DOCSLIB.ORG

Steps for Appreciating, Understanding, and Analyzing Poetry English IV AP 2019-2020 Dr

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Steps for Appreciating, Understanding, and Analyzing Poetry English IV AP 2019-2020 Dr Steps for Appreciating, Understanding, and Analyzing Poetry English IV AP 2019-2020 Dr. Vendler, a Harvard professor, suggests a series of questions that students might ask about a poem as they read. The following steps for exploring poetry are an abridged and modified version of “Exploring a Poem—Chapter 4,” Helen Vendler—Poems, Poets, Poetry: An Introduction and Anthology ​ 1. Antecedent Scenario—What has been happening before the poem starts? What has disturbed the status quo and set the ​ poem in motion? (This may not be applicable to all poems, but it is helpful to consider.) Remember, we don’t want to assume ​ the poet is the speaker/personal of the poem. So we are considering this scenario from the speaker’s perspective. 2. A Division into Structural Parts—Because small units are more easily handled than big ones, and because the process of a ​ poem, even one as short as a sonnet, can’t be addressed all at once with a single global question like “What’s going on here?” we divide the poem into pieces. Notice the poet’s use of stanza, end stops, caesuras, or enjambment to determine where there are breaks in ideas. Basically, we need to figure out the “paragraph” organization. 3. The Climax—In lyric poems, the various parts tend to cluster around a moment of special significance—which its attendant ​ parts lead up to, lead away from, help to clarify, and so on. The climax usually manifests itself by such things as greater intensity of tone, an especially significant metaphor, a change in rhythm, or a change in person (P.O.V. or speaker) 4. Tone—Read the poem aloud now as if it were your own utterance. This activity will help you to distinguish the various tones ​ of voice it exhibits and to name them. Use the structural parts that you identified to help you make note of tone shifts. 5. Speech Act—When we classify poems by their speech acts, we draw attention to their manner of expression more than to ​ their content. I can apologize for any number of things—my tardiness, or my mistakes, or my clothing—but in each of these cases my speech act (whatever its content) is an apology. Similarly, I can protest about time, or death, or love—but in every case, my speech act is a protest. Since the language of most poems can be thought of as a series of utterances by a speaker, the poem expects you to track the person’s successive speech acts, just as you might do in life when you might say, “First, she criticized me, then she apologized, then she explained why she was upset, and finally she asked if we could still be friends.” A poem’s speech acts need to be followed and identified in the same way. This is how can come to understand the meaning of the poem. Use the structural parts to identify multiple speech acts. Listed below you will find a list of various speech acts (this is not an exhaustive list, but it just meant to give you some ideas). ACKNOWLEDGING EXCLAMATION PRAYER ADMISSION EXHORTATION – conveying QUESTION APOLOGY urgent advice REBUTTAL APOSTROPHE GENERALIZATION REMINISCENCE BANISHING IMPRECATION – a spoken curse REQUEST BOAST INVOCATION – a form of prayer RHETORICAL QUESTION CELEBRATION invoking God’s presence SCORNING – open contempt or CLAIM LAMENT disdain COMMAND NARRATION SELF-BLAME DEFINITION OATH VOW DIALOGUE PLEA 6. Images or Sensory Words—Linked words (referring especially to the senses of sight and hearing) help to structure many ​ poems. These words can be all of one sort (a collection of names of different flowers, for instance in Milton’s “Lycidas”) or they can be of different sorts: that is, a series of specific nouns like “flood,” “earthquake,” “fire,” and “shipwreck” can all help to construct the single abstract category “catastrophe.” There are systematic ways in which the concrete words that some refer to as “images” may be assembled, too: they may be arranged in parallel, or in contrast, or in a ranked hierarchy. What has the poet’s imagination invented that is striking, or memorable, or beautiful? 