Literature Research Update
7th Edition
Published on 28. April 2004
Book
Hardback
2144 pages
978-0-13-191605-0 (ISBN)
Description
For introductory Composition and Literature courses.
This best-selling anthology of fiction, poetry, and drama is unique among introductory texts in its dedication throughout to the interlocking processes of reading, writing, and now researching, offering more research coverage than any other anthology.
This best-selling anthology of fiction, poetry, and drama is unique among introductory texts in its dedication throughout to the interlocking processes of reading, writing, and now researching, offering more research coverage than any other anthology.
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Edition
7th edition
Language
English
Place of publication
United States
Publishing group
Pearson Education (US)
Dimensions
Height: 229 mm
Width: 152 mm
ISBN-13
978-0-13-191605-0 (9780131916050)
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09/2003
7th Edition
Pearson
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Content
(NOTE:Chapters 2 through 10 contain Stories for Study, Chapters 13 through 23 contain Poems for Study, and Chapters 26 through 29 contain Plays for Study.)
1. Introduction: Reading, Responding to, and Writing about Literature.
What Is Literature, and Why do We Study It? Types of Literatures: the Genres. Reading Literature and Responding to It Actively. The Necklace, Guy de Maupassant. Reading and Responding in a Notebook or Computer File. Writing Essays on Literary Topics. The Goal of Writing: To Show a Process of Thought. Three Major Stages in Thinking and Writing: Discovering Ideas, Making Initial Drafts, and Completing the Essay. The Discovery of Ideas ("Brainstorming"). The Need to Present an Argument when Writing Essays about Literature. Assembling Materials and Beginning to Write. Drafting the Essay. Writing by Hand, Typewriter, or Word-Processor. Writing a First Draft. Using Verb Tenses in the Discussion of Literary Works. Developing an Outline. Demonstrative Student Essay (First Draft): How Setting in "The Necklace" Is Related to the Character of Mathilde. Developing and Strengthening Essays through Revision. Checking Development and Organization. Using Exact, Comprehensive, and Forceful Language. Using the Names of Authors. Demonstrative Student Essay (Improved Draft): How Maupassant Uses Setting in "The Necklace" to Show the Character of Mathilde. Easy Commentaries. Special Topics for Writing and Argument about the Writing Process.
I. READING AND WRITING ABOUT FICTION.
2. Fiction: An Overview.
Modern Fiction. The Short Story. Elements of Fiction I: Verisimilitude and Donnee. Elements of Fiction II: Character, Plot, Structure, and Idea or Theme. Elements of Fiction III: The Writer's Tools.
Neighbors, Raymond Carver. An Old-Fashioned Story, Laurie Colwin. The Things They Carried, Tim O'Brien. The Widow of Ephesus, Gaius Petonius Arbiter (Petronius). Everyday Use, Alice Walker. Taking Care, Joy Williams.
Responding to Literature: Likes and Dislikes.
Stating Reasons for Favorable Responses. Stating Reasons for Unfavorable Responses. Writing about Responses: Likes and Dislikes. Demonstrative Student Essay: Some Reasons for Liking Maupassant's "The Necklace." Special Topics for Writing and Argument about Fiction.
3. Plot and Structure: The Development and Organization of Stories.
Plot, the Motivation and Causation of Fiction. The Structure of Fiction. Formal Categories of Structure. Formal and Actual Structure.
The Blue Hotel, Stephen Crane. A Rose for Emily, William Faulkner. What I Have Been Doing Lately, Jamaica Kincaid. A Worn Path, Eudora Welty. Blue Winds Dancing, Tom Whitecloud.
Writing about the Plot of a Story. Demonstrative Student Essay (Plot): Plot in Faulkner's "A Rose for Emily." Writing about Structure in a Story. Demonstrative Student Essay: Scrambled Structure in Faulkner's "A Rose for Emily." Special Topics for Writing and Argument about Plot and Structure.
4. Characters: The People in Fiction.
Character Traits. How Authors Disclose Character in Literature. Types of Characters: Round and Flat. Reality and Probability: Verisimilitude.
Paul's Case, Willa Cather. Barn Burning, William Faulkner. A Jury of Her Peers, Susan Glaspell. Shopping, Joyce Carol Oates. Two Kinds, Amy Tan.
Writing about Character. Demonstrative Student Essay: The Character of the Mother in Amy Tan's "Two Kinds." Special Topics for Writing and Argument about Character.
5. Point of View: The Position or Stance of the Narrator or Speaker.
An Exercise in Point of View: Reporting an Accident. Conditions That Affect Point of View. Distinguishing Point of View from Opinion. Determining a Work's Point of View. Mingling Points of View. Point of View and Verb Tense. Guidelines for Point of View.
An Occurrence at Owl Creek Bridge, Ambrose Bierce. The Song of Songs, Ellen Gilchrist. The Lottery, Shirley Jackson. How to Become a Writer, Lorrie Moore. Meneseteung, Alice Munro.
Writing about Point of View. Demonstrative Student Essay: Shirley Jackson's Dramatic Point of View in "The Lottery". Special Topics for Writing and Argument about Point of View.
6. Setting: The Background of Place, Objects, and Culture in Stories.
What Is Setting? The Literary Uses of Setting.
The House on Mango Street, Sandra Cisneros. The Portable Phonograph, Walter Van Tilburg Clark. And Sarah Laughed, Joanne Greenberg. Araby, James Joyce. The Shawl, Cynthia Ozick. The Masque of the Red Death, Edgar Allan Poe.
Writing about Setting. Demonstrative Student Essay: The Interaction of Story and Setting in James Joyce's "Araby." Special Topics for Writing and Argument about Setting.
7. Style: The Words That Tell the Story.
Diction: The Writer's Choice and Control of Words. Rhetoric: The Writer's Choices of Effective Arrangements and Forms. Style in General.
Soldier's Home, Ernest Hemingway. The Found Boat, Alice Munro. First Confession, Frank O'Connor. Luck, Mark Twain. A & P, John Updike.
Writing about Style. Demonstrative Student Essay: A Study of the Style of Paragraph 31 of Updike's "A & P." Special Topics for Writing and Argument about Style.
8. Tone: The Expression of Attitude in Fiction.
Tone and Attitudes. Tone and Humor. Tone and Irony.
Rape Fantasies, Margaret Atwood. The Story of an Hour, Kate Chopin. The Concert Stages of Europe, Jack Hodgins. The Loons, Margaret Laurence. The Hammon and the Beans, Americo Paredes.
Writing about Tone. Demonstrative Student Essay: The Irony of Chopin's "The Story of an Hour," Special Topics for Writing and Argument about Tone.
9. Symbolism and Allegory: Keys to Extended Meaning.
Symbolism. Allegory. Fable, Parable, and Myth. Allusion in Symbolism and Allegory.
The Fox and the Grapes, Aesop. The Myth Of Atalanta, Anonymous. Unfinished Masterpieces, Anita Scott Coleman. Young Goodman Brown, Nathaniel Hawthorne. The Parable of the Prodigal Son, St. Luke. The Jilting of Granny Weatherall, Katherine Anne Porter. The Chrysanthemums, John Steinbeck. The Thimble, Michel Tremblay.
Writing about Symbolism or Allegory. Demonstrative Student Essay (Symbolism): Symbols of Light and Darkness in "The Jilting of Granny Weatherall."
Demonstrative Student Essay (Allegory): The Allegory of Hawthorne's "Young Goodman Brown." Special Topics for Writing and Argument about Symbolism and Allegory.
10. Idea or Theme: The Meaning and the Message in Fiction.
Ideas and Assertions. Ideas and Issues. Ideas and Values. The Place of Ideas in Literature. How to find Ideas.
The Lesson, Toni Cade Bambara. Lady with Lapdog, Anton Chekhov. The Sky Is Gray, Ernest J. Gaines. The Horse Dealer's Daughter, D.H. Lawrence. Home Soil, Irene Zabytko.
Writing about a Major Idea in Fiction. Demonstrative Student Essay: Toni Cade Bambara's Idea of Justice and Economic Equality in "The Lesson." Special Topics for Writing and Argument about Ideas.
11. A Career in Fiction: A Collection of Stories by Edith Wharton.
Life and Career. Stories. Bibliographic Sources. Writing Topics. Four Stories of Edith Wharton Arranged in Chronological Order. The Muse's Tragedy (1899). The Other Two (1904). Pomegranate Seed (1931). Roman Fever (1934). Edited Selections from Criticism of Edith Wharton's Fiction.
12. Seven Stories for Additional Study and Enjoyment.
Zero Hour, Ray Bradbury. Snow, Robert Olen Butler. Before the Firing Squad, John Chioles. All Gone, Stephen Dixon. The Curse, Andre Dubus. The Yellow Wallpaper, Charlotte Perkins Gilman. I Stand Here Ironing, Tillie Olsen.
II. READING AND WRITING ABOUT POETRY.
13. Meeting Poetry: An Overview.
The Nature of Poetry. Schoolsville, Billy Collins. Hope, Lisel Mueller. Here a Pretty Baby Lies, Robert Herrick. Poetry of the English Language. How to Read a Poem. Studying Poetry. Sir Patrick Spens, Anonymous.
Because I Could Not Stop for Death, Emily Dickinson. Catch, Robert Francis. Stopping by Woods on a Snowy Evening, Robert Frost. The Man He Killed, Thomas Hardy. Eagle Poem, Joy Harjo. The Death of the Ball Turret Gunner, Randall Jarrell. Snow, Louis MacNeice. Ogichidag, Jim Northrup. Where Children Live, Naomi Shihab Nye. Sonnet 55: Not Marble, Nor the Gilded Monument, William Shakespeare. Rush Hour, Elaine Terranova.
