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| Introduction | |
| An Anecdote: Where Poetry Starts | |
| Speaker, Listener, and Context | |
| "The Star-Spangled Banner" | |
| Lyric, Narrative, Dramatic | |
| The Language of Poetry | |
| Figurative Language | |
| Allegory and Symbol | |
| Tone of Voice | |
| Repetition: Sounds and Schemes | |
| Meter and Rhythm | |
| Free Verse and Open Form | |
| Stanza Forms | |
| Fixed Forms | |
| A Brief Note: Literary History, Poetic Conventions, and Theory | |
| Writing about Poetry | |
| Poetry | |
| Anonymous | |
| Western Wind | |
| Bonny Barbara Allan | |
| Sir Patrick Spens | |
| They Flee from Me | |
| Whoso List to Hunt | |
| Amoretti: Sonnet 75 | |
| Astrophel and Stella: Sonnet 1 | |
| The Burning Babe | |
| Idea: Sonnet 61 | |
| Sonnet 18 | |
| Sonnet 20 | |
| Sonnet 29 | |
| Sonnet 73 | |
| Sonnet 116 | |
| Sonnet 129 | |
| Sonnet 130 | |
| When Daisies Pied (Spring and Winter) | |
| There Is a Garden in Her Face | |
| The Canonization | |
| The Flea | |
| Holy Sonnet 10 | |
| Holy Sonnet 14 | |
| A Valediction: Forbidding Mourning | |
| On My First Son | |
| Slow, Slow, Fresh Fount | |
| In This Strange Labyrinth How Shall I Turn | |
| To the Virgins, to Make Much of Time | |
| Easter Wings | |
| Love (III) | |
| The Pulley | |
| Redemption | |
| Song | |
| How Soon Hath Time | |
| On the Late Massacre in Piedmont | |
| When I Consider How My Light Is Spent | |
| The Author to Her Book | |
| To Lucasta, Going to the Wars | |
| To His Coy Mistress | |
| To the Memory of Mr. Oldham | |
| Huswifery | |
| A Description of a City Shower | |
| from An Essay on Criticism | |
| Ode on Solitude | |
| Elegy Written in a Country Churchyard | |
| The Chimney Sweeper | |
| The Little Black Boy | |
| A Poison Tree | |
| The Tyger | |
| A Red, Red Rose | |
| John Barleycorn | |
| I Wandered Lonely as a Cloud | |
| It Is a Beauteous Evening | |
| Nuns Fret Not at Their Convent's Narrow Room | |
| Ode: Intimations of Immortality | |
| Frost at Midnight | |
| Kubla Khan | |
| Work Without Hope | |
| She Walks in Beauty | |
| Stanzas | |
| When We Two Parted | |
| Ode to the West Wind | |
| Ozymandias | |
| To the Fringed Gentian | |
| La Belle Dame sans Merci | |
| Ode on a Grecian Urn | |
| Ode to a Nightingale | |
| On First Looking into Chapman's Homer | |
| When I Have Fears | |
| Sonnets from the Portuguese, 18 | |
| Sonnets from the Portuguese, 43 | |
| The Arsenal at Springfield | |
| The Cross of Snow | |
| The Haunted Palace | |
| Israfel | |
| The Raven | |
| The Eagle | |
| The Lady of Shalott | |
| Tears, Idle Tears | |
| Ulysses | |
| My Last Duchess | |
| Porphyria's Lover | |
| Crossing Brooklyn Ferry | |
| A Noiseless Patient Spider | |
| O Captain, My Captain | |
| Song of Myself, 1 | |
| Song of Myself, 5 | |
| Song of Myself, 6 | |
| Song of Myself, 11 | |
| Song of Myself, 21 | |
| Song of Myself, 32 | |
| Song of Myself, 47 | |
| Song of Myself, 52 | |
| When I Heard the Learn'd Astronomer | |
| Dover Beach | |
| Because I Could Not Stop for Death | |
| The Brain Is Wider than the Sky | |
| I Felt a Funeral in My Brain | |
| Much Madness is Divinest Sense | |
| A Narrow Fellow in the Grass | |
| Some Keep the Sabbath Going to Church | |
