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Introductory Statement | p. xiii |
On Becoming a Poet | p. xvii |
Poetic Form: A Personal Encounter | p. xxv |
Acknowledgments | p. xxxi |
Verse Forms | |
Overview | p. 3 |
The Villanelle | |
The Villanelle at a Glance | p. 5 |
The History of the Form | p. 6 |
The Contemporary Context | p. 8 |
Villanelle of His Lady's Treasures | p. 9 |
The House on the Hill | p. 9 |
Missing Dates | p. 10 |
The Waking | p. 11 |
One Art | p. 11 |
Do Not Go Gentle into That Good Night | p. 12 |
The World and the Child | p. 13 |
Condemned Site | p. 13 |
By the Sound | p. 14 |
Saturday at the Border | p. 15 |
Under the Hill | p. 16 |
Villanelle | p. 16 |
Reading Scheme | p. 17 |
Villanelle for the Middle of the Night | p. 18 |
Close-Up of a Villanelle: "One Art" | p. 19 |
The Sestina | |
The Sestina at a Glance | p. 21 |
The History of the Form | p. 22 |
The Contemporary Context | p. 24 |
Ye wastefull woodes, bear witness of my woe | p. 25 |
from Old Arcadia | p. 26 |
Sestine 4 from Parthenophil and Parthenophe | p. 27 |
Sestina: Of the Lady Pietra degli Scrovigni | p. 29 |
Sestina | p. 30 |
Sestina | p. 32 |
Sestina of the Tramp-Royal | p. 33 |
Sestina: Altaforte | p. 34 |
After the Trial | p. 36 |
The Book of Yolek | p. 37 |
The Shrinking Lonesome Sestina | p. 38 |
Nani | p. 39 |
Close-Up of a Sestina: "Sestina: Altaforte" | p. 41 |
The Pantoum | |
The Pantoum at a Glance | p. 43 |
The History of the Form | p. 44 |
The Contemporary Context | p. 45 |
In Town | p. 45 |
Pantoum of the Great Depression | p. 47 |
Parents' Pantoum | p. 48 |
Pantoum | p. 49 |
Grandmother's Song | p. 50 |
The Method | p. 51 |
Close-Up of a Pantoum: "Pantoum of the Great Depression" | p. 53 |
The Sonnet | |
The Sonnet at a Glance | p. 55 |
The History of the Form | p. 56 |
The Contemporary Context | p. 58 |
Shall I compare thee to a summer's day? | p. 59 |
Farewell to Love | p. 59 |
from Pamphilia to Amphilanthus | p. 60 |
Sonnet XXIII: Methought I saw my late espoused saint | p. 60 |
Holy Sonnet: At the round earth's imagined corners | p. 61 |
Composed upon Westminster Bridge, September 3, 1802 | p. 61 |
Ozymandias | p. 62 |
Bright Star | p. 62 |
from Monna Innominata | p. 63 |
from Sonnets from the Portuguese (XLIII) | p. 63 |
Carrion Comfort | p. 64 |
What lips my lips have kissed, and where, and why | p. 64 |
From the Dark Tower | p. 65 |
Epic | p. 65 |
from "Tulips and Chimneys" | p. 66 |
To My Mother | p. 66 |
After the Bomb Tests | p. 67 |
A Game of Chess | p. 67 |
The Haw Lantern | p. 68 |
Heat | p. 68 |
The Roman Baths at Nimes | p. 69 |
Half a Double Sonnet | p. 69 |
Sonnet | p. 70 |
Close-Up of a Sonnet: "What lips my lips have kissed, and where, and why" | p. 71 |
The Ballad | |
The Ballad at a Glance | p. 73 |
The History of the Form | p. 74 |
The Contemporary Context | p. 77 |
The Cherry-tree Carol | p. 78 |
Sir Patrick Spens | p. 79 |
The Wife of Usher's Well | p. 81 |
My Boy Willie | p. 82 |
The Changeling | p. 83 |
from The Ballad of Reading Gaol | p. 86 |
Peter and John | p. 88 |
Bagpipe Music | p. 90 |
Death in Leamington | p. 91 |
The Tale of Custard the Dragon | p. 92 |
We Real Cool | p. 94 |
Riverbank Blues | p. 94 |
Ballad of John Cable and Three Gentlemen | p. 95 |
Close-Up of a Ballad: "We Real Cool" | p. 99 |
Blank Verse | |
Blank Verse at a Glance | p. 101 |
The History of the Form | p. 102 |
The Contemporary Context | p. 104 |
from his translation of The Aeneid | p. 105 |
from Tamburlaine the Great | p. 105 |
from Julius Caesar | p. 106 |
from Paradise Lost | p. 107 |
from Beachy Head | p. 108 |
from The Prelude | p. 109 |
Ulysses | p. 110 |
Rain | p. 112 |
Directive | p. 113 |
Lying | p. 114 |
Stanzas in Bloomsbury | p. 117 |
Close-Up of Blank Verse: "Directive" | p. 119 |
The Heroic Couplet | |
The Heroic Couplet at a Glance | p. 121 |
The History of the Form | p. 122 |
from The Description of Cooke-ham | p. 123 |
The Author to Her Book | p. 123 |
A Letter to Daphnis, April 2, 1685 | p. 124 |
from Absalom and Achitophel | p. 125 |
from The Vanity of Human Wishes | p. 126 |
To S. M., a Young African Painter, on Seeing His Works | p. 127 |
from The Deserted Village | p. 128 |
from An Essay on Criticism | p. 129 |
