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Preface | |
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Introduction | |
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Why Literature Matters | |
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"The Canon" | |
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What Is Literature? | |
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Thinking Critically about Literature | |
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Fiction | |
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Fiction: Reading, Responding, Writing | |
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The Elephant in the Village of the Blind | |
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20/20 | |
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Cathedral | |
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A Conversation With My Father | |
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Flight Patterns | |
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Student Writing: The Heart of Storytelling in "A Conversation with My Father" and "Flight Patterns" | |
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Understanding the Text | |
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Plot | |
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The Country Husband | |
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Sonny's Blues | |
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Narration and Point of View | |
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The Cask of Amontillado | |
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Hills Like White Elephants | |
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Character | |
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Why I Live at the P.O. | |
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Bartleby, the Scrivener | |
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Student Writing: Character and Narration in "Cathedral" | |
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Setting | |
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A Pair of Tickets | |
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The Lady with the Dog | |
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Symbol | |
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Young Goodman Brown | |
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A Hunger Artist | |
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Theme | |
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A Souvenir of Japan | |
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The Management of Grief | |
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The Whole Text | |
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The Secret Sharer | |
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Love Medicine | |
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The Open Boat | |
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Reading More Fiction | |
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An Occurrence at Owl Creek Bridge | |
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The Story of an Hour | |
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The Yellow Wallpaper | |
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Araby | |
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Odour of Chrysanthemums | |
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Flowering Judas | |
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A Rose for Emily | |
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The Use of Force | |
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The Grasshopper and the Bell Cricket | |
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A Good Man is Hard to Find | |
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Gorilla, My Love | |
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Girl | |
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Biographical Sketches: Fiction Writers | |
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Poetry | |
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Poetry: Reading, Responding, Writing | |
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Reading | |
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How Do I Love Thee? | |
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The Tally Stick | |
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The River-Merchant's Wife: A Letter | |
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Responding | |
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On My First Son | |
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The Vacuum | |
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Mid-Term Break | |
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The Fury of Overshoes | |
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Writing About Poems | |
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Practicing Reading: Some Poems on Love | |
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[Stop all the clocks, cut off the telephone] | |
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To My Dear and Loving Husband | |
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[Let me not to the marriage of true minds] | |
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On Her Loving Two Equally | |
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To the Ladies | |
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A Last Confession | |
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Understanding the Text | |
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Tone | |
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Barbie Doll | |
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Leaving the Motel | |
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In Time of Plague | |
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Hard Rock Returns to Prison from the Hospital for the Criminal Insane | |
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London | |
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Woodchucks | |
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Aunt Jennifer's Tigers | |
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Many Tones: Poems about Family Relationships | |
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After Making Love We Hear Footsteps | |
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Those Winter Sundays | |
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The Clock | |
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Postcard from Kashmir | |
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Alzheimer's | |
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Speaker: Whose Voice do We Hear? | |
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The Ruined Maid | |
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Death of a Young Son by Drowning | |
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Solioquy of the Spanish Cloister | |
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Sudden Journey | |
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A Certain Lady | |
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She Dwelt among the Untrodden Ways | |
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They Flee From Me | |
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To a Louse | |
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[Women have loved before...] | |
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[I, being born a woman...] | |
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We Real Cool | |
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[I celebrate myself, and sing myself] | |
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Situation and Setting: What Happens? Where? When? | |
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Cherrylog Road | |
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The Flea | |
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On the Late Massacre in Piedmont | |
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Dover Beach | |
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Situations | |
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The Night-Wind | |
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To His Coy Mistress | |
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A Way of Life | |
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Times | |
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[Full many a glorious morning have I seen] | |
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The Good-Morrow | |
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Morning Song | |
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Places | |
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In Westminster Abbey | |
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Midsummer | |
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A Map of the City | |
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Language | |
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Precision and Ambiguity | |
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[The golf links lie so near the mill] | |
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At the San Francisco Airport | |
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Slim Cunning Hands | |
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[After great pain, a formal feeling comes-] | |
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My Papa's Waltz | |
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[I dwell in Possibility-] | |
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The Red Wheelbarrow | |
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This Is Just to Say | |
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Pied Beauty | |
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[in Just-] | |
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Still to Be Neat | |
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Delight in Disorder | |
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Picturing: The Languages of Description | |
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Symphony in Yellow | |
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The Beautiful Changes | |
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To Paint a Water Lily | |
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On a Drop of Dew | |
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Metaphor and Simile | |
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[That time of year thou mayst in me behold] | |
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Marks | |
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A Red, Red Rose | |
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[Shall I compare thee to a summer's day?] | |
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The Twenty-third Psalm | |
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[Batter my heart, three-personed God] | |
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The Computation | |
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The Canonization | |
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At the Hospital | |
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The Death of the Ball Turret Gunner | |
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The Night Has a Thousand Eyes | |
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[Wild Nights-Wild Nights!] | |
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Symbol | |
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Leningrad Cemetery, Winter of 1941 | |
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Song | |
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I Am Like a Rose | |
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One Perfect Rose | |
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The Sick Rose | |
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Fireflies in the Garden | |
