The Art of Poetry: How to Read a PoemOxford University Press, 19 sep 2008 - 248 pagina's In The Art of Poetry, Shira Wolosky provides a dazzling introduction to an art whose emphasis on verbal music, wordplay, and dodging the merely literal makes it at once the most beguiling and most challenging of literary forms. A uniquely comprehensive, step-by-step introduction to poetic form, The Art of Poetry moves progressively from smaller units such as the word, line, and image, to larger features such as verse forms and voice. In fourteen engaging, beautifully written chapters, Wolosky explores in depth how poetry does what it does while offering brilliant readings of some of the finest lyric poetry in the English and American traditions. Both readers new to poetry and poetry veterans will be moved and enlightened as Wolosky interprets work by William Shakespeare, John Donne, William Blake, William Wordsworth, Emily Dickinson, Robert Frost, Sylvia Plath, and others. The book includes a superb two-chapter discussion of the sonnet's form and history, and represents the first poetry guide to introduce gender as a basic element of analysis. In contrast to many existing guides, which focus on selected formal aspects like metrics or present definitions and examples in a handbook format, The Art of Poetry covers the full landscape of poetry's subtle art while showing readers how to comprehend a poetic text in all its dimensions. Other special features include Wolosky's consideration of historical background for the developments she discusses, and the way her book is designed to acquaint or reacquaint readers with the core of the lyric tradition in English. Lively, accessible, and original, The Art of Poetry will be a rich source of inspiration for students, general readers, and those who teach poetry. |
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Pagina viii
... experience of a poem in its many aspects. Some chapters in this book are concerned mainly with stylistics. Some are ... experiences and pressures. Without sacrificing the status of the poem as text and an emphasis on the design of its ...
... experience of a poem in its many aspects. Some chapters in this book are concerned mainly with stylistics. Some are ... experiences and pressures. Without sacrificing the status of the poem as text and an emphasis on the design of its ...
Pagina 6
... how we understand things. There is also what I would call linguistic irony, where the uses of language make the reader aware of how language itself formulates and influences our understanding and experience. This 6 THE ART OF POETRY.
... how we understand things. There is also what I would call linguistic irony, where the uses of language make the reader aware of how language itself formulates and influences our understanding and experience. This 6 THE ART OF POETRY.
Pagina 7
... experience. This could be the effect of a poem that mixes diction, where the different language levels play off each other, making us aware of their different social contexts, or their different purposes or functions or claims. Or, a ...
... experience. This could be the effect of a poem that mixes diction, where the different language levels play off each other, making us aware of their different social contexts, or their different purposes or functions or claims. Or, a ...
Pagina 9
... experience of time and of life is divided into separate units that don't flow together into any kind of wholeness: A “Today,” a “Yesterday,” a “tomorrow”— or, most ominously, “after firing.” Here we already see how the syntax of the ...
... experience of time and of life is divided into separate units that don't flow together into any kind of wholeness: A “Today,” a “Yesterday,” a “tomorrow”— or, most ominously, “after firing.” Here we already see how the syntax of the ...
Pagina 11
... experience. And we must ask: what are these words of low diction doing in a poem that announces itself in its title as a text of high seriousness, a poem not about childlike play but rather about divine or artistic design? But of course ...
... experience. And we must ask: what are these words of low diction doing in a poem that announces itself in its title as a text of high seriousness, a poem not about childlike play but rather about divine or artistic design? But of course ...
Inhoudsopgave
3 | |
2 Syntax and the Poetic Line | 17 |
Simile and Metaphor | 29 |
4 Metaphor and the Sonnet | 41 |
The Sonnet | 53 |
6 Poetic Conventions | 69 |
7 More Verse Forms | 81 |
8 Personification | 93 |
Sound and Rhyme | 151 |
More Tropes | 167 |
14 Incomplete Figures and the Art of Reading | 181 |
Appendix | 195 |
Glossary | 199 |
Bibliographical Backgrounds | 205 |
Index of Poems | 221 |
Index of Poets | 225 |
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accented audience becomes called carpe diem chiasmus comparison complex construction context couplet Dickinson diction Donne dramatic elements Emily Dickinson English enjambment example experience Ezra Pound finally fire flea flowers formal Frost gender grammar human iamb iambic iambic pentameter imagery implications kind lady lady’s language last duchess literary lyric Marianne Moore meaning meter metonymy metrical pattern nature paradox pause pentameter personification phrases poem poem’s poet poet’s poetic conventions poetic voice poetry Princeton quatrain question reader relationships repetition represent rhetorical rhyme scheme rhythm Robert Frost role rose second quatrain seems sense sequence sestet signifier simile simile and metaphor song sonnet sound speaker speaking specific spondee stanza structure syllables synecdoche syntactic syntax T. S. Eliot te-TA things thou tion topos tradition trochee tropes unaccented University Press verse form verse paragraph Wallace Stevens women word order writing