGER! TIGER! BURN ING BRIGHT IN THE FORESTS OF THE NIGHT, WHAT IMMORTAL HAND OR EVE DARE FRAME THY FEARFUL SYMMETRY? JOHN SAMPSON, ED.', THE. PoET.ICAt.:: Wo RKs-oF" \illrLL IAM BLAKE (Lo:NDoN: .- OXFORD UNI VERSI TV P1RESS, 1928·) ' pp·-. 85-86. 165 THI RTEEN SISTERS . THI RTEEN s1sTERS1BE��DE THE SEA, (HAVE A CARE MY SON.) Bu�LDED A'HousE CAL� ED LIBERTY AND LOCKED· THE DOORS WITH A STATELY :KEYe NONE SHOULD ENTER IT BUT THE FREE. (HAVE A CARE MY SON.) THE WALLS ARE:soLID As PLYMoutH RocK. (ROCK CAN · CRUMBCE, MY SON£) THE DOOR OF SEASONED NEW ENGLAND STOCK , BEFORE IT A YANKEE FIGHT� NG COCK 10 PECKS REDCOAT KINGS AWAY FROM THE LOCK. (FI GHTERS CAN DiE, MY SON.) THE HEARTH IS A CORNER WHERE SAGES SIT. (SAGES PASS, MY SON.) WASH INGTON1S HEART L�ES UNb8R IT. 15 AND THE LONG ROOF-BEAMS ARE CH� SELED AND SPL IT FROM HICKORY TOUGH AS JACKSON1 S WIT. (BONES IN THE DUST, MY SON.) THE TREES IN THE GARDEN ARE FA IR AND FINE. (TREES BL OW DOWN , MY SON.) 20 CONNECTICUT ELM AND GEORG IA PINE. THE WAREHOUSE GROANS WI TH COTTON AND SWI NE. THE CELLAR IS FULL OF SCUPPERNONG WINEe (WINE TU RNS SOUR, MY SON.) SURELY A HOUSE SO - STRONG AND BOLD, 25 (THE WIND IS RISING, MY SON.) WILL LAST TILL TIME IS A PINCH OF MOLD! THERE IS A GHOST WHEN THE NIGHT IS OLD. THERE IS A GHOST WHO WALKS IN THE COLD. (THE TREES ARE SHAK ING, MY SON.) )0 THE SISTERS SLEEP ON LIBERTY 1S BREAST, (THE THUNDER THUNDERS, MY SON. ) LiKE TH� RTEEN SWANS IN A SINGLE NEST. BUT THE GHOST IS NAKED AND WILL NOT REST UNTIL THE SUN RI SE OUT OF THE WE STe )5 (THE LIGHTN� NG L�GHTENS, MY SON.) 166 . At.L .N IGHT LONG L· l·KE A MOVING STAIN, ( THE TREES ARE BREAK ING, MY SON.) THE BLACK GHOST WANDERS HIS HOUSE OF PAIN. THERE IS BLOOD WHERE HAS HANO HAS LAI N. IT IS WRONG HE SHOULD WEAR A CHAIN. (THE SKY �� FALL ING, MY SON.) STEPHEN VtNCENT BENtT, JOHN BROWN 1s Boov ( NEW YORK : FARRAR ANO � RINEHART, INc., 1927), PP. 2J-'2'Zi7"° 167 \-1/I LL IAM Cul.LEN BRYANT (1794-H578) TO A WATERFOWL WH ITHER, MIDST FAL� ING DEW, INH.ILE GLOW THE HEAVENS WI TH THE LAST STEP S OF DAV, FAR THRO UGH THE IR DOSY DEPTHS DOST THOU PURSUE THY SOL I TARY WAY? VA.INLY THE FOWLER1S EVE 5 t•lfl GHT MARK THY DISTANT FL IGH!t TO DO THEE WRONGt As, DARKLY PAINTED ON THE CRiMSON SKY, THY FIGU RE FLOATS AL ONG. SEEK 1ST THOU THE PLASHY BRINK OF WE EDY LAKEt OR MARGE OF RIVER WIDE, 10 OR WHERE TH E ROCK ING BILLOWS RISE AND SINK ON THE CHAFED OCEAN-S�DE? THERE IS A POWER WHOSE CARE TEACHES THY WAY ALONG · THAT PATHLESS COAST- THE DESERT ANO ILL�MITABLE AI R-- 15 LONE WANDER! NG, BUT NOT LOST. ALL DAV THY WINGS HAVE FANNEDt AT THAT FAR HEIGHT, THE COLD, TH IN ATMOSPHERE ; YET STOOP NOT, WEARY , TO THE WELCOME LAND, THOUGH T�� DARK N�GHT �S NEARe 20 AND SOON THAT TO IL SHALL END; SOON SHALT THOU FIND A SUMMER HOME, AND REST t AN D SCREAM AMONG THY FELLOWS; REEDS SHALL BEND SOON 01ER THY SHEL TERED NESTe THOU1RT GONE; THE ABYSS OF HEAVEN 25 HATH SWALLOWED UP THY FO RM ; YET ON MY HEART DEEPLY HATH SUNK THE LESSON THOU HAST GIVEN, AND SHALL NOT SOON DEPART. HE, WHO FROM ZONE TO ZONE Gu I DES THROUGH THE BOUNDLESS SKY THY CERTAIN FL IGHT, JO IN THE LONG WAY THAT I MUST TREAD ALONE, WILL LEAD MY STEPS ARIGHT. W 1'LL I Mi CuLLEN 'B RVA.N T, Po1fr1CA L WO RK S (NEw YORK : D. APPLETON AND COMPANY , 19JJ) , PP. 26-27. JOHN v. A. WEAVER (1S9J-19JS) TWO WAYS · 0NCET IN THE MU SEUM WE SEEN A LiTTLE ROSE IN A .JAR OF ALCOHOL-- You TURNS UP YOUR NOSE : llTHAT1S THE WAY PEOPLE THINK 5 . LOVE OUGHT TO BE-- LAST FO REV�Rl P�CKL�D .ROSESI NONE o1 THAT FO R ME lll THAT NIGHT WAS FIREWO RK S Our ro Ri vERVI Ew-- 10 GoLD .AND RED AND PURPLE BusTIN1 OVER vou. 118EAUT� FUL !11 YOU SAYS THEN, 11THAT1S HOW LOVE SHOULD BE! BU RN WILD AND DIE QU I CK- 1 5 THAT1S THE LOVE FO R ME!". Now You 1RE �ONE FOR GOOD�� .sAY, WASN IT THEY NO o.THER WAY? ••• JOHN v. A. WEAVER, .!!:!; AMERICAN (NEW YORK : ALFRED A. KNOPF, 1939), P. S1. BIBLIOGRAPHY BENET , STEPHEN V 1 NCEN T, JoHN Bfioy,)N1 s � •.NEw YORK , . FARRAR AND RINEHART t I NC• t 1927:-- BRYANT, w·ILLIAM CULLEN, PoET.ICAL· WO RKS, NEW YORK , o. APPLETON