7. Meaning—How do all of these elements work together to create meaning in the poem? What greater implications does the ​ poet want us to reflect on about society or about ourselves? Poetry Packet One Art by Elizabeth Bishop The art of losing isn’t hard to master; so many things seem filled with the intent to be lost that their loss is no disaster. Lose something every day. Accept the fluster of lost door keys, the hour badly spent. The art of losing isn’t hard to master. Then practice losing farther, losing faster: places, and names, and where it was you meant to travel. None of these will bring disaster. I lost my mother’s watch. And look! my last, or next-to-last, of three loved houses went. The art of losing isn’t hard to master. I lost two cities, lovely ones. And, vaster, some realms I owned, two rivers, a continent. I miss them, but it wasn’t a disaster. —Even losing you (the joking voice, a gesture I love) I shan’t have lied. It’s evident the art of losing’s not too hard to master though it may look like (​Write​ it!) like disaster. Storm Warnings by Adrienne Rich The glass has been falling all the afternoon, And knowing better than the instrument What winds are walking overhead, what zone Of grey unrest is moving across the land, I leave the book upon a pillowed chair And walk from window to closed window, watching Boughs strain against the sky And think again, as often when the air Moves inward toward a silent core of waiting, How with a single purpose time has traveled By secret currents of the undiscerned Into this polar realm. Weather abroad And weather in the heart alike come on Regardless of prediction. Between foreseeing and averting change Lies all the mastery of elements Which clocks and weatherglasses cannot alter. Time in the hand is not control of time, Nor shattered fragments of an instrument A proof against the wind; the wind will rise, We can only close the shutters. I draw the curtains as the sky goes black And set a match to candles sheathed in glass Against the keyhole draught, the insistent whine Of weather through the unsealed aperture. This is our sole defense against the season; These are the things we have learned to do Who live in troubled regions. The Century Quilt by Marilyn Nelson Waniek My sister and I were in love with Meema’s Indian blanket. We fell asleep under army green issued to Daddy by Supply. When Meema came to live with us she brought her medicines, her cane, and the blanket I found on my sister’s bed the last time I visited her. I remembered how I’d planned to inherit that blanket, how we used to wrap ourselves at play in its folds and be chieftains and princesses. Now I’ve found a quilt I’d like to die under; Six Van Dyke brown squares, two white ones, and one square the yellowbrown of Mama’s cheeks. Each square holds a sweet gum leaf whose fingers I imagine would caress me into the silence. I think I’d have good dreams for a hundred years under this quilt, as Meema must have, under her blanket, dreamed she was a girl again in Kentucky among her yellow sisters, their grandfather’s white family nodding at them when they met. When their father came home from his store they cranked up the pianola and all of the beautiful sisters giggled and danced. She must have dreamed about Mama when the dancing was over: a lanky girl trailing after her father through his Oklahoma field. Perhaps under this quilt I’d dream of myself, of my childhood of miracles, of my father’s burnt umber pride, my mother’s ochre gentleness. Within the dream of myself perhaps I’d meet my son or my other child, as yet unconceived. I’d call it The Century Quilt, after its pattern of leaves. John Donne Poetry - Personal Symbols and Conceits The Flea by John Donne Mark but this flea, and mark in this, How little that which thou deniest me is; It sucked me first, and now sucks thee, And in this flea our two bloods mingled be; Thou know’st that this cannot be said A sin, nor shame, nor loss of maidenhead, Yet this enjoys before it woo, And pampered swells with one blood made of two, And this, alas, is more than we would do. Oh stay, three lives in one flea spare, Where we almost, nay more than married are. This flea is you and I, and this Our marriage bed, and marriage temple is; Though parents grudge, and you, w'are met, And cloistered in these living walls of jet. Though use make you apt to kill me, Let not to that, self-murder added be, And sacrilege, three sins in killing three. Cruel and sudden, hast thou since Purpled thy nail, in blood of innocence? Wherein could this flea guilty be, Except in that drop which it sucked from thee? Yet thou triumph’st, and say'st that thou Find’st not thy self, nor me the weaker now; ’Tis true; then learn how false, fears be: Just so much honor, when thou yield’st to me, Will waste, as this flea’s death took life from thee. SONNETS Sonnet Notes Here: Death be not proud by John Donne (Holy Sonnets) Death, be not proud, though some have called thee Mighty and dreadful, for thou art not so; For those whom thou think'st thou dost overthrow Die not, poor Death, nor yet canst thou kill me.