| The Soul Selects Her Own Society | |
| Tell All the Truth But Tell It Slant | |
| There's a Certain Slant of Light | |
| Wild Nights--Wild Nights | |
| Up'Hill | |
| Ah, Are You Digging on My Grave? | |
| The Convergence of the Twain | |
| Neutral Tones | |
| The Ruined Maid | |
| God's Grandeur | |
| Pied Beauty | |
| Spring and Fall: To a Young Child | |
| The Windhover | |
| The New Colossus | |
| Eight O'Clock | |
| Loveliest of Trees, the Cherry Now | |
| Stars, I Have Seen Them Fall | |
| "Terence, This Is Stupid Stuff . . ." | |
| The Lake Isle of Innisfree | |
| Leda and the Swan | |
| Sailing to Byzantium | |
| The Second Coming | |
| The Song of Wandering Aengus | |
| Firelight | |
| Eros Turannos | |
| The Mill | |
| Richard Cory | |
| The Trees in the Garden Rained Flowers | |
| The Wayfarer | |
| We Wear the Mask | |
| Acquainted with the Night | |
| After Apple'Picking | |
| Design | |
| Home Burial | |
| The Need of Being Versed in Country Things | |
| The Road Not Taken | |
| Stopping by Woods on a Snowy Evening | |
| Amaze | |
| Languor after Pain | |
| Trapped | |
| Anecdote of the Jar | |
| Disillusionment of Ten O'Clock | |
| The Emperor of Ice-Cream | |
| The Snow Man | |
| Sunday Morning | |
| The Last Words of My English Grandmother | |
| The Red Wheelbarrow | |
| Spring and All | |
| This Is Just to Say | |
| In a Station of the Metro | |
| Portrait d'une Femme | |
| The River-Merchant's Wife: A Letter | |
| Let No Charitable Hope | |
| Ophelia | |
| Pear Tree | |
| Sea Rose | |
| Dreamers | |
| The Purse-Seine | |
| The Fish | |
| Silence | |
| Journey of the Magi | |
| The Love Song of J. Alfred Prufrock | |
| Preludes | |
| The Equilibrists | |
| Piazza Piece | |
| If I Should Learn, in Some Quite Casual Way | |
| Oh, Oh, You Will Be Sorry for that Word | |
| What Lips My Lips Have Kissed, and Where, and Why | |
| Dulce et Decorum Est | |
| in Just- | |
| nobody loses all the time | |
| pity this busy monster,manunkind | |
| r-p-o-p-h-e-s-s-a-g-r | |
| Georgia Dusk | |
| Women | |
| Chaplinesque | |
| Dream Boogie | |
| Theme for English B | |
| The Weary Blues | |
| Our Bog Is Dood | |
| Incident | |
| Yet Do I Marvel | |
| Imperial Adam | |
| As I Walked Out One Evening | |
| Musée des Beaux Arts | |
| The Unknown Citizen | |
| Dolor | |
| My Papa's Waltz | |
| Root Cellar | |
| The Fish | |
| One Art | |
| Sestina | |
| Those Winter Sundays | |
| Ballad of Birmingham | |
| Traveling through the Dark | |
| Do Not Go Gentle into That Good Night | |
| Fern Hill | |
| For My Daughter | |
| North | |
| The Death of the Ball Turret Gunner | |
| For Malcolm X | |
| The Ballad of Chocolate Mabbie | |
| the mother | |
| We Real Cool | |
| For the Union Dead | |
| A Coney Island of the Mind, #15 | |
| How Everything Happens | |
| A Primer of the Daily Round | |
| Junk | |
| Playboy | |
| The Writer | |
| Year's End | |
| Next, Please | |
| Aubade | |
| This Be the Verse | |
| The Heaven of Animals | |
| Love Song: I and Thou | |
| The Book of Yolek | |
| Third Avenue in Sunlight | |
| As I Was Going to Saint-Ives | |
| The Ache of Marriage | |
| American Classic | |
| My Father in the Night Commanding No | |
| Subterfuge | |
| Counting the Mad | |
| The Ungrateful Garden | |