AND COMPANY , 1933• CuMMINGs, E. E., COLLECTED PoEMs, NEw YoRKt HARCOU RT, BRACE AND COMPANY t 1923. DuNBAR, PAul. LAURENCE, COMPLETE PoEMs, NEw .YoRK , DoDo, MEAD AND COMPANY t 191 5. EL.IOT, T0 S. , THE COMPLETE P-O EMS �PLAYS, NEW YO RK , HARCOURT, BRACE AND COMPAN;;-1952. FLETCHER, J. G., SELECTED POEMS, NEW YORK , FARRAR AND RINEHART, INC. , 19JS. FRANK, WALDO , Eo., THE COLLECTED PoE�s OF HART CRA��; NE� YORK , LIVERIGHT PUBL ISHING CORPORATION, 1933:-- , FRosT, ROBERT, COLLECTED PoEMs, NEw YoRK, HENRY HoL T AND COMPANY, 1 930. FURNESS, HO RACE HOWARD, ED., SHAKESPEARE1S � !2.!:!. LtKE l.!t PHI LADELPHIA, J. B. LIPPINCOTT COMPANY, 1g90. HENLEY, w. E., ED., THE COMPLETE POETICAL WO RKS .2.E ROBERT BURNS, BOSTON, HOUGHTON MIFFLIN�MPANY, 1g97. HuTCH.I NSoN; THOMAS, Eo. , l!i[ POETICAL WoRKs .2.E WILLIAM Wo RDSWO RTH, LONDON, OXFORD UN IVERSITY PRESS, 1907. lvEs, BURL , l!i[ � � � .§22.!s., NEW YORK , BALLANTINE BOOKS, 1953. JOHNSTON, GEORGE BURKE, ED., POEMS .2.E §.E:L JONSON, CAMBRIDGE, HARVARD UN I VERSITY PRESS, 1955• K·1PLING, RuoYARo , DEPARTMENTAL 0·1TT1Es � BALLAos ANo BARRAcK-RooM BALLAos, NEw YoRK, DouBLEDAY, PAGE ANo CoMPANY,-r§°o5. LI NDSAY 1 VACHEL , COLLECTED POEMS, NEW YORK, MACMILLAN COMPANY, 1931 . . LOMAX, JOHN A. AND LOMAX, Al.AN, EDS. 1 AMERICAN" BALLADS � E.2.b.!i �' NEW YORK , MACM ILLAN COMPANY, 1934. 170 MACMECHAN , ARCHIBAL D, ED.; SELECT POEMS .2!. AtFRED TENNYSON, BO STON, D. C. HEATH AND COMPANY, 1907. MCCRAE , JOHN o. t IN .FL ANDERS Fi ELDS � OTHER POEMS, NEW YORK t G. P. PuTNAM 1sSoNs, 1919.• MACK ;•MAYNARD , to., ALEXANDER.P OPEi s ·� ���. LONDON, METHUEM AND COMPANY, LTD., 1950. MASEFIECD� JOHN, POEMS• NEW Yo RK , THE MACMILLAN COMPANY, 1955• MASTERS, EDGAR LE'E, SPOON R'1 VER .ANTH0LOGY t NEW YORK t THE MACMILLAN COMP ANY·, 1 927 • Mo RE, PAUL ELMER1 ,i;:D., �COMPLETE POETICAL . WORKS .2!. � BYRON, Bos:TON, HOUGHTON MIFFLIN COMPANY , 1905. . PATTERSON, FRANK AL LEN, ED., MILTON1s•. CoMPLETE PoEMs , NEw YoRK , F. s. CRoFTs AND CoMPANY, 1930 . POOLEY , RO BERT c. , BLA IR, WALTER, HORNBERGER, THEODORE , ANO FARMER, PAUL·,· . EDs.·, THE. UNI TED STATES .!..!! LITERATURE,, CH ICAGO, Sco:rT, FORESMAN, AND · CoMPANV,-1952. REED,. LANGFO RD, £D., THt COMPLETE LIMERICK .-BOOK� GARDEN CITY, NEW YO RK , G. P., PuTNAM 1s So;:;5," 1925. RHYS,· ERNEST,, ED.,· PoE1,s �, � EssAY.s ,· LoNDoN; J. M. DENT AND SONS·; LTD. t 1927. Ro s1NsoN·, Eow.1 N ARL INGTON , COLLECTED PoEMs, NEw YORK, THE MACMILLAN COMPANY, 1921 o SANDBURG� CARL , CotAPLETE PoEMS , NEw YORK , HARCOURT, BRACE AND COMPANY, 1950. SIMPSON, JOHN , ED., THE POETICAL WO RKS .Q.f.· Wi.LL,IAM BL AKE, LONDON, OXFO RD , UNI VERSi TY PREss:--T92g. SCOTT' WAL TER s. t ED. t THt POETICAL WO RK S .Q.f. � KEATS, NEW YO RK t THE MACMILLAN CoMPA'N'Y,"- 1907. ScuDDER, HoRACE E., ED., THE COMPLETE PotTICAL WO RKS .2!. LoNGFELLOw, . BOSTON, THE HOUGHTON M'i"FFL IN' COMPANY , 1863. SCUDDER, HO RACE E., ED., THt COMPLETE POETIC AND DRAMATIC WORKS OF RoaERT BROWN ING, BosTON;' THE1 HouGHTON M1FFLi°N COMPANY, 1g95.� ScuoDER, HORACE E., Eo.,, SCOTT.r s COMPLETE ,PoETICAL .WORKS,. BosTON, THE HOUGHTON M� FFLIN COMPANY , 1900. 171 SWALLOW, P,.t.. AN, ED., THE BI NEHART ---BOOK OF VERSE, NEW YORK , �INEHART , AND COMPANY , INc. , 1958 . UNTERME;:YER, Lov1 s, EDo, � 2!: EMILY DICKINSON, Ni;;w YoRK , Hr;;RITAGE . P�Ess, 1952. · WEAV�R, JOHN v. A. , l!i AMERI CAN, NEW YORK , At.FRED A •.KNO PF, 1939. WH:l' TMAN, WALT, LEAVES OF GRASS, GARDEN CITY, NEW YORK, DOUBLEDAY, DORAN ' AND COMPANY, 1937.� ----- WooDBERRY, GEORGE E� , ED. , I.!:!E. CoMPLETE POETICAL Wo RKS .2.E. PERCY ByssHE SHELLEY ! BO STON, THE HOUGHTON MIFFLIN COMPANY, 1901 . . YEATS, w·ILL IAM BUTLER, I!iS. COLLECTED POEMS .2!:: ':!1..· .§. YEATS, NEW YQ RK , . 