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Literature: An introduction to Fiction, Poetry and Drama (Instructors Guide)

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CONTENTS
PREFACE = xxxviii
FICTION = 1
 1 Reading a Story = 3
  FABLE AND TALE = 4
   W. Somerset Maugham, THE APPOINTMENT IN SAMARRA = 4
   Jakob and Wilhelm Grimm, GODFATHER DEATH = 6
   Chuang Tzu, INDEPENDENCE = 8
  PLOT = 9
  THE SHORT STORY = 11
   John Updike, A & P = 12
  SUGGESTIONS FOR WRITING = 18
 2 Point of View = 19
  William Faulkner, A ROSE FOR EMILY = 25
  Katherine Mansfield, Miss BRILL = 33
  James Baldwin, SONNY'S BLUES = 37
  Edgar Allan Poe, THE-TELL TALE HEART = 61
  SUGGESTIONS FOR WRITING = 65
 3 Character = 67
  Katherine Anne Porter, THE JILTING OF GRANNY WEATHERALL = 70
  John Cheever, THE FIVE-FORTY-EIGHT = 78
  Alice Walker, EVERYDAY USE = 90
  Isaac Bashevis Singer, GIMPEL THE FOOL(TRANSLATED BY SAUL BELLOW) = 98
  SUGGESTIONS FOR WRITING = 109
 4 Setting = 110
  Kate Chopin, THE STORM = 113
  Jack London, TO BUILD A FIRE = 117
  T. Coraghessan Boyle, GREASY LAKE = 129
  Amy Tan, A PAIR OF TICKETS = 138
  SUGGESTIONS FOR WRITING = 153
 5 Tone and Style = 154
  Ernest Hemingway, A CLEAN, WELL-LIGHTED PLACE = 158
  William Faulkner, BARN BURNING = 162
  IRONY = 176
   James Joyce, ARABY = 177
   Jorge Luis Borges, THE GOSPEL ACCORDING TO MARK = 183
  SUGGESTIONS FOR WRITING = 188
 6 Theme = 189
  Stephen Crane, THE OPEN BOAT = 192
  Nathaniel Hawthorne, YOUNG GOODMAN BROWN = 211
  Luke 15 : 11-32, THE PARABLE OF THE PRODIGAL SON = 222
  Raymond Carver, CATHEDRAL = 223
  SUGGESTIONS FOR WRITING = 234
 7 Symbol = 236
  John Steinbeck, THE CHRYSANTHEMUMS = 239
  Shirley Jackson, THE LOTTERY = 248
  Ursula K. Le Guin, THE ONES WHO WALK AWAY FROM OMELAS = 255
  SUGGESTIONS FOR WRITING = 260
 8 Evaluating a Story = 261
  SUGGESTIONS FOR WRITING = 263
 9 Reading Long Stories and Novels = 264
  Leo Tolstoi, THE DEATH OF IVAN ILYCH = 269
  Franz Kafka, THE METAMORPHOSIS = 311
  SUGGESTIONS FOR WRITING = 345
 10 A Writer in Depth = 347
  Flannery O'Connor, EVERYTHING THAT RISES MUST CONVERGE = 347
  Flannery O'Connor, A GOOD MAN IS HARD TO FIND = 359
  Flannery O'Connor, REVELATION = 371
  Flannery O'Connor, THE ELEMENT OF SUSPENSE IN "A GOOD MAN IS HARD TO FIND" = 386
  Flannery O'Connor, THE SERIOUS WRITER AND THE TIRED READER = 389
  SUGGESTIONS FOR WRITING = 390
 11 Stories for Further Reading = 392
  Ambrose Bierce, AN OCCURRENCE AT OWL CREEK BRIDGE = 392
  Willa Cather, PAUL'S CASE = 400
  Anton Chekhov, MISERY = 415
  Kate Chopin, THE STORY OF AN HOUR = 419
  Sandra Cisneros, BARBIE-Q = 422
  Charlotte Perkins Gilman, THE YELLOW WALLPAPER = 424
  Nadine Gordimer, THE DEFEATED = 437
  Langston Hughes, ON THE ROAD = 448
  Zora Neale Hurston, SWEAT = 452
  D. H. Lawrence, THE ROCKING-HORSE WINNER = 462
  Doris Lessing, A WOMAN ON A ROOF = 474
  Gabriel Garc$$\acute i$$a M$$\acute a$$rquez, THE WOMAN WHO CAME AT SIX O'CLOCK = 481
  Bobbie Ann Mason, SHILOH = 490
  Alice Munro, HOW I MET MY HUSBAND = 501
  Joyce Carol Oates, WHERE ARE YOU GOING, WHERE HAVE YOU BEEN? = 515
  Frank O'Connor, FIRST CONFESSION = 528
  Tillie Olsen, I STAND HERE IRONING = 534
  Philip Roth, THE CONVERSION OF THE JEWS = 541
  James Thurber, THE CATBIRD SEAT = 552
  Eudora Welty, A VISIT OF CHARITY = 559
  William Carlos Williams, THE USE OF FORCE = 564
  Virginia Woolf, A HAUNTED HOUSE = 567
 12 Criticism : On Fiction = 570
  Edgar Allan Poe, THE TALE AND ITS EFFECT = 570
  Charlotte Bront$$\ddot e$$, THE WRITER'S PASSIVE WORK = 571
  Gustave Flaubert, THE LABOR OF STYLE = 572
  Henry James, THE MIRROR OF A CONSCIOUSNESS = 572
  Anton Chekhov, NATURAL DESCRIPTION AND "THE CENTER OF GRAVITY" = 573
  James Joyce, EPIPHANIES = 574
  Katherine Mansfield, WRITING "MISS BRILL" = 575