| From"Pro Femina" | |
| Three | |
| Noted in the New York Times | |
| A Supermarket in California | |
| Casual Wear | |
| Charles on Fire | |
| Mementos, I | |
| The Day Lady Died | |
| Farm Implements and Rutabagas in a Landscape | |
| Paradoxes and Oxymorons | |
| For the Anniversary of My Death | |
| The Last One | |
| Autumn Begins in Martins Ferry, Ohio | |
| Saint Judas | |
| Animals Are Passing from Our Lives | |
| You Can Have It | |
| Cinderella | |
| The Truth the Dead Know | |
| From the Wave | |
| Terminal | |
| In a Prominent Bar in Secaucus One Day | |
| September Twelfth, 2001 | |
| Aunt Jennifer's Tigers | |
| Diving into the Wreck | |
| Rape | |
| Pike | |
| A Walk | |
| Central America | |
| The Book | |
| 1932- | |
| Reading the Obituary Page | |
| Daddy | |
| Edge | |
| Metaphors | |
| Strangers like Us: Pittsburgh, Raleigh, 1945-1985 | |
| The Tunnel | |
| The Premonition | |
| Ape | |
| The Black Walnut Tree | |
| Narcissus and Echo | |
| homage to my hips | |
| wishes for sons | |
| What's That Smell in the Kitchen! | |
| Voyages | |
| First Practice | |
| Compartments | |
| Discovering My Daughter | |
| Siren Song | |
| The Sacred | |
| Digging | |
| Punishment | |
| Abandoned Farmhouse | |
| Sundays in Democracies | |
| Ballade of the New God | |
| All'American Sestina | |
| Foreplay | |
| Litany | |
| Paradelle for Susan | |
| Picking Blackberries with a Friend Who Has Been Reading Jacques Lacan | |
| The Serenity in Stones | |
| Arigato | |
| Means Thank You | |
| The Visitor | |
| Combing | |
| E.S.L | |
| The One Girl at the Boys Party | |
| From Brief Candles | |
| My Husband Discovers Poetry | |
| Daughter | |
| Rondeau Redoublé | |
| A Monorhyme for the Shower | |
| Bestiary | |
| Mountain Bride | |
| A Martian Sends a Postcard Home | |
| Women Bathing at Bergen'Belsen | |
| Body and Soul | |
| The Day Kennedy Died | |
| The Ballad of Aunt Geneva | |
| Child Beater | |
| Maybe Dats Your Pwoblem Too | |
| Facing It | |
| Sapphics Against Anger | |
| God, a Poem | |
| Tu Negrito | |
| The Colonel | |
| Planting a Sequoia | |
| Winter Retreat: Homage to Martin Luther King, Jr | |
| Case Notes | |
| She Had Some Horses | |
| Air View of an Industrial Scene | |
| Thatcher Bitchboy | |
| The Latin Deli: An Ars Poetica | |
| Adolescence III | |
| After Disappointment | |
| Alan Doll Rap | |
| The Traveling Onion | |
| The Purpose of Altar Boys | |
| Bilingual Sestina | |
| Dim Lady | |
| The River in Spate | |
| Sonnenizio on a Line by Millay | |
| Song of the Powers | |
| Welcome to Hiroshima | |
| Stamp Collecting | |
| Primping in the Rearview Mirror | |
| Coy Mistress | |
| First Kiss | |
| Useful Advice | |
| The Exaggeration of Despair | |
| Domestic Work, 1937 | |
| Occupation | |
| Triolet on a Line Apocryphally Attributed to Martin Luther | |
| Riddle | |
| Asked for a Happy Memory of her Father, She Recalls Wrigley Field | |
| Appendix: Traditional Stanza, Fixed, and Nonce Forms | |
| Acknowledgements | |
| Index of Critical Terms | |
| Index of Poets, Titles, and First Lines | |
| Table of Contents provided by Publisher. All Rights Reserved. |
The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.
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