My Last Duchess | p. 130 |
Strange Meeting | p. 132 |
The J Car | p. 133 |
Close-Up of the Heroic Couplet: "My Last Duchess" | p. 135 |
The Stanza | |
The Stanza at a Glance | p. 136 |
The History of the Form | p. 137 |
The Contemporary Context | p. 139 |
from Troilus and Criseyde | p. 140 |
from The Faerie Queene | p. 141 |
They Flee from Me | p. 142 |
Easter Wings | p. 143 |
The Tyger | p. 143 |
So We'll Go No More A-Roving | p. 144 |
I died for Beauty--but was scarce | p. 145 |
The Convergence of the Twain | p. 145 |
The Song of the Mad Prince | p. 146 |
A Quoi Bon Dire | p. 147 |
Song of the Son | p. 147 |
The Tropics in New York | p. 148 |
Night Song at Amalfi | p. 149 |
Not Waving but Drowning | p. 149 |
On Teaching the Young | p. 149 |
Those Winter Sundays | p. 150 |
Yes | p. 150 |
Warming Her Pearls | p. 151 |
Epith | p. 152 |
Close-Up of a Stanza: "I died for Beauty--but was scarce" | p. 154 |
Meter | |
Meter at a Glance | p. 159 |
A Brief Checklist of Further Reading on Meter | p. 161 |
Shaping Forms | |
Overview | p. 165 |
The Elegy | |
Overview | p. 167 |
Lament for the Makaris | p. 168 |
If Ever Hapless Woman Had a Cause | p. 171 |
On My First Son | p. 172 |
Epitaph. On her Son H.P. at St. Syth's Church where her body also lies Interred | p. 172 |
Lycidas | p. 173 |
Here Follows Some Verses upon the Burning of Our House July 10th, 1666. Copied out of a Loose Paper | p. 178 |
Elegy Written in a Country Churchyard | p. 180 |
R. Alcona to J. Brenzaida | p. 184 |
O Captain! My Captain! | p. 185 |
Dover Beach | p. 185 |
To His Love | p. 187 |
Bells for John Whiteside's Daughter | p. 187 |
Tears in Sleep | p. 188 |
In Memory of W. B. Yeats | p. 188 |
from The Quaker Graveyard in Nantucket | p. 191 |
Dream Song 324 | p. 194 |
To the Dead | p. 194 |
In Memoriam Paul Celan | p. 196 |
The Legend | p. 197 |
The Elegy for New York | p. 198 |
Tiara | p. 199 |
Supernatural Love | p. 200 |
Mirror in February | p. 202 |
Iris | p. 203 |
Child Burial | p. 204 |
Song | p. 205 |
The Pastoral | |
Overview | p. 207 |
The Passionate Shepherd to His Love | p. 209 |
from Love's Labor's Lost | p. 210 |
The Garden | p. 210 |
To My Sister | p. 213 |
Ode on a Grecian Urn | p. 214 |
Loveliest of Trees | p. 215 |
The Wife of Llew | p. 216 |
Urban Pastoral | p. 216 |
Remembered Morning | p. 217 |
The Thought-Fox | p. 217 |
The Explosion | p. 218 |
Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota | p. 219 |
Midsummer, Tobago | p. 220 |
The Bear | p. 220 |
Fog | p. 223 |
Let Evening Come | p. 224 |
Smoke | p. 224 |
Meditation at Lagunitas | p. 226 |
From the Porch | p. 227 |
A Walrus Tusk from Alaska | p. 227 |
Looking West from Laguna Beach at Night | p. 228 |
The Broad Bean Sermon | p. 229 |
Of the Finished World | p. 230 |
Tornados | p. 231 |
Loss | p. 232 |
Waiting for the Storm | p. 233 |
An Engraving of Blake | p. 233 |
Pygmalion's Image | p. 233 |
Mock Orange | p. 234 |
The Black Walnut Tree | p. 235 |
Gateposts | p. 236 |
Heart of the Matter | p. 236 |
Shoeing the Currach | p. 238 |
The Ode | |
Overview | p. 240 |
Ode to the West Wind | p. 241 |
To Autumn | p. 243 |
Ode | p. 244 |
The Fire of Driftwood | p. 245 |
from The Bridge | p. 247 |
The Paper Nautilus | p. 248 |
Australia 1970 | p. 249 |
Miracle Glass Co. | p. 250 |
The Blue Swallows | p. 250 |
America | p. 252 |
Ode to Meaning | p. 252 |
Perhaps the World Ends Here | p. 254 |
Open Forms | |
Overview | p. 259 |
The Circus Animals' Desertion | p. 260 |
The Love Song of J. Alfred Prufrock | p. 262 |
I, Too | p. 266 |
The Idea of Order at Key West | p. 266 |
Spring and All | p. 268 |
America | p. 269 |
Ave Maria | p. 272 |
Uncertain Oneiromancy | p. 273 |
Daddy | p. 274 |
Diving into the Wreck | p. 276 |
Move | p. 279 |
The Language of the Brag | p. 280 |
The Colonel | p. 281 |
The German Army, Russia, 1943 | p. 282 |
Starlight Scope Myopia | p. 282 |
Reading Plato | p. 284 |
Close-Up of Open Forms: "Diving into the Wreck" | p. 287 |
A Brief Glossary | p. 289 |
Biographies and Further Reading | p. 293 |
Suggested Reading | p. 335 |
Credits | p. 337 |
General Index | p. 349 |
Index of Authors, Titles, and First Lines | p. 357 |
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