  William Faulkner, "THE HUMAN HEART IN CONFLICT WITH ITSELF" = 575
  Nadine Gordimer, HOW THE SHORT STORY DIFFERS FROM THE NOVEL = 576
  Raymond Carver, "COMMONPLACE BUT PRECISE LANGUAGE" = 577
POETRY = 579
 13 Reading a Poem = 583
  William Butler Yeats, THE LAKE ISLE OF INNISFREE = 585
  LYRIC POETRY = 588
   D. H. Lawrence, PIANO = 589
   May Swenson, FOUR-WORD LINES = 589
  NARRATIVE POETRY = 590
   Anonymous, SIR PATRICK SPENCE = 590
   Robert Frost, "OUT, OUT-" = 592
  DRAMATIC POETRY = 593
   Robert Browning, MY LAST DUCHESS = 594
 14 Listening to a Voice = 597
  TONE = 597
   Theodore Roethke, MY PAPA'S WALTZ = 598
   Countee Cullen, FOR A LADY I KNOW = 599
   Anne Bradstreet, THE AUTHOR TO HER BOOK = 599
   Walt Whitman, TO A LOCOMOTIVE IN WINTER = 600
   Emily Dickinson, I LIKE TO SEE IT LAP THE MILES = 601
   Langston Hughes, HOMECOMING = 602
   Weldon Kees, FOR MY DAUGHTER = 602
  THE PERSON IN THE POEM = 603
   Trumbull Stickney, SIR, SAY NO MORE = 603
   Howard Moss, THE PRUNED TREE = 604
   William Wordsworth, I WANDERED LONELY AS A CLOUD = 605
   James Stephens, A GLASS OF BEER = 607
   Anne Sexton, HER KIND = 607
   Paul Zimmer, THE DAY ZIMMER LOST RELIGION = 608
   William Carlos Williams, THE RED WHEELBARROW = 609
  IRONY = 609
   Robert Creeley, OH NO = 610
   W. H. Auden, THE UNKNOWN CITIZEN = 611
   Sharon Olds, RITES OF PASSAGE = 612
   John Betjeman, IN WESTMINSTER ABBEY = 613
   Sarah N. Cleghorn, THE GOLF LINKS = 615
   Louise Gl$$\ddot u$$ck, GRATITUDE = 615
   Thomas Hardy, THE WORKBOX = 616
  FOR REVIEW AND FURTHER STUDY = 617
   Richard Lovelace, To LUCASTA = 617
   Wilfred Owen, DULCE ET DECORUM EST = 617
   Bettie Sellers, IN THE COUNSELOR'S WAITING ROOM = 618
   Jonathan Swift, ON STELLA'S BIRTHDAY = 619
   Jos$$\acute e$$ Emilio Pacheco, HIGH TREASON = 620
   John Ciardi, IN PLACE OF A CURSE = 620
   William Stafford, AT THE UN-NATIONAL MONUMENT ALONG THE CANADIAN BORDER = 621
   William Blake, THE CHIMNEY SWEEPER = 621
 15 WordS = 624
  LITERAL MEANING : WHAT A POEM SAYS FIRST = 624
   William Carlos Williams, THIS IS JUST TO SAY = 625
   Marianne Moore, SILENCE = 627
   Henry Taylor, RIDING A ONE-EYED HORSE = 627
   Robert Graves, DOWN, WANTON, DOWN! = 628
   Peter Davison, THE LAST WORD = 629
   John Donne, BATTER MY HEART, THREE-PERSONED GOD, FOR YOU = 629
  THE VALUE OF A DICTIONARY = 630
   Richard Wilbur, IN THE ELEGY SEASON = 631
   J. V. Cunningham, FRIEND, ON THIS SCAFFOLD THOMAS MORE LIES DEAD = 633
   Nina Cassian, LIKE GULLIVER = 633
   Henry Wadsworth Longfellow, AFTERMATH = 633
   James Wright, SAINT JUDAS = 634
   John Clare, MOUSE'S NEST = 634
  WORD CHOICE AND WORD ORDER = 635
   Josephine Miles, REASON = 637
   Emma Lee Warrior, HOW I CAME TO HAVE A MAN'S NAME = 640
   Thomas Hardy, THE RUINED MAID = 641
   Richard Eberhart, THE FURY OF AERIAL BOMBARDMENT = 642
   Wendy Cope, LONELY HEARTS = 643
  FOR REVIEW AND FURTHER STUDY = 644
   David B. Axelrod, ONCE IN A WHILE A PROTEST POEM = 644
   Lewis Carroll, JABBERWOCKY = 644
   Jonathan Holden, THE NAMES OF THE RAPIDS = 645
   E. E. Cummings, ANYONE LIVED IN A PRETTY HOW TOWN = 646
   Anonymous, CARNATION MILK = 647
   William Wordsworth, MY HEART LEAPS UP WHEN I BEHOLD = 648
   William Wordsworth, MUTABILITY = 648
   Anonymous, SCOTTSBORO = 648
 16 Saying and Suggesting = 650
  John Masefield, CARGOES = 651
  William Blake, LONDON = 652
  Wallace Stevens, DISILLUSIONMENT OF TEN O'CLOCK = 654
  Gwendolyn Brooks, THE BEAN EATERS = 655
  Richard Snyder, A MONGOLOID CHILD HANDLING SHELLS ON THE BEACH = 655
  Timothy Steele, EPITAPH = 656
  Geoffrey Hill, MERLIN = 656
  Walter de la Mare, THE LISTENERS = 657
  Robert Frost, FIRE AND ICE = 658
 17 Imagery = 660
  Ezra Pound, IN A STATION OF THE METRO = 660
  Taniguchi Buson, THE PIERCING CHILL I FEEL = 660