Load more

Recommended publications
  • Poetry and Poetics Orals List Anne Marie Thompson Fall 2017
    Poetry and Poetics Orals List Anne Marie Thompson Fall 2017 POETS Pre-1600: Sir Philip Sidney (1554-1586) John Donne (1572-1631) Between 1600-1800: John Milton (1608-1674) Alexander Pope (1688-1744) Between 1800-1900: William Wordsworth (1770-1850) Walt Whitman (1819-1892) Since 1900: W. B. Yeats (1865-1939) T. S. Eliot (1888-1965) POEMS (30 poems, by poets other than the chosen 8, spanning the major genres) ​ ​ ​ ​ epigram: John Dryden, “Epigram on Milton” (1688) Robert Burns, “Epigram on Rough Woods” (1786) Robert Frost, “Fire and Ice” (1920) sonnet: Thomas Wyatt, “Whoso list to hunt” William Shakespeare, “That time of year thou mayest in me behold” (Sonnet 73) Gerard Manley Hopkins, “God’s Grandeur” (1877) Claude McKay, “America” (1921) epistle: Anne Bradstreet, “To My Dear and Loving Husband” (1650) Lord Byron, “Epistle to Augusta” (1816/1830) Pound, “The River Merchant’s Wife: A Letter” (1915) Elizabeth Bishop, “Letter to N.Y.” (1955) elegy: Thomas Gray, “Elegy Written in a Country Churchyard” (1751) Percy Bysshe Shelley, “Adonais” (1821) Wilfred Owen, “Anthem for Doomed Youth” (1917/1920) 1 W. H. Auden, “In Memory of W. B. Yeats” (1940) ode: Andrew Marvell, “Horatian Ode” (1650) John Keats, “Ode to a Nightingale” (1819) Percy Bysshe Shelley, “Ode to the West Wind” (1820) ballad: Anonymous, “Tam Lin” Samuel Taylor Coleridge, “The Rime of the Ancient Mariner” (1798) Edgar Allan Poe, “Annabel Lee” (1849) Gwendolyn Brooks, “Of De Witt Williams on His Way to Lincoln Cemetery” (1945) dramatic monologue: Robert Browning, “My Last Duchess” (1842) Alfred, Lord Tennyson, “Ulysses” (1842) Sylvia Plath, “Lady Lazarus” (1965) concrete/visual: George Herbert, “The Altar” (1663) William Blake, Songs of Innocence (1789) ​ ​ Mina Loy, “Brancusi’s Golden Bird” (1922) epic: Homer, The Odyssey ​ Derek Walcott, Omeros (1990) ​ ​ PRIMARY TEXTS TO 1945 (pick 15) ​ ​ 1.
    [Show full text]
  • Death, Be Not Proud POEM TEXT THEMES
    Get hundreds more LitCharts at www.litcharts.com Death, be not proud POEM TEXT THEMES 1 Death, be not proud, though some have called thee THE POWERLESSNESS OF DEATH 2 Mighty and dreadful, for thou art not so; In this sonnet, often referred to by its first line or as 3 For those whom thou think'st thou dost overthrow “Holy Sonnet 10,” the speaker directly addresses 4 Die not, poor Death, nor yet canst thou kill me. death, seeking to divest it of its powers and emphasize that 5 From rest and sleep, which but thy pictures be, man, though fated to die, is more powerful than death itself. The poem paints a picture of death as prideful—vain, even—and 6 Much pleasure; then from thee much more must flow, works to deflate death’s importance by arguing firstly that 7 And soonest our best men with thee do go, death is nothing more than a rest, and secondly that following 8 Rest of their bones, and soul's delivery. this rest comes the afterlife, which contradicts death’s aim of 9 Thou art slave to fate, chance, kings, and desperate bringing about a final end. With death’s powerlessness proven men, by the end of the poem, it is death itself, not man, who is going 10 And dost with poison, war, and sickness dwell, to die. 11 And poppy or charms can make us sleep as well The speaker clearly argues against death being treated as 12 And better than thy stroke; why swell'st thou then? something strong and important.
    [Show full text]
  • John Donne 1 John Donne
    John Donne 1 John Donne John Donne John Donne Born between 24 January and 19 June [1] 1572 London, England Died 31 March 1631 (aged 59) London, England Occupation Poet, priest, lawyer Nationality English Alma mater Oxford University Genres Satire, Love poetry, elegy, sermons Subjects Love, sexuality, religion, death Literary movement Metaphysical Poetry John Donne (/ˈdʌn/ DUN) (between 24 January and 19 June 1572[1] – 31 March 1631) was an English poet, satirist, lawyer and a cleric in the Church of England. He is considered the pre-eminent representative of the metaphysical poets. His works are noted for their strong, sensual style and include sonnets, love poetry, religious poems, Latin translations, epigrams, elegies, songs, satires and sermons. His poetry is noted for its vibrancy of language and inventiveness of metaphor, especially compared to that of his contemporaries. Donne's style is characterised by abrupt openings and various paradoxes, ironies and dislocations. These features, along with his frequent dramatic or everyday speech rhythms, his tense syntax and his tough eloquence, were both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques. His early career was marked by poetry that bore immense knowledge of British society and he met that knowledge with sharp criticism. Another important theme in Donne’s poetry is the idea of true religion, something that he spent much time considering and theorising about. He wrote secular poems as well as erotic and love poems. He is particularly famous for his mastery of metaphysical conceits.[2] Despite his great education and poetic talents, Donne lived in poverty for several years, relying heavily on wealthy friends.