Writing a Paraphrase of a Poem. Demonstrative Student Paraphrase: A Paraphrase of Thomas Hardy's "The Man He Killed." Writing an Explication of a Poem. Demonstrative Student Essay: An Explication of Thomas Hardy's "The Man He Killed." Special Topics for Writing and Argument about the Nature of Poetry.
14. Words: The Building Blocks of Poetry.
Choice of Diction: Specific and Concrete, General and Abstract. Levels of Diction. Special Types of Diction. Decorum, the Matching of Subject and Word. Syntax. Denotation and Connotation. The Naked and the Nude, Robert Graves.
The Lamb, William Blake. Green Grow the Rashes, O, Robert Burns. Jabberwocky, Lewis Carroll. An Apology for Using the Word "Heart" in Too Many Poems, Hayden Carruth. next to of course god america i, E.E. Cummings. Holy Sonnet 14: Batter My Heart, Three-Personed God, John Donne. The Fury of Aerial Bombardment, Richard Eberhart. Chemistry Experiment, Bart Edelman. Sonnet on the Death of Richard West, Thomas Gray. Loveliest of Trees, A.E. Housman. Night Sounds, Carolyn Kizer. Hello, Hello Henry, Maxine Kumin. Of Being, Denise Levertov. Naming of Parts, Henry Reed. Richard Cory, Edwin Arlington Robinson. Dolor, Theodore Roethke. I Think Continually of Those Who Were Truly Great, Stephen Spender. Disillusionment of Ten O'Clock, Wallace Stevens. Eating Poetry, Mark Strand.
Writing about Diction and Syntax in Poetry. Demonstrative Student Essay: Extraordinary Definitions in Stephen Spender's "I Think Continually of Those Who Were Truly Great." Special Topics for Writing and Argument about the Words of Poetry.
15. Character and Setting: Who, What, Where, and When in Poetry.
Characters in Poetry. Western Wind, Anonymous. Bonny George Campbell, Anonymous. Drink to Me, Only, with Thine Eyes, Ben Jonson. To the Reader, Ben Jonson.
Dover Beach, Matthew Arnold. London, William Blake. My Last Duchess, Robert Browning. The Poplar Field, William Cowper. Snowdrops, Louise Glueck. Elegy Written in a Country Churchyard, Thomas Gray. The Ruined Maid, Thomas Hardy. Song, C. Day Lewis. The Passionate Shepherd to His Love, Christopher Marlowe. Loving, Joyce Carol Oates. Wellfleet Sabbath, Marge Piercy. Poem, Al Purdy. The Nymph's Reply to the Shepherd, Sir Walter Ralegh. A Christmas Carol, Christina Rossetti. A Letter Sent to Summer, Jane Shore. Childhood, Maura Stanton. A Blessing, James Wright.
Writing about Character and Setting in Poetry. Demonstrative Student Essay: The Character of the Duke in Browning's "My Last Duchess." Special Topics for Writing and Argument about Character and Setting in Poetry.
16. Imagery: The Poem's Link to the Senses.
Responses and the Writer's Use of Detail. The Relationship of Imagery to Ideas and Attitudes. Types of Imagery. Cargoes, John Masefield. Anthem for Doomed Youth, Wilfred Owen. The Fish, Elizabeth Bishop.
The Tyger, William Blake. Sonnets from the Portuguese, No. 14: If Thou Must Love Me, Elizabeth Barrett Browning. Kubla Khan, Samuel Taylor Coleridge. I Know I'm Not Sufficiently Obscure, Ray Durem. Preludes, T.S. Eliot. Love Should Grow Up Like a Wild Iris in the Fields, Susan Griffin. The Pulley, George Herbert. Spring, Gerard Manley Hopkins. A Time Past, Denise Levertov. The Voice You Hear When You Read Silently, Thomas Lux. Abundance, Michael O'Siadhail. Photos of a Salt Mine, P.K. Page. In a Station of the Metro, Ezra Pound. If You Love for the Sake of Beauty, Friedrich Rueckert. Sonnet 130: My Mistress' Eyes Are Nothing Like the Sun, William Shakespeare.
Writing about Imagery. Demonstrative Student Essay: Imagery in T.S. Eliot's "Preludes." Special Topics for Writing and Argument about Imagery in Poetry.
17. Figures of Speech, or Metaphorical Language: A Source of Depth and Range in Poetry.
Metaphor and Simile: The Major Figures of Speech. Characteristics of Metaphorical Language. On First Looking into Chapman's Homer, John Keats. Vehicle and Tenor. Other Figures of Speech. Bright Star, John Keats. Let Us Take the Road, John Gay.
Sonnet for You, Familiar Famine, Jack Agueeros. A Red, Red Rose, Robert Burns. A Valediction: Forbidding Mourning, John Donne. The Iceberg Seven-eighths Under, Abbie Huston Evans. The Convergence of the Twain, Thomas Hardy. Remember, Joy Harjo. Harlem, Langston Hughes. To Autumn, John Keats. Portrait of a Figure Near Water, Jane Kenyon. Sic Vita, Henry King. Conjoined, Judith Minty. A Work of Artifice, Marge Piercy. Metaphors, Sylvia Plath. Looking at Each Other, Muriel Rukeyser. Sonnet 18: Shall I Compare Thee to a Summer's Day, William Shakespeare. Sonnet 30: When to the Sessions of Sweet Silent Thought, William Shakespeare. On Monsieur's Departure, Elizabeth Tudor, Queen Elizabeth I. Earth Tremors Felt in Missouri, Mona Van Duyn. Facing West from California's Shores, Walt Whitman. London, 1802, William Wordsworth. I Find No Peace, Sir Thomas Wyatt.
Writing about Figures of Speech. Demonstrative Student Paragraph: Wordsworth's Use of Overstatement in "London, 1802." Demonstrative Student Essay: Personification in Hardy's "The Convergence of the Twain." Special Topics for Writing and Argument about Figures of Speech in Poetry.
18. Tone: The Creation of Attitude in Poetry.
Tone, Choice, and Response. The First-Rate Wife, Cornelius Whur. Tone and the Need for Control. Dulce et Decorum Est, Wilfred Owen. Tone and the Common Grounds of Assent. Tone in Conversation and Poetry. Tone and Irony. The Workbox, Thomas Hardy. Tone and Satire. Epigram from the French, Alexander Pope. Epigram, Engraved on the Collar of a Dog which I Gave to His Royal Highness, Alexander Pope.
I Wanted to Share My Father's World, Jimmy Carter. homage to my hips, Lucille Clifton. The Names, Billy Collins. she being Brand / -new, e.e.cummings. I Am a Black Woman, Mari Evans. Mid-term Break, Seamus Heany. Theme for English B, Langston Hughes. John While Swimming in the Ocean, X.J. Kennedy. My Childhood's Home, Abraham Lincoln. The Planned Child, Sharon Olds. Late Movies with Skyler, Michael Ondaatje. Dying, Robert Pinsky. From Epilogue to the Satires, Dialogue I, Alexander Pope. Auschwitz, Salvatore Quasimodo. Nothing Is Lost, Anne Ridler. My Papa's Waltz, Theodore Roethke. A Description of the Morning, Jonathan Swift. My Physics Teacher, David Wagoner. Dimensions, C.K. Williams. When You Are Old, William Butler Yeats.
Writing about Tone in Poetry. Demonstrative Student Essay: The Tone of Confidence in "Theme for English B" by Langston Hughes. Special Topics for Writing and Argument about Tone in Poetry.
19. Prosody: Sound, Rhythm, and Rhyme in Poetry.
Important Definitions for Studying Prosody. Segments: Individually Meaningful Sounds. Poetic Rhythm. The Major Metrical Feet. Special Meters. Substitution. Accentual, Strong-Stress, and "Sprung" Rhythms. The Caesura: The Pause Creating Variety and Natural Rhythms in Poetry. Segmental Poetic Devices. Rhyme: The Duplication and Similarity of Sounds. Rhyme and Meter. Rhyme Schemes.
We Real Cool, Gwendolyn Brooks. Porphyria's Lover, Robert Browning. To Hear an Oriole Sing, Emily Dickinson. The Sun Rising, John Donne. Macavity: The Mystery Cat, T.S. Eliot. Concord Hymn, Ralph Waldo Emerson. At a Summer Hotel, Isabella Gardner. Upon Julia's Voice, Robert Herrick. God's Grandeur, Gerard Manley Hopkins. Let America Be America Again, Langston Hughes. George Washington, John Hall Ingham. A Theory of Prosody, Philip Levine. The Sound of the Sea, Henry Wadsworth Longfellow. Shiloh: A Requiem, Herman Melville. Very Like a Whale, Ogden Nash. Annabel Lee, Edgar Allan Poe. The Bells, Edgar Allan Poe. From An Essay on Man, Epistle I, lines 17-90, Alexander Pope. Miniver Cheevy, Edwin Arlington Robinson. Ode to the West Wind, Percy Bysshe Shelley. From Idylls of the King: The Passing of Arthur, lines 344-393, Alfred, Lord Tennyson. March for a One-Man Band, David Wagoner.
Writing about Prosody. Referring to Sounds in Poetry. Demonstrative Student Essay: Rhyme, Rhythm, and Sound in Browning's "Porphyria's Lover." Special Topics for Writing and Argument about Rhythm and Rhyme in Poetry.