'THE MACMILLAN COMPANY, 1952• APPEND IX A FIGU�TIVE LAN�UAGE AMONG OTHER TH INGSt POETRY IS DESIGNED TO STIR THE EMOTIONS AND TO EXCITE,THE IMAG l ��TIO�• THE CAPAC ITY TO �EEL AND THE ABILl1Y TO EVOl STANDi NG OF POETRY. CoNC�ETE A�D SPECIFic WO RDS IN LITERAL MEANINGS AND PRECISE, ACCU RATE DESCRIPTIONS ARE IDEALS TO BE ATTA INED IN MUCH WRITING, BUT THEY POSSESS LITTLE POWER TO STIMULATE EMOTION OR FEEL ING. SucH STIMULATION REQUIRES THAT WORDS SUGGEST MORE THAN THEY ACTUALLY SAY, THAT THEY PRESENT AN IDEA IN A NEW RELATIONSHIP, THAT COMPARI SONS BE MADE BETWEEN KNOWN BUT DISSIMILAR THINGS, THAT SOMETH ING BE CALLED BY ANOTHER NAME NOT USUALLY APPL IED TO IT, OR THAT I� BE REVEAL ED IN SOME OTHER UN ACCUSTOMED LIGHT. TH IS FORCiNG OF WORDS TO ACCEPT NEW AND UNUSUAL MEAN INGS STARTLES THE MIND INTO THE PERCEPTION OF THE IDEA THE WRI TER HAS IN MIND. TH IS IS WHAT IS MEANT WHEN ONE SPEAKS OF FIGURATIVE LANGUAGE, AND EXAMP.LES OF SUCH WRI TING ARE CALLED FIGURES OF SP EECH. MUCH OF THE EFFECTI VENESS OF POETRY DEP ENDS ON THE USE OF FIGURA TIVE LANGUAGE, THAT IS, LANGUAGE WHICH DOES NOT ACTUALLY MEA� WHAT IT SAYS• Fo R EXAMPLE: SHE �S A RO SE AMONG THORNSe DOES NOT MEAN THAT, LITERALLYe � IS OBVIOUSLY A PERSON AND A ROSE IS A ROSE ANO THORNS ARE THORN S. WHAT THE WRI TER IS DO ING IS DRAWING A COMPARI SON. HE MEANS TO SAY THAT AS A P.ERSON SHE · 1 S MORE BEAUTIFUL THAN 1 73 THOSE AROUND HER ( OR SWEETER, OR OF A GENTLER DISPOSITION, OR ALL OF THESE TH INGS AND MO RE ) . By THE USE OF THIS COMPARISON TO SOMETH ING FAMIL IAR, THE WR ITER DRAWS ON HI S READER1 S STORE OF ACCUMULATED KNOWLE:OGE ANO EXPERIENCE AND GETS HIS PO I NT ACROSS WI TH MANY FEWER WO RDS. SUPPOSE YOU HAVE BEEN TO VENEZUELA AND COME BACK QU ITE ENTHU SI- AST IC ABOUT THE MANGO ES YOU ATE THERE. You MIGHT DESCR IBE A MANGO FO R SOME FRI END LITERALLY: THE MANGO IS A TROP ICAL FRUIT ROU GHL Y OBOVOID IN SHAPE, TWO TO SIX INC�ES IN LENGTH, USOALLY COMP RE SSED LATERALL'i G�EEN ISH9 REDD ISH, OR YELLOWISH IN COLORt AND POSSESS ING A MILD, SUB-AC ID FL'.AVO R. WEt.:.L , YOU MIGHT, BUT NO ONE WO ULD KNOW WHAT YOU .WERE TALK ING ABOUT• You WO.UL D.MO.R E LIKELY SAY :· . . GEE, MANGO.E S ARE TOP:s. A MANGO IS A FRU l.T SHAP ED LIKE AN EGG, CREASED LIKE A PEACH, RO SY AS AN APPLE, ANO JU ICY AS A PLUM; IN 'FACT, IT IS A GLORl�IEO PLUM� You HAVE USEO 'FIGURATl:VE LANGUAGE AND AL THOUGH THESE. FIGURES ARE TR ITE ( OVERWO RK ED ) ,: YOU. HAVE CONVEYED A MEAN ING. Yo u DION 1 T KNOW IT, BUT WHERE V:O U USEC 1 t.:..I KE1 . OR 1.AS 1 :YOU WE RE EMPLOY l;NG SIMILE, :AND WHE RE y:o u USED · I l!T 1.s 1 YO'.U WERE EMPL'.OYI NG METAPHOR. ·THERE ARE NUME·RO US FIGURES OF SP.E ECH. SINCE THl-S IS FO R MANY OF YOU IN TH E NATU RE OF . AN l.NTRODUCTION TO POETRY t WE SHALL OEFI NE. ANO 0 IS- cu:s s ONLY THRErE ; Sl'M ll.E·, 'METAP HO R, A'N O PERSONl.F ICATI ON• ONCE YOU 'ARE WELL ACQUAI NTED WI TH THEM , WE SHALL DEVO TE MU CH TIME IN THE QUESTIONS TO THEIR IDENTIFICATION. SIMILE. THE :WO RD 1 slMIL·E ' COMES FROM THE SAME ROOT AS TH E WO RD :1 s1M- ILA R1• WH AT A SIMILE DOES IS· TO SAY ·.TH AT SOMETHI NG 1:s Sl•M ILAR TO SOME- TH ING .ELSE., IT IS A COMPAR l.SON AND A DIRECT ONE AT. TH AT. A SIMILE EX- 174 PRESSES THE• LIKENESS BETWEEN, TWQ TH I NGS; NOT ORDINARl l!..LY CONSIDERED . SIMILAR. To EXPRESS T�E COMPARISON THE SIMILE USES THE WO RD 1LIKE1 OR 1As1 9R �OME EQU ! VALENT EXP RESSION. HER� ARE SOME EXAMPLES Of THE SIMILE; BUT PLEASURE� ARE· L� KE POPP IES SPREAD, You SEIZE THE FLOWER, ITS BLOOM IS SHED. --BURNS OH , MY LUVE1S L� KE A RED, RED ROSE. --BURNS SHE WALKS IN BEAUTY LIKE THE NIGHT. --BYRON Tl:IE WO RL D WH ICH SEEMS TO LIE BEFO RE US LIKE � LAND OF DREAMS. --MATHEW ARNOLD FROM EARTH THOU SPRINGEST LIKE A CLOUD OF FIRE. --SHELLEY . ' THE BRIDE HAS PACED INTO THE HALL RED AS A ROSE IS SHE. --COLERIDGE AND SWI FT AS LIGHTNING TO •THE COMBAT FL IES. . ' HERE IS,AN EXAMPLE IN.WHICH NEI THER 1LIKE1 NOR 1As1 IS USED BUT IN WH ICH AN EQU I VALENT EXP RESSION IS EMPLOYED: SHALL I COMPARE THEE TO A SUMMER1S DAV? .;.