    [Show full text]
  • Reading Poetry IDSEM UG 1420 Spring 2014, January 28- March 13 Tuesdays and Thursdays, 3:30-4:45 Professor Lisa Goldfarb
    Reading Poetry IDSEM UG 1420 Spring 2014, January 28- March 13 Tuesdays and Thursdays, 3:30-4:45 Professor Lisa Goldfarb COURSE DESCRIPTION Poetry is an art that can express our deepest feelings and thoughts about our human experience. Too many of us, however, encounter poetry timidly. We wonder how we can make meaning of poetic words and rhythms so distinct from those we use in our daily lives. In this course, we will work at developing poetic sensibilities, not by digging to find clues to the mysterious meanings of poems, but by gaining an understanding of how to read poetry as a language within a language. We will study how the concentrated language and sounds of poetry help us to grapple with the shades and subtleties of our own experience. We will read many poems ranging from early English lyrics, popular ballads, and Shakespeare’s sonnets, to modern and contemporary poems, as well as poems originally written in other languages. LEARNING GOALS • Students will develop an understanding of the genre of lyric poetry and master a variety of forms particular to the lyric in Anglo-American poetry. • Students will learn a variety of critical strategies for the close reading of poetic texts (linguistic, aesthetic, historical, philosophical). • Students will develop familiarity with poetry from a variety of traditions: European (east and west); African, and Asian poems will be studied alongside the Anglo-American works. • All students will learn to orally present their readings of both poetic and musical texts to the class in informal and formal presentations. • Students will master critical writing and conventions of comparative poetic analysis.
    [Show full text]
  • Of His Native Language: Heaney's Tone and the International Style
    Estudios Irlandeses, Number 11, 2016, pp. 190-198 __________________________________________________________________________________________ AEDEI Leaning “well beyond the plumb” of His Native Language: Heaney’s Tone and the International Style Nick Norwood Columbus State University, USA Copyright (c) 2016 by Nick Norwood. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Abstract. In the last decades of his life Seamus Heaney enjoyed phenomenal worldwide success, outselling, or so it was widely held, all other poets writing in English combined, a fact attesting to the existence of an international component in his work. A close study of the entire body of his poetry, as well as a study of the concurrent poetic interests he himself professed and which other critics have identified, reveals a subtle and gradual shift toward what may be referred to as the “international style”. The reader encounters such a style, prominently manifest, in the work of some of Heaney’s poetic influences, especially Eastern European poets like Czeslaw Milosz and Zbigniew Herbert. This article argues, however, that Heaney’s stylistic shift was too slight to account for the enormity of his international success and asserts instead that his far-ranging appeal is a matter of tone: Heaney’s attitude toward his material, but more so, deep characteristics of his personality – what Ted Hughes refers to as “the ultimate suffering and decision” in him – occupy space below the surface of his work and imbue it with a quality to which readers around the world are drawn.
    [Show full text]
  • A MIRROR and a BAROMETER: on the PUBLIC USE of POETRY a Thesis Submitted to the Faculty of the School of Continuing Studies An
    A MIRROR AND A BAROMETER: ON THE PUBLIC USE OF POETRY A thesis submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Masters of Arts in Liberal Studies By Teresa A. Merz, B.S. Georgetown University Washington, DC March 11, 2019 COPYRIGHT © 2019 by Teresa Merz All rights reserved ii A MIRROR AND A BAROMETER: ON THE PUBLIC USE OF POETRY Teresa A. Merz, B.S. MALS Mentor: William J. O’Brien, Ph.D. ABSTRACT Poetry, as a contemporary literary genre, is generally read by a small, self- selecting audience, and in this sense, it largely remains a private art. This paper discusses the public use of this private art, to consider if and how it can make a positive contribution to civil discourse and engagement in civic life. It affirms that poetry does have a public use, that it is an art form uniquely capable of fostering a sense of cultural cohesion by expressing the shared values of a community. This paper explores how the work of five individual poets exemplifies a public use of poetry across time and cultures: the Classical Roman poet Virgil, the Late Medieval Italian poet Dante, the English Romantic poet William Wordsworth, the twentieth century francophone poet Léopold Sédar Senghor, and the twentieth century Irish poet Seamus Heaney. As an introduction to this exploration of how poetry can yield power in public life, and what use it has for civil society, this paper looks briefly at remarks from three contemporary American poets: the current Poet Laureate of the United States, Tracy K.
