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Lucid, entertaining and full of insight, How To Read A Poem is designed to banish the intimidation that too often attends the subject of poetry, and in doing so to bring it into the personal possession of the students and the general reader.

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• Offers a detailed examination of poetic form and its relation to content.
  
• Takes a wide range of poems from the Renaissance to the present day and submits them to brilliantly illuminating closes analysis.
  
• Discusses the work of major poets, including John Milton, Alexander Pope, John Keats, Christina Rossetti, Emily Dickinson, W.B. Yeats, Robert Frost, W.H.Auden, Seamus Heaney, Derek Mahon, and many more.
  
• Includes a helpful glossary of poetic terms.

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On the whole, students today are not taught how to be sensitive to language - how to read a poem with due attention to its tone, mood, pitch, pace, rhythm and texture, rather than just to 'what it says'. To demonstrate how this works in practice, the author takes a wide range of poems from the Renaissance to the present day and submits them to brilliantly illuminating close analysis. As one of the world's leading literary theorists, Eagleton also summons the aid of such pioneering critics as the Russian Formalists to raise some provocative general questions:

• What is poetry, and how does it differ from prose?
• Is there a language peculiar to poetry?
• What exactly do we mean by imagery?

Lucid, entertaining and full of insight, How To Read A Poem is designed to banish the intimidation that too often attends the subject of poetry, and in doing so to bring it into the personal possession of the students and the general reader.

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Section Description	Page Number
Preface	p. vii
Acknowledgements	p. viii
1	The Functions of Criticism	p. 1
1	    The End of Criticism?	p. 1
2	    Politics and Rhetoric	p. 8
3	    The Death of Experience	p. 17
4	    Imagination	p. 22
2	What is Poetry?	p. 25
1	    Poetry and Prose	p. 25
2	    Poetry and Morality	p. 28
3	    Poetry and Fiction	p. 31
4	    Poetry and Pragmatism	p. 38
5	    Poetic Language	p. 41
3	Formalists	p. 48
1	    Literariness	p. 48
2	    Estrangement	p. 49
3	    The Semiotics of Yury Lotman	p. 52
4	    The Incarnational Fallacy	p. 59
4	In Pursuit of Form	p. 65
1	    The Meaning of Form	p. 65
2	    Form versus Content	p. 70
3	    Form as Transcending Content	p. 79
4	    Poetry and Performance	p. 88
5	    Two American Examples	p. 96
5	How to Read a Poem	p. 102
1	    Is Criticism Just Subjective?	p. 102
2	    Meaning and Subjectivity	p. 108
3	    Tone, Mood and Pitch	p. 114
4	    Intensity and Pace	p. 118
5	    Texture	p. 120
6	    Syntax, Grammar and Punctuation	p. 121
7	    Ambiguity	p. 124
8	    Punctuation	p. 130
9	    Rhyme	p. 131
10	    Rhythm and Metre	p. 135
11	    Imagery	p. 138
6	Four Nature Poems	p. 143
1	    ''Ode to Evening''   William Collins	p. 143
2	    ''The Solitary Reaper''   William Wordsworth	p. 149
3	    ''God''s Grandeur''   Gerard Manley Hopkins	p. 153
4	    ''Fifty Faggots''   Edward Thomas	p. 157
5	    Form and History	p. 161
Glossary	p. 165
Index	p. 169