20. Form: The Shape of the Poem.
Closed-Form Poetry. The Eagle, Alfred, Lord Tennyson. Spun in High, Dark Clouds, Anonymous. Sonnet 116: Let Me Not to the Marriage of True Minds, William Shakespeare. Open-Form Poetry. Reconciliation, Walt Whitman. Visual and Concrete Poetry. Easter Wings, George Herbert.
One Art, Elizabeth Bishop. Sonnet, Billy Collins. Buffalo Bill's, e.e. cummings. To the Memory of Mr. Oldham, John Dryden. The Colonel, Carolyn Forche. Desert Places, Robert Frost. A Supermarket in California, Allen Ginsberg. Nikki-Rosa, Nikki Giovanni. Museum, Robert Hass. Virtue, George Herbert. Mantle, William Heyen. Swan and Shadow, John Hollander. Ode to a Nightingale, John Keats. In Bondage, Claude McKay. When I Consider How My Light Is Spent, John Milton. Ballad of Birmingham, Dudley Randall. The Waking, Theodore Roethke. Sonnet 73: That Time of Year Thou May'st in Me Behold, William Shakespeare. Ozymandias, Percy Bysshe Shelley. Women, May Swenson. Do Not Go Gentle into That Good Night, Dylan Thomas. Reapers, Jean Toomer. The Shape of History, Charles H. Webb. Poetics Against the Angel of Death, Phyllis Webb. The Dance, William Carlos Williams.
Writing about Form in Poetry. Demonstrative Student Essay: Form and Meaning in George Herbert's "Virtue." Special Topics for Writing and Argument about Poetic Form.
21. Symbolism and Allusion: Windows to Wide Expanses of Meaning.
Symbolism and Meanings. Snow, Virginia Scott. The Function of Symbolism in Poetry. Allusions and Meaning. Studying for Symbols and Allusions.
Dover Beach, Mathew Arnold. Beach Glass, Amy Clampitt. The Poplar Field, William Cowper. Delphi, Peter Davison. The Canonization, John Donne. Hawk, Stephen Dunn. Collage of Echoes, Isabella Gardner. The Geese, Jorie Graham. In Time of "The Breaking of Nations," Thomas Hardy. The Collar, George Herbert. Tears, Josephine Jacobsen. The Purse-Seine, Robinson Jeffers. La Belle Dame Sans Merci, John Keats. Old Men Pitching Horseshoes, X.J. Kennedy. To His Coy Mistress, Andrew Marvell. Wild Geese, Mary Oliver. "A Wedding Sonnet for the Next Generation, Judith Viorst. A Noiseless Patient Spider, Walt Whitman. Year's End, Richard Wilbur. The Second Coming, William Butler Yeats.
Writing about Symbolism and Allusion in Poetry. Demonstrative Student Essay: Symbolism in Oliver's "Wild Geese." Special Topics for Writing and Argument about Symbolism and Allusion in Poetry.
22. Myth: Systems of Symbolic Allusion in Poetry.
Mythology as an Explanation of How Things Are. Mythology and Literature. Leda and the Swan, William Butler Yeats. Leda, Mona Van Duyn.
Seven Poems Related to the Myth of Odysseus. Siren Song, Margaret Atwood. Penelope's Song, Louise Glueck. Odysseus, W.S. Merwin. Penelope, Dorothy Parker. The Suitor, Linda Pastan. Ulysses, Alfred, Lord Tennyson. Odyssey: 20 Years Later, Peter Ulisse. Seven Poems Related to the Myth of Icarus. Flight 063, Brian Aldiss. Musee des Beaux Arts, W.H. Auden. Icarus, Edward Field. Waiting for Icarus, Muriel Rukeyser. To a Friend Whose Work Has Come to Triumph, Anne Sexton. Icarus, Stephen Spender. Landscape with the Fall of Icarus, William Carlos Williams. Three Poems Related to the Myth of Phoenix. Berceuse, Amy Clampitt. Hunting the Phoenix, Denise Levertov. The Phoenix Again, May Sarton. Two Poems Related to the Myth of Oedipus. Myth, Muriel Rukeyser. On the Way to Delphi, John Updike. Two Poems Related to the Myth of Pan. in Just, e.e.cummings. Song for a Forgotten Shrine to Pan, John Chipman Farrar.
Writing about Myths in Poetry. Demonstrative Student Essay: Myth and Meaning in Dorothy Parker's "Penelope." Special Topics for Writing and Argument about Myths in Poetry.
23. Meaning: Idea and Theme in Poetry.
Meaning, Power, and Poetic Thought. Issues in Determining the Meaning of Poems. Meaning and Poetic Techniques.
"Do you think...", Robert Creeley. The God Who Loves You, Carl Dennis. A Song for St. Cecilia's Day, John Dryden. Whip-poor-will, Donald Hall. To the Virgins, to Make Much of Time, Robert Herrick. The Negro Speaks of Rivers, Langston Hughes. To Celia, Ben Jonson. On the Death of Friends in Childhood, Donald Justice. Ode on a Grecian Urn, John Keats. Next, Please, Philip Larkin. Ars Poetica, Archibald MacLeish. Reply to the Question, Eve Merriam. 35/10, Sharon Olds. Ethics, Linda Pastan. Desire, Molly Peacock. The Spirit Is Too Blunt an Instrument, Anne Stevenson.
24. Three Poetic Careers: William Wordsworth, Emily Dickinson, and Robert Frost.
William Wordsworth (1770-1850): Wordsworth and Romanticism. Romanticism and Wordworth's Theory of Composition. Wordsworth's Poetic Diction. Bibliographic Sources. Special Topics for Writing and Arguments about William Wordsworth.
From The Prelude, Book I, lines 301-474. Lines Composed a Few Miles above Tintern Abbey. Daffodils (I Wandered Lonely as a Cloud). Lines Written in Early Spring. Ode: Intimations of Immortality from Recollections of Early Childhood. Expostulation and Reply. The Tables Turned. Stepping Westward. The Solitary Reaper. Composed upon Westminster Bridge, September 3, 1802. I Grieved for Buonaparte with a Vain. It Is a Beauteous Evening. London, 1802 (in Chapter 17). On the Extinction of the Venetian Republic. Scorn Not the Sonnet. To Toussaint L'Ouverture.
Emily Dickinson (1830-1886): Life and Work. Poetic Characteristics. Poetic Subjects. Bibliographic Sources. Special Topics for Writing and Argument about the Poetry of Dickinson.
After Great Pain, a Formal Feeling Comes (Poem 341). Because I Could Not Stop for Death (Poem 712). The Bustle in a House (Poem 1078). The Heart Is the Capital of the Mind (Poem 1354). I Cannot Live with You (Poem 640). I Died for Beautybut Was Scarce (Poem 449). I Felt a Funeral in My Brain (Poem 280). I Heard a Fly Buzz When I Died (Poem 465). I Like to See It Lap the Miles (Poem 585). I'm Nobody! Who Are You? (Poem 288). I Never Lost as Much But Twice (Poem 49). I Taste a Liquor Never Brewed (Poem 214). Much Madness Is Divinest Sense (Poem 435). My Life Closed Twice Before Its Close (Poem 1732). My Triumph Lasted Till the Drums (Poem 1227). One Need Not Be a Chamber To Be Haunted (Poem 670). Safe in Their Alabaster Chambers (Poem 216). Some Keep the Sabbath Going to Church (Poem 324). The Soul Selects Her Own Society (Poem 303). Success Is Counted Sweetest (Poem 67). Tell All the Truth but Tell it Slant (Poem 1129). There's a Certain Slant of Light (Poem 258). This World Is Not Conclusion (Poem 501). To Hear an Oriole Sing (Poem 526). Wild Nights Wild Nights! (Poem 249). Edited Selections from Criticism of Dickinson's Poetry, with an Emphasis on Poems Included in this Chapter.
Robert Frost (1874-1963): Life and Work. Poetic Characteristics. Poetic Subjects. Bibliographic Sources. Special Topics for Writing and Argument about the Poetry of Robert Frost.
A Line-Storm Song (1913). The Tuft of Flowers (1913). Mending Wall (1914). Birches (1915). The Road Not Taken (1915). 'Out, Out' (1916). The Oven Bird (1916). Fire and Ice (1920). Stopping by Woods on a Snowy Evening (1923), in Chapter 12. Misgiving (1923). Nothing Gold Can Stay (1923). Acquainted with the Night (1928). Desert Places (1936), in Chapter 20. Design (1936). The Silken Tent (1936). The Strong Are Saying Nothing (1937). The Gift Outright (1941). A Considerable Speck (1942). Choose Something like a Star (1943).
