| Preface |
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xlv | |
| To the Instructor |
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xlix | |
| About the Authors |
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lxi | |
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3 | (20) |
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4 | (1) |
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The Appointment in Samarra |
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4 | (1) |
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Aesop The North Wind and the Sun |
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5 | (1) |
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The Camel and His Friends |
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6 | (2) |
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8 | (1) |
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9 | (2) |
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11 | (2) |
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13 | (1) |
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14 | (6) |
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20 | (1) |
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Writing About Plot: Paying Attention to Plot |
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20 | (1) |
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Checklist: Analyzing Plot |
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21 | (1) |
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Writing Assignment on Plot |
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22 | (1) |
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22 | (1) |
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23 | (50) |
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28 | (7) |
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35 | (8) |
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43 | (21) |
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64 | (6) |
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Race and the African American Writer |
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70 | (1) |
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Writing About Point of View: How Point of View Shapes a Story |
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71 | (1) |
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Checklist: Understanding Point of View |
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71 | (1) |
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Writing Assignment on Point of View |
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72 | (1) |
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72 | (1) |
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73 | (39) |
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The Jilting of Granny Weatherall |
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76 | (7) |
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83 | (3) |
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86 | (12) |
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98 | (11) |
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Commonplace but Precise Language |
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109 | (1) |
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Writing About Character: How Character Creates Action |
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110 | (1) |
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Checklist: Writing About Character |
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110 | (1) |
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Writing Assignment on Character |
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110 | (1) |
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111 | (1) |
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112 | (41) |
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115 | (4) |
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119 | (11) |
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130 | (7) |
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137 | (13) |
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150 | (1) |
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Writing About Setting: The Importance of Setting |
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151 | (1) |
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Checklist: Analyzing Setting |
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152 | (1) |
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Writing Assignment on Setting |
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152 | (1) |
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152 | (1) |
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153 | (36) |
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A Clean, Well-Lighted Place |
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156 | (4) |
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160 | (12) |
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172 | (2) |
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174 | (4) |
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178 | (8) |
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186 | (1) |
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Writing About Tone and Style: Be Style-Conscious |
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186 | (1) |
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Checklist: Thinking About Tone and Style |
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187 | (1) |
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Writing Assignment on Tone and Style |
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187 | (1) |
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188 | (1) |
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189 | (40) |
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191 | (17) |
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208 | (12) |
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Luke 15:11--32 The Parable of the Prodigal Son |
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220 | (1) |
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221 | (5) |
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The Themes of Science Fiction |
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226 | (1) |
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Writing About Theme: Stating the Theme |
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227 | (1) |
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Checklist: Determining a Story's Theme |
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228 | (1) |
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Writing Assignment on Theme |
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228 | (1) |
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228 | (1) |
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229 | (31) |
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231 | (8) |
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239 | (6) |
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245 | (3) |
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The Ones Who Walk Away From Omelas |
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248 | (5) |
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253 | (2) |
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Writing About Symbols: Recognizing Symbols |
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255 | (1) |
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Checklist: Thinking About Symbols |
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256 | (1) |
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Writing Assignment on Symbols |
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256 | (1) |
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Student Paper An Analysis of the Symbolism in Steinbeck's ``The Chrysanthemums'' |
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256 | (2) |
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258 | (2) |
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260 | (15) |
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A Thousand Years of Good Prayers |
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262 | (9) |
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What I Could Not Write About Was Why I Was Writing |
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271 | (1) |
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Writing an Evaluation: Judging a Story's Value |
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272 | (1) |
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Checklist: Evaluating a Story |
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273 | (1) |
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Writing Assignment on Evaluating a Story |
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273 | (1) |
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274 | (1) |
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Reading Long Stories and Novels |
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275 | (82) |
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280 | (37) |
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317 | (31) |
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Discussing the Metamorphosis |
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348 | (1) |
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Writing About Long Stories and Novels: Knowing What to Leave Out |
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349 | (1) |
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Checklist: Organizing Your Ideas for a Research Paper |
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349 | (1) |
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Writing Assignment for a Research Paper |
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Student Research Paper Kafka's Greatness |
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349 | (7) |
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356 | (1) |
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Critical Casebook: Flannery O'Connor |
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357 | (55) |
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A Good Man is Hard to Find |
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358 | (10) |
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368 | (14) |