    [Show full text]
  • Time, Death, and Mutability : a Study of Themes in Some Poetry of The
    TIME, DEATH, and MUTABILITY: A Study of Themes in Some Poetry of the Renaissance - Spenser, Shakespeare, and Donne Jean Miriam Gerber B.A., Pennsylvania State University, 1961 A THESIS SUBMITTED IN PARTIAL FULFUHE3T OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English Jean Miriam Gerber, 1968 Simon Fraser University J~Y,1968 EXA XINIMG COK4ITTEX APPROVAL (name) Senior Supervisor \ ( name) Examining Cormittoe " - ( name ) Examining Conunittee PARTTAL COPYRIGIIT LICENSE I hereby grant to Simon Fraser University the right to lend my thesis or dissertation (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this thesis for scholarly purposes may be granted by me or the Dean of Graduate Sttldies. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Title of Thesis/~issertation: Author: (signature ) (name ) (date) ACKNOWLEDGMENTS The author wishes to thank Mr. Clark Cook for his many suggestions and close attention. Special thanks are also due to Mr. James Sandison who read this study in manuscript. Above all I wish to thank Dr. F. B. Candelaria, who supervised the thesis. ABSTRACT This study was undertaken in order to exanine some examples of Renaissance poe+zy in the light of the themes of love, death, time, and mutability.
    [Show full text]
  • John Donne on Repentance
    John Donne on Repentance: Thou hast made me, and shall thy work decay? 1572 – 1631 John Donne’s Life 1571/72 Born of a mother from an eminent Roman Catholic family 1576 His father dies 1584 Begins study at Hart Hall, Oxford 1592 Studies law at Lincoln’s Inn (as a Roman Catholic, could not receive an Oxford degree); begins writing “secular poetry”; becomes a “man about town,” an admirer of “fair women.” 1593 Donne’s brother Henry dies in Newgate Prison after sheltering a Roman Catholic priest; Donne tends toward scepticism 1596/97 “Military Adventure”: serves Earl of Essex in expedition against Cadiz, in the Azores 1598? Conforms to Church of England; becomes secretary to Sir Thomas Edgerton 1601-1615 Secretly marries Ann More, niece of Edgerton’s wife, a minor (age 17); Donne is briefly imprisoned and they live in poverty. Ann gives birth to 12 children, five of whom die; Donne writes religious poetry and controversial religious writings: Pseudo-Martyr; Essays in Divinity John Donne’s Life 1615 Ordained to C of E at King James’s encouragement 1616 Divinity Reader, Lincoln’s Inn 1617 Ann More dies in childbirth (age 33); Donne deeply affected by her death 1621 Dean of St. Paul’s Cathedral 1623 Devotions Upon Emergent Occasions (during an illness) 1631 Preaches “Death’s Duel,” his final sermon; Dies March 31 Donne’s Writings • Religious Poetry • Prose – La Corona – Essays in Divinity – Holy Sonnets – Sermons (Ten Volumes) “Batter my heart, three – Devotions Upon Emergent person’d God . .” Occasions – A Litanie – The Crosse – Hymne to God My God, in My Sicknesse – A Hymne to God the Father • “Wilt thou forgive that sinne .
