| |
| |
Poetry | |
| |
| |
Reading a Poem in Its Elements | |
| |
| |
A Conversation on Writing with Carolyn Forch�, video interview available online @ www.mhhe.com/delbanco1e | |
| |
| |
An Interactive Reading: Carolyn Forche, The Museum of Stones | |
| |
| |
The Craft of Poetry | |
| |
| |
O My Luve’s Like a Red, Red Rose | |
| |
| |
Those Winter Sundays | |
| |
| |
A Fragment [“The moon has set”] | |
| |
| |
I Wandered Lonely as a Cloud | |
| |
| |
At Blackwater Pond | |
| |
| |
Sailing to Byzantium | |
| |
| |
Poem for People That Are Understandably Too Busy to Read Poetry | |
| |
| |
Going Further with Reading | |
| |
| |
An Interactive Reading: William Shakespeare My Mistress’ Eyes Are Nothing like the Sun | |
| |
| |
For Anne | |
| |
| |
Forms of Poetry | |
| |
| |
Lyric | |
| |
| |
Song of Solomon 4:1-7 [“Behold thou art fair, my love”] | |
| |
| |
Piano | |
| |
| |
Leda and the Swan | |
| |
| |
Epic | |
| |
| |
Lord Byron, Don Juan [“Bob Southey, you’re a poet”] | |
| |
| |
Lord Byron, Don Juan [“I want a hero”] | |
| |
| |
Dramatic | |
| |
| |
My Last Duchess | |
| |
| |
A Conversation on Translation with Stephen Mitchell, video interview available online @ www.mhhe.com/delbanco1e | |
| |
| |
Bhagavad Gita [The Secret of Life] | |
| |
| |
Rumi, Some Kiss We Want | |
| |
| |
Do Not Love You Except Because I Love You | |
| |
| |
For Review and Further Study | |
| |
| |
Go From Me | |
| |
| |
Love Among the Ruins | |
| |
| |
Therefore | |
| |
| |
Not In A Silver Casket Cool With Pearls | |
| |
| |
Living In Sin | |
| |
| |
Archaic Torso of Apollo | |
| |
| |
Writing About Poetry | |
| |
| |
A Conversation on Writing with Li-Young Lee, video interview available online @ www.mhhe.com/delbanco1e | |
| |
| |
Eating Alone | |
| |
| |
Eating Together | |
| |
| |
An Interactive Reading of Eating Alone | |
| |
| |
A Student’s Critical Analysis Paper on Eating Alone (three drafts) | |
| |
| |
Words | |
| |
| |
A Conversation on Writing with Marie Howe, video interview available online @ www.mhhe.com/delbanco1e | |
| |
| |
What the Living Do | |
| |
| |
Word Choice: Varieties of Diction | |
| |
| |
Ode on a Grecian Urn | |
| |
| |
Funeral Blues | |
| |
| |
We Real Cool | |
| |
| |
General vs. Specific Language | |
| |
| |
Shall I compare thee to a summer’s day? | |
| |
| |
Dover Beach | |
| |
| |
Allusion | |
| |
| |
The Dover Bitch | |
| |
| |
Aubade | |
| |
| |
Denotation vs. Connotation | |
| |
| |
The Fish | |
| |
| |
A Blessing | |
| |
| |
Word Order | |
| |
| |
Stopping by woods on a snowy evening | |
| |
| |
The Emperor of Ice-Cream | |
| |
| |
Homage to my hips | |
| |
| |
Crossing Brooklyn Ferry | |
| |
| |
For Review and Further Study | |
| |
| |
The ISM | |
| |
| |
The Names | |
| |
| |
E.E. Cummings, in Just - | |
| |
| |
A Valediction: Forbidding Mourning | |
| |
| |
Love Song: I and Thou | |
| |
| |
Song of Obstacles | |
| |
| |
Just Words | |
| |
| |
The World In Translation | |
| |
| |
A Checklist: Reading for Words | |
| |
| |
Suggestions for Writing about Words | |
| |
| |
VOICE: Persona, Tone, and Irony | |
| |
| |
A Conversation on Writing with Stephen Dunn, video interview available online @ www.mhhe.com/delbanco1e | |
| |
| |
After | |