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382 | (14) |
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Flannery O'Connor on Writing |
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396 | (2) |
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398 | (1) |
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From ``The Grotesque in Southern Fiction'' |
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399 | (2) |
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401 | (1) |
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Critics on Flannery O'Connor |
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Flannery O'Connor and Her Readers |
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402 | (2) |
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Robert H. Brinkmeyer, Jr. |
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A Good Source is Not So Hard to Find: The Real Life Misfit |
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404 | (3) |
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Deconstructing ``A Good Man is Hard to Find'' |
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407 | (1) |
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The Mystery of Divine Direction: ``Parker's Back'' |
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408 | (1) |
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Writing About an Author: How One Story Illuminates Another |
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409 | (1) |
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Checklist: Reading an Author in Depth |
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410 | (1) |
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Writing Assignment on an Author |
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410 | (1) |
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410 | (2) |
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Critical Casebook: Three Stories in Depth |
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412 | (50) |
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412 | (1) |
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413 | (4) |
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Edgar Allan Poe on Writing |
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417 | (1) |
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418 | (1) |
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The Philosophy of Composition |
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418 | (1) |
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Critics on ``The Tell-Tale Heart'' |
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The Father-Figure in ``The Tell-Tale Heart'' |
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419 | (2) |
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``The Tell-Tale Heart'' as a Love Story |
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421 | (1) |
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The Figure of the Double in Poe |
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422 | (2) |
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424 | (1) |
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424 | (11) |
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Charlotte Perkins Gilman on Writing |
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Why I Wrote ``The Yellow Wallpaper'' |
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435 | (1) |
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436 | (1) |
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The Nervous Breakdown of Women |
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437 | (1) |
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Critics on ``The Yellow Wallpaper'' |
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Gender and Pathology in ``The Yellow Wallpaper'' |
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438 | (1) |
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Imprisonment and Escape: The Psychology of Confinement |
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439 | (2) |
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Biographical Echoes in ``The Yellow Wallpaper'' |
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441 | (2) |
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443 | (1) |
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443 | (6) |
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The Black Woman Writer in America |
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449 | (2) |
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451 | (2) |
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Critics on ``Everyday Use'' |
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``Everyday Use'' and the Black Power Movement |
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453 | (2) |
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Stylish vs. Sacred in ``Everyday Use'' |
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455 | (4) |
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Quilt as Metaphor in ``Everyday Use'' |
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459 | (2) |
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Topics for Writing on ``The Tell-Tale Heart'' |
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461 | (1) |
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Topics for Writing on ``The Yellow Wallpaper'' |
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461 | (1) |
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Topics for Writing on ``Everyday Use'' |
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461 | (1) |
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Stories for Further Reading |
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462 | (197) |
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462 | (3) |
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465 | (11) |
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476 | (3) |
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An Occurrence at Owl Creek Bridge |
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479 | (6) |
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The Gospel According to Mark |
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485 | (4) |
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489 | (14) |
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503 | (9) |
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The Lady with the Pet Dog |
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512 | (11) |
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523 | (2) |
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The House on Mango Street |
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525 | (1) |
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526 | (10) |
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The Handsomest Drowned Man in the World |
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536 | (4) |
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540 | (8) |
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548 | (10) |
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558 | (8) |
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566 | (7) |
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573 | (5) |
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578 | (1) |
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579 | (14) |
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593 | (11) |
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604 | (9) |
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Where Are You Going, Where Have You Been? |
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613 | (12) |
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625 | (12) |
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637 | (5) |
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642 | (4) |
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The Man to Send Rain Clouds |
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646 | (3) |
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649 | (10) |
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659 | (15) |
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The Lake Isle of Innisfree |
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661 | (2) |
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663 | (1) |
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664 | (1) |
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664 | (1) |
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665 | (1) |
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665 | (2) |
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667 | (1) |
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668 | (1) |
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668 | (3) |
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Recalling ``Aunt Jennifer's Tigers'' |
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671 | (1) |
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Writing a Paraphrase: Can a Poem Be Paraphrased? |
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671 | (1) |
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671 | (1) |
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A Paraphrase of ``Ask Me'' |
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672 | (1) |
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Checklist: Paraphrasing a Poem |
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673 | (1) |
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Writing Assignment on Paraphrasing |
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673 | (1) |
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673 | (1) |
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674 | (32) |
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674 | (1) |
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674 | (1) |
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675 | (1) |
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676 | (1) |
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To a Locomotive in Winter |
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677 | (1) |
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I Like to See It Lap the Miles |
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678 | (1) |
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679 | (1) |