  T. S. Eliot, THE WINTER EVENING SETTLES DOWN = 662
  Theodore Roethke, ROOT CELLAR = 662
  Elizabeth Bishop, THE FISH = 663
  Anne Stevenson, THE VICTORY = 665
  John Haines, WINTER NEWS = 666
  Emily Dickinson, A ROUTE OF EVANESCENCE = 666
  Jean Toomer, REAPERS = 667
  Gerard Manley Hopkins, PIED BEAUTY = 667
  ABOUT HAIKU = 668
   Taniguchi Buson, ON THE ONE-TON TEMPLE BELL = 668
   Matsuo Basho, HEAT-LIGHTNING STREAK = 668
   Richard Brautigan, HAIKU AMBULANCE = 669
   Gary Snyder, Michael Stillman, Penny Harter, Nicholas A. Virgilio, Richard Wright, Hayden Carruth, Richard Wilbur, John Ridland, A SELECTION OF HAIKU = 670
  FOR REVIEW AND FURTHER STUDY = 670
   John Keats, BRIGHT STAR! WOULD I WERE STEADFAST AS THOU ART = 670
   Timothy Steele, SUMMER = 671
   Walt Whitman, THE RUNNER = 671
   T. E. Hulme, IMAGE = 672
   William Carlos Williams, THE GREAT FIGURE = 672
   Robert Bly, DRIVING TO TOWN LATE TO MAIL A LETTER = 672
   Gary Snyder, MID-AUGUST AT SOURDOUGH MOUNTAIN LOOKOUT = 673
   H. D., HEAT = 673
   Philip Larkin, TOADS = 673
   Emily Grosholz, LETTER FROM GERMANY = 674
   Stevie Smith, NOT WAVING BUT DROWNING = 675
 18 Figures o f Speech = 677
  WHY SPEAK FIGURATIVELY? = 677
   Alfred, Lord Tennyson, THE EAGLE = 677
   William Shakespeare, SHALL I COMPARE THEE TO A SUMMER'S DAY? = 678
   Howard Moss, SHALL I COMPARE THEE TO A SUMMER'S DAY? = 679
   Jon Stallworthy, SINDHI WOMAN = 680
  METAPHOR AND SIMILE = 680
   Richard Wilbur, A SIMILE FOR HER SMILE = 682
   Alfred, Lord Tennyson, FLOWER IN THE CRANNIED WALL = 682
   William Blake, TO SEE A WORLD IN A GRAIN OF SAND = 683
   Sylvia Plath, METAPHORS = 683
   Emily Dickinson, IT DROPPED SO LOW - IN MY REGARD = 684
   N. Scott Momaday, SIMILE = 684
   Ruth Whitman, CASTOFF SKIN = 685
  OTHER FIGURES = 686
   James Stephens, THE WIND = 686
   Chidiock Tichborne, ELEGY, WRITTEN WITH HIS OWN HAND IN THE TOWER BEFORE HIS EXECUTION = 688
   George Herbert, THE PULLEY = 690
   Edmund Waller, ON A GIRDLE = 691
   Theodore Roethke, I KNEW A WOMAN = 691
  FOR REVIEW AND FURTHER STUDY = 692
   Robert Frost, THE SILKEN TENT = 692
   Denise Levertov, LEAVING FOREVER = 693
   Jane Kenyon, THE SUITOR = 693
   Robert Frost, THE SECRET SITS = 694
   Margaret Atwood, YOU FIT INTO ME = 694
   W. S. Merwin, SONG OF MAN CHIPPING AN ARROWHEAD = 694
   John Ashbery, THE CATHEDRAL IS = 694
   Robinson Jeffers, HANDS = 695
   Robert Burns, OH, MY LOVE IS LIKE A RED, RED ROSE = 695
 19 Song = 697
  SINGING AND SAYING = 697
   Ben Jonson, TO CELIA = 698
   Anonymous, THE CRUEL MOTHER = 699
   Run D.M.C., FROM PETER PIPER = 701
   William Shakespeare, TAKE, O, TAKE THOSE LIPS AWAY = 702
   Edwin Arlington Robinson, RICHARD CORY = 703
   Paul Simon, RICHARD CORY = 704
  BALLADS = 705
   Anonymous, BONNY BARBARA ALLAN = 705
   Dudley Randall, BALLAD OF BIRMINGHAM = 709
  FOR REVIEW AND FURTHER STUDY = 710
   John Lennon and Paul McCartney, ELEANOR RIGBY = 710
   Anonymous, THE SILVER SWAN, WHO LIVING HAD NO NOTE = 711
   William Blake, JERUSALEM = 712
 20 Sound = 714
  SOUND AS MEANING = 714
   Alexander Pope, TRUE EASE IN WRITING COMES FROM ART, NOT CHANCE = 715
   William Butler Yeats, WHO GOES WITH FERGUS? = 717
   John Updike, RECITAL = 718
   Frances Cornford, THE WATCH = 718
   William Wordsworth, A SLUMBER DID MY SPIRIT SEAL = 719
   Emanuel di Pasquale, RAIN = 719
   Aphra Behn, WHEN MAIDENS ARE YOUNG = 719
  ALLITERATION AND ASSONANCE = 719
   A. E. Housman, EIGHT O'CLOCK = 721
   Robert Herrick, UPON JULIA'S VOICE = 721
   Janet Lewis, GIRL HELP = 722
   Alfred, Lord Tennyson, THE SPLENDOR FALLS ON CASTLE WALLS = 723
  RIME = 723
   William Cole, ON MY BOAT ON LAKE CAYUGA = 724
   William Blake, THE ANGEL THAT PRESIDED O'ER MY BIRTH = 725
   Hilaire Belloc, THE HIPPOPOTAMUS = 727
   R. S. Gwynn, SCENES FROM THE PLAYROOM = 727