-SHAKESPEARE ( SHALL I SAY YOU ARE LIKE A SUMMER1S DAY?) AND HERE IS AN EXAMPLE FROM ENGL ISH LITERATURE IN WH ICH THE WORD 1LIKE1 IS USED BUT COMPOUNDED WI TH THE WO RD 1CAT1• • • • A LONG DRAWN CATLIKE WH INE, WH ICH TOLD U� THAT THE CHEETAH WAS 'AT LIBERTYL --SIR ARTHUR �ONAN Dov�E AND HERE ARE MORE EXAMPL_Es, .ALSO 1,LLUSTRATING .THE SIMILE BUT FROM MO.RE CONTEl<.WORARY ,SOURCES:, MOMENTARILY ,THE CONDUCTOR1S BREATH HOVERED LIKE A VEIL IN THE BITTER AIR. --WILL tAM HEYL ldER NOTE "'(HAT IN ADD l1T110N TO THE Sl'.MILE'.THE PHRASE 1BI TT8R9 STl'.N.Gl.NG AIR1 IS A METAPHOR., 1 75 Ht s BL ACK EARS FELL DOWN LIFEL ESS AS WILTED CABBAGE:LEAVES ABOUT HIS JOWLS. --JESSAMYN WEST tHAT BOY PUT UP � FIGHT LIKE:A WELTERWE IGHT CINNAMON BEAR. --0. HENRY OH Goo, CAN1T YOU MAKE us HURRY? GET us TO THE TIME WHEN WE WON 1T HAVE TO DRY UP LIKE·A PIPP IN BEFO RE WE1RE READY TO BE TOOK OFF? --ZONA· GALE METAPHOR. THE METAPHGR IS ALSO·A COMPARISON, BUT WHEREAS THE SIMILE COMP ARES DI RECTLY BY SAV ING SOMETH ING IS LIKE SOMETH ING ELSE, THE METAPHOR DOES IT I ND I RECTL V BY CALL I NG IT BV ANOTHER NAME. THE MET- AP HOR1S COMPAR� SON IS IMPL� Eo; THE SIMILE1s IS EXPLICIT. THE SIMILE SAVS THAT SOMETH ING IS LIKE SOMETH ING EL SEj THE METAPHOR THAT IT IS SOME- TH ING ELSE. HERE ARE SOME EXAMPLES OF THE METAPHO R: A LIGH� BROKE iN UPON MY BRAIN IT WAS THE CAROL OF A BIRD. --BVRO N . THE WONDROUS ARCHI TECTU RE OF THE WO RLD. --CHRI STOPHER MARLOW SHE WAS A PHAMTOM OF DEL IGHT. --WORDSWORTH A SUDDEN SM� LE SPL� T ARCHV1S FACE �ROM EAB TO EAR. --P ASCHAL N. STRONG WOMEN WERE FLOCK I NG OUT TO THE TRUCK NOW. --NORMAN KATKOV WHEN J COULD NOT SLEEP FOR THE COLD , I HAD F� RE ENOUGH I� MV BRA1 N.- --JAMES RUSSELL LOWELL PooR LITTLE Ast, / LEFT ALL ALONE ExcEP T FOR ToM, f WHo 1s A ROLLl.NG sToNt. --RO SEMARY AND STEPHEN VINCENT BEN�T I NEVER LOST MV NERVE VET TILL WE KIDNAPPED THAT TWO-L EGGED SKYROCKET OF A KID. --0. HENRY THIS EXAMPLE COMBINES METAPHO R AND PERSON IFICATION IN ONE FfG�RE • -'-LONGFELLOW At.ONE l•N THE NIGHT I ON A D ARK HILL Wt TH p INES AROUND ME I Sp I CV AND STILL; --SARA TEASDALE 176 0 · • .- EVEN TO ME, WHO WAS· IN A FEVER OF· _EXPECTATl.ON.· --CHARL ES DICKENS 0uR CHAINS ARE FORGED. THEI R CLANK ING MAY BE HEARD ON THE PLAINS OF BOSTON. --f?ATRICK HENRY PERSON IFICAT ION. THE LAST _FI GURE OF SPEECH WE SHALL BE CONCERNED WI TH IS PERSONIFICATI ON·. • NOTIC!;: TF,iAT TH IS WO RD CONTAINS THE WO RD 1PERSON1• _ THIS GIVES US A CLUE TO WHAT 1PERSONIFICATION1 MEANS, THE MAK�NG OF A PERSON OUT OF SOMETHING l!JH ICH ISN1T REALLY A PERSON AT ALL. PERSONIFI- CATION IS THE ATTRIBUTING OF HUMAN CHARACTERI STICS TO NON-HUMAN THINGS. HERE ARE SOME EXAMPLES OF PERSONIFICATION: l� FT UP YOUR HEAOS1 0, YE GATES• EARTH FILLS HER LAP WI TH PLEASURES OF HER OWN. --WO RDSWO RTH SWEET SM ILING VILLAGE, LOVEL IEST OF THE LAWN. --GOLDSMITH How sooN HATH T1ME, THE Sl:JB�E TH IEF oF YOUTH. (NOTE THE CAP I TAL iN 'T.IME1 ; IT INDICATES PERSONIFICAT,ON. HERE ARE SOME EXAMPLES FROM MORE RECENT SOU RCES: • • • THE GREAT SHJ Pt TENSE ANO ANXIOUS, GROPED Hl;:R WAY TOWARD THE SHORE WI TH PLUMMET AND SOUND ING LINE. --HELEN KELLER THE NORTHERN LiGHTS HAVE SEEN QUEER SIGHTS 8UT THE QUEEREST· THEY EVER DID SEE. • • --RO BERT w. SERVICE • • • ANO FROM MEMORY 1S DARK CO RNERS WO RDS AND �ELOOIES WOULD RI SE• --SELMA LAGERLOF • AND LOOKED OUT THERE AT SOME SHRUBS THAT WERE DROOP I NG • • • . . . THEI R HEADS IN THE COLD. --CHARL ES DICKENS AND T�ME THE RU l �E9 BRI DGE HAS SWEPT SowN THE DARK STREAM WH ICH'SEAWARD CREEP S. --RALPH WALDO EMERSON (THERE MIGHT BE A QUESTION HERE , BUT THE CAPI TALi ZATION OF 1Ti ME1 MAKES : IT- CERTAIN THAT PERSONIFI CAT-I ON . IS INT-ENDED. ) . • • • J\.NO THAT ;GOVERNMENT OF THE· PEOPLE, BY THE PEOPLE, AND FOR THE PEOPLE .SHALL NOT PERISH FROM_ THE EARTH. --ABRAHAM LINCOLN . APPEND IX B VERSIFICAT ION As YOU GO THROUGH TH IS BOOK YOU WILL NOTE THAT THERE ARE INCLUDED MANY QUESTIONS ON THE STRUCTURE OF' POEMS. TH IS IS WHAT TH IS BIG WORD 1VERSIFICAT� ON1 DEAL S WITH--THE MECHANICS OF THE WRITING OF' POETRY. WE REAL IZE F'ULLY THAT THIS CAN BE A DEADLY DULL SUBJECT, AND THAT IT HAS LITTLE OR NO PRACTICAL VALUE FOR YOU; NONE {oR FEW) OF YOU ARE PL.ANN.I NG TO WRl�E POETRY . Bur �T CAN BE A SOURCE OF' PLEASURE AND IMMENSELY SAT- ISF'YI NG IF YOU APPROACH IT, SAY , LIKE A DETECTIVE TRYING TO SOL.VE A "wHO DONE '1 r?" 