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679 | (1) |
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680 | (1) |
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680 | (2) |
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682 | (1) |
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683 | (1) |
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684 | (1) |
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I Wandered Lonely as a Cloud |
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685 | (1) |
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686 | (1) |
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686 | (1) |
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687 | (1) |
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688 | (1) |
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688 | (1) |
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688 | (2) |
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690 | (1) |
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691 | (1) |
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692 | (1) |
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693 | (1) |
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693 | (1) |
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694 | (1) |
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694 | (1) |
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For Review and Further Study |
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695 | (1) |
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696 | (1) |
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At the Un-National Monument Along the Canadian Border |
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697 | (1) |
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I Love the World, as Does Any Dancer |
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697 | (1) |
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698 | (1) |
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698 | (1) |
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699 | (1) |
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Writing About Voice: Listening to Tone |
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700 | (1) |
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Checklist: Analyzing Tone |
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701 | (1) |
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Writing Assignment on Tone |
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701 | (1) |
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Student Paper Word Choice Tone, and Point of View in Roethke's ``My Papa's Waltz'' |
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702 | (3) |
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705 | (1) |
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706 | (25) |
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Literal Meaning: What a Poem Says First |
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706 | (1) |
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707 | (1) |
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708 | (1) |
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709 | (1) |
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Batter My Heart, Three-Personed God, for You |
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709 | (1) |
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The Value of a Dictionary |
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710 | (1) |
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711 | (1) |
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Henry Wadsworth Longfellow |
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712 | (1) |
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Friend, on This Scaffold Thomas More Lies Dead |
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713 | (1) |
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Advice to a Friend Who Paints |
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714 | (1) |
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714 | (1) |
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Word Choice and Word Order |
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714 | (2) |
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716 | (2) |
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718 | (1) |
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719 | (1) |
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The Fury of Aerial Bombardment |
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720 | (1) |
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721 | (1) |
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For Review and Further Study |
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Anyone Lived in a Pretty How Town |
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722 | (1) |
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723 | (1) |
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724 | (1) |
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725 | (1) |
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725 | (1) |
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726 | (1) |
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Humpty Dumpty Explicates ``Jabberwocky'' |
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727 | (1) |
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Writing About Diction: Every Word Counts |
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728 | (1) |
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Checklist: Thinking About Word Choice |
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729 | (1) |
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Writing Assignment on Word Choice |
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729 | (1) |
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730 | (1) |
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731 | (56) |
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732 | (1) |
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733 | (2) |
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Disillusionment of Ten O'Clock |
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735 | (1) |
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735 | (1) |
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736 | (1) |
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Next to of Course God America I |
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736 | (1) |
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737 | (1) |
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737 | (1) |
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738 | (1) |
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738 | (1) |
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Love Calls Us to the Things of This World |
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739 | (1) |
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Concerning ``Love Calls Us to the Things of This World'' |
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740 | (41) |
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781 | (1) |
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782 | (1) |
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782 | (1) |
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782 | (1) |
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782 | (1) |
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783 | (1) |
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Oh, My Love Is Like a Red, Red Rose |
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784 | (1) |
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The Importance of Poetic Metaphor |
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784 | (1) |
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Writing About Metaphors: How Metaphors Enlarge a Poem's Meaning |
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785 | (1) |
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Checklist: Analyzing Metaphor |
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785 | (1) |
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Writing Assignment on Figures of Speech |
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785 | (1) |
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786 | (1) |
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787 | (21) |
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787 | (1) |
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788 | (1) |
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789 | (1) |
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790 | (2) |
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792 | (1) |
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792 | (1) |
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793 | (1) |
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793 | (3) |
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796 | (1) |
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797 | (1) |
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798 | (1) |
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799 | (1) |
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799 | (1) |
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800 | (1) |
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For Review and Further Study |
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801 | (1) |
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The Times They Are A-Changin' |
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802 | (2) |
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804 | (1) |
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Creating ``Eleanor Rigby'' |
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805 | (1) |
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Writing About Song Lyrics: Poetry's Close Kinship with Song |
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806 | (1) |
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Checklist: Looking at Lyrics as Poetry |
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806 | (1) |
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Writing Assignment on Song Lyrics |
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807 | (1) |
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807 | (1) |
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808 | (21) |