   William Butler Yeats, LEDA AND THE SWAN = 728
   Gerard Manley Hopkins, GOD's GRANDEUR = 729
   Fred Chappell, NARCISSUS AND ECHO = 729
   Robert Frost, DESERT PLACES = 730
  READING AND HEARING POEMS ALOUD = 731
   Michael Stillman, IN MEMORIAM JOHN COLTRANE = 733
   William Shakespeare, FULL FATHOM FIVE THY FATHER LIES = 733
   A. E. Housman, WITH RUE MY HEART IS LADEN = 734
   T. S. Eliot, VIRGINIA = 734
 21 Rhythm = 735
  STRESSES AND PAUSES = 735
   Gwendolyn Brooks, WE REAL COOL = 740
   Robert Frost, NEVER AGAIN WOULD BIRDS' SONG BE THE SAME = 741
   Ben Jonson, SLOW, SLOW, FRESH FOUNT, KEEP TIME WITH MY SALT TEARS = 741
   Alexander Pope, ATTICUS = 742
   Sir Thomas Wyatt, WITH SERVING STILL = 743
   Dorothy Parker, R$$\acute E$$SUM$$\acute E$$ = 743
  METER = 744
   Max Beerbohm, ON THE IMPRINT OF THE FIRST ENGLISH EDITION OF THE WORKS OF MAX BEERBOHM = 744
   Thomas Campion, ROSE-CHEEKED LAURA, COME = 748
   Walter Savage Landor, ON SEEING A HAIR OF LUCRETIA BORGIA = 749
   Edna St. Vincent Millay, COUNTING-OUT RHYME = 751
   A. E. Housman, WHEN I WAS ONE-AND-TWENTY = 751
   William Carlos Williams, THE DESCENT OF WINTER(SECTION 10／30) = 752
   Walt Whitman, BEAT! BEAT! DRUMS! = 752
   Langston Hughes, DREAM BOOGIE = 753
 22 Closed Form = 755
  FORMAL PATTERNS = 756
   John Keats, THIS LIVING HAND, NOW WARM AND CAPABLE = 757
   John Donne, SONG("GO AND CATCH A FALLING STAR") = 759
   Ronald Gross, YIELD = 761
  THE SONNET = 762
   Michael Drayton, SINCE THERE'S NO HELP, COME LET US KISS AND PART = 763
   Elizabeth Barrett Browning, GRIEF = 764
   Thomas Carper, FACTS = 765
   Robert Frost, ACQUAINTED WITH THE NIGHT = 765
  EPIGRAMS = 766
   Alexander Pope, EPIGRAM ENGRAVED ON THE COLLAR OF A DOG = 766
   Martial, Sir John Harrington, William Blake, E. E. Cummings, Langston Hughes, J. V. Cunningham, John Frederick Nims, Stevie Smith, Thom Gunn, Bruce Bennett, Hilaire Belloc, Wendy Cope, A SELECTION OF EPIGRAMS = 767
   W. H. Auden, Edmund Clerihew Bentley, Cornelius J. Ter Maat, A SELECTION OF CLERIHEWS = 769
   Keith Waldrop, PROPOSITION Ⅱ = 770
  OTHER FORMS = 770
   Dylan Thomas, DO NOT GO GENTLE INTO THAT GOOD NIGHT = 771
   Leigh Hunt, RONDEAU = 771
   Robert Bridges, TRIOLET = 772
   Elizabeth Bishop, SESTINA = 772
 23 Open Form = 775
  Denise Levertov, SIX VARIATIONS(PART Ⅲ) = 775
  E. E. Cummings, BUFFALO BILL'S = 779
  Emily Dickinson, VICTORY COMES LATE = 780
  William Carlos Williams, THE DANCE = 781
  Stephen Crane, THE HEART = 782
  Walt Whitman, CAVALRY CROSSING A FORD = 782
  Wallace Stevens, THIRTEEN WAYS OF LOOKING AT A BLACKBIRD = 783
  Gary Gildner, FIRST PRACTICE = 785
  Carolyn Forch$$\acute e$$, THE COLONEL = 787
  VISUAL POETRY = 787
   George Herbert, EASTER WINGS = 788
   John Hollander, SWAN AND SHADOW = 789
   Dorthi Charles, CONCRETE CAT = 791
  SEEING THE LOGIC OF OPEN FORM = 792
   E. E. Cummings, IN JUST- = 792
   Linda Pastan, JUMP CABLING = 793
   A. R. Ammons, THE CITY LIMITS = 793
   Carole Satyamurti, I SHALL PAINT MY NAILS RED = 794
   Alice Fulton, WHAT I LIKE = 794
   Charles Olson, LA CHUTE = 795
 24 Symbol = 796
  T. S. Eliot, THE Boston Evening Transcript = 797
  Emily Dickinson, THE LIGHTNING IS A YELLOW FORK = 798
  Thomas Hardy, NEUTRAL TONES = 800
  Matthew 13 : 24-30, THE PARABLE OF THE GOOD SEED = 801
  George Herbert, REDEMPTION = 802
  Emily Dickinson, I HEARD A FLY BUZZ - WHEN I DIED = 802
  Robert Frost, THE ROAD NOT TAKEN = 803
  Christina Rossetti, UPHILL = 804
  Gjertrud Schnackenberg, SIGNS = 805
  Hugo Williams, KITES = 805
  William Carlos Williams, POEM ("AS THE CAT") = 806
  Lorine Niedecker, POPCORN - CAN COVER = 806
  Wallace Stevens, ANECDOTE OF THE JAR = 806
 25 Myth and Narrative = 808
  Robert Frost, NOTHING GOLD CAN STAY = 810
  D. H. Lawrence, BAVARIAN GENTIANS = 811