25. One Hundred Twenty-Nine Poems for Additional Study and Enjoyment.
80-Proof, A.R. Ammons. My Arkansas, Maya Angelou. Barbara Allan, Anonymous. Healing Prayer from the Beautyway Chant, Anonymous (Navajo). Lord Randal, Anonymous. The Three Ravens, Anonymous. Variation on the Word Sleep, Margaret Atwood. The Unknown Citizen, W.H. Auden. Another Descent, Wendell Berry. Can. Lit., Earle Birney. Women, Louise Bogan, A Black Man Talks of Reaping, Arna Bontemps. To My Dear and Loving Husband, Anne Bradstreet. Primer for Blacks, Gwendolyn Brooks. How Do I Love Thee? Elizabeth Barrett Browning. Soliloquy of the Spanish Cloister, Robert Browning. To Cole, the Painter, Departing for Europe, William Cullen Bryant. The Destruction of Sennacherib, George Gordon, Lord Byron. Cherry Ripe, Thomas Campion. this morning; the poet, Lucille Clifton. 'The killers that run...', Leonard Cohen. Days, Billy Collins. From A Letter to America on a Visit to Sussex: Spring, 1942, Frances Cornford. Do Not Weep, Maiden, for War Is Kind, Stephen Crane. if there are any heavens, e.e.cummings. Kudzu; The Lifeguard; The Performance, James Dickey. The Good Morrow; Holy Sonnet 10: Death Be Not Proud; A Hymn to God the Father, John Donne. Since There's No Help, Michael Drayton. Sympathy, Paul Laurence Dunbar. The Love Song of J. Alfred Prufrock, T. S. Eliot. The Negro, James Emanuel. Like God, Lynn Emanuel. The Beauty of the Trees, Chief Dan George. Woman, Nikki Giovanni. Sonnet Ending with a Film Subtitle, Marilyn Hacker. Little Cosmic Dust Poem, John Haines. Scenic View, Donald Hall. Snapshot of Hue; Summer in the Middle Class, Daniel Halpern. Leaves, H.S. (Sam) Hamod. She's Free!, Frances E.W. Harper. Called, Michael S. Harper. Spring Rain, Robert Hass. Those Winter Sundays, Robert Hayden. Love (III), George Herbert. The Hair: Jacob Korman's Story, William Heyen. Advice to Young Ladies, A.D Hope. Pied Beauty; The Windhover, Gerard Manley Hopkins. Dear Tia, Carolina Hospital. The Battle Hymn of the Republic, Julia Ward Howe. Negro, Langston Hughes. The Answer, Robinson Jeffers. After Making Love We Hear Footsteps, Galway Kinnell. Woodchucks, Maxine Kumin. Rhine Boat Trip, Irving Layton. A Final Thing, Li-Young Lee. In Computers, Alan P. Lightman. The Choosing, Liz Lochhead. Every Traveler Has One Vermont Poem, Audre Lorde. Patterns, Amy Lowell. Dark Pines under Water, Gwendolyn MacEwan. Lines, Heather McHugh. The White City, Claude McKay. Listen, W.S. Merwin. What Lips My Lips Have Kissed, Edna St. Vincent Millay. The Bear, N. Scott Momaday. Life Cycle of Common Man, Howard Nemerov. wahbegan, Jim Northrup. Ghosts, Mary Oliver. A Story of How a Wall Stands, Simon Ortiz. Marks, Linda Pastan. The Secretary Chant; Will We Work Together?, Marge Piercy. Last Words; Mirror, Sylvia Plath. Archaeology, Katha Pollitt. The River-Merchant's Wife: A Letter, Ezra Pound. Bells for John Whiteside's Daughter, John Crowe Ransom. Assailant, John Raven. Diving into the Wreck, Adrienne Rich. The Light Comes Brighter, Theodore Roethke. In a Farmhouse, Luis Omar Salinas. rite on: white america, Sonia Sanchez. Chicago, Carl Sandburg. Dreamers, Siegfried Sassoon. The Paperweight, Gjertrud Schnackenberg. I Have a Rendezvous with Death, Alan Seeger. My Mother's Face, Brenda Serotte. Fear No More the Heat o' the Sun; Sonnet 29: When in Disgrace with Fortune and Men's Eyes; Sonnet 146: Poor Soul, the Center of My Sinful Earth, William Shakespeare. Auto Wreck, Karl Shapiro. Where Mountain Lion Lay Down with Deer, Leslie Marmon Silko. Bluejays, Dave Smith. Not Waving But Drowning, Stevie Smith. These Trees Stand..., W.D. Snodgrass. Lost Sister, Cathy Song. Oranges; Kearney Park, Gary Soto. Traveling Through the Dark, William Stafford. Burying an Animal on the Way to New York, Gerald Stern. The Emperor of Ice-Cream, Wallace Stevens. Question, May Swenson. The Blue Booby, James Tate. A Refusal to Mourn..., Dylan Thomas. Blurry Cow, Chase Twichell. Perfection Wasted, John Updike. Day-Long Day, Tino Villanueva. The Boxes, Shelly Wagner. Revolutionary Petunias, Alice Walker. Go, Lovely Rose, Edmund Waller. Heart of Autumn, Robert Penn Warren. Song of Napalm, Bruce Weigl. On Being Brought from Africa to America, Phyllis Wheatley. Beat! Beat! Drums!; Dirge for Two Veterans; Full of Life Now; I Hear America Singing, Walt Whitman. The Bartholdi Statue, Richard Wilbur, April 5, 1974, John Greenleaf Whittier. The Red Wheelbarrow, William Carlos Williams. The Wild Swans at Coole, William Butler Yeats. The Day Zimmer Lost Religion, Paul Zimmer.
III. READING AND WRITING ABOUT DRAMA.
26. The Dramatic Vision: An Overview.
Drama as Literature. Performance: The Unique Aspect of Drama. Drama from Ancient Times to Our Own: Tragedy, Comedy, and Additional Forms. The Visit to the Sepulchre (Visitatio Sepulchri), Anonymous. Reading Plays.
Trifles, Susan Glaspell. The More the Merrier, Stanley Kauffmann. Tea Party, Betty Keller. Before Breakfast, The "Wakefield Master," The Second Shepherd's Play, Eugene O'Neill.
Writing about the Elements of Drama. Referring to Plays and Parts of Plays. Demonstrative Student Essay: Eugene O'Neill's Use of Negative Descriptions and Stage Directions in "Before Breakfast" as a Means of Revealing Character. Special Topics for Writing and Argument about the Elements of Drama.
27. The Tragic Vision: Affirmation Through Loss.
The Origins of Tragedy. The Origin of Tragedy in Brief. The Ancient Competitions in Tragedy. Aristotle and the Nature of Tragedy. Aristotle's View of Tragedy in Brief. Irony in Tragedy. The Ancient Athenian Audience and Theater. Ancient Greek Tragic Actors and Their Costumes. Performance and the Formal Organization of Greek Tragedy.
Oedipus the King, Sophocles. Renaissance Drama and Shakespeare's Theater. Hamlet, William Shakespeare. Tragedy from Shakespeare to Arthur Miller. Death of a Salesman, Arthur Miller.
Writing about Tragedy. An Essay about a Problem. Demonstrative Student Essay: The Problem of Hamlet's Apparent Delay. Special Topics for Writing and Argument about Tragedy.
28. The Comic Vision: Restoring the Balance.
The Origins of Comedy. Comedy from Roman Times to the Renaissance. The Patterns, Characters, and Language of Comedy. Types of Comedy.
A Midsummer Night's Dream, William Shakespeare. The Theater of Moliere. Love Is the Doctor (L'Amour Medecin), Moliere. Comedy from Moliere to the Present. The Bear, Anton Chekhov. Am I Blue, Beth Henley.
Writing about Comedy. Demonstrative Student Essay: Setting as Symbol and Comic Structure in A Midsummer's Night Dream. Special Topics for Writing and Argument about Comedy.
29. Visions of Dramatic Reality and Nonreality: Varying the Idea of Drama as Imitation.
Realism and Nonrealism in Drama. Elements of Realistic and Nonrealistic Drama.
Mulatto, Langston Hughes. Our Town, Thornton Wilder. The Glass Menagerie, Tennessee Williams.
Writing about Realistic and Nonrealistic Drama. Demonstrative Student Essay: Realism and Nonrealism in Tom's Triple Role in "The Glass Menagerie." Special Topics for Writing and Argument about Dramatic Reality and Nonreality.
30. Dramatic Vision and the Motion Picture Camera: Drama on the Silver Screen, Television Set, and Computer Monitor.
A Thumbnail History of Film. DVD Technology and Film Study. Stage Plays and Film. The Aesthetics of Film. The Techniques of Film.
Film Scenes for Study.
Shot 71 from the Shooting Script of Citizen Kane, Orson Welles and Herman J. Mankiewicz. A Scene from The Turning Point, Arthur Laurents.
Writing about a Film. Demonstrative Student Essay: Welles' Citizen Kane: Whittling a Giant Down to Size. Special Topics for Writing and Argument about Film.
31. A Career in Drama: Two Major Plays of Henrik Ibsen.
Ibsen's Life and Early Work. Ibsen's Major Prose Plays. Two Major Realistic Plays. Ibsen and the "Well-Made Play." Ibsen's Timeliness and Dramatic Power. Bibliographic Studies.
A Dollhouse (Et Dukkehjem). An Enemy of the People (En Folkenfiende). Special Topics for Writing and Argument about Ibsen. Edited Selections from Criticism of Ibsen's Drama.
IV. SPECIAL WRITING TOPICS ABOUT LITERATURE.
32. Writing and Documenting the Research Essay.
Selecting a Topic. Setting up a Bibliography. Online Library Services. Important Considerations about Computer-Aided Research. Taking Notes and Paraphrasing Material. Documenting Your Work. Strategies for Organizing Ideas in Your Research Essay. Demonstrative Student Research Essay: The Ghost in Hamlet.
33. Critical Approaches Important in the Study of Literature.
Moral/Intellectual. Topical/Historical. New Critical/Formalist. Structuralist. Feminist. Economic Determinist/Marxist. Psychological/Psychoanalytic. Archetypal/Symbolic/Mythic. Deconstructionist. Reader-Response.
34. Taking Examinations on Literature.
Answer the Questions That Are Asked. Systematic Preparation. Two Basic Types of Questions about Literature.
35. Comparison-Contrast and Extended Comparison-Contrast: Learning by Seeing Literary Works Together.
Guidelines for the Comparison-Contrast Method. The Extended Comparison-Contrast Essay. Citing References in a Longer Comparison-Contrast Essay. Writing a Comparison-Contrast Essay. Demonstrative Student Essay (Two Works): The Treatment of Responses to War in Amy Lowell's "Patterns" and Wilfred Owen's "Anthem for Doomed Youth." Demonstrative Student Essay (Extended Comparison-Contrast): Literary Treatments of the Conflicts Between Private and Public Life. Special Topics for Writing and Argument about Comparison and Contrast.