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808 | (1) |
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True Ease in Writing Comes from Art, Not Chance |
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809 | (2) |
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811 | (1) |
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811 | (1) |
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A Slumber Did My Spirit Seal |
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812 | (1) |
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812 | (1) |
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812 | (1) |
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Alliteration and Assonance |
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812 | (2) |
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814 | (1) |
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814 | (1) |
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The Splendor Falls on Castle Walls |
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815 | (1) |
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815 | (1) |
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On My Boat on Lake Cayuga |
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816 | (2) |
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818 | (1) |
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819 | (1) |
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819 | (1) |
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820 | (1) |
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820 | (1) |
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821 | (1) |
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822 | (1) |
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Reading and Hearing Poems Aloud |
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823 | (1) |
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In Memoriam John Coltrane |
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824 | (1) |
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Full Fathom Five Thy Father Lies |
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825 | (1) |
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825 | (1) |
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825 | (1) |
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826 | (1) |
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Writing About Sound: Listening to the Music |
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827 | (1) |
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Checklist: Writing About a Poem's Sound |
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827 | (1) |
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Writing Assignment on Sound |
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828 | (1) |
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828 | (1) |
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829 | (21) |
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829 | (4) |
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833 | (1) |
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834 | (1) |
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Slow, Slow, Fresh Fount, Keep Time with My Salt Tears |
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834 | (1) |
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835 | (1) |
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836 | (1) |
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836 | (1) |
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On the Imprint of the First English Edition of The Works of Max Beerbohm |
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836 | (6) |
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842 | (1) |
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843 | (1) |
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Song for the Music in the Warsaw Ghetto |
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844 | (1) |
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When I Was One-and-Twenty |
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844 | (1) |
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845 | (1) |
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845 | (1) |
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846 | (1) |
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846 | (1) |
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847 | (1) |
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Writing About Rhythm: Freeze-Framing the Sound |
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848 | (1) |
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Checklist: Scanning a Poem |
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848 | (1) |
|
Writing Assignment on Rhythm |
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849 | (1) |
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849 | (1) |
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850 | (23) |
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851 | (1) |
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This Living Hand, Now Warm and Capable |
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851 | (2) |
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853 | (1) |
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Song (``Go and Catch a Falling Star'') |
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854 | (2) |
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856 | (1) |
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856 | (1) |
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Let Me Not to the Marriage of True Minds |
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857 | (1) |
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Since There's No Help, Come Let Us Kiss and Part |
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858 | (1) |
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|
What Lips My Lips Have Kissed, and Where, and Why |
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858 | (1) |
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|
Acquainted with the Night |
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859 | (1) |
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860 | (1) |
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Unholy Sonnet: Hands Folded |
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860 | (1) |
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861 | (1) |
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861 | (1) |
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862 | (1) |
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862 | (1) |
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863 | (2) |
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865 | (1) |
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866 | (1) |
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866 | (1) |
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Do Not Go Gentle Into That Good Night |
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867 | (1) |
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867 | (1) |
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868 | (2) |
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870 | (1) |
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|
Writing About Form: Turning Points |
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871 | (1) |
|
Checklist: Thinking About a Sonnet |
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871 | (1) |
|
Writing Assignment on a Sonnet |
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872 | (1) |
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872 | (1) |
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873 | (21) |
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873 | (4) |
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877 | (1) |
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For the Anniversary of My Death |
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877 | (1) |
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878 | (1) |
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879 | (1) |
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879 | (1) |
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880 | (1) |
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|
Thirteen Ways of Looking at a Blackbird |
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880 | (2) |
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882 | (1) |
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883 | (1) |
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The Magic Study of Happiness |
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883 | (1) |
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884 | (1) |
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884 | (1) |
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885 | (1) |
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886 | (1) |
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887 | (1) |
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888 | (1) |
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888 | (1) |
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|
Seeing the Logic of Open Form Verse |
|
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889 | (1) |
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889 | (1) |
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|
I Shall Paint My Nails Red |
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890 | (1) |
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890 | (1) |
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891 | (1) |
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|
Writing About Free Verse: Lining Up for Free Verse |
|
|
892 | (1) |
|
Checklist: Analyzing Line Breaks in Free Verse |
|
|
892 | (1) |
|
Writing Assignment on Open Form |
|
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893 | (1) |
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893 | (1) |
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|
894 | (15) |
|
The Boston Evening Transcript |
|
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895 | (1) |
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|
The Lightning is a Yellow Fork |
|
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896 | (1) |
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897 | (1) |
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|