| |
| |
Tone | |
| |
| |
The Death of the Ball Turret Gunner | |
| |
| |
My Papa’s Waltz | |
| |
| |
Sunday Morning | |
| |
| |
The Author to Her Book | |
| |
| |
For Review and Further Study | |
| |
| |
I So Liked Spring | |
| |
| |
Mexicans Begin Jogging | |
| |
| |
Traveling Through the Dark | |
| |
| |
This Is Just To Say | |
| |
| |
Persona | |
| |
| |
On My First Son | |
| |
| |
Daddy | |
| |
| |
Flash Cards | |
| |
| |
Golden Retrievals | |
| |
| |
Ai, Riot Act, April 29, 1992 | |
| |
| |
Crazy Jane Talks with the Bishop | |
| |
| |
For Review and Further Study | |
| |
| |
Herbert White | |
| |
| |
Autobiography of a Chicano Teen Poet | |
| |
| |
Letter Home-New Orleans, November 1910 | |
| |
| |
Irony | |
| |
| |
To a Captious Critic | |
| |
| |
Dulce et Decorum Est | |
| |
| |
AD | |
| |
| |
Richard Corey | |
| |
| |
The Convergence of the Twain | |
| |
| |
To a Terrorist | |
| |
| |
For Review and Further Study | |
| |
| |
next to of course god America I | |
| |
| |
Sonnet for the End of a Sequence | |
| |
| |
A Checklist: Reading for Voice | |
| |
| |
Suggestions for Writing about Voice | |
| |
| |
Images and Symbols | |
| |
| |
A Conversation on Writing with Jane Hirshfield, video interview available online @ www.mhhe.com/delbanco1e | |
| |
| |
Tree Button | |
| |
| |
On a branch | |
| |
| |
A caterpillar | |
| |
| |
In a Station of the Metro | |
| |
| |
Sea Poppies | |
| |
| |
The Red Wheelbarrow | |
| |
| |
Anecdote of the Jar | |
| |
| |
The Blue Bowl | |
| |
| |
Poems and Paintings | |
| |
| |
Musee des Beaux Arts with Breughel’s Fall of Icarus | |
| |
| |
Automat with Edward Hopper’s Automat | |
| |
| |
Girl Powdering Her Neck with Kitagawa Utamaro’s Ukiyo-e print of Girl Powdering Her Neck | |
| |
| |
For Review and Further Study | |
| |
| |
Driving to Town Late to Mail a Letter | |
| |
| |
Song for Saint Cecelia’s Day, 1687 | |
| |
| |
Farm House By the River | |
| |
| |
Ode to a Nightingale | |
| |
| |
Scavenging on a Double Bluff | |
| |
| |
Patterns | |
| |
| |
The Quaker Graveyard In Nantucket | |
| |
| |
Lilacs | |
| |
| |
The Blue Swallows | |
| |
| |
The Stolen Branch | |
| |
| |
Motion | |
| |
| |
I Shall Paint My Nails Red | |
| |
| |
I Am Not Yours | |
| |
| |
A Checklist: Reading for Images and Symbols | |
| |
| |
Suggestions for Writing about Images and Symbols | |
| |
| |
Figures of Speech | |
| |
| |
A Conversation on Writing with Robert Pinsky, video interview available online @ www.mhhe.com/delbanco1e | |
| |
| |
Shirt | |
| |
| |
Sweet Like a Crow | |
| |
| |
To Television | |
| |
| |
Simile and Metaphor | |
| |
| |
You fit into me | |
| |
| |
The Suitor | |
| |
| |
Metaphors | |
| |
| |
Jump Cabling | |
| |
| |
Symposium | |
| |
| |
Hyperbole and Understatement | |
| |
| |
Synechdoche and Metonymy | |
| |
| |
Encounter | |
| |
| |
Inside Out | |
| |
| |
Personification and Apostrophe | |
| |
| |
Composed Upon Westminster Bridge, September 3, 1802 | |
| |
| |
Ah! Sunflower | |
| |
| |
Fugitive Woman | |
| |
| |
Parodox and Oxymoron | |
| |
| |
Kyoto, translated by Robert Hass | |
| |
| |
William Butler Yeats: The Fisherman | |
| |
| |
Pun | |
| |
| |
Their Sex Life | |
| |
| |
Humor | |
| |
| |
I Hate You | |
| |
| |