Appendix I: MLA Recommendations for Documenting Electronic Sources.
Appendix II: Brief Biographies of the Poets in Part III.
Glossary of Literary Terms.
Credits.
Index of Authors, Titles, and First Lines.
1. Introduction: Reading, Responding to, and Writing about Literature.
What Is Literature, and Why do We Study It? Types of Literatures: the Genres. Reading Literature and Responding to It Actively. The Necklace, Guy de Maupassant. Reading and Responding in a Notebook or Computer File. Writing Essays on Literary Topics. The Goal of Writing: To Show a Process of Thought. Three Major Stages in Thinking and Writing: Discovering Ideas, Making Initial Drafts, and Completing the Essay. The Discovery of Ideas ("Brainstorming"). The Need to Present an Argument when Writing Essays about Literature. Assembling Materials and Beginning to Write. Drafting the Essay. Writing by Hand, Typewriter, or Word-Processor. Writing a First Draft. Using Verb Tenses in the Discussion of Literary Works. Developing an Outline. Demonstrative Student Essay (First Draft): How Setting in "The Necklace" Is Related to the Character of Mathilde. Developing and Strengthening Essays through Revision. Checking Development and Organization. Using Exact, Comprehensive, and Forceful Language. Using the Names of Authors. Demonstrative Student Essay (Improved Draft): How Maupassant Uses Setting in "The Necklace" to Show the Character of Mathilde. Easy Commentaries. Special Topics for Writing and Argument about the Writing Process.
I. READING AND WRITING ABOUT FICTION.
2. Fiction: An Overview.
Modern Fiction. The Short Story. Elements of Fiction I: Verisimilitude and Donnee. Elements of Fiction II: Character, Plot, Structure, and Idea or Theme. Elements of Fiction III: The Writer's Tools.
Neighbors, Raymond Carver. An Old-Fashioned Story, Laurie Colwin. The Things They Carried, Tim O'Brien. The Widow of Ephesus, Gaius Petonius Arbiter (Petronius). Everyday Use, Alice Walker. Taking Care, Joy Williams.
Responding to Literature: Likes and Dislikes.
Stating Reasons for Favorable Responses. Stating Reasons for Unfavorable Responses. Writing about Responses: Likes and Dislikes. Demonstrative Student Essay: Some Reasons for Liking Maupassant's "The Necklace." Special Topics for Writing and Argument about Fiction.
3. Plot and Structure: The Development and Organization of Stories.
Plot, the Motivation and Causation of Fiction. The Structure of Fiction. Formal Categories of Structure. Formal and Actual Structure.
The Blue Hotel, Stephen Crane. A Rose for Emily, William Faulkner. What I Have Been Doing Lately, Jamaica Kincaid. A Worn Path, Eudora Welty. Blue Winds Dancing, Tom Whitecloud.
Writing about the Plot of a Story. Demonstrative Student Essay (Plot): Plot in Faulkner's "A Rose for Emily." Writing about Structure in a Story. Demonstrative Student Essay: Scrambled Structure in Faulkner's "A Rose for Emily." Special Topics for Writing and Argument about Plot and Structure.
4. Characters: The People in Fiction.
Character Traits. How Authors Disclose Character in Literature. Types of Characters: Round and Flat. Reality and Probability: Verisimilitude.
Paul's Case, Willa Cather. Barn Burning, William Faulkner. A Jury of Her Peers, Susan Glaspell. Shopping, Joyce Carol Oates. Two Kinds, Amy Tan.
Writing about Character. Demonstrative Student Essay: The Character of the Mother in Amy Tan's "Two Kinds." Special Topics for Writing and Argument about Character.
5. Point of View: The Position or Stance of the Narrator or Speaker.
An Exercise in Point of View: Reporting an Accident. Conditions That Affect Point of View. Distinguishing Point of View from Opinion. Determining a Work's Point of View. Mingling Points of View. Point of View and Verb Tense. Guidelines for Point of View.
An Occurrence at Owl Creek Bridge, Ambrose Bierce. The Song of Songs, Ellen Gilchrist. The Lottery, Shirley Jackson. How to Become a Writer, Lorrie Moore. Meneseteung, Alice Munro.
Writing about Point of View. Demonstrative Student Essay: Shirley Jackson's Dramatic Point of View in "The Lottery". Special Topics for Writing and Argument about Point of View.
6. Setting: The Background of Place, Objects, and Culture in Stories.
What Is Setting? The Literary Uses of Setting.
The House on Mango Street, Sandra Cisneros. The Portable Phonograph, Walter Van Tilburg Clark. And Sarah Laughed, Joanne Greenberg. Araby, James Joyce. The Shawl, Cynthia Ozick. The Masque of the Red Death, Edgar Allan Poe.
Writing about Setting. Demonstrative Student Essay: The Interaction of Story and Setting in James Joyce's "Araby." Special Topics for Writing and Argument about Setting.
7. Style: The Words That Tell the Story.
Diction: The Writer's Choice and Control of Words. Rhetoric: The Writer's Choices of Effective Arrangements and Forms. Style in General.
Soldier's Home, Ernest Hemingway. The Found Boat, Alice Munro. First Confession, Frank O'Connor. Luck, Mark Twain. A & P, John Updike.
Writing about Style. Demonstrative Student Essay: A Study of the Style of Paragraph 31 of Updike's "A & P." Special Topics for Writing and Argument about Style.
8. Tone: The Expression of Attitude in Fiction.
Tone and Attitudes. Tone and Humor. Tone and Irony.
Rape Fantasies, Margaret Atwood. The Story of an Hour, Kate Chopin. The Concert Stages of Europe, Jack Hodgins. The Loons, Margaret Laurence. The Hammon and the Beans, Americo Paredes.
Writing about Tone. Demonstrative Student Essay: The Irony of Chopin's "The Story of an Hour," Special Topics for Writing and Argument about Tone.
9. Symbolism and Allegory: Keys to Extended Meaning.
Symbolism. Allegory. Fable, Parable, and Myth. Allusion in Symbolism and Allegory.
The Fox and the Grapes, Aesop. The Myth Of Atalanta, Anonymous. Unfinished Masterpieces, Anita Scott Coleman. Young Goodman Brown, Nathaniel Hawthorne. The Parable of the Prodigal Son, St. Luke. The Jilting of Granny Weatherall, Katherine Anne Porter. The Chrysanthemums, John Steinbeck. The Thimble, Michel Tremblay.
Writing about Symbolism or Allegory. Demonstrative Student Essay (Symbolism): Symbols of Light and Darkness in "The Jilting of Granny Weatherall."
Demonstrative Student Essay (Allegory): The Allegory of Hawthorne's "Young Goodman Brown." Special Topics for Writing and Argument about Symbolism and Allegory.
10. Idea or Theme: The Meaning and the Message in Fiction.
Ideas and Assertions. Ideas and Issues. Ideas and Values. The Place of Ideas in Literature. How to find Ideas.
The Lesson, Toni Cade Bambara. Lady with Lapdog, Anton Chekhov. The Sky Is Gray, Ernest J. Gaines. The Horse Dealer's Daughter, D.H. Lawrence. Home Soil, Irene Zabytko.
Writing about a Major Idea in Fiction. Demonstrative Student Essay: Toni Cade Bambara's Idea of Justice and Economic Equality in "The Lesson." Special Topics for Writing and Argument about Ideas.
11. A Career in Fiction: A Collection of Stories by Edith Wharton.
Life and Career. Stories. Bibliographic Sources. Writing Topics. Four Stories of Edith Wharton Arranged in Chronological Order. The Muse's Tragedy (1899). The Other Two (1904). Pomegranate Seed (1931). Roman Fever (1934). Edited Selections from Criticism of Edith Wharton's Fiction.
12. Seven Stories for Additional Study and Enjoyment.
Zero Hour, Ray Bradbury. Snow, Robert Olen Butler. Before the Firing Squad, John Chioles. All Gone, Stephen Dixon. The Curse, Andre Dubus. The Yellow Wallpaper, Charlotte Perkins Gilman. I Stand Here Ironing, Tillie Olsen.
II. READING AND WRITING ABOUT POETRY.
13. Meeting Poetry: An Overview.
The Nature of Poetry. Schoolsville, Billy Collins. Hope, Lisel Mueller. Here a Pretty Baby Lies, Robert Herrick. Poetry of the English Language. How to Read a Poem. Studying Poetry. Sir Patrick Spens, Anonymous.
Because I Could Not Stop for Death, Emily Dickinson. Catch, Robert Francis. Stopping by Woods on a Snowy Evening, Robert Frost. The Man He Killed, Thomas Hardy. Eagle Poem, Joy Harjo. The Death of the Ball Turret Gunner, Randall Jarrell. Snow, Louis MacNeice. Ogichidag, Jim Northrup. Where Children Live, Naomi Shihab Nye. Sonnet 55: Not Marble, Nor the Gilded Monument, William Shakespeare. Rush Hour, Elaine Terranova.
Writing a Paraphrase of a Poem. Demonstrative Student Paraphrase: A Paraphrase of Thomas Hardy's "The Man He Killed." Writing an Explication of a Poem. Demonstrative Student Essay: An Explication of Thomas Hardy's "The Man He Killed." Special Topics for Writing and Argument about the Nature of Poetry.