  Thomas Hardy, THE OXEN = 812
  William Wordsworth, THE WORLD IS TOO MUCH WITH US = 812
  PERSONAL MYTH = 813
   William Butler Yeats, THE SECOND COMING = 813
   Dick Allen, NIGHT DRIVING = 815
   Frances Cornford, ALL SOULS' NIGHT = 815
  MYTH AND POPULAR CULTURE = 815
   Charles Martin, TAKEN UP = 816
   Edward Field, CURSE OF THE CAT WOMAN = 817
   A. D. Hope, IMPERIAL ADAM = 819
   Anne Sexton, CINDERELLA = 820
 26 Poetry and Personal Identity = 824
  Sylvia Plath, LADY LAZARUS = 825
  Julia Alvarez, THE WOMEN ON MY MOTHER'S SIDE WERE KNOWN = 828
  RACE AND ETHNICITY = 829
   Claude McKay, AMERICA = 829
   Langston Hughes, THEME FOR ENGLISH B = 831
   Samuel Menashe, THE SHRINE WHOSE SHAPE I AM = 832
   Francisco X. Alarc$$\acute o$$n, THE X IN MY NAME = 833
  GENDER = 833
   Anne Stevenson, SOUS ENTENDU = 834
   Song of Songs 2 : 3-13, AS THE APPLE TREE AMONG THE TREES OF THE WOOD = 835
   Yusef Komunyakaa, FACING IT = 836
   Donald Justice, MEN AT FORTY = 837
   Adrienne Rich, WOMEN = 838
  FOR REVIEW AND FURTHER STUDY = 838
   Shirley Geok-lin Lim, To Li PO = 838
   Alberto R$$\acute i$$os, SPRING IN THE ONLY PLACE SPRING WAS = 839
   Andrew Hudgins, ELEGY FOR MY FATHER, WHO IS NOT DEAD = 840
   Edna St. Vincent Millay, WELL, I HAVE LOST YOU ; AND I LOST YOU FAIRLY = 840
   Philip Larkin, AUBADE = 841
 27 Alternatives = 843
  TRANSLATIONS = 843
   Federico Garc$$\acute i$$a Lorca, LA GUITARRA(GUITAR) = 844
   Horace, ODES Ⅰ(11) = 845
   Edwin Arlington Robinson, James Michie, John Frederick Nims, TRANSLATIONS FROM HORACE = 845
   Omar Khayyam, RUBAI = 847
   Edward FitzGerald, Robert Graves and Omar Ali-Shah, Dick Davis, TRANSLATIONS FROM OMAR KHAYYAM = 847
  PARODY = 849
   Anonymous, WE FOUR LADS FROM LIVERPOOL ARE = 849
   Wendy Cope, FROM "STRUGNELL'S Rubaiyat" = 849
   Hugh Kingsmill, WHAT, STILL ALIVE AT TWENTY-TWO? = 850
   Bruce Bennett, THE LADY SPEAKS AGAIN = 851
   George Starbuck, MARGARET ARE YOU DRUG = 851
 28 Evaluating a Poem = 853
  TELLING GOOD FROM BAD = 853
   Anonymous, O MOON, WHEN I GAZE ON THY BEAUTIFUL FACE = 855
   Grace Treasone, LIFE = 856
   Stephen Tropp, MY WIFE IS MY SHIRT = 856
   Emily Dickinson, A DYING TIGER - MOANED FOR DRINK = 856
   Rod McKuen, THOUGHTS ON CAPITAL PUNISHMENT = 859
   William Stafford, TRAVELING THROUGH THE DARK = 860
   Julia A. Moore, LITTLE LIBBY = 861
   Bill Knott, POEM = 862
   Dabney Stuart, CRIB DEATH = 862
   Michael Harper, REUBEN, REUBEN = 862
   Ted Kooser, A CHILD'S GRAVE MARKER = 863
   Wallace McRae, REINCARNATION = 863
  KNOWING EXCELLENCE = 865
   William Butler Yeats, SAILING TO BYZANTIUM = 866
   Arthur Guiterman, ON THE VANITY OF EARTHLY GREATNESS = 868
   Percy Bysshe Shelley, OZYMANDIAS = 869
   William Shakespeare, MY MISTRESS' EYES ARE NOTHING LIKE THE SUN = 869
   Thomas Campion, THERE IS A GARDEN IN HER FACE = 870
   Walt Whitman, O CAPTAIN! MY CAPTAIN! = 871
   Carl Sandburg, FOG = 872
   Thomas Gray, ELEGY WRITTEN IN A COUNTRY CHURCHYARD = 873
   Emma Lazarus, THE NEW COLOSSUS = 878
   Edgar Allan Poe, ANNABEL LEE = 879
 29 What Is Poetry? = 881
  Robert Francis, CATCH = 881
 30 Poems for Further Reading = 885
  Anonymous, EDWARD = 886
  Anonymous, THE THREE RAVENS = 887
  Anonymous, THE TWA CORBIES = 888
  Anonymous, SUMER IS ICUMEN IN = 889
  Anonymous, WESTERN WIND = 889
  Anonymous, LAST WORDS OF THE PROPHET(NAVAJO MOUNTAIN CHANT) = 889
  Matthew Arnold, DOVER BEACH = 890
  John Ashbery, AT NORTH FARM = 891
  Margaret Atwood, SIREN SONG = 891
  W. H. Auden, AS I WALKED OUT ONE EVENING = 893
  W. H. Auden, MUS$$\acute E$$E DES BEAUX ARTS = 895
  R. L. Barth, THE INSERT = 896
  Elizabeth Bishop, FILLING STATION = 896
  Elizabeth Bishop, ONE ART = 897
  William Blake, THE SICK ROSE = 899
  William Blake, THE TYGER = 899
  Louise Bogan, THE DREAM = 900