For Further Review and Study | |
| |
| |
To Autumn | |
| |
| |
The Secretary Chant | |
| |
| |
Root Cellar | |
| |
| |
A Noiseless, Patient Spider | |
| |
| |
Saint Pumpkin | |
| |
| |
A Checklist: Reading for Figures of Speech | |
| |
| |
Suggestions for Writing about Figures of Speech | |
| |
| |
Sound, Rhyme, and Rhythm | |
| |
| |
Conversation on Writing with Thomas Lynch, video interview available online @ www.mhhe.com/delbanco1e | |
| |
| |
Iambs for the day of burial | |
| |
| |
Sound | |
| |
| |
Digging | |
| |
| |
For Further Review and Study | |
| |
| |
Bright Star - Would I Were As Steadfast As Thou Art | |
| |
| |
Only Until This Cigarette Is Ended | |
| |
| |
A Birthday | |
| |
| |
Rhyme | |
| |
| |
True ease in writing comes from art, not chance [excerpt from “An Essay on Criticism”] | |
| |
| |
The Fish | |
| |
| |
The difference between Despair | |
| |
| |
For Further Review and Study | |
| |
| |
Women’s Work | |
| |
| |
The Raiment We Put On | |
| |
| |
Chopin | |
| |
| |
Rhythm | |
| |
| |
Stresses and Pauses | |
| |
| |
Sadie and Maud | |
| |
| |
Meter | |
| |
| |
Scansion | |
| |
| |
Trochee trips from long to short | |
| |
| |
Metrical Variation | |
| |
| |
Pied Beauty | |
| |
| |
For Further Review and Study | |
| |
| |
Anonymous, Bonnie Barbara Allen | |
| |
| |
John Donne in California | |
| |
| |
Hymn to God, My God, In My Sickness | |
| |
| |
Poem at Thirty | |
| |
| |
Jook | |
| |
| |
A Checklist: Reading for Sound, Rhyme, and Rhythm | |
| |
| |
Suggestions for Writing about Sound, Rhyme, and Rhythm | |
| |
| |
Fixed Poetic Forms | |
| |
| |
A Conversation on Writing with Edward Hirsch, video interview available online @ www.mhhe.com/delbanco1e | |
| |
| |
My First Theology Lesson | |
| |
| |
Form, Fixed Form, Open Form | |
| |
| |
Stanzas, Couplets, Tercets, Quatrains | |
| |
| |
The Building Blocks of Form | |
| |
| |
The Sonnet | |
| |
| |
How Do I Love Thee? Let Me Count the Ways | |
| |
| |
On First Looking into Chapman's Homer | |
| |
| |
When, in Disgrace with Fortune and Men's Eyes | |
| |
| |
Saga | |
| |
| |
Villanelle | |
| |
| |
Do not go gentle into that good night | |
| |
| |
One Art | |
| |
| |
Sestina | |
| |
| |
Sestina | |
| |
| |
Pantoum | |
| |
| |
Pantoum of the Great Depression | |
| |
| |
First Pantoum of Summer | |
| |
| |
Haiku | |
| |
| |
Deep autumn- | |
| |
| |
Tethered horse | |
| |
| |
Don’t worry, spiders | |
| |
| |
Epigram | |
| |
| |
What Is an Epigram? | |
| |
| |
Prayer | |
| |
| |
Two Epigrams | |
| |
| |
Small Song | |
| |
| |
Limerick | |
| |
| |
There was an Old Man with a gong | |
| |
| |
Starvation Diet | |
| |
| |
The limerick’s never averse | |
| |
| |
Elegy | |
| |
| |
To an Athlete Dying Young | |
| |
| |
In Memory of W. B. Yeats | |
| |
| |
Elegy for Jane | |
| |
| |
Ode | |
| |
| |
Ode to the West Wind | |
| |
| |
For Review and Further Study | |
| |
| |
Changed Woman | |
| |
| |
Knoxville, Tennessee | |
| |
| |
Elektra on Third Avenue | |
| |
| |
Mid-Term Break | |
| |
| |
Elegy for My Father | |
| |
| |
The Shipfitter’s Wife | |
| |
| |
Sonnet for the Music in the Warsaw Ghetto | |
| |
| |
Sonnet | |
| |
| |
Video Blues | |
| |
| |
Snow Melting | |
| |
| |