'MYSTERY . You CAN FERRET OUT CLUES AND SOLVE THE CRIME OF THE ACTUAL WRITING OF THE POEM. WE ARE GO ING TO GIVE YOU JUST A FEW CHARTS WH ICH WILL HELP YOU IN YOUR SLEUTH ING. DoN1T TRY TO MEMORI ZE THEMe REF'ER BACK TO THEM WHEN YOU WANT TO KNOW HOW A POEM IS CONSTRUCTED. WHA:r WE AR'E GIVING YOU IS NOT COMPLETE AT ALL •.WE. H1XVE INCLUDED ONLY THE MOST COMMON EL EMENTS AND THE ONES WH ICH WILL SERVE TO START OFF'. IF YOU GET INTERESTED, THERE ARE. MANY COMPLETE. SOURCES OF INFORMATION IN ENCYCLO- PED4 AS AND TEXT BOOKSo �· 1METER1 MEANS MEASURE. POETRY. IS MEASURED IN TWO WAYS1 BY THE· NUMBER OF SYLLABLES• IN A FOOT AND THE NUMBER OF FEET IN A L INEe THE PROCESS ·oF DESCRIB.I NG METER IS CAL.L ED SCANSION. IT INVOLVES FOUR STEPS: 2. MARK THE STRESsE's OR ACCEN.T S ON SYLLABLES. 178 3• D� VIDE THE LINE INTO FEET. 4. NAME THE METER. LET1 S TAKE AN EXAMPLE ANO CARRY IT THROUGH THESE FOUR STEPS. HERE RESTS HIS HEAD UPON THE LAP OF EARTH A YOUTH TO FORTUNE ANO TO FAME UNKNOWN. --THOMAS GRAV 1. DIVIDE THE LINE INTO SYLLABLES. JHIS IS EASY P9R A SYLLABL E IS SIMPLY A WORD UNIT PRONOUNCED SEPARATELY, AND THERE ARE ONLY THREE WORDS IN THESE TWO LINES WH ICH CONTAIN MORE THAN ONE SYLLABL E. HERE RESTS HIS HEAD UP - ON THE LAP OF EARTH A· vouTH 1-o FoR - TUNE AND To FA.ME UN - KNOWN. 2. NIARK THE STRESSES OR ACCENTS ON SYLLABLES. Do TH IS BY READ ING ALOUD AND MARK ING WITH A SHORT VERTICAL LINE (1) THE SYLLABLES YOU NATURALLY ACCENT. THEN RE-READ AND MARK W.l. TH A SHORT HOR- I ZONTAL LINE (-) THOSE: WH ICH ARE UNSTRESSED . I I I I I HERE RESTS HIS HEAD UP ON THE LAP OF EARTH I I I I I A YOUTH TO Fo R TUNE AND TO FAME UN KNOWN. AND, t I I I I - - HE RE RESTS HIS HEAD UP ON THE LAP OF EARTH - I • I I - - - - A VOUJH TO FO R TU NE AND TO FAME UN KNOWN. 3. DI VI DE THE .LI NE . I NT.0 FE�T . } LOOK OVER THE. MARK ED. L.INE:S ABO VE, PO R .REGULAR REf'ET Tl ONS; O.R PATTERN S. A POO:T USUALLY HAS AT LEAST ONE: STRONG ACCENT. IT IS ALMOST IMPOSSI BLE TO DE:TERMI NE: f\NY f'A·T TERN WH EN ON!-Y THE STRONG .f.CCENTS ARE MARKED AS IN Fl RST EXAMPLE, GIVEN ABOVE:,.BU T 1 79 I - I ·. I - ' I RESTS HIS HEAD UP ON THE LAP OF EARTH .. IS QUITE CLEARLY FIVE REPETI TIONS OF • WE MARK EACH REPETITION WITH A VERTI CAL LINE AND HAVE TH IS PATTE RN : 1· WE NOW HAVE A LINE OF TEN SYLLABLES WH ICH COMBINE TO MAKE UP A LINE OF FIVE FEET• 4. NAME THE METER. THE NAME OF A METE R IS COMPOSED OF THE NAME FOR THE KIND OF FEET USED PLUS THE NAME FOR THE NUMBER OF FEET IN EACH LINE • .. HERE IS A SIMPLE CHART 'FO R THE MOST COMMON KINDS OF 'FEET. Do NOT ATTEMPT TO MEMORIZE IT. REFER TO IT WHEN YOU WANT TO KNOW THE NAMES OF THE KINDS OF FEEj USED IN POETRY. THE .COMMON .POETIC FEET ARE COMPOSED OF El THER TWO OR THREE SYLLABLES AND MANY ARE THE REVERSE OF OTHERS . " NUMBER O.F PATTERN NAME SYLLABLES COMMON - • IAMB IAM BIC I - TROCHEE TROCHAIC . 2 RARE I I SPONDEE SPONDAIC - - PYRRH IC PYRRHIC GOMMON - - I ANAPEST ANAPEST:! C · I - - DACTYL DACTYL , c 3 RARE - I - AMPHI BRACH I - I CHOR! AMBU S ' IT NOW APPEARS THAT 0.UR EXAMPLE; IS MADE UP OF IAMBS; 1-T IS AN IAMBIC METER� THE FACT THAT THE LINE IS IAMBI� DOES NOT DESCRI BE IT FULLY. WE NEEp tO .KNOW THE NAMES FOR THE NUMBER OF FEET IN A LINE. THESE NAMES ARE TAKEN FROM ·THE- GREEK: NAMES. FO.R NUMBERS.. IF YOU. NOTICE AND UNDERSTAND THAT EACH NAME ENDS l N 1METER1 WH ICH MEAN S MEASURE, BUT WH ICH YOU CAN HERE TAKE TO MEAN FOOT, AND THAT THE PREFI XES SIMPLY MEAN ONE, TW0 1 THREE, FOUR, AND SO ON, THEN THE UNDERSTANDING OF THE CHART IS NO TRICK AT ALL. NUMBER OF FEET NAME OF METE R -· IN A LINE 1 MONOMETER . 2 D IMETER 3 TR-I ME.TER 4 TETRAMETER . 5 PENTAMETER 6 HEXAMETER . 