  Emily Bront$$\ddot e$$, LOVE AND FRIENDSHIP = 900
  Gwendolyn Brooks, THE RITES FOR COUSIN VIT = 901
  Gwendolyn Brooks, A STREET IN BRONZEVILLE : SOUTHEAST CORNER = 902
  Elizabeth Barrett Browning, HOW DO I LOVE THEE? LET ME COUNT THE WAYS = 902
  Robert Browning, SOLILOQUY OF THE SPANISH CLOISTER = 902
  Thomas Carew, ASK ME NO MORE WHERE JOVE BESTOWS = 904
  Geoffrey Chaucer, YOUR $$\ddot Y$$EN TWO WOL SLEE ME SODENLY = 905
  G. K. Chesterton, THE DONKEY = 906
  Samuel Taylor Coleridge, KUBLA KHAN = 906
  Emily Dickinson, BECAUSE I COULD NOT STOP FOR DEATH = 908
  Emily Dickinson, I STARTED EARLY - TOOK MY DOG = 909
  Emily Dickinson, MY LIFE HAD STOOL - A LOADED GUN = 910
  John Donne, DEATH BE NOT PROUD = 910
  John Donne, THE FLEA = 911
  John Donne, A VALEDICTION : FORBIDDING MOURNING = 912
  Rita Dove, DAYSTAR = 913
  John Dryden, TO THE MEMORY OF MR. OLDHAM = 914
  T. S. Eliot, JOURNEY OF THE MAGI = 914
  T. S. Eliot, THE LOVE SONG OF J. ALFRED PRUFROCK = 916
  Louise Erdrich, INDIAN BOARDING SCHOOL : THE RUNAWAYS = 920
  Robert Frost, BIRCHES = 920
  Robert Frost, MENDING WALL = 922
  Robert Frost, STOPPING BY WOODS ON A SNOWY EVENING = 923
  Allen Ginsberg, A SUPERMARKET IN CALIFORNIA = 923
  Dana Gioia, CALIFORNIA HILLS IN AUGUST = 924
  H. D., HELEN = 925
  Donald Hall, NAMES OF HORSES = 926
  Thomas Hardy, THE CONVERGENCE OF THE TWAIN = 927
  Thomas Hardy, DURING WIND AND RAIN = 929
  Thomas Hardy, HAP = 930
  Thomas Hardy, IN CHURCH = 930
  Robert Hayden, THE WHIPPING = 931
  Robert Hayden, THOSE WINTER SUNDAYS = 932
  James Hayford, DRY NOON = 932
  Seamus Heaney, DIGGING = 933
  Seamus Heaney, MOTHER OF THE GROOM = 933
  Anthony Hecht, ADAM = 934
  George Herbert, LOVE = 935
  Robert Herrick, THE BAD SEASON MAKES THE POET SAD = 936
  Robert Herrick, TO THE VIRGINS, TO MAKE MUCH OF TIME = 937
  Garrett Hongo, THE CADENCE OF SILK = 937
  Gerard Manley Hopkins, SPRING AND FALL = 939
  Gerard Manley Hopkins, THOU ART INDEED JUST, LORD, IF I CONTEND = 940
  Gerard Manley Hopkins, THE WINDHOVER = 941
  A. E. Housman, LOVELIEST OF TREES, THE CHERRY NOW = 941
  A. E. Housman, TO AN ATHLETE DYING YOUNG = 942
  Langston Hughes, DREAM DEFERRED = 943
  Langston Hughes, THE NEGRO SPEAKS OF RIVERS = 943
  Randall Jarrell, THE DEATH OF THE BALL TURRET GUNNER = 944
  Robinson Jeffers, TO THE STONE-CUTTERS = 945
  Elizabeth Jennings, I FEEL = 946
  Ben Jonson, ON MY FIRST SON = 946
  Donald Justice, ON THE DEATH OF FRIENDS IN CHILDHOOD = 947
  John Keats, ODE ON A GRECIAN URN = 947
  John Keats, ON FIRST LOOKING INTO CHAPMAN'S HOMER = 948
  John Keats, WHEN I HAVE FEARS THAT I MAY CEASE TO BE = 949
  John Keats, TO AUTUMN = 950
  Philip Larkin, HOME IS SO SAD = 951
  Philip Larkin, POETRY OF DEPARTURES = 952
  Irving Layton, THE BULL CALF = 953
  Philip Levine, ANIMALS ARE PASSING FROM OUR LIVES = 954
  Stephen Shu-ning Liu, MY FATHER'S MARTIAL ART = 954
  Robert Lowell, SKUNK HOUR = 955
  Archibald MacLeish, THE END OF THE WORLD = 956
  Andrew Marvell, TO HIS COY MISTRESS = 957
  David Mason, DISCLOSURE = 958
  George Meredith, LUCIFER IN STARLIGHT = 959
  James Merrill, CHARLES ON FIRE = 959
  Charlotte Mew, THE FARMER'S BRIDE = 960
  Edna St. Vincent Millay, RECUERDO = 961
  John Milton, LYCIDAS = 962
  John Milton, WHEN I CONSIDER HOW MY LIGHT IS SPENT = 968
  Marianne Moore, THE MIND IS AN ENCHANTING THING = 968
  Frederick Morgan, THE MASTER = 970
  Howard Nemerov, THE SNOW GLOBE = 970
  Lorine Niedecker, SORROW MOVES IN WIDE WAVES = 971
  Sharon Olds, THE ONE GIRL AT THE BOYS PARTY = 972
  Wilfred Owen, ANTHEM FOR DOOMED YOUTH = 972
  Linda Pastan, ETHICS = 973
  Octavio Paz, WITH OUR EYES SHUT = 974
  Robert Phillips, RUNNING ON EMPTY = 974
  Sylvia Plath, DADDY = 975
  Edgar Allan Poe, To HELEN = 978
  Alexander Pope, A LITTLE LEARNING IS A DANG'ROUS THING = 978