14. Words: The Building Blocks of Poetry.
Choice of Diction: Specific and Concrete, General and Abstract. Levels of Diction. Special Types of Diction. Decorum, the Matching of Subject and Word. Syntax. Denotation and Connotation. The Naked and the Nude, Robert Graves.
The Lamb, William Blake. Green Grow the Rashes, O, Robert Burns. Jabberwocky, Lewis Carroll. An Apology for Using the Word "Heart" in Too Many Poems, Hayden Carruth. next to of course god america i, E.E. Cummings. Holy Sonnet 14: Batter My Heart, Three-Personed God, John Donne. The Fury of Aerial Bombardment, Richard Eberhart. Chemistry Experiment, Bart Edelman. Sonnet on the Death of Richard West, Thomas Gray. Loveliest of Trees, A.E. Housman. Night Sounds, Carolyn Kizer. Hello, Hello Henry, Maxine Kumin. Of Being, Denise Levertov. Naming of Parts, Henry Reed. Richard Cory, Edwin Arlington Robinson. Dolor, Theodore Roethke. I Think Continually of Those Who Were Truly Great, Stephen Spender. Disillusionment of Ten O'Clock, Wallace Stevens. Eating Poetry, Mark Strand.
Writing about Diction and Syntax in Poetry. Demonstrative Student Essay: Extraordinary Definitions in Stephen Spender's "I Think Continually of Those Who Were Truly Great." Special Topics for Writing and Argument about the Words of Poetry.
15. Character and Setting: Who, What, Where, and When in Poetry.
Characters in Poetry. Western Wind, Anonymous. Bonny George Campbell, Anonymous. Drink to Me, Only, with Thine Eyes, Ben Jonson. To the Reader, Ben Jonson.
Dover Beach, Matthew Arnold. London, William Blake. My Last Duchess, Robert Browning. The Poplar Field, William Cowper. Snowdrops, Louise Glueck. Elegy Written in a Country Churchyard, Thomas Gray. The Ruined Maid, Thomas Hardy. Song, C. Day Lewis. The Passionate Shepherd to His Love, Christopher Marlowe. Loving, Joyce Carol Oates. Wellfleet Sabbath, Marge Piercy. Poem, Al Purdy. The Nymph's Reply to the Shepherd, Sir Walter Ralegh. A Christmas Carol, Christina Rossetti. A Letter Sent to Summer, Jane Shore. Childhood, Maura Stanton. A Blessing, James Wright.
Writing about Character and Setting in Poetry. Demonstrative Student Essay: The Character of the Duke in Browning's "My Last Duchess." Special Topics for Writing and Argument about Character and Setting in Poetry.
16. Imagery: The Poem's Link to the Senses.
Responses and the Writer's Use of Detail. The Relationship of Imagery to Ideas and Attitudes. Types of Imagery. Cargoes, John Masefield. Anthem for Doomed Youth, Wilfred Owen. The Fish, Elizabeth Bishop.
The Tyger, William Blake. Sonnets from the Portuguese, No. 14: If Thou Must Love Me, Elizabeth Barrett Browning. Kubla Khan, Samuel Taylor Coleridge. I Know I'm Not Sufficiently Obscure, Ray Durem. Preludes, T.S. Eliot. Love Should Grow Up Like a Wild Iris in the Fields, Susan Griffin. The Pulley, George Herbert. Spring, Gerard Manley Hopkins. A Time Past, Denise Levertov. The Voice You Hear When You Read Silently, Thomas Lux. Abundance, Michael O'Siadhail. Photos of a Salt Mine, P.K. Page. In a Station of the Metro, Ezra Pound. If You Love for the Sake of Beauty, Friedrich Rueckert. Sonnet 130: My Mistress' Eyes Are Nothing Like the Sun, William Shakespeare.
Writing about Imagery. Demonstrative Student Essay: Imagery in T.S. Eliot's "Preludes." Special Topics for Writing and Argument about Imagery in Poetry.
17. Figures of Speech, or Metaphorical Language: A Source of Depth and Range in Poetry.
Metaphor and Simile: The Major Figures of Speech. Characteristics of Metaphorical Language. On First Looking into Chapman's Homer, John Keats. Vehicle and Tenor. Other Figures of Speech. Bright Star, John Keats. Let Us Take the Road, John Gay.
Sonnet for You, Familiar Famine, Jack Agueeros. A Red, Red Rose, Robert Burns. A Valediction: Forbidding Mourning, John Donne. The Iceberg Seven-eighths Under, Abbie Huston Evans. The Convergence of the Twain, Thomas Hardy. Remember, Joy Harjo. Harlem, Langston Hughes. To Autumn, John Keats. Portrait of a Figure Near Water, Jane Kenyon. Sic Vita, Henry King. Conjoined, Judith Minty. A Work of Artifice, Marge Piercy. Metaphors, Sylvia Plath. Looking at Each Other, Muriel Rukeyser. Sonnet 18: Shall I Compare Thee to a Summer's Day, William Shakespeare. Sonnet 30: When to the Sessions of Sweet Silent Thought, William Shakespeare. On Monsieur's Departure, Elizabeth Tudor, Queen Elizabeth I. Earth Tremors Felt in Missouri, Mona Van Duyn. Facing West from California's Shores, Walt Whitman. London, 1802, William Wordsworth. I Find No Peace, Sir Thomas Wyatt.
Writing about Figures of Speech. Demonstrative Student Paragraph: Wordsworth's Use of Overstatement in "London, 1802." Demonstrative Student Essay: Personification in Hardy's "The Convergence of the Twain." Special Topics for Writing and Argument about Figures of Speech in Poetry.
18. Tone: The Creation of Attitude in Poetry.
Tone, Choice, and Response. The First-Rate Wife, Cornelius Whur. Tone and the Need for Control. Dulce et Decorum Est, Wilfred Owen. Tone and the Common Grounds of Assent. Tone in Conversation and Poetry. Tone and Irony. The Workbox, Thomas Hardy. Tone and Satire. Epigram from the French, Alexander Pope. Epigram, Engraved on the Collar of a Dog which I Gave to His Royal Highness, Alexander Pope.
I Wanted to Share My Father's World, Jimmy Carter. homage to my hips, Lucille Clifton. The Names, Billy Collins. she being Brand / -new, e.e.cummings. I Am a Black Woman, Mari Evans. Mid-term Break, Seamus Heany. Theme for English B, Langston Hughes. John While Swimming in the Ocean, X.J. Kennedy. My Childhood's Home, Abraham Lincoln. The Planned Child, Sharon Olds. Late Movies with Skyler, Michael Ondaatje. Dying, Robert Pinsky. From Epilogue to the Satires, Dialogue I, Alexander Pope. Auschwitz, Salvatore Quasimodo. Nothing Is Lost, Anne Ridler. My Papa's Waltz, Theodore Roethke. A Description of the Morning, Jonathan Swift. My Physics Teacher, David Wagoner. Dimensions, C.K. Williams. When You Are Old, William Butler Yeats.
Writing about Tone in Poetry. Demonstrative Student Essay: The Tone of Confidence in "Theme for English B" by Langston Hughes. Special Topics for Writing and Argument about Tone in Poetry.
19. Prosody: Sound, Rhythm, and Rhyme in Poetry.
Important Definitions for Studying Prosody. Segments: Individually Meaningful Sounds. Poetic Rhythm. The Major Metrical Feet. Special Meters. Substitution. Accentual, Strong-Stress, and "Sprung" Rhythms. The Caesura: The Pause Creating Variety and Natural Rhythms in Poetry. Segmental Poetic Devices. Rhyme: The Duplication and Similarity of Sounds. Rhyme and Meter. Rhyme Schemes.
We Real Cool, Gwendolyn Brooks. Porphyria's Lover, Robert Browning. To Hear an Oriole Sing, Emily Dickinson. The Sun Rising, John Donne. Macavity: The Mystery Cat, T.S. Eliot. Concord Hymn, Ralph Waldo Emerson. At a Summer Hotel, Isabella Gardner. Upon Julia's Voice, Robert Herrick. God's Grandeur, Gerard Manley Hopkins. Let America Be America Again, Langston Hughes. George Washington, John Hall Ingham. A Theory of Prosody, Philip Levine. The Sound of the Sea, Henry Wadsworth Longfellow. Shiloh: A Requiem, Herman Melville. Very Like a Whale, Ogden Nash. Annabel Lee, Edgar Allan Poe. The Bells, Edgar Allan Poe. From An Essay on Man, Epistle I, lines 17-90, Alexander Pope. Miniver Cheevy, Edwin Arlington Robinson. Ode to the West Wind, Percy Bysshe Shelley. From Idylls of the King: The Passing of Arthur, lines 344-393, Alfred, Lord Tennyson. March for a One-Man Band, David Wagoner.
Writing about Prosody. Referring to Sounds in Poetry. Demonstrative Student Essay: Rhyme, Rhythm, and Sound in Browning's "Porphyria's Lover." Special Topics for Writing and Argument about Rhythm and Rhyme in Poetry.
20. Form: The Shape of the Poem.
Closed-Form Poetry. The Eagle, Alfred, Lord Tennyson. Spun in High, Dark Clouds, Anonymous. Sonnet 116: Let Me Not to the Marriage of True Minds, William Shakespeare. Open-Form Poetry. Reconciliation, Walt Whitman. Visual and Concrete Poetry. Easter Wings, George Herbert.