7 HEPTAMETER g 0CTAMETER IT WOULD BE POSSIBLE TO NAME LINES OF ANY LENGTH,- BUT·;IN POETRY LINES OF OVER SIX FEET ARE UNUSUAL AND LINES OF OVER EIGHT FEET ALMO ST NON- EXISTENT. SOMETIMES POETRY IS WRI TTEN IN VERY LONG LINES, BUT IN ALMOST EVERY CASE EACH LONG L INE WILL BE FOUND TO BE A COMBINATION OF TWO OR MORE SHORTER MEASURES• FOR INSTANCE1 THE FEW OCTAMETE RS THAT WE FI ND USUALLY TURN OUT TO BE SIMPLY TWO TETRAMETERS WRI TTEN TOGETHER FOR CONVEN- 1$1 IENCE OR EFFECT; HEPTAMETERS ARE QU ITE FREQUENTLY TE TRAMETERS PLU S TR I- METER.S t ANO SO ON·. OUR EXAMPL E TH EN TURN S OUT TO BE IAMBIC PENTAMETER, A TEN SYLLABLED LINE COMPOSED OF FIVE FEET AL JERNATEL Y UNSTRESSED ANO STRESSED ACCENTS. TH IS IS THE MOST COMMONLY USED OF ALL ENGL ISH METERS, FOR MANY POETS1 ANO TEACHERS , NO T AWARE OF THE GREAT FL E XIBILITY OF METER WHICH MAK ES POETRY WH AT . IT IS, ATTEMP T TO FORCE WO RDS TO CONFO RM TO THE SET PATTERN ESTABL ISHED• 0uR EXAMPL E WA S AL SO PERFECTLY REGULAR, OR AT LEAST WE MADE IT SEEM SO , BU T IT SHOULD BE OBVIOUS THAT NOT ALL SYLLABL E'S MARKED I BEAR THE SAM E STRONG STRESS ANO THAT NOT ALL SYLL ABL ES MARK ED - BEAR THE 'SAME WEAK STRESS. PERFECTLY REGULAR METER RAP IDLY BECOMES MONOTONOUS OR SING- SONG. IT IS TH E VA RIATION OF M.ETER WH ICH MAKES POETRY AL IVE ANO INTER- ESTI NG. TH IS VA R IATION MAY BE o·F TWO KINDS: 1. THE KIN DS OF FEET MAY BE VA RIED--ONE KIND OF FOOT MAY BE SUBSTI TUTED FO R ANOTHER. 20 THE NUMBER OF FEET MAY BE INCREASED OR DECREASED IN WHOL E OR IN PART. THESE VARI ATIONS ARE RA TH ER ARBITRARY AND IT IS HARD TO TELL WHEN THE VA RI ATION IS ONE TH ING AND WH EN IT IS ANOTHER, AND REALLY IT DOESN1 T MATTER MUCH--TH.E IMPORTANT TH ING IS TO BE AWARE TH AT THE VA RI A TION EXI STS. T�E CO�MON S�BSTITUTION FOUND IN POETRY IS THE REPLACEMENT OF A FOOT BY , ' ANOTHER OF AN EQUAL NUMBER OF SYLLABLES, I. E. t AN IAMB BY A TR.OCHEE, AN ANAP EST FO R A DACTYL t AND SO ON. WH EN TH REE SYLLABLES· ARE SU BST I TU TED FO R TWO OR � VERSA THE OCCAS ION ARI SES WH EN IT IS DIFFICUL T TO TELL WH ICH PRINCIPLE OF VARIATION IS BE ING APPL IED. THERE ARE SOME NAMES WH ICH APPLY TO TH IS VARI ATION OF FEET WH l' CH YOU MIGHT LIKE TO KNOW. 1$2 ' VAR IATION ·. · NAME . .. ' '011.1JSS I ON OF SYLLABLE AT· BEGINNING TRUNCATION OMISSION OF SYLLABLE AT END CATALEXIS ... ADDITION OF . SYLLABLE AT BEGINNING ANACRUSIS HYPERMETER OR· l AT END . ADD I TION OF SYLLABLE FEM I N I NE END I.NG SHARP ' PAUSE OR BREAK WITHIN LINE CAESURA l .. THE D.I FFICULTY �S INCREASED BY THE FACT THAT SP EECH OFTEN SEEMS TO RESENT BEING FORCED INTO A PATTERN, AND . THAT TH�RE ARE MORE THAN JUST TWO DEGREES OF STRESS WH l·CH CAN BE Pt:ACED ON SYLLABLES.• AN IN I Tl AL WO RD MAY CALL FOR MORE THAN NORMAL ACCENT AND FO RCE.AN IAMB TO BECOME A SPONDEE AS IN THE .FOLLOWING: I I I I I 0 WHY :sHOULD THE SP IR BE PROUD? IN SP ITE OF ITS APPEARANCE, TH IS IS ESSENTIALLY AN IAMBIC PENTAMETER LINE, . EVEN THOUGH IT CONTAINS ONLY TWO .PURE l�MBSe THE FIRST FOOT, BECAUSE OF THE IMPORTANCE ATTACHED IN SPEAK.I NG OPEN ING PHRASES, HAS BECOME A.SPON- DEE, THE SECOND PYRRHIC, AND THE TH IRD A TROCHEE; AN ADDITI ONAL SYLLABLE IS ADDED AT THE END OF THE LINE BY THE PRINCIPLE OF HYPERMETERe (EVEN THE � AUTH. ORI.. TIES DISAGREE: ON TH IS � BUT THE CONSE� NSUS SEEMS TO BE THAT AN . - ADDIT- I ONAL ACCENTED SYLLABL E INDICATES HYPERMETER WH ILE AN ADDITI ONAL UN- ACCENTED SYLLABLE INDICATES FEMININE END ING; CF. , 1FEM�. NfNE- RHYME1 IN THE NEXT SECTiONe) WHEN THE SCANSION �F LINES BECOMES DIFFICULT AND A CHORE RATHER THAN A TH ING OF FUN, FO RGET ITe JUST DESCRIBE THE METER AS IRREGULAR AND LET IT GO AT- THAT. RHYME. ANOTHER CHARACTERISTIC OF POETRY WH ICH CAN BE EXAMINED AS A FUN-TH ING IS RHYME. DO ES THE POET USE IT AT ALL OR DOES BE DISREGARD IT7 fF HE EMPLOYS RHYME, DOES HE FOLLOW A REGULAR PATTERN OR SCHEME? THESE TH INGS CAN BE INTERESTING TO FIND our. WHAT IS RHYME? RHYME IS THE USE OF WO RDS, ·,WH ICH SOUND AL IKE. To BE A PERFECT RHYME THE ACCENTED VOWEL AND ANY OTHER VOWELS AND CONSON- ANTS WH ICH FOLLOW IT MUST AGREE. APPLE DAPPLE START - SMART RIDING - HIDING BARN - TARN EYES - SK IES FORSAKEN - PARTAKEN THESE ARE EXAMPLES OF PERFECT RHYME. AN IMP�RFEqT RHYME. VIOLATES THE , ABO VE PRINCIPL�; US' UALLY ,THE ' VOWEL SOUND IS NEARLY BUT NOT QU ITE THE SAME , "OR THE CONSONANT .SOUNDS MAY VARY SL I GHTLY; SOME EXAMPLES OF IMPERFECt RHYME FOLLOW. FATHER - MOTHER LONE - GONE STARS - START STEAL - STILL FLOWE RS AMOURS CERTAIN - PURITAN RHYMES ARE SPOKEN OF AS BEING MASCUL INE OR FEMININE. MASCUL INE RHYME MEANS THAT THE FINAL VOWEL ( oR SYLLABLE) IS STRESSED. SOMETIMES THERE IS A DOUBT; NOTE THE TWO FINAL EXAMPLES GIVEN BELOW; IS THE _FINAL 11NG1 STRESSED OR NOT, AND IF IT IS STRESSED IS IT STRESSED MORE THAN THE SYLLABLE WH ICH ORECEDES IT? PERTAIN -, RETAIN - HEART ;;. .P. �RT SWEETHEART - IMPART EMENATE IMPL I CATE SINGl�G - RINGING E_RR I NG PURRING UNLESS YOU CONCEIVE� OF THE LAST��VLLABLE CARRVING:A STRONGER STRESS THAN THE FIRST, THE LAST· TWO · EXAMPLES ABOVE SHOULD ·BE MOVED DOWN INTO THE NEXT DIVI SION, WH l·CH IS FEMININE RHYME. FEMININE RHVME · OCCURS WHEN THE -STRESSED VOWEL IS FOLLOWED BY AN UNSTRES�ED · SVLLABLE'OR•SVLLABLESe REMEMBER THAT FtMININE END ING ADDED AN UNSTRESSED ·SYLLABLE TO A LINE; INi LIKE MANNER, FEMININE R�VME ADDS· ONE OR .MO RE UNSTRESSED SYLLABL ES TO A RHYME (AND OFTEN TO A FOOT OR TO A LI NE) • CHARTED DEPARTED NATION ��STATION CERTAIN - CURTAIN CHEERFULLY .. - TEARFULLY ENDED - TENDED LOVE HER - ABOVE HER THE· USUAL PLACE WHERE RHYME IS �OUND IS AT THE ENDS �F· LINESe WO RDS THAT R�VME ARE MATCHED WI TH· IDENTI CAL LETTE RS TO MARK .THE •RHYME PATTERN• . IT WAS MANY AND MANY A VEAR AGO, A IN A KING DOM BY THE SEA t B THAT A MAI DEN · THERE LIVED WHOM YOU MAY KNOW A Bv - THE NAME-OF ANNABEL LEE; B AND TH� S MAI DEN SHE L � VED WI TH NO OTHER THOUGHT C THAN TO LOVE AND BE LOVED BY ME. B --EDGAR ALLEN PoE TH IS, A BA B C B, IS THE PATTERN OR RHYME SCHEME FOR TH IS STANZA OF THIS POEM •.IF ALL THE STANZAS ( THEY DO NOT) FOLLOW THE SAME PATTERN , OR '. FOLLOW IT WITH ONLY MINOR1VARIATIONS, WE SAY THAT THE PATTERN IS THE RHYME SCHEME OF THE POEM. THE QUESTIONS WILL HELP YOU TO BECOME FAMILIAR WITH THE MANY DIFFERENT WAYS IN WH ICH RHYME, AND THE UNDERSTAND ING OF THE PRINCIPLES OF RHYME, CAN ADD TO YOUR ENJOYMENT OF POETRY. 185 STRUCTURE . WHAT IS VERSE, WHAT IS A STANZA,,i AND HOW DO THEY DIFFER? THESE .TERMS ARE OFTEN MISUNDERSTOOD AND MISUSED� REMEMBER A VERSE , PROPERLY , IS A SINGLE- LI NE OF POETRY . A STANZA IS AN ORDERED COMB I NAT I ON OF VERSES MUCH LIKE A PARAGRAPH IN PROSE. STANZAS MAY HAVE · ANY NUMBER OF LINES FROM TWO ON.· A TWO-L INED RHYMING :STANZA ·1 s · CALLED ·A· COUPLET • .' COUPLETS _THEMSELVES,'ARE· OFTEN COM- ? BINED INTO LARGER STANZAS. IF MEANING IS COMPLETE, \'11-THIN(A COUPLET AND IT IS STOPPED BY PUNCl�TION, IT IS CALLED. A CLOSED -OR AEROIC COUPLET. THERE ARE MANY FORMS OF STANZAS, BUT YOU NEED NOT BE CONCERNED WITH THE TECHN ICALITIES OF THEM. You MIGHT WANT TO REMEMBER THAT A FOUR- LINE STANZA IS CALLED A QUATRAIN. THE RHYME SCHEME IS OFTEN A DETERMIN- ING FACTOR IN THE �TRUCTURE OF A �TANZA; HOWEVER, �OT ALL RHYME OCCURS • AT THE ENDS OF THE LINES . RHYME WITHIN A LINE IS CALLED INTERNAL ·�o USUALLY THE WO RD 'WHICH RHYMES INTERNALLY RHYMES WI TH AN END WO RD. RANDOM RHYME OCCURS HAPHAZARDLY HERE AND THERE IS UNFO RTUNATE AND AS UN- DESI RABLE IN VERSE AS IT IS IN PROSEo . OF COURSE, ANY OF THE METERS WE HAVE MENTIONED COULD BE WRI TTEN WI THOUT RHYMEe THERE IS MUCH UNRHYMED VERSE, BUT RHYMED VERSE IS RATHER MORE COMMON. HOWEVER, THERE ARE TWO KINDS OF UNRHYMED VERSE WH ICH ARE USED WI TH GREAT FREQUENCY. THESE ARE � VERSE AND £.!3.f£ VERSE. BL ANK VERSE IS SIMPLY UNRHYMED IAMBIC PENTAMETER LINES. IT Is USUALLY RESERVED FOR LONGER POEMS AND FOR DRAMA. FREE VERSE SUBMITS TO NEITHER THE CURBS OF METER NO R OF RHYME. IT HAS ITS OWN RHYME, CADENCE, AND CERTAIN OTHER CHARACTERISTICS WH ICH DISTINGUISH IT FROM PROSE. KINDS QE. POETRY. AGAIN, THERE ARE MANY DIFFERENT KINDS OF POETRY. WE SHALL DEAL WI TH ONLY THREE--LY RI C1 NARRATIVE, AND DRAMATIC--AND WI TH TWO SPECIAL FO RMS, THE BALLAD AND THE SONNET. A U!ll£ IS A POEM, USUALLY SHORT, . WH ICH EXPRESSES A Sl.NGLE EMO·TION OR FEEL·I NGe A NARRATI VE POEM IS SIMPLY ONE ·THAT TELLS A STORY. A DRAMATI C POEM IS ONE WH ICH AL SO TELLS A STORY BUT WI TH INTENSI FIED ACTION AND ORDINARILLY IN THE MEDIUM OF SPEECH. THESE DIVISIONS ARE NO T HARD AND FAST. A LYRI C MAY HAVE SOME ELE MENTS OF NARRATIVE AND OF