  Ezra Pound, THE GARRET = 979
  Ezra Pound, THE RIVER-MERCHANT'S WIFE : A LETTER = 980
  Dudley Randall, OLD WITHERINGTON = 981
  John Crowe Ransom, BELLS FOR JOHN WHITESIDE'S DAUGHTER = 982
  Henry Reed, NAMING OF PARTS = 982
  Alastair Reid, SPEAKING A FOREIGN LANGUAGE = 983
  Adrienne Rich, AUNT JENNIFER'S TIGERS = 984
  Adrienne Rich, PEELING ONIONS = 985
  Adrienne Rich, POWER = 985
  Edwin Arlington Robinson, MINIVER CHEEVY = 986
  Theodore Roethke, ELEGY FOR JANE = 987
  Mary Jo Satter, WELCOME TO HIROSHIMA = 988
  William Shakespeare, NOT MARBLE NOR THE GILDED MONUMENTS = 990
  William Shakespeare, THAT TIME OF YEAR THOU MAYST IN ME BEHOLD = 991
  William Shakespeare, WHEN, IN DISGRACE WITH FORTUNE AND MEN'S EYES = 991
  William Shakespeare, WHEN DAISIES PIED AND VIOLET BLUE = 991
  William Shakespeare, WHEN ICICLES HANG BY THE WALL = 992
  Karl Shapiro, THE DIRTY WORD = 993
  Charles Simic, BUTCHER SHOP = 993
  David R. Slavitt, TITANIC = 994
  Christopher Smart, FOR I WILL CONSIDER MY CAT JEOFFRY = 994
  William Jay Smith, AMERICAN PRIMITIVE = 997
  W. D. Snodgrass, DISPOSAL = 997
  William Stafford, AT THE KLAMATH BERRY FESTIVAL = 998
  Wallace Stevens, PETER QUINCE AT THE CLAVIER = 998
  Wallace Stevens, THE EMPEROR OF ICE-CREAM = 1000
  Ruth Stone, SECOND HAND COAT = 1001
  Jonathan Swift, A DESCRIPTION OF THE MORNING = 1002
  Alfred, Lord Tennyson, DARK HOUSE, BY WHICH ONCE MORE I STAND = 1002
  Alfred, Lord Tennyson, ULYSSES = 1003
  Dylan Thomas, FERN HILL = 1005
  John Updike, EX-BASKETBALL PLAYER = 1006
  Amy Uyematsu, RED ROOSTER, YELLOW SKY = 1007
  Mona Van Duyn, EARTH TREMORS FELT IN MISSOURI = 1008
  Derek Walcott, THE VIRGINS = 1008
  Edmund Waller, Go, LOVELY ROSE = 1009
  Walt Whitman, A NOISELESS PATIENT SPIDER = 1010
  Walt Whitman, I SAW IN LOUISIANA A LIVE-OAK GROWING = 1010
  Richard Wilbur, TRANSIT = 1011
  Richard Wilbur, THE WRITER = 1012
  Miller Williams, THINKING ABOUT BILL, DEAD OF AIDS = 1013
  William Carlos Williams, SPRING AND ALL = 1014
  William Carlos Williams, TO WAKEN AN OLD LADY = 1015
  Yvor Winters, AT THE SAN FRANCISCO AIRPORT = 1016
  William Wordsworth, COMPOSED UPON WESTMINSTER BRIDGE = 1016
  James Wright, A BLESSING = 1017
  James Wright, AUTUMN BEGINS IN MARTINS FERRY, OHIO = 1018
  Sir Thomas Wyatt, THEY FLEE FROM ME THAT SOMETIME DID ME SEK$$\ddot E$$ = 1019
  William Butter Yeats, CRAZY JANE TALKS WITH THE BISHOP = 1019
  William Butler Yeats, LONG-LEGGED FLY = 1020
  William Butler Yeats, THE MAGI = 1021
  William Butler Yeats, WHEN YOU ARE OLD = 1022
 31 Criticism : On Poetry = 1023
  Plato, INSPIRATION = 1025
  Aristotle, Two CAUSES OF POETRY = 1026
  Samuel Johnson, THE BUSINESS OF A POET = 1027
  William Wordsworth, EMOTION RECOLLECTED IN TRANQUILLITY = 1027
  Samuel Taylor Coleridge, IMAGINATION = 1028
  Percy Bysshe Shelley, UNACKNOWLEDGED LEGISLATORS = 1029
  Ralph Waldo Emerson, METER-MAKING ARGUMENT = 1029
  Edgar Allan Poe, A LONG POEM DOES NOT EXIST = 1030
  Emily Dickinson, RECOGNIZING ROETRY = 1030
  Robert Frost, THE SOUND OF SENSE = 1030
  William Carlos Williams, THE RHYTHM PERSISTS = 1032
  Ezra Pound, POETRY AND MUSIC = 1032
  T. S. Eliot, EMOTION AND PERSONALITY = 1032
  Adrienne Rich, FEMINIST RE-VISION = 1033
  Octavio Paz, EUROPEAN LANGUAGES AND THE LITERATURE OF THE AMERICAS = 1034
 32 Lives of the Poets = 1035
  DRAMA = 1061
 33 Reading a Play = 1063
  A PLAY IN ITS ELEMENTS = 1065
   Susan GLaspell, TRIFLES = 1066
  TRAGEDY AND COMEDY = 1081
   John Millington Synge, RIDERS TO THE SEA = 1083
   Garrison Keillor, THE PRODIGAL SON = 1095
  SUGGESTIONS FOR WRITING = 1101
 34 The Theater o f Sophocles = 1102
  Sophocles, OEDIPUS THE KING(TRANSLATED BY DUDLEY FITTS AND ROBERT FITZGERALD) = 1105
  ARISTOTLE'S CONCEPT OF TRAGEDY = 1147
  SUGGESTIONS FOR WRITING = 1149
 35 The Theater of Shakespeare = 1150