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Diving into the Wreck | |
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After a Death | |
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The Sounds of Poetry | |
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The Word Plum | |
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Dirge | |
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Sound and Sense | |
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Metrical Feet | |
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Emily Dickinson | |
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There was a young girl from St. Paul | |
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Song | |
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To the Memory of Mr. Oldham | |
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The Raven | |
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[Like as the waves make towards the pebbled shore] | |
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Spring and Fall | |
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[A narrow Fellow in the Grass] | |
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When to Her Lute Corinna Sings | |
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Homage to the Empress of the Blues | |
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Internal Structure | |
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Mr. Flood's Party | |
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The Goose Fish | |
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Church Going | |
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Sonrisas | |
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The Victims | |
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Sir Patrick Spens | |
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The Dance | |
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[The Wind begun to knead the Grass-] | |
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[Th'expense of spirit in a waste of shame] | |
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Ode to the West Wind | |
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In Memory of W. B. Yeats | |
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External Form | |
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The Sonnet | |
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Nuns Fret Not | |
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[My lady's presence makes the roses red] | |
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A Sonnet Is a Moment's Monument | |
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On the Sonnet | |
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First Fight. Then Fiddle | |
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The New Colossus | |
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Range-Finding | |
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London, 1802 | |
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[When I consider how my light is spent] | |
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[When our two souls stand up] | |
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In an Artist's Studio | |
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[What lips my lips have kissed] | |
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In the Park | |
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[My mistress' eyes are nothing like the sun] | |
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Sonnet | |
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Stanza Forms | |
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Do Not Go Gentle into That Good Night | |
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Poetry | |
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Sestina | |
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Ars Poetica | |
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The Whole Text | |
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Delay | |
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Western Wind | |
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Upon Julia's Clothes | |
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Musee des Beaux Arts | |
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The Collar | |
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Design | |
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The Learned | |
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[My Life had stood-a Loaded Gun-] | |
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Epitaph on Elizabeth, L. H. | |
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Reading More Poetry | |
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Africa | |
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Exchanging Hats | |
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The Lamb | |
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The Tyger | |
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My Last Duchess | |
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Kubla Khan | |
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Yet I Do I Marvel | |
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[Because I could not stop for Death-] | |
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[I stepped from Plank to Plank] | |
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[We do not play on Graves-] | |
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[The Brain-is wider than the Sky-] | |
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[She dealt her pretty words like Blades-] | |
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[Death, be not proud] | |
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A Valediction: Forbidding Mourning | |
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Sympathy | |
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We Wear the Mask | |
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Journey of the Magi | |
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The Road Not Taken | |
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Stopping by Woods on a Snowy Evening | |
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Elegy Written in a Country Churchyard | |
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Tenebris | |
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Channel Firing | |
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Digging | |
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God's Grandeur | |
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The Windhover | |
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Harlem (A Dream Deferred) | |
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The Negro Speaks of Rivers | |
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[Come, my Celia, let us prove] | |
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On First Looking into Chapman's Homer | |
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On Seeing the Elgin Marbles | |
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Ode to a Nightingale | |
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Ode on a Grecian Urn | |
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Blackberry Eating | |
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Skunk Hour | |
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The Passionate Shepherd to His Love | |
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The Garden | |
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The Harlem Dancer | |
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The White House | |
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Dulce et Decorum Est | |
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Daddy | |
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Lady Lazarus | |
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In a Station of the Metro | |
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The Nymph's Reply to the Shepherd | |
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Bells for John Whiteside's Daughter | |
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Storm Warnings | |
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History | |
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[Not marble, nor the gilded monuments] | |
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The Emperor of Ice-Cream | |
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Anecdote of the Jar | |
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Sunday Morning | |
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Tears, Idle Tears | |
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Tithonus | |
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Ulysses | |
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Fern Hill | |
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A Far Cry from Africa | |
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On Being Brought from Africa to America | |
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Facing West from California's Shores | |
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I Hear America Singing | |
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A Noiseless Patient Spider | |
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Love Calls Us to the Things of This World | |
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Lines Written a Few Miles above Tintern Abbey, On Revisiting the Banks of the Wye during a Tour, July 13, 1798 | |
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The Lake Isle of Innisfree | |
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The Second Coming | |
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Leda and the Swan | |
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Sailing to Byzantium | |
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Biographical Sketches: Poets | |
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Drama | |
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Drama: Reading, Responding, Writing | |
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Trifles | |
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Understanding the Text | |
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Elements of Drama | |
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Oedipus the King | |
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The Piano Lesson | |
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The Whole Text | |
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The Cherry Orchard | |
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Hamlet | |
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Reading More Drama | |
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Death of a Salesman | |
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A Doll House | |
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A Raisin in the Sun | |
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Biographical Sketches: Playwrights | |
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Writing About Literature | |
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Paraphrase, Summary, and Description | |
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The Elements of the Essay | |
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The Writing Process | |
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The Research Essay | |
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Quotation, Citation, and Documentation | |
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Sample Research Paper | |
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Critical Approaches | |
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Glossary | |
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Permissions Acknowledgments | |
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Index of Authors | |
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Index of Titles and First Lines | |