The Assassination of John Lennon as Depicted by the Madame Tussaud Wax Museum Niagara Falls, Ontario, l987 | |
| |
| |
A Checklist: Reading for Fixed Poetic Forms | |
| |
| |
Suggestions for Writing about Fixed Poetic Forms | |
| |
| |
Open Forms | |
| |
| |
A Conversation on Writing with Robert Hass, video interview available online @ www.mhhe.com/delbanco1e | |
| |
| |
Meditation at Lagunitas | |
| |
| |
Open Form Poetry | |
| |
| |
Song of Myself [I Celebrate myself, and sing myself] | |
| |
| |
Defending Walt Whitman | |
| |
| |
Since Feeling Is First | |
| |
| |
After Making Love We Hear Footsteps | |
| |
| |
Tar | |
| |
| |
Sex without Love | |
| |
| |
Dragonflies Mating | |
| |
| |
Visual Poetry | |
| |
| |
Easter Wings | |
| |
| |
Swan and the Shadow | |
| |
| |
War Symphony | |
| |
| |
Vision and Prayer (i) | |
| |
| |
Prose Poems | |
| |
| |
The Colonel | |
| |
| |
Football | |
| |
| |
Corn Face Mesilla | |
| |
| |
For Further Review and Study | |
| |
| |
Turtle Soup | |
| |
| |
Pumpkin Eater | |
| |
| |
Spectrum | |
| |
| |
A Supermarket in California | |
| |
| |
On Becoming a Tiger | |
| |
| |
Snake | |
| |
| |
Ache of Marriage | |
| |
| |
Nani | |
| |
| |
God Is In the Cracks | |
| |
| |
Autumn Begins in Martins Ferry, Ohio | |
| |
| |
A Checklist: Reading for Open Forms | |
| |
| |
Suggestions for Writing about Open Forms | |
| |
| |
Song and Spoken Word | |
| |
| |
A Conversation on Writing with Al Young, video interview available online @ www.mhhe.com/delbanco1e | |
| |
| |
Doo-Wop: The Moves | |
| |
| |
The Power of Rhythm | |
| |
| |
Anonymous, Western Wind | |
| |
| |
Story in Brief Song: Ballads | |
| |
| |
Anonymous, Sir Patrick Spence | |
| |
| |
Songs of the Countryside: Pastoral Poetry | |
| |
| |
The Passionate Shepherd to His Love | |
| |
| |
Shakespeare in Song | |
| |
| |
Feare no more the heat of the sun | |
| |
| |
Language as Melody | |
| |
| |
Song: Go and catch a falling star | |
| |
| |
Native American Poetry | |
| |
| |
Morning Song | |
| |
| |
Spoken Word Pioneers | |
| |
| |
The Last Poets, My People | |
| |
| |
Dusty Blues | |
| |
| |
Three Spoken Word Poems | |
| |
| |
So What! (for the White Dude who said this ain’t poetry) | |
| |
| |
Grandmother | |
| |
| |
Ship of State of Fools | |
| |
| |
For Further Review and Study | |
| |
| |
HIV | |
| |
| |
Choices | |
| |
| |
Jabberwocky | |
| |
| |
The Revolution Will Not Be Televised | |
| |
| |
The Blues | |
| |
| |
The Electric Slide Boogie | |
| |
| |
Postcards of El Barrio | |
| |
| |
Poem Reaching for Something | |
| |
| |
A Checklist: Reading Song and Spoken Word | |
| |
| |
Suggestions for Writing about Song and Spoken Word | |
| |
| |
Langston Hughes: | |
| |
| |
A Case Study on Langston Hughes and his Contemporaries | |
| |
| |
Difficult Beginnings | |
| |
| |
A Turning Point | |
| |
| |
The Harlem Renaissance | |
| |
| |
Blues and Jazz | |
| |
| |
Hughes’s Poetry | |
| |
| |
Facts of Life | |
| |
| |
Langston Hughes | |
| |
| |
Ballad of the Landlord | |
| |
| |
Dream Boogie | |
| |
| |
The Dream Keeper | |
| |
| |
Harlem | |
| |
| |
Theme for English B | |
| |
| |
Let America Be America Again | |
| |
| |
The Negro Speaks Of Rivers | |
| |
| |
I, Too | |
| |
| |
Minstrel Man | |
| |
| |