DRAMA. NARRATIVE AND DRAMA MAY HAVE LYRIC QUALITIES. JUDGMENT MUST BE BASED ON WHAT THE POET1 S PRIME PURPOSE SEEMS TO BE. A BALLAD IN ITS TRUEST SENSE IS AN ANONY_MO US POEM OR FOLK SONG. IT TELLS A STORY AND IS THEREFORE NARRATIVE. IT QU ITE FREQUENTLY, BUT NOT ALWAYS1 HAS A REFRAIN. THE SONNET IS A SP ECIAL FORM OF LYRIC. IT CONSISTS OF A SINGL E STANZA OF FOURTEEN LINES, AL THOUGH IT IS OFTEN DIVI DED INTO SECTIONS OF EIGHT AND SIX LINES• THE RHYME SCHEME OF A SONNET VARI ES ACCORDING TO ITS TY�E THE MOST COMMON OF WH ICH ARE THE PETRARCHAN, THE SHAKESPEAREAN, AND THE SPENSERIAN. QUE STIONS IN THE SERIES WILL MAKE YOU WELL ACQUAINTED WITH THE VARIOUS FORMS OF POETRY. INDEX TO PROGRAMS AND POETRY AN OL D MAN OF NANTUCKET . . . • • • .: • • • • • • • • • 0 • .•• 94, lli BEN�T' STEPHEN V1 NC ENT • • ••• ••• • • • • • ••••.•• 30 , lli BLAKE, WILL IAM •••••••••• • • ••••••••••••38, 164 ' BREAK I . BREAK ' 'BREAK • • • • • • • • • • • . . • • • • • • • • 59 ' 120 BROWN I NG; Ro BERT • • • . . . • • • • • .• . . • • • • • • • • • • 16' 142 BRYANT, WILL IAM CULLEN • • • . . • 0 • • • • • • • • . e9, lli BURNS1 RO BERT • • • • • • . . • • • • • • • . . • • • • . 17, ill BYRON , GEORGE NOEL GORDON , LORD • • • • • • . . • • •••••10 9, 1j2 CHANSON I NNOCEm , - . .. • • • • • • • • • • . • •. • . . • • 60' �1 21 CO_RN-ST ALK FI ODLE , THE • • • • • • • • • • • . 60, ill COWBOY'S LAMENT , THE ••• . . • • • • • • • . . . • • ••50 , .122 CRANE, HART • . . . • • • • • • •• o •. ••••••••••e6, 1Jg CUMM.I NGS, E. E. .• • 0 • • • • . . . • . .. ••••••••• �60 , 121 DANNY DEEVER • . . • • • • . . • . •••••••�o , 122 DAY IS DONE , THE o ••••••• • • • • • • • • • • • 41 ' .Ll!.t DtSTRUCT ION OF SENNACHERIB, THE • • 109, 1j2 DICKINSON, EM ILY-. • :• . . • . . • • • • 0 • • • • • •. ••97 ,. ill DUNBAR, PAUL LAURENCE • • • • • • • • • • • • •••••60 , ill EL .IOT, T. s. • • . . • . . . • • • • • • • • . . • ••••••75, 161 FL ETC�ER, JbHN GOULD •• • • • • • •••••••••••••••19, 1.l:! FOLLER DE DR INKIN1 GOU 1D . • ...... • .79, ill FO R YOU , 0 DEMOC RACY • • • • • • • • • • • • . . • • .69, 124 FRENEAU , PHILL�P • • • • • . . . • • • • • • • • • .62' ill FR�si� Ro BER� ••••• • . . • . . • •••51, 162 Hf'.UL f'.WAY , JOE � • -� ill • •• . .• • • • • • • • • • • • • • 104, HUSWI FERY • . . . . 0 • . . • • • • • 107 ' 126 I WANDERED LONELY AS A CLOUD • • . . . • . • • . . . . . • . . 79 . .1.JQ. INDIAN BURY ING GROUND ·. • . . • . . . .62, ill IN FLAN DERS FIELDS • • • • • • • • • • • • • • • • • ••••62 , ill ISRAFEL • • • • • . . • • • • 0 • • • • • 114, 128 JOHN ANDERSON MY JO ••••• • •••••••••••••••••17 , 1.:1!. JONSON, BEN ••• • • • • • • • • • • • • • • • • • • • • • • .61 t jjQ KEATS , JOHN •••0 ••••••••••••••• 0 • ••••••21 , 1.�t::2: • . . • • • • • • • • • • • • • • • • • • JO' .ill LACHRYMAE CHRI STI ••••. •. •. •- ...... -S6 ,. � LAKE -ISLE OF INNISFREE . . . . ' . · •. ••. • • • •. •. •••• • •••.•.•. •. •. 1.1 5,.lj2 ' L:.EADEN-EYED: • .- •. •. • • •. • •. • •. •. •. • • •. • •. • •. • • • •. • •. .7 4,, 160 LINCOLN ...... 19 ,, lli LI NDSAY ,, VACHEi. ••.• •' •. •. ••.• •.•.•.•.• ••••. • 0 •• •• •. " .74,, 160 LOCHI NVAR .• •••••.•. . . ••.• •.•. •· • • • •.• •••.• •.• •. • •. •. 52,. � . . . • • • • • • •. •. • • • • • • • •. •••41 , LONGHEl.l.OW, HENRY WADSWO RTH - .. lli LOSERS .. . . • • • • • • . . .� ...... � . ... .� .84,, Ll§. 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JO , 1.§.2 . . • •••• TIGER, THE • • • . • • • .,o . ., . . . . . � . • • . . . • • • • JS, 164 TO A WA TERFO\lvl •• . �• ·.• - . . ., . . . • • • • • • • • • • • • ••s9, .l§l .. TWO WAYS. • • • . · �· ..�• . ·• -· ·• • . ·• • . . • • .• • .• • • • .• .• ·107.:, 16S WEAVER, JoH.N v •. A •.•.• .. . • ...... • .. . · • · • . • · • ·• '• · • -.. -107.. , 16S WH I TMAN, WALT • • • • • • -· • ...... •.• . • ·- · .• - ...... '• .. . ":.69.:., 124 Wo RDSWO RTH 1. WI L.L I.AM • · • · • • ...... , . .. �· . • . • .• • . • . • . • . • .• '• .• 79., 11Q. YEATS, WtLLIAM BUTLER • .• • . ·• ...... • • • ·• .• .• ,. ,. . • .• ..1 1 5 , 1.:i2.