    [Show full text]
  • MAKING SENSE of CZESLAW MILOSZ: a POET's FORMATIVE DIALOGUE with HIS TRANSNATIONAL AUDIENCES by Joanna Mazurska
    MAKING SENSE OF CZESLAW MILOSZ: A POET’S FORMATIVE DIALOGUE WITH HIS TRANSNATIONAL AUDIENCES By Joanna Mazurska Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History August, 2013 Nashville, Tennessee Approved: Professor Michael Bess Professor Marci Shore Professor Helmut W. Smith Professor Frank Wcislo Professor Meike Werner To my parents, Grazyna and Piotr Mazurscy II ACKNOWLEDGEMENTS I would like to express my gratitude to the members of my Dissertation Committee: Michael Bess, Marci Shore, Helmut Smith, Frank Wcislo, and Meike Werner. Each of them has contributed enormously to my project through providing professional guidance and encouragement. It is with immense gratitude that I acknowledge the support of my mentor Professor Michael Bess, who has been for me a constant source of intellectual inspiration, and whose generosity and sense of humor has brightened my academic path from the very first day in graduate school. My thesis would have remained a dream had it not been for the institutional and financial support of my academic home - the Vanderbilt Department of History. I am grateful for the support from the Vanderbilt Graduate School Summer Research Fund, the George J. Graham Jr. Fellowship at the Robert Penn Warren Center for the Humanities, the Max Kade Center Graduate Student Research Grant, the National Program for the Development of the Humanities Grant from the Polish Ministry of Science and Higher Education, and the New York University Remarque Institute Visiting Fellowship. I wish to thank to my friends at the Vanderbilt Department of History who have kept me company on this journey with Milosz.
    [Show full text]
  • A Psychobiography of John Donne
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-1995 "Contraryes Meete in One": A Psychobiography of John Donne Lisa Anderson University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Anderson, Lisa, ""Contraryes Meete in One": A Psychobiography of John Donne" (1995). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. "Contraryes Meete In One": A Psychobiography of John Donne by Lisa Anderson Tennessee Scholars Senior Project & English Honors Thesis Project Director: Dr. Rob Stillman Second Readers: Dr. Al Burstein Dr . Jack Reese April 28, 1995 1 John Donne and his poetry have long been a tremendous source of interest for readers and scholars alike. Once more, with the development of psychoanalytic theory and its application to works of art and literature, John Donne's life and poetry have become, not surprisingly, a subject for analysis. One reason for psychoanalytic critics to be concerned with Donne is the complex nature of his poems, reflecting a struggle between dichotomous emotions influenced by the forces of sex and death. One example of Donne's poetry that displays this complex quality and illustrates the potential inherent in a psychoanalytic reading is Holy Sonnet XVII: Since she whome I lovd, hath payd her last debt To Nature, and to hers, and my good is dead And her Soule early into heaven ravished, Wholy in heavenly things my mind in sett.
    [Show full text]
  • Auden at Work / Edited by Bonnie Costello, Rachel Galvin
    Copyrighted material – 978–1–137–45292–4 Introduction, selection and editorial matter © Bonnie Costello and Rachel Galvin 2015 Individual chapters © Contributors 2015 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–45292–4 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin.
    [Show full text]
  • I Made You to Find Me
    I Made You to Find Me I MADE YOU TO FIND ME The Coming of Age of the Woman Poet and the Politics of Poetic Address Jane Hedley T H E O H IO S T A T E U N I VER SITY P R E SS | C O L UM B US Copyright © 2009 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Hedley, Jane. I made you to find me : the coming of age of the woman poet and the politics of poetic address / Jane Hedley. p. cm. Includes bibliographical references and index. ISBN 978-0-8142-1101-4 (cloth : alk. paper) 1. Women poets, American—20th century. 2. American poetry—Women authors— History and criticism. 3. American poetry—20th century—History and criticism. 4. American literature—Women authors—History and criticism. 5. Women and literature—United States—History—20th century. I. Title. PS151.I25 2009 811.'54099287—dc22 2009002739 The author has received permission to quote from the following sources: The Un- abridged Journals of Sylvia Plath, 1950–1962, edited by Karen V. Kukil (New York: Random House, 2000); Carol Muske, Women and Poetry: Truth, Autobiography, and the Shape of the Self (Ann Arbor: University of Michigan Press, 1997), courtesy of the University of Michigan Press; Gwendolyn Brooks, Report from Part One (Detroit: Broadside Press, 1972), reprinted by consent of Brooks Permissions; “The Double Image,” from To Bedlam and Part Way Back by Anne Sexton, copyright © 1960 by Anne Sexton, renewed 1988 by Linda G. Sexton, reprinted by permission of Houghton Mifflin Harcourt Publishing Company, all rights reserved; and Gwendolyn Brooks (© 1949), Poem XI from Annie Allen, “The Womanhood” (New York: Harper Peren- nial, 1999).
    [Show full text]