The Parable of the Good Seed |
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898 | (1) |
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899 | (1) |
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900 | (1) |
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900 | (1) |
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901 | (1) |
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902 | (1) |
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902 | (1) |
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|
For Review and Further Study |
|
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903 | (1) |
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904 | (1) |
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904 | (1) |
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905 | (1) |
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905 | (1) |
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905 | (1) |
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906 | (1) |
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|
Writing About Symbols: Reading a Symbol |
|
|
907 | (1) |
|
Checklist: Analyzing a Symbol |
|
|
907 | (1) |
|
Writing Assignment on Symbolism |
|
|
908 | (1) |
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|
908 | (1) |
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|
909 | (24) |
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911 | (1) |
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911 | (1) |
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|
The World Is Too Much With Us |
|
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912 | (1) |
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913 | (1) |
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913 | (1) |
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914 | (1) |
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915 | (2) |
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917 | (1) |
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917 | (1) |
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|
Two Lines from the Brothers Grimm |
|
|
918 | (1) |
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|
|
Memento Mori in Middle School |
|
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918 | (2) |
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920 | (1) |
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921 | (1) |
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922 | (1) |
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923 | (1) |
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|
923 | (3) |
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|
|
Writing About Myth: Demystifying Myth |
|
|
926 | (1) |
|
Checklist: Thinking About Myth |
|
|
927 | (1) |
|
Writing Assignment on Myth |
|
|
927 | (1) |
|
Student Paper The Bonds Between Love and Hatred in H. D.'S ``Helen'' |
|
|
928 | (4) |
|
|
|
932 | (1) |
|
Poetry and Personal Identity |
|
|
933 | (20) |
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934 | (3) |
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|
937 | (1) |
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|
|
Culture, Race, and Ethnicity |
|
|
938 | (1) |
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938 | (1) |
|
|
|
The Shrine Whose Shape I Am |
|
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939 | (1) |
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940 | (1) |
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940 | (1) |
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941 | (1) |
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942 | (1) |
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943 | (1) |
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943 | (1) |
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944 | (1) |
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|
945 | (1) |
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|
945 | (1) |
|
|
|
For Review and Further Study |
|
|
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|
946 | (1) |
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|
|
Elegy for My Father, Who is Not Dead |
|
|
946 | (1) |
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|
Speaking a Foreign Language |
|
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947 | (1) |
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948 | (1) |
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|
949 | (2) |
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|
|
Writing About the Poetry of Personal Identity: Poetic Voice and Personal Identity |
|
|
951 | (1) |
|
Checklist: Writing About Voice and Personal Identity |
|
|
951 | (1) |
|
Writing Assignment on Personal Identity |
|
|
952 | (1) |
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952 | (1) |
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|
953 | (15) |
|
Is Poetic Translation Possible? |
|
|
953 | (1) |
|
|
|
953 | (1) |
|
Drinking Alone Beneath the Moon (Chinese text) |
|
|
954 | (1) |
|
|
|
Moon-Beneath Alone Drink (literal translation) |
|
|
955 | (1) |
|
|
|
Drinking Alone by Moonlight |
|
|
955 | (1) |
|
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|
956 | (1) |
|
Carpe Diem Ode (Latin text) |
|
|
956 | (1) |
|
|
|
Seize the Day (literal translation) |
|
|
956 | (2) |
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957 | (1) |
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957 | (1) |
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958 | (1) |
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958 | (1) |
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|
Rubai (literal translation) |
|
|
958 | (2) |
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|
A Book of Verses Underneath the Bough |
|
|
959 | (1) |
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|
959 | |
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|
I Need A Bare Sufficiency |
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959 | (1) |
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960 | (1) |
|
We Four Lads from Liverpool are |
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961 | (1) |
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|
From Strugnell's Rubaiyat |
|
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961 | (1) |
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|
What, Still Alive at Twenty-Two? |
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962 | (1) |
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962 | (1) |
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|
If Richard Lovelace Became a Free Agent |
|
|
962 | (1) |
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|
Thirteen Ways of Looking at a Tortilla |
|
|
963 | (2) |
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|
The Method of Translation |
|
|
965 | (1) |
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|
Writing a Parody: Parody Is the Sincerest Form of Flattery |
|
|
966 | (1) |
|
Checklist: Writing a Parody |
|
|
966 | (1) |
|
Writing Assignment on Parody |
|
|
967 | (1) |
|
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|
967 | (1) |
|
Poetry in Spanish: Literature of Latin America |
|
|
968 | (17) |
|
Asegura La Confianza de Que Ocultura de Todo un Secreto |
|
|
970 | (1) |
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|
She Promises to Hold a Secret in Confidence |
|
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970 | (1) |
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|
Presente en Que el Carino Hace Regalo La Llaneza |
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970 | (1) |
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|
A Simple Gift Made Rich by Affection |
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970 | (1) |
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971 | (2) |
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971 | (2) |
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973 | (1) |
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One Hundred Love Sonnets (V) |
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973 | (1) |
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974 | (1) |
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975 | (1) |
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975 | (2) |
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976 | (1) |
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977 | (1) |
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977 | (1) |
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977 | (1) |
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977 | (1) |
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|
Surrealism in Latin American Poetry |
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978 | (1) |
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979 | (1) |
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|
La Colera Que Quiebra al Hombre en Ninos |
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979 | (1) |
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980 | (1) |
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|
Contemporary Mexican Poetry |
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981 | (1) |
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981 | (1) |
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981 | (1) |
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981 | (1) |
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982 | (1) |
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982 | (1) |
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982 | (1) |
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983 | (1) |
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|
983 | (1) |
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|
Writing Assignment on Spanish Poetry |
|
|
984 | (1) |
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|
984 | (1) |
|
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|
985 | (24) |
|
O Moon, When I Gaze on Thy Beautiful Face |
|
|
987 | (1) |
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|
987 | (1) |
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|
|
A Dying Tiger -- Moaned for Drink |
|
|
987 | (3) |
|
|
|
Thoughts on Capital Punishment |
|
|
990 | (1) |
|
|
|
Traveling Through the Dark |
|
|
991 | (1) |
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992 | (1) |
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993 | (1) |