One Art, Elizabeth Bishop. Sonnet, Billy Collins. Buffalo Bill's, e.e. cummings. To the Memory of Mr. Oldham, John Dryden. The Colonel, Carolyn Forche. Desert Places, Robert Frost. A Supermarket in California, Allen Ginsberg. Nikki-Rosa, Nikki Giovanni. Museum, Robert Hass. Virtue, George Herbert. Mantle, William Heyen. Swan and Shadow, John Hollander. Ode to a Nightingale, John Keats. In Bondage, Claude McKay. When I Consider How My Light Is Spent, John Milton. Ballad of Birmingham, Dudley Randall. The Waking, Theodore Roethke. Sonnet 73: That Time of Year Thou May'st in Me Behold, William Shakespeare. Ozymandias, Percy Bysshe Shelley. Women, May Swenson. Do Not Go Gentle into That Good Night, Dylan Thomas. Reapers, Jean Toomer. The Shape of History, Charles H. Webb. Poetics Against the Angel of Death, Phyllis Webb. The Dance, William Carlos Williams.
Writing about Form in Poetry. Demonstrative Student Essay: Form and Meaning in George Herbert's "Virtue." Special Topics for Writing and Argument about Poetic Form.
21. Symbolism and Allusion: Windows to Wide Expanses of Meaning.
Symbolism and Meanings. Snow, Virginia Scott. The Function of Symbolism in Poetry. Allusions and Meaning. Studying for Symbols and Allusions.
Dover Beach, Mathew Arnold. Beach Glass, Amy Clampitt. The Poplar Field, William Cowper. Delphi, Peter Davison. The Canonization, John Donne. Hawk, Stephen Dunn. Collage of Echoes, Isabella Gardner. The Geese, Jorie Graham. In Time of "The Breaking of Nations," Thomas Hardy. The Collar, George Herbert. Tears, Josephine Jacobsen. The Purse-Seine, Robinson Jeffers. La Belle Dame Sans Merci, John Keats. Old Men Pitching Horseshoes, X.J. Kennedy. To His Coy Mistress, Andrew Marvell. Wild Geese, Mary Oliver. "A Wedding Sonnet for the Next Generation, Judith Viorst. A Noiseless Patient Spider, Walt Whitman. Year's End, Richard Wilbur. The Second Coming, William Butler Yeats.
Writing about Symbolism and Allusion in Poetry. Demonstrative Student Essay: Symbolism in Oliver's "Wild Geese." Special Topics for Writing and Argument about Symbolism and Allusion in Poetry.
22. Myth: Systems of Symbolic Allusion in Poetry.
Mythology as an Explanation of How Things Are. Mythology and Literature. Leda and the Swan, William Butler Yeats. Leda, Mona Van Duyn.
Seven Poems Related to the Myth of Odysseus. Siren Song, Margaret Atwood. Penelope's Song, Louise Glueck. Odysseus, W.S. Merwin. Penelope, Dorothy Parker. The Suitor, Linda Pastan. Ulysses, Alfred, Lord Tennyson. Odyssey: 20 Years Later, Peter Ulisse. Seven Poems Related to the Myth of Icarus. Flight 063, Brian Aldiss. Musee des Beaux Arts, W.H. Auden. Icarus, Edward Field. Waiting for Icarus, Muriel Rukeyser. To a Friend Whose Work Has Come to Triumph, Anne Sexton. Icarus, Stephen Spender. Landscape with the Fall of Icarus, William Carlos Williams. Three Poems Related to the Myth of Phoenix. Berceuse, Amy Clampitt. Hunting the Phoenix, Denise Levertov. The Phoenix Again, May Sarton. Two Poems Related to the Myth of Oedipus. Myth, Muriel Rukeyser. On the Way to Delphi, John Updike. Two Poems Related to the Myth of Pan. in Just, e.e.cummings. Song for a Forgotten Shrine to Pan, John Chipman Farrar.
Writing about Myths in Poetry. Demonstrative Student Essay: Myth and Meaning in Dorothy Parker's "Penelope." Special Topics for Writing and Argument about Myths in Poetry.
23. Meaning: Idea and Theme in Poetry.
Meaning, Power, and Poetic Thought. Issues in Determining the Meaning of Poems. Meaning and Poetic Techniques.
"Do you think...", Robert Creeley. The God Who Loves You, Carl Dennis. A Song for St. Cecilia's Day, John Dryden. Whip-poor-will, Donald Hall. To the Virgins, to Make Much of Time, Robert Herrick. The Negro Speaks of Rivers, Langston Hughes. To Celia, Ben Jonson. On the Death of Friends in Childhood, Donald Justice. Ode on a Grecian Urn, John Keats. Next, Please, Philip Larkin. Ars Poetica, Archibald MacLeish. Reply to the Question, Eve Merriam. 35/10, Sharon Olds. Ethics, Linda Pastan. Desire, Molly Peacock. The Spirit Is Too Blunt an Instrument, Anne Stevenson.
24. Three Poetic Careers: William Wordsworth, Emily Dickinson, and Robert Frost.
William Wordsworth (1770-1850): Wordsworth and Romanticism. Romanticism and Wordworth's Theory of Composition. Wordsworth's Poetic Diction. Bibliographic Sources. Special Topics for Writing and Arguments about William Wordsworth.
From The Prelude, Book I, lines 301-474. Lines Composed a Few Miles above Tintern Abbey. Daffodils (I Wandered Lonely as a Cloud). Lines Written in Early Spring. Ode: Intimations of Immortality from Recollections of Early Childhood. Expostulation and Reply. The Tables Turned. Stepping Westward. The Solitary Reaper. Composed upon Westminster Bridge, September 3, 1802. I Grieved for Buonaparte with a Vain. It Is a Beauteous Evening. London, 1802 (in Chapter 17). On the Extinction of the Venetian Republic. Scorn Not the Sonnet. To Toussaint L'Ouverture.
Emily Dickinson (1830-1886): Life and Work. Poetic Characteristics. Poetic Subjects. Bibliographic Sources. Special Topics for Writing and Argument about the Poetry of Dickinson.
After Great Pain, a Formal Feeling Comes (Poem 341). Because I Could Not Stop for Death (Poem 712). The Bustle in a House (Poem 1078). The Heart Is the Capital of the Mind (Poem 1354). I Cannot Live with You (Poem 640). I Died for Beautybut Was Scarce (Poem 449). I Felt a Funeral in My Brain (Poem 280). I Heard a Fly Buzz When I Died (Poem 465). I Like to See It Lap the Miles (Poem 585). I'm Nobody! Who Are You? (Poem 288). I Never Lost as Much But Twice (Poem 49). I Taste a Liquor Never Brewed (Poem 214). Much Madness Is Divinest Sense (Poem 435). My Life Closed Twice Before Its Close (Poem 1732). My Triumph Lasted Till the Drums (Poem 1227). One Need Not Be a Chamber To Be Haunted (Poem 670). Safe in Their Alabaster Chambers (Poem 216). Some Keep the Sabbath Going to Church (Poem 324). The Soul Selects Her Own Society (Poem 303). Success Is Counted Sweetest (Poem 67). Tell All the Truth but Tell it Slant (Poem 1129). There's a Certain Slant of Light (Poem 258). This World Is Not Conclusion (Poem 501). To Hear an Oriole Sing (Poem 526). Wild Nights Wild Nights! (Poem 249). Edited Selections from Criticism of Dickinson's Poetry, with an Emphasis on Poems Included in this Chapter.
Robert Frost (1874-1963): Life and Work. Poetic Characteristics. Poetic Subjects. Bibliographic Sources. Special Topics for Writing and Argument about the Poetry of Robert Frost.
A Line-Storm Song (1913). The Tuft of Flowers (1913). Mending Wall (1914). Birches (1915). The Road Not Taken (1915). 'Out, Out' (1916). The Oven Bird (1916). Fire and Ice (1920). Stopping by Woods on a Snowy Evening (1923), in Chapter 12. Misgiving (1923). Nothing Gold Can Stay (1923). Acquainted with the Night (1928). Desert Places (1936), in Chapter 20. Design (1936). The Silken Tent (1936). The Strong Are Saying Nothing (1937). The Gift Outright (1941). A Considerable Speck (1942). Choose Something like a Star (1943).