  William Shakespeare, THE TRAGEDY OF OTHELLO, THE MOOR OF VENICE = 1153
  SUGGESTIONS FOR WRITING = 1254
 36 The Modern Theater = 1255
  Henrik Ibsen, A DOLL's HOUSE = 1258
  TRAGICOMEDY AND THE ABSURD = 1315
   Edward Albee, THE SANDBOX = 1318
  SUGGESTIONS FOR WRITING = 1323
 37 Evaluating a Play = 1324
  SUGGESTIONS FOR WRITING = 1326
 38 Plays for Further Reading = 1327
  Sophocles, ANTIGON$$\hat E$$(TRANSLATED BY DUDLEY FITTS AND ROBERT FITZGERALD) = 1328
  William Shakespeare, THE TRAGEDY OF HAMLET, PRINCE OF DENMARK = 1359
  Arthur Miller, DEATH OF A SALESMAN = 1476
  Tennessee Williams, THE GLASS MENAGERIE = 1548
 39 New Voices in American Drama = 1598
  Beth Henley, CRIMES OF THE HEART = 1598
  David Henry Hwang, THE SOUND OF A VOICE = 1647
  Terrence McNally, ANDRE'S MOTHER = 1662
  August Wilson, JOE TURNER'S COME AND GONE = 1665
 40 Criticism : On Drama = 1715
  Aristotle, TRAGEDY = 1715
  E. R. Dodds, SOPHOCLES AND DIVINE JUSTICE = 1717
  Thomas Rymer, THE FAULTS OF OTHELLO = 1717
  W. H. Auden, IAGO AS A TRIUMPHANT VILLAIN = 1718
  Samuel Johnson, "SHAKESPEARE HAS NO HEROES" = 1719
  Anthony Burgess, AN ASIAN CULTURE LOOKS AT SHAKESPEARE = 1720
  Bernard Shaw, IBSEN AND THE FAMILIAR SITUATION = 1721
  Virginia Woolf, WHAT IF SHAKESPEARE HAD HAD A SISTER? = 1722
  Edward Albee, THE THEATER OF THE ABSURD = 1723
  Tennessee Williams, HOW TO STAGE THE GLASS MENAGERIE = 1724
  Arthur Miller, TRAGEDY AND THE COMMON MAN = 1726
  Maria Irene Fornes, CHARACTERS ARE NOT REAL PEOPLE = 1729
  August Wilson, BLACK EXPERIENCE IN AMERICA = 1729
  David Henry Hwang, MULTICULTURAL THEATER = 1730
SUPPLEMENT : WRITING = 1733
 1. Writing about Literature = 1735
  BEGINNING = 1735
  DISCOVERING AND PLANNING = 1737
  DRAFTING AND REVISING = 1739
  THE FORM OF YOUR FINISHED PAPER = 1742
  DOCUMENTING YOUR SOURCES = 1743
   Robert Wallace, THE GIRL WRITING HER ENGLISH PAPER = 1746
 2. Writing about a Story = 1747
  EXPLICATING = 1747
  ANALYZING = 1750
  COMPARING AND CONTRASTING = 1756
  SUGGESTIONS FOR WRITING = 1757
 3. Writing about a Poem = 1761
  EXPLICATING = 1762
   Robert Frost, DESIGN = 1763
  ANALYZING = 1767
  COMPARING AND CONTRASTING = 1770
   Abbie Huston Evans, WING-SPREAD = 1771
  HOW TO QUOTE A POEM = 1773
  BEFORE YOU BEGIN = 1775
  SUGGESTIONS FOR WRITING = 1776
 4. Writing about a Play = 1780
  METHODS = 1780
  WRITING A CARD REPORT = 1782
  REVIEWING A PLAY = 1785
  SUGGESTIONS FOR WRITING = 1787
 5. Critical Approaches to Literature = 1790
  FORMALIST CRITICISM = 1791
   Cleanth Brooks, THE FORMALIST CRITIC = 1792
   Robert Langbaum, ON ROBERT BROWNING'S "MY LAST DUCHESS" = 1793
  BIOGRAPHICAL CRITICISM = 1795
   Leslie Fiedler, THE RELATIONSHIP OF POET AND POEM = 1796
   Brett C. Millier, ON ELIZABETH BISHOP'S "ONE ART" = 1797
  HISTORICAL CRITICISM = 1798
   Hugh Kenner, IMAGISM = 1799
   Daryl Pinckney, ON LANGSTON HUGHES = 1801
  GENDER CRITICISM = 1802
   Elaine Showalter, TOWARD A FEMINIST POETICS = 1802
   Sandra M. Gilbert and Susan Gubar, THE FREEDOM OF EMILY DICKINSON = 1803
  PSYCHOLOGICAL CRITICISM = 1804
   Sigmund Freud, THE DESTINY OF OEDIPUS = 1805
   Harold Bloom, POETIC INFLUENCE = 1806
  SOCIOLOGICAL CRITICISM = 1807
   Georg Lukacs, CONTENT DETERMINES FORM = 1808
   Terry Eagleton, ART AS PRODUCTION = 1808
  MYTHOLOGICAL CRITICISM = 1809
   Northrop Frye, MYTHIC ARCHETYPES = 1810
   Maud Bodkin, LUCIFER IN SHAKESPEARE'S Othello = 1811
  READER-RESPONSE CRITICISM = 1811
   Stanley Fish, AN ESKIMO "A ROSE FOR EMILY" = 1812
   Robert Scholes, "HOW DO WE MAKE A POEM?" = 1813
  DECONSTRUCTIONIST CRITICISM = 1815
   Roland Barthes, THE DEATH OF THE AUTHOR = 1816
   Geoffrey Hartman, ON WORDSWORTH'S "A SLUMBER DID MY SPIRIT SEAL" = 1817
Acknowledgments = 1819
Index to Authors and Titles = 1831
Index to Terms = 1852