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994 | (2) |
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|
On the Vanity of Earthly Greatness |
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996 | (1) |
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996 | (1) |
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997 | (1) |
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998 | (1) |
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999 | (3) |
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1002 | (2) |
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1004 | (1) |
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1005 | (1) |
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1006 | (1) |
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|
A Long Poem Does Not Exist |
|
|
1007 | (1) |
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|
|
Writing an Evaluation: You Be the Judge |
|
|
1007 | (1) |
|
Checklist: Evaluating a Poem |
|
|
1007 | (1) |
|
Writing Assignment on Evaluating a Poem |
|
|
1008 | (1) |
|
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|
1008 | (1) |
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|
1009 | (4) |
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1009 | (1) |
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|
Some Definitions of Poetry |
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1010 | (2) |
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1012 | (1) |
|
|
|
Two Critical Casebooks: Emily Dickinson and Langston Hughes |
|
|
1013 | (36) |
|
|
|
1013 | (1) |
|
Success is Counted Sweetest |
|
|
1014 | (1) |
|
I Taste a Liquor Never Brewed |
|
|
1014 | (1) |
|
Wild Nights -- Wild Nights! |
|
|
1015 | (1) |
|
I Felt a Funeral, in My Brain |
|
|
1015 | (1) |
|
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1016 | (1) |
|
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|
1016 | (1) |
|
The Soul Selects Her Own Society |
|
|
1016 | (1) |
|
Some Keep the Sabbath Going to Church |
|
|
1017 | (1) |
|
After Great Pain, a Formal Feeling Comes |
|
|
1017 | (1) |
|
This is My Letter to the World |
|
|
1017 | (1) |
|
I Heard a Fly Buzz -- When I Died |
|
|
1018 | (1) |
|
I Started Early -- Took My Dog |
|
|
1018 | (1) |
|
Because I Could Not Stop for Death |
|
|
1019 | (1) |
|
|
|
1019 | (1) |
|
Tell All the Truth But Tell It Slant |
|
|
1019 | (1) |
|
Emily Dickinson on Emily Dickinson |
|
|
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|
1020 | (1) |
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|
1021 | (2) |
|
Critics on Emily Dickinson |
|
|
|
|
|
1023 | (1) |
|
Thomas Wentworth Higginson |
|
|
The Discovery of Emily Dickinson's Manuscripts |
|
|
1024 | (1) |
|
|
|
The Three Privations of Emily Dickinson |
|
|
1025 | (1) |
|
|
|
Dickinson and Death (A Reading of ``Because I Could Not Stop for Death'') |
|
|
1026 | (2) |
|
|
|
A Reading of ``My Life Had Stood -- A Loaded Gun'' |
|
|
1028 | (2) |
|
|
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|
1030 | (1) |
|
The Negro Speaks of Rivers |
|
|
1030 | (1) |
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1031 | (1) |
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1031 | (1) |
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1032 | (1) |
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1032 | (1) |
|
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1033 | (1) |
|
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1033 | (1) |
|
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1034 | (1) |
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1034 | (1) |
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1035 | (1) |
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1035 | (1) |
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1036 | (1) |
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1036 | (1) |
|
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1037 | (1) |
|
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|
1037 | (1) |
|
Langston Hughes on Langston Hughes |
|
|
|
The Negro Artist and the Racial Mountain |
|
|
1038 | (1) |
|
|
|
1039 | (2) |
|
Critics on Langston Hughes |
|
|
|
Hughes as an Experimentalist |
|
|
1041 | (1) |
|
|
|
Langston Hughes and Harlem |
|
|
1042 | (2) |
|
|
|
|
|
Black Identity in Langston Hughes |
|
|
1044 | (1) |
|
|
|
|
|
1045 | (2) |
|
|
|
A Reading of ``Dream Deferred'' |
|
|
1047 | (1) |
|
|
|
Topics for Writing About Emily Dickinson |
|
|
1048 | (1) |
|
Topics for Writing About Langston Hughes |
|
|
1048 | (1) |
|
Critical Casebook: T. S. Eliot's ``The Love Song of J. Alfred Prufrock'' |
|
|
1049 | (25) |
|
|
|
1049 | (2) |
|
The Love Song of J. Alfred Prufrock |
|
|
1051 | (7) |
|
|
|
|
The Reviewers on Prufrock |
|
|
1058 | (3) |
|
Unsigned Review from Times Literary Supplement |
|
|
1058 | (1) |
|
Unsigned Review from Literary World |
|
|
1058 | (1) |
|
Unsigned Review from New Statesman |
|
|
1058 | (1) |
|
From ``Divers Realists,'' The Dial |
|
|
1059 | (1) |
|
|
|
From ``Another Impressionist,'' The New Republic |
|
|
1059 | (1) |
|
|
|
From ``A Note on T. S. Eliot's Book,'' Poetry |
|
|
1059 | (1) |
|
|
|
From ``Prufrock and Other Observations: A Criticism,'' The Little Review |
|
|
1060 | (1) |
|
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|
|
|
|
|
|
1061 | (1) |
|
The Objective Correlative |
|
|
1062 | (1) |
|
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1062 | (2) |
|
|
|
|
One of the Irrefutable Poets |
|
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1064 | (1) |
|
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|
|
1065 | (1) |
|
|
|
The Pronouns in the Poem: ``One,'' ``You,'' and ``I'' |
|
|
1066 | (1) |
|
|
|
|
|
1067 | (1) |
|
|
|
``Indeterminacy'' in Eliot's Poetry |
|
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1068 | (1) |
|
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|
1069 | (3) |
|
|
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1072 | (1) |
|
|
|
|
|
1073 | (1) |
|
Poems for Further Reading |
|
|
1074 | (118) |
|
|
|
1075 | (1) |
|
|
|
|
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1076 | (1) |
|
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1077 | (1) |
|
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|
Last Words of the Prophet |
|
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1077 | (1) |
|
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1078 | (1) |
|
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1079 | (1) |
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1079 | (2) |
|
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|
As I Walked Out One Evening |
|
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1081 | (2) |
|
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1083 | (1) |
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1084 | (2) |
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1086 | (1) |
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1087 | (1) |
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1088 | (1) |
|
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1089 | (1) |
|
|
|
The Preacher: Ruminates Behind the Sermon |
|
|
1090 | (1) |
|
|
|
How Do I Love Thee? Let Me Count the Ways |
|
|
1091 | (1) |
|
Elizabeth Barrett Browning |
|
|
Soliloquy of the Spanish Cloister |
|
|
1091 | (2) |
|
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1093 | (1) |
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1094 | (1) |
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1095 | (1) |
|
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1096 | (1) |
|
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1097 | (1) |
|
|
|
My Grandmother's Love Letters |
|
|
1098 | (1) |
|
|
|
Somewhere I Have Never Travelled, Gladly Beyond |
|
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1099 | (1) |
|
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1100 | (1) |
|
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1101 | (1) |
|
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1102 | (1) |
|
|
|
A Valediction: Forbidding Mourning |
|
|
1102 | (2) |
|
|
|
To the Memory of Mr. Oldham |
|
|
1104 | (1) |
|
|
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1104 | (2) |
|
|
|
Indian Boarding School: The Runaways |
|
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1106 | (1) |
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1107 | (1) |
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1107 | (2) |
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1109 | (1) |
|
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|
Stopping by Woods on a Snowy Evening |
|
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1110 | (1) |
|
|
|
A Supermarket in California |
|
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1110 | (1) |
|
|
|
The Man with Night Sweats |
|
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1111 | (1) |
|
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1112 | (1) |
|
|
|
The Convergence of the Twain |
|
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1113 | (2) |
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1115 | (1) |
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1116 | (1) |
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1117 | (1) |
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1118 | (1) |
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1119 | (2) |
|
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1121 | (1) |
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|
To the Virgins, to Make Much of Time |
|
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1122 | (1) |
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1122 | (1) |
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1123 | (1) |
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1123 | (1) |
|
|
|
Loveliest of Trees, The Cherry Now |
|
|
1124 | (1) |
|
|
|
To an Athlete Dying Young |
|
|
1124 | (1) |
|
|
|
The Death of the Ball Turret Gunner |
|
|
1125 | (1) |
|
|
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1126 | (1) |
|
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|
1126 | (1) |
|
|
|
On the Death of Friends in Childhood |
|
|
1127 | (1) |
|
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|
1127 | (2) |
|
|
|
When I Have Fears That I May Cease to Be |
|
|
1129 | (1) |
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1130 | (1) |
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1131 | (1) |
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1132 | (1) |
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1133 | (1) |