25. One Hundred Twenty-Nine Poems for Additional Study and Enjoyment.
80-Proof, A.R. Ammons. My Arkansas, Maya Angelou. Barbara Allan, Anonymous. Healing Prayer from the Beautyway Chant, Anonymous (Navajo). Lord Randal, Anonymous. The Three Ravens, Anonymous. Variation on the Word Sleep, Margaret Atwood. The Unknown Citizen, W.H. Auden. Another Descent, Wendell Berry. Can. Lit., Earle Birney. Women, Louise Bogan, A Black Man Talks of Reaping, Arna Bontemps. To My Dear and Loving Husband, Anne Bradstreet. Primer for Blacks, Gwendolyn Brooks. How Do I Love Thee? Elizabeth Barrett Browning. Soliloquy of the Spanish Cloister, Robert Browning. To Cole, the Painter, Departing for Europe, William Cullen Bryant. The Destruction of Sennacherib, George Gordon, Lord Byron. Cherry Ripe, Thomas Campion. this morning; the poet, Lucille Clifton. 'The killers that run...', Leonard Cohen. Days, Billy Collins. From A Letter to America on a Visit to Sussex: Spring, 1942, Frances Cornford. Do Not Weep, Maiden, for War Is Kind, Stephen Crane. if there are any heavens, e.e.cummings. Kudzu; The Lifeguard; The Performance, James Dickey. The Good Morrow; Holy Sonnet 10: Death Be Not Proud; A Hymn to God the Father, John Donne. Since There's No Help, Michael Drayton. Sympathy, Paul Laurence Dunbar. The Love Song of J. Alfred Prufrock, T. S. Eliot. The Negro, James Emanuel. Like God, Lynn Emanuel. The Beauty of the Trees, Chief Dan George. Woman, Nikki Giovanni. Sonnet Ending with a Film Subtitle, Marilyn Hacker. Little Cosmic Dust Poem, John Haines. Scenic View, Donald Hall. Snapshot of Hue; Summer in the Middle Class, Daniel Halpern. Leaves, H.S. (Sam) Hamod. She's Free!, Frances E.W. Harper. Called, Michael S. Harper. Spring Rain, Robert Hass. Those Winter Sundays, Robert Hayden. Love (III), George Herbert. The Hair: Jacob Korman's Story, William Heyen. Advice to Young Ladies, A.D Hope. Pied Beauty; The Windhover, Gerard Manley Hopkins. Dear Tia, Carolina Hospital. The Battle Hymn of the Republic, Julia Ward Howe. Negro, Langston Hughes. The Answer, Robinson Jeffers. After Making Love We Hear Footsteps, Galway Kinnell. Woodchucks, Maxine Kumin. Rhine Boat Trip, Irving Layton. A Final Thing, Li-Young Lee. In Computers, Alan P. Lightman. The Choosing, Liz Lochhead. Every Traveler Has One Vermont Poem, Audre Lorde. Patterns, Amy Lowell. Dark Pines under Water, Gwendolyn MacEwan. Lines, Heather McHugh. The White City, Claude McKay. Listen, W.S. Merwin. What Lips My Lips Have Kissed, Edna St. Vincent Millay. The Bear, N. Scott Momaday. Life Cycle of Common Man, Howard Nemerov. wahbegan, Jim Northrup. Ghosts, Mary Oliver. A Story of How a Wall Stands, Simon Ortiz. Marks, Linda Pastan. The Secretary Chant; Will We Work Together?, Marge Piercy. Last Words; Mirror, Sylvia Plath. Archaeology, Katha Pollitt. The River-Merchant's Wife: A Letter, Ezra Pound. Bells for John Whiteside's Daughter, John Crowe Ransom. Assailant, John Raven. Diving into the Wreck, Adrienne Rich. The Light Comes Brighter, Theodore Roethke. In a Farmhouse, Luis Omar Salinas. rite on: white america, Sonia Sanchez. Chicago, Carl Sandburg. Dreamers, Siegfried Sassoon. The Paperweight, Gjertrud Schnackenberg. I Have a Rendezvous with Death, Alan Seeger. My Mother's Face, Brenda Serotte. Fear No More the Heat o' the Sun; Sonnet 29: When in Disgrace with Fortune and Men's Eyes; Sonnet 146: Poor Soul, the Center of My Sinful Earth, William Shakespeare. Auto Wreck, Karl Shapiro. Where Mountain Lion Lay Down with Deer, Leslie Marmon Silko. Bluejays, Dave Smith. Not Waving But Drowning, Stevie Smith. These Trees Stand..., W.D. Snodgrass. Lost Sister, Cathy Song. Oranges; Kearney Park, Gary Soto. Traveling Through the Dark, William Stafford. Burying an Animal on the Way to New York, Gerald Stern. The Emperor of Ice-Cream, Wallace Stevens. Question, May Swenson. The Blue Booby, James Tate. A Refusal to Mourn..., Dylan Thomas. Blurry Cow, Chase Twichell. Perfection Wasted, John Updike. Day-Long Day, Tino Villanueva. The Boxes, Shelly Wagner. Revolutionary Petunias, Alice Walker. Go, Lovely Rose, Edmund Waller. Heart of Autumn, Robert Penn Warren. Song of Napalm, Bruce Weigl. On Being Brought from Africa to America, Phyllis Wheatley. Beat! Beat! Drums!; Dirge for Two Veterans; Full of Life Now; I Hear America Singing, Walt Whitman. The Bartholdi Statue, Richard Wilbur, April 5, 1974, John Greenleaf Whittier. The Red Wheelbarrow, William Carlos Williams. The Wild Swans at Coole, William Butler Yeats. The Day Zimmer Lost Religion, Paul Zimmer.
III. READING AND WRITING ABOUT DRAMA.
26. The Dramatic Vision: An Overview.
Drama as Literature. Performance: The Unique Aspect of Drama. Drama from Ancient Times to Our Own: Tragedy, Comedy, and Additional Forms. The Visit to the Sepulchre (Visitatio Sepulchri), Anonymous. Reading Plays.
Trifles, Susan Glaspell. The More the Merrier, Stanley Kauffmann. Tea Party, Betty Keller. Before Breakfast, The "Wakefield Master," The Second Shepherd's Play, Eugene O'Neill.
Writing about the Elements of Drama. Referring to Plays and Parts of Plays. Demonstrative Student Essay: Eugene O'Neill's Use of Negative Descriptions and Stage Directions in "Before Breakfast" as a Means of Revealing Character. Special Topics for Writing and Argument about the Elements of Drama.
27. The Tragic Vision: Affirmation Through Loss.
The Origins of Tragedy. The Origin of Tragedy in Brief. The Ancient Competitions in Tragedy. Aristotle and the Nature of Tragedy. Aristotle's View of Tragedy in Brief. Irony in Tragedy. The Ancient Athenian Audience and Theater. Ancient Greek Tragic Actors and Their Costumes. Performance and the Formal Organization of Greek Tragedy.
Oedipus the King, Sophocles. Renaissance Drama and Shakespeare's Theater. Hamlet, William Shakespeare. Tragedy from Shakespeare to Arthur Miller. Death of a Salesman, Arthur Miller.
Writing about Tragedy. An Essay about a Problem. Demonstrative Student Essay: The Problem of Hamlet's Apparent Delay. Special Topics for Writing and Argument about Tragedy.
28. The Comic Vision: Restoring the Balance.
The Origins of Comedy. Comedy from Roman Times to the Renaissance. The Patterns, Characters, and Language of Comedy. Types of Comedy.
A Midsummer Night's Dream, William Shakespeare. The Theater of Moliere. Love Is the Doctor (L'Amour Medecin), Moliere. Comedy from Moliere to the Present. The Bear, Anton Chekhov. Am I Blue, Beth Henley.
Writing about Comedy. Demonstrative Student Essay: Setting as Symbol and Comic Structure in A Midsummer's Night Dream. Special Topics for Writing and Argument about Comedy.
29. Visions of Dramatic Reality and Nonreality: Varying the Idea of Drama as Imitation.
Realism and Nonrealism in Drama. Elements of Realistic and Nonrealistic Drama.
Mulatto, Langston Hughes. Our Town, Thornton Wilder. The Glass Menagerie, Tennessee Williams.
Writing about Realistic and Nonrealistic Drama. Demonstrative Student Essay: Realism and Nonrealism in Tom's Triple Role in "The Glass Menagerie." Special Topics for Writing and Argument about Dramatic Reality and Nonreality.
30. Dramatic Vision and the Motion Picture Camera: Drama on the Silver Screen, Television Set, and Computer Monitor.
A Thumbnail History of Film. DVD Technology and Film Study. Stage Plays and Film. The Aesthetics of Film. The Techniques of Film.
Film Scenes for Study.
Shot 71 from the Shooting Script of Citizen Kane, Orson Welles and Herman J. Mankiewicz. A Scene from The Turning Point, Arthur Laurents.
Writing about a Film. Demonstrative Student Essay: Welles' Citizen Kane: Whittling a Giant Down to Size. Special Topics for Writing and Argument about Film.
31. A Career in Drama: Two Major Plays of Henrik Ibsen.
Ibsen's Life and Early Work. Ibsen's Major Prose Plays. Two Major Realistic Plays. Ibsen and the "Well-Made Play." Ibsen's Timeliness and Dramatic Power. Bibliographic Studies.
A Dollhouse (Et Dukkehjem). An Enemy of the People (En Folkenfiende). Special Topics for Writing and Argument about Ibsen. Edited Selections from Criticism of Ibsen's Drama.
IV. SPECIAL WRITING TOPICS ABOUT LITERATURE.
32. Writing and Documenting the Research Essay.
Selecting a Topic. Setting up a Bibliography. Online Library Services. Important Considerations about Computer-Aided Research. Taking Notes and Paraphrasing Material. Documenting Your Work. Strategies for Organizing Ideas in Your Research Essay. Demonstrative Student Research Essay: The Ghost in Hamlet.
33. Critical Approaches Important in the Study of Literature.
Moral/Intellectual. Topical/Historical. New Critical/Formalist. Structuralist. Feminist. Economic Determinist/Marxist. Psychological/Psychoanalytic. Archetypal/Symbolic/Mythic. Deconstructionist. Reader-Response.
34. Taking Examinations on Literature.
Answer the Questions That Are Asked. Systematic Preparation. Two Basic Types of Questions about Literature.
35. Comparison-Contrast and Extended Comparison-Contrast: Learning by Seeing Literary Works Together.
Guidelines for the Comparison-Contrast Method. The Extended Comparison-Contrast Essay. Citing References in a Longer Comparison-Contrast Essay. Writing a Comparison-Contrast Essay. Demonstrative Student Essay (Two Works): The Treatment of Responses to War in Amy Lowell's "Patterns" and Wilfred Owen's "Anthem for Doomed Youth." Demonstrative Student Essay (Extended Comparison-Contrast): Literary Treatments of the Conflicts Between Private and Public Life. Special Topics for Writing and Argument about Comparison and Contrast.
Appendix I: MLA Recommendations for Documenting Electronic Sources.
Appendix II: Brief Biographies of the Poets in Part III.
Glossary of Literary Terms.
Credits.
Index of Authors, Titles, and First Lines.