Mother to Son | |
| |
| |
Motto | |
| |
| |
Negro | |
| |
| |
A New Song | |
| |
| |
Night Funeral In Harlem | |
| |
| |
Po’ Boy Blues | |
| |
| |
Ardella | |
| |
| |
Song for a Dark Girl | |
| |
| |
The Weary Blues | |
| |
| |
Essay: “The Negro Artist and the Racial Mountain” | |
| |
| |
Hughes’ Contemporaries | |
| |
| |
Incident | |
| |
| |
Sonnet to a Negro in Harlem | |
| |
| |
White City | |
| |
| |
Reapers | |
| |
| |
Touche | |
| |
| |
Fragment | |
| |
| |
Getting Started: A Research Project | |
| |
| |
Further Suggestions for Writing and Research | |
| |
| |
Some Sources for Research | |
| |
| |
Art and Poetry: A Case Study on William Blake | |
| |
| |
William Blake’s Art and Poetry | |
| |
| |
An Unconventional Mind | |
| |
| |
Blake in Context: Eighteenth Century London | |
| |
| |
From Songs of Innocence | |
| |
| |
Introduction to Songs of Innocence | |
| |
| |
The Echoing Green with Illustrations | |
| |
| |
The Little Lamb | |
| |
| |
The Little Black Boy | |
| |
| |
The Chimney Sweeper | |
| |
| |
The Little Boy Lost | |
| |
| |
The Little Boy Found | |
| |
| |
Holy Thursday | |
| |
| |
The Divine Image with Illustration | |
| |
| |
From Songs of Experience | |
| |
| |
Holy Thursday with Illustration | |
| |
| |
The Chimney Sweeper | |
| |
| |
The Sick Rose | |
| |
| |
The Tyger | |
| |
| |
London | |
| |
| |
The Human Abstract | |
| |
| |
A Little Boy Lost | |
| |
| |
A Little Girl Lost | |
| |
| |
The Voice of the Ancient Bard | |
| |
| |
The Clod & the Pebble | |
| |
| |
Garden of Love with Illustration | |
| |
| |
Making Connections: Songs of Innocence and Experience | |
| |
| |
Making Connections: Reading Text and Image | |
| |
| |
Getting Started: A Research Project | |
| |
| |
Learning to Read Images: William Blake’s The Fly with Illustration | |
| |
| |
Further Suggestions for Writing and Research | |
| |
| |
Some Sources for Research | |
| |
| |
American Plain Style: | |
| |
| |
Two Case Studies | |
| |
| |
Emily Dickinson and Robert Frost | |
| |
| |
The Roots of American Plain Style | |
| |
| |
The Plain Style | |
| |
| |
Emily Dickinson | |
| |
| |
Success is counted sweetest | |
| |
| |
I Taste a Liquor Never Brewed | |
| |
| |
Some keep the Sabbath going to Church | |
| |
| |
Safe in Their Alabaster Chambers | |
| |
| |
I like a look of Agony | |
| |
| |
Wild Nights-Wild Nights | |
| |
| |
There’s a Certain Slant of Light | |
| |
| |
I felt a Funeral in my Brain | |
| |
| |
I’m Nobody! Who are You | |
| |
| |
The Soul Selects Her Own Society | |
| |
| |
After Great Pain, a Formal Feeling Comes | |
| |
| |
Much Madness Is Divinest Sense | |
| |
| |
I died for Beauty-but was scarce | |
| |
| |
I Heard a Fly Buzz-When I Died | |
| |
| |
The Brain-Is Wider Than the Sky | |
| |
| |
I started early, took my dog | |
| |
| |
Because I Could Not Stop for Death | |
| |
| |
One Need Not Be A Chamber - To Be Haunted | |
| |
| |
A narrow Fellow in the Grass | |
| |
| |
The Bustle in a House | |
| |
| |
Tell all the Truth, but tell it slant | |
| |
| |
There is no Frigate like a Book | |
| |
| |
Robert Frost | |
| |
| |
Mowing | |
| |
| |
After Apple-Picking | |
| |
| |
Mending Wall | |
| |
| |
Birches | |
| |
| |
"Out, Out-" | |
| |
| |