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1134 | (1) |
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1135 | (1) |
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1136 | (1) |
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1137 | (1) |
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1138 | (1) |
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1139 | (1) |
|
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1140 | (1) |
|
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|
1141 | (1) |
|
|
|
When I Consider How My Light is Spent |
|
|
1142 | (1) |
|
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|
1142 | (1) |
|
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|
1143 | (1) |
|
|
|
A Strange Beautiful Woman |
|
|
1144 | (1) |
|
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1145 | (1) |
|
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|
1145 | (1) |
|
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|
1146 | (1) |
|
|
|
The One Girl at the Boys' Party |
|
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1147 | (1) |
|
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1148 | (1) |
|
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|
1148 | (1) |
|
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|
1149 | (1) |
|
|
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|
1150 | (3) |
|
|
|
|
|
1153 | (1) |
|
|
|
A Little Learning is a Dang'rous Thing |
|
|
1153 | (1) |
|
|
|
The River-Merchant's Wife: A Letter |
|
|
1154 | (1) |
|
|
|
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|
1155 | (1) |
|
|
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|
1155 | (1) |
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1156 | (1) |
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|
1157 | (1) |
|
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|
1158 | (1) |
|
|
|
|
|
1159 | (1) |
|
|
|
|
|
1160 | (2) |
|
|
|
When, In Disgrace with Fortune and Men's Eyes |
|
|
1162 | (1) |
|
|
|
Not Marble Nor the Gilded Monuments |
|
|
1163 | (1) |
|
|
|
That Time of Year Thou Mayst in Me Behold |
|
|
1163 | (1) |
|
|
|
My Mistress' Eyes are Nothing Like the Sun |
|
|
1164 | (1) |
|
|
|
|
|
1164 | (1) |
|
|
|
|
|
1164 | (1) |
|
|
|
For I Will Consider My Cat Jeoffry |
|
|
1165 | (2) |
|
|
|
|
|
1167 | (1) |
|
|
|
|
|
1168 | (1) |
|
|
|
The Farm on the Great Plains |
|
|
1169 | (1) |
|
|
|
|
|
1170 | (1) |
|
|
|
A Description of the Morning |
|
|
1171 | (1) |
|
|
|
|
|
1172 | (1) |
|
|
|
|
|
1173 | (1) |
|
|
|
Dark House, by Which Once More I Stand |
|
|
1173 | (1) |
|
|
|
|
|
|
|
1174 | (2) |
|
|
|
|
|
|
|
1176 | (1) |
|
|
|
|
|
1177 | (1) |
|
|
|
|
|
1178 | (1) |
|
|
|
|
|
1179 | (1) |
|
|
|
From Song of the Open Road |
|
|
1180 | (1) |
|
|
|
|
|
1181 | (1) |
|
|
|
|
|
1181 | (1) |
|
|
|
|
|
1182 | (1) |
|
|
|
|
|
1183 | (1) |
|
|
|
|
|
1184 | (1) |
|
|
|
Composed Upon Westminster Bridge |
|
|
1185 | (1) |
|
|
|
|
|
1186 | (1) |
|
|
|
Autumn Begins in Martins Ferry, Ohio |
|
|
1186 | (1) |
|
|
|
In this Strange Labyrinth |
|
|
1187 | (1) |
|
|
|
They Flee from Me That Sometime did Me Seke |
|
|
1188 | (1) |
|
|
|
Crazy Jane Talks with the Bishop |
|
|
1189 | (1) |
|
|
|
|
|
1190 | (1) |
|
|
|
|
|
1190 | (1) |
|
|
|
|
|
1191 | (1) |
|
|
|
|
|
1192 | (31) |
|
|
|
|
|
|
1223 | (26) |
|
|
|
1225 | (1) |
|
|
|
1225 | (16) |
|
|
|
|
|
|
|
|
|
|
|
1241 | (1) |
|
|
|
Writing About Conflict: Conflict Resolution |
|
|
1242 | (1) |
|
Checklist: Analyzing Conflict |
|
|
1243 | (1) |
|
Writing Assignment on Conflict |
|
|
1243 | (1) |
|
Student Paper Outside Trifles |
|
|
1244 | (4) |
|
|
|
1248 | (1) |
|
Modes of Drama: Tragedy and Comedy |
|
|
1249 | (28) |
|
|
|
1249 | (2) |
|
Scene from Doctor Faustus (Act 2, Scene 1) |
|
|
1251 | (6) |
|
|
|
|
|
1257 | (2) |
|
|
|
1259 | (10) |
|
|
|
|
|
1269 | (5) |
|
|
|
|
|
|
|
|
|
|
|
1274 | (1) |
|
|
|
Writing About Comedy: Getting Serious About Comedy |
|
|
1275 | (1) |
|
Checklist: Writing About a Comedy |
|
|
1276 | (1) |
|
Writing Assignment on Comedy |
|
|
1276 | (1) |
|
|
|
1276 | (1) |
|
Critical Casebook: Sophocles |
|
|
1277 | (87) |
|
|
|
1277 | (1) |
|
|
|
1278 | (2) |
|
The Civic Role of Greek Drama |
|
|
1280 | (2) |
|
Aristotle's Concept of Tragedy |
|
|
1282 | (1) |
|
|
|
1283 | (1) |
|
|
|
|
The Origins of Oedipus the King |
|
|
1284 | (1) |
|
Sophocles Oedipus the King (Translated by Dudley Fitts and Robert Fitzgerald) |
|
|
1285 | (38) |
|
The Background of Antigone |
|
|
1323 | (1) |
|
Sophocles Antigone (Translated by Dudley Fitts and Robert Fitzgerald) |
|
|
1324 | (29) |
|
|
|
|
Aristotle Defining Tragedy |
|
|
1353 | (1) |
|
|
|
1354 | (1) |
|
|
|
On Misunderstanding Oedipus |
|
|
1355 | (1) |
|
|
|
|
|
1356 | (2) |
|
|
|
|
|
1358 | (1) |
|
|
|
|
|
1358 | (3) |
|
|
|
|
|
|
|
|
|
Translating Sophocles into English |
|
|
1361 | (1) |
|
|
|
Writing About Greek Tragedy Some Things Change, Some Things Don't |
|
|
1362 | (1) |
|
Checklist Analyzing Greek Tragedy |
|
|
1362 | (1) |
|
Writing Assignment on Sophocles |
|
|
1362 | (1) |
|
|
|
1363 | (1) |
|
Critical Casebook: Shakespeare |
|
|
1364 | (313) |
|
The Theater of Shakespeare |
|
|
1365 | (1) |
|
|
|
1366 | (1) |
|
|
|
|
|
|
1367 | (1) |
|
Othello, the Moor of Venice |
|
|
1368 | (102) |
|
|
|
|
|
1470 | (2) |
|
Hamlet, Prince of Denmark |
|
|
1472 | (118) |
|
|
|
The Background of A Midsummer Night's Dream |
|
|
1590 | (2) |
|
A Midsummer Night's Dream |
|
|
1592 | (66) |
|
|
|
|
|
|
An Asian Culture Looks at Shakespeare |
|
|
1658 | (1) |
|
|
|
|
|
1659 | (1) |
|
|
|
|
|
1660 | (2) |
|
|
|
|
|
1662 | (1) |
|
|
|
Reader-Response Issues in Hamlet |
|
|
1663 | (1) |
|
|
|
Iago as a Triumphant Villain |
|
|
1664 | (1) |
|
|
|
Lucifer in Shakespeare's Othello |
|
|
1665 | (1) |
|
|
|
Black and White in Othello |
|
|
1665 | (1) |
|
|
|
Shakespeare's Language as a Hidden Political Code |
|
|
1666 | (1) |
|
|
|
Shakespeare's ``Honest Mirth'' |
|
|
1667 | (1) |
|
|
|
Female Power in a Midsummer Night's Dream |
|
|
1668 | (1) |
|
|
|
|
|
|
|
|
|
On His Friend and Rival William Shakespeare |
|
|
1669 | (1) |
|
|
|
Writing About Shakespeare Breaking the Language Barrier |
|
|
1670 | (1) |
|
Checklist Reading a Shakespearean Play |
|
|
1670 | (1) |
|
Writing Assignment on Tragedy |
|
|
1671 | (1) |
|
Student Paper Othello: Tragedy or Soap Opera? |
|
|
1671 | (5) |
|
|
|
1676 | (1) |
|
|
|
1677 | (82) |
|
|
|
1677 | (2) |
|
A Doll's House (Translated by James McFarlane) |
|
|
1679 | (56) |
|
|
|
|
|
|
Correspondence on the Final Scene of A Doll's House |
|
|
1735 | (1) |
|
|
|
Tragicomedy and the Absurd |
|
|
1736 | (3) |
|
|
|
1739 | (13) |
|
|
|
|
|
|
Writing the Cuban Swimmer |
|
|
1752 | (1) |
|
|
|
|
|
|
Writing About Dramatic Realism What's so Realistic About Realism? |
|
|
1753 | (1) |
|
Checklist Writing About a Realist Play |
|
|
1754 | (1) |
|
Writing Assignment on Realism |
|
|
1754 | (1) |
|
Student Essay Helmer vs. Helmer |
|
|
1755 | (3) |
|
|
|
1758 | (1) |
|
|
|
1759 | (4) |
|
Writing an Evaluation of a Play: Judging a Play |
|
|
1760 | (1) |
|
Checklist: Evaluating a Play |
|
|
1761 | (1) |
|
Writing Assignment on Evaluation |
|
|
1761 | (1) |
|
|
|
1761 | (2) |
|
Plays for Further Reading |
|
|
1763 | (123) |
|
|
|
1763 | (70) |
|
|
|
|
|
|
Tragedy and the Common Man |
|
|
1833 | (3) |
|
|
|
|
|
1836 | (47) |
|
|
|
|
|
|
How to Stage the Glass Menagerie |
|
|
1883 | (3) |
|
|
|
New Voices in American Drama |
|
|
1886 | (165) |
|
The Darker Face of the Earth |
|
|
1886 | (72) |
|
|
|
|
|
|
The Inspiration for the Darker Face of the Earth |
|
|
1958 | (1) |
|
|
|
|
|
1959 | (16) |
|
|
|
|
|
|
|
|
1975 | (1) |
|
|
|
|
|
1976 | (15) |
|
|
|
|
|
|
|
|
1991 | (1) |
|
|
|
|
|
1992 | (3) |
|
|
|
|
|
|
|
|
1995 | (1) |
|
|
|
|
|
1996 | (51) |
|
|
|
|
|
|
A Look into Black America |
|
|
2047 | (4) |
|
|
|
|
|
|
|
|
2051 | (24) |
|
|
|
2051 | (1) |
|
|
|
2052 | (1) |
|
|
|
|
|
2053 | (1) |
|
Prewriting: Discovering Ideas |
|
|
2054 | (4) |
|
Sample Student Prewriting Exercises |
|
|
2054 | (4) |
|
Developing a Literary Argument |
|
|
2058 | (2) |
|
Checklist: Developing a Literary Argument |
|
|
2060 | (1) |
|
|
|
2060 | (3) |
|
Sample Student Paper (Rough Draft) |
|
|
2061 | (2) |
|
|
|
2063 | (4) |
|
Checklist: Revision Steps |
|
|
2067 | (1) |
|
Some Final Advice on Rewriting |
|
|
2068 | (4) |
|
Sample Student Paper (Revised Draft) |
|
|
2069 | (3) |
|
Using Critical Sources and Maintaining Academic Integrity |
|
|
2072 | (1) |
|
The Form of Your Finished Paper |
|
|
2072 | (1) |
|
Spell-Check and Grammar-Check Programs |
|
|
2073 | (1) |
|
Anonymous (after a poem by Jerrold H. Zar) A Little Poem Regarding Computer Spell Checkers |
|
|
2073 | (2) |
|
|
|
2075 | (26) |
|
|
|
2075 | (2) |
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2077 | (1) |
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Preparing to Write: Discovering Ideas |
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2077 | (3) |
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Sample Student Prewriting Exercises |
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2077 | (3) |
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2080 | (1) |
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Checklist: Writing a Rough Draft |
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2081 | (1) |
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2081 | (2) |
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2083 | (1) |
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What's Your Purpose? Some Common Approaches to Writing About Fiction |
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2083 | (15) |
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|
2083 | (2) |
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Sample Student Paper (Explication) |
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2085 | (3) |
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2088 | (1) |
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Sample Student Paper (Analysis) |
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2089 | (3) |
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2092 | (1) |
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Sample Student Card Report |
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2093 | (2) |
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2095 | (1) |
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Sample Student Paper (Comparison and Contrast) |
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2096 | (2) |