The Oven Bird | |
| |
| |
The Road Not Taken | |
| |
| |
Fire and Ice | |
| |
| |
Nothing Gold Can Stay | |
| |
| |
Acquainted with the Night | |
| |
| |
Desert Places | |
| |
| |
Design | |
| |
| |
Come In | |
| |
| |
The Gift Outright | |
| |
| |
The Silken Tent | |
| |
| |
Getting Started: A Research Project | |
| |
| |
Further Suggestions for Writing and Research | |
| |
| |
Some Sources for Research | |
| |
| |
An Anothology of Poems For Further Reading | |
| |
| |
First Poem for You | |
| |
| |
To live in the Borderlands means you | |
| |
| |
The Unknown Citizen | |
| |
| |
To My Dear and Loving Husband | |
| |
| |
Come Walk with Me | |
| |
| |
Meeting at Night | |
| |
| |
Parting at Morning | |
| |
| |
Lord Byron, She Walks in Beauty | |
| |
| |
Most Like An Arch This Marriage | |
| |
| |
Quincea�era | |
| |
| |
Kubla Khan | |
| |
| |
l(a | |
| |
| |
anyone lived in a pretty how town | |
| |
| |
buffalo bill’s defunct | |
| |
| |
Batter My Heart, Three-Personed God, for You | |
| |
| |
Death, Be not Proud | |
| |
| |
The Flea | |
| |
| |
The Sun Rising | |
| |
| |
The Love Song of J. Alfred Prufrock | |
| |
| |
Dear John Wayne | |
| |
| |
Bilingual/Bilingue | |
| |
| |
Something Scary | |
| |
| |
The Details We Fall For | |
| |
| |
Letter with No Address | |
| |
| |
The Darkling Thrush | |
| |
| |
Love | |
| |
| |
Upon Julia's Clothes | |
| |
| |
Delight In Disorder | |
| |
| |
To the Virgins, to make much of Time | |
| |
| |
God’s Grandeur | |
| |
| |
The Windhover | |
| |
| |
Loveliest of trees, the cherry now | |
| |
| |
When I was One and Twenty | |
| |
| |
To Celia | |
| |
| |
La Belle Dame Sans Merci | |
| |
| |
Facing It | |
| |
| |
Colossus | |
| |
| |
Liberty | |
| |
| |
Ars Poetica | |
| |
| |
To His Coy Mistress | |
| |
| |
Narcissus | |
| |
| |
The Victor Dog | |
| |
| |
For the Anniversary of My Death | |
| |
| |
Paradise Lost [“Of Man’s first disobedience…”] | |
| |
| |
When I Consider How My Light Is Spent | |
| |
| |
Anthem of Doomed Youth | |
| |
| |
Here | |
| |
| |
Ethics | |
| |
| |
Desire | |
| |
| |
Mirror | |
| |
| |
Annabel Lee | |
| |
| |
The River Merchant’s Wife: A Letter | |
| |
| |
The Nymph's Reply to the Shepherd | |
| |
| |
Ballad of Birmingham | |
| |
| |
Naming of Parts | |
| |
| |
Aunt Jennifer’s Tigers | |
| |
| |
Diving into the Wreck | |
| |
| |
Leaving Port Authority for the St. Regis Rez | |
| |
| |
Echo | |
| |
| |
a lyric | |
| |
| |
Fog | |
| |
| |
Letter Written on a Ferry While Crossing Long Island Sound | |
| |
| |
Let me not to the marriage of true minds | |
| |
| |
Not marble nor the gilded monuments | |
| |
| |
That time of year thou mayest in me behold | |
| |
| |
My Mother’s Chair | |
| |
| |
Ozymandias | |
| |
| |
To the Sad Moon | |
| |
| |
Saturday at the Canal | |
| |
| |
Thirteen Ways of Looking at a Blackbird | |
| |
| |
Lord Tennyson, Ulysses | |
| |
| |
Bluehawk | |
| |
| |
On Begin Brought from Africa to America | |
| |
| |
The Writer | |
| |
| |
Spring and All | |
| |
| |
London, 1802 | |
| |
| |
The World Is Too Much With Us | |
| |
| |
The Solitary Reaper | |
| |
| |
Lying in a Hammock at William Duffy’s Farm in Pine Island, Minnesota | |
| |
| |
The Second Coming | |
| |
| |
When You Are Old | |