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2098 | (3) |
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2101 | (25) |
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2101 | (1) |
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2101 | (1) |
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2102 | (1) |
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2102 | (1) |
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Preparing to Write: Discovering Ideas |
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2103 | (3) |
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Sample Student Prewriting Exercises |
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|
2104 | (2) |
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2106 | (1) |
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Checklist: Writing a Rough Draft |
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2107 | (1) |
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2108 | (2) |
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2110 | (1) |
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Some Common Approaches to Writing About Poetry |
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2110 | (11) |
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2110 | (1) |
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Sample Student Paper (Explication) |
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2111 | (3) |
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A Critic's Explication of Frost's ``Design'' |
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2114 | (1) |
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2115 | (1) |
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Sample Student Paper (Analysis) |
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2116 | (2) |
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2118 | (1) |
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2118 | (1) |
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Sample Student Paper (Comparison and Contrast) |
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2119 | (2) |
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2121 | (2) |
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2123 | (1) |
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2124 | (2) |
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2126 | (12) |
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2126 | (1) |
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Common Approaches to Writing About Drama |
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2127 | (7) |
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2128 | (1) |
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2128 | (1) |
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2128 | (1) |
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2128 | (2) |
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Sample Student Card Report |
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2130 | (2) |
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2132 | (1) |
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Sample Student Drama Review |
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2133 | (1) |
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2134 | (1) |
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2135 | (3) |
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2138 | (28) |
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2138 | (1) |
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2139 | (1) |
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2139 | (4) |
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2139 | (1) |
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2140 | (1) |
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Finding Reliable Web Sources |
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|
2140 | (1) |
|
Checklist: Finding Sources |
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|
2141 | (1) |
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2142 | (1) |
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Checklist: Using Visual Images |
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2143 | (1) |
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2143 | (2) |
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Evaluating Print Resources |
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2143 | (1) |
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2144 | (1) |
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Checklist: Evaluating Sources |
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|
2144 | (1) |
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2145 | (2) |
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2147 | (1) |
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2148 | (1) |
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2148 | (1) |
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Guarding Academic Integrity |
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|
2149 | (1) |
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|
2149 | (2) |
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|
2150 | (1) |
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|
2150 | (1) |
|
Documenting Sources Using MLA Style |
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|
2151 | (7) |
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2152 | (1) |
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|
2152 | (1) |
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|
2152 | (1) |
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Citing Print Sources in MLA Style |
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2153 | (1) |
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Citing Internet Sources in MLA Style |
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|
2154 | (1) |
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|
2155 | (1) |
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2156 | (2) |
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|
2158 | (8) |
|
Reference Guide for Citations |
|
|
2159 | (7) |
|
Writing as Discovery: Keeping a Journal |
|
|
2166 | (6) |
|
The Rewards of Keeping a Journal |
|
|
2166 | (2) |
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|
2168 | (4) |
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|
2169 | (3) |
|
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|
2172 | (5) |
|
Checklist: Exam Preparation |
|
|
2176 | (1) |
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|
2176 | (1) |
|
Critical Approaches to Literature |
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|
2177 | |
|
|
|
2178 | (1) |
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|
2178 | (1) |
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|
|
Light and Darkness in ``Sonny's Blues'' |
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|
2179 | (1) |
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|
|
On Robert Browning's ``My Last Duchess'' |
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2180 | (2) |
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|
|
|
2182 | (1) |
|
Chekhov's Attitude to Romantic Love |
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2183 | (2) |
|
|
|
On Elizabeth Bishop's ``One Art'' |
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2185 | (1) |
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|
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The Source for Alcee Laballiere in ``The Storm'' |
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2186 | (1) |
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2187 | (1) |
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2187 | (2) |
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|
|
``To His Coy Mistress'' and the Renaissance Tradition |
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2189 | (1) |
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|
|
The Economics of Zora Neale Hurston's ``Sweat'' |
|
|
2190 | (2) |
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|
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|
2192 | (1) |
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|
2193 | (1) |
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|
|
Fairy Tale Motifs in ``Where are You Going, Where Have You Been?'' |
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2194 | (1) |
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2195 | (1) |
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|
2196 | (1) |
|
The Collective Unconscious and Archetypes |
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2197 | (1) |
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|
2198 | (1) |
|
|
|
Myth in Faulkner's ``Barn Burning'' |
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|
2198 | (2) |
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|
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|
2200 | (1) |
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|
|
2201 | (1) |
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|
|
Money and Labor in ``The Rocking-Horse Winner'' |
|
|
2201 | (2) |
|
|
|
Walt Whitman and Abraham Lincoln |
|
|
2203 | (1) |
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|
|
|
|
2204 | (1) |
|
Toward a Feminist Poetics |
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|
2204 | (1) |
|
|
|
The Freedom of Emily Dickinson |
|
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2205 | (1) |
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|
Transformations in the Metamorphosis |
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|
2206 | (1) |
|
|
|
Reader-Response Criticism |
|
|
2207 | (1) |
|
An Eskimo ``A Rose for Emily'' |
|
|
2208 | (1) |
|
|
|
``How Do We Make a Poem?'' |
|
|
2209 | (2) |
|
|
|
The End of Young Goodman Brown |
|
|
2211 | (1) |
|
|
|
Deconstructionist Criticism |
|
|
2212 | (1) |
|
|
|
2213 | (1) |
|
|
|
|
|
2213 | (1) |
|
|
|
On Wordsworth's ``A Slumber Did My Spirit Seal'' |
|
|
2214 | (2) |
|
|
|
|
|
2216 | (1) |
|
Poststructuralist Cultural Critique |
|
|
2217 | (1) |
|
|
|
What is Cultural Studies? |
|
|
2218 | (2) |
|
|
|
A Reading of William Blake's ``The Chimney Sweeper'' |
|
|
2220 | |
|
|
| Glossary of Literary Terms |
|
1 | (1) |
| Acknowledgments |
|
1 | (1) |
| Index of Major Themes |
|
1 | (7) |
| Index of First Lines of Poetry |
|
8 | (6) |
| Index of Authors and Titles |
|
14 | (20) |
| Index of Literary Terms |
|
34 | |
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