PeRRINE'S
LITERATURE
STRUCTURE, SOUND,
AND SENSE
Eighth Edition
Thomas
R,
Arp
Southern Methodist University
Greg Johnson
Ke nn e s aw State University
HEINLE
& HEINLE
^
THOIVISOIM LEARNING
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& HEINLE
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THOr^SON LEARNINC3
Perrine's Literature
Structure, Sound, and Sense/Eighth Edition
Thomas
R.
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Arp and Greg Johnson
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by Laurence Perrine
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Library of
Congress Catalog Card Number:
2001088994
P r efa c e
This eighth edition oi Perrine's Literature:
the previous editions,
is
Structure, Sound,
written for the student
study of imaginative literature.
of the nature and variety of
It
who
and
Sense,
Hke
beginning a serious
is
seeks to give that student a sufficient grasp
fiction, poetry,
and drama, some reasonable
means for reading with appreciative understanding, and a few primary ideas
of how to evaluate
literature.
The
separate sections gradually introduce the
student to the elements of the three genres, putting the emphasis always on
how and why: How can
the reader use these elements to get at the
of the work, to interpret
it
correctly,
does the writer use these elements?
and to respond
What
to
it
meaning
adequately?
Why
values have they for the writer and
the reader?
The eighth edition oi Literature maintains the balance between classic and
modern writers, and continues to offer a wide sampHng of vicarious experiences through the works of women as well as men, ethnic minorities as well
as authors representing the varieties
Each
section of the
of the form and
is
book begins with
illustrated,
of American and "world"
literature.
a simple discussion of the elements
throughout, by carefully selected
stories,
po-
ems, and plays. Each section also includes a compact anthology of additional
selections for further reading, and each one provides enough examples to
permit the comparative study by which Uterary merit
the fiction section has a
ers
—
a classic, a
new part devoted
modern, and
become comfortably
a
is
judged.
to three stories each
contemporary
To
— with whom the student can
familiar; this presentation
of a generous sampUng from
three writers parallels the continued representation of multiple
three poets in the poetry section. In the
many readers, we have
art in
drama
works by
section, at the request
introduced a second Shakespeare play to
both tragic and comic forms. This edition also places
of
illustrate his
a greater
phasis on writing about literature, offering pride of place as the
to an
that end,
by three writ-
first
em-
section
updated and augmented guide to "Writing about Literature," and pro-
viding suggestions for writing at the ends of chapters throughout the book.
In matters of theory, some issues are undoubtedly simpUfied, but
we hope
none seriously, and some more sophisticated theoretical approaches have
had to be excluded. The purpose has always been to give the beginning student something to understand and use. The first assumptions of this book
PROFESSIONAL ACKNOWLEDGMENTS
viii
Janet Eber
Gary Grassinger
County College of Morris
Community
Bert Edelman
Janet
Glendale College
Shelton State
HiU Gregory
Community
College
University of South Carolina
Central Piedmont
Laura Fasick
Louise Hall
Moorhead
Moorhead
State University
College
Jeff
State University
State University
Valley College
Hartvigsen
Henderson
University of Central Arkansas
Barbara Hickey
William Rainey Harper College
William Fordyce
West Chester University
National Business College
James Hoggard
Midwestern State University
Margaret H. Freeman
S.
Los Angeles Valley College
Central Michigan University
Wilhelmina L. Foster
Community
C. Holder
Donna Ross Hooley
Chris Frongillo
Bossier Parish
College
Georgia Southern University
Huhn
Joe B. Fulton
Patricia
Dalton State College
Trinidad State Junior College
William A. Geiger, Jr.
Kathleen Jacquette
Whittier College
College
Ricks College
Fleming
Sam Houston
Rock
M. Kip
Rosemary Fisk
Samford University
Bill
Community
James J. Harcharik
Deborah Kay FerreU
Community
College
G Mitchell Hagler
Joy A. Farmer
Reinhardt College
Finger Lakes
Community
Robert Group
Catherine D. Farmer
Wallace State
College of Alleghany County
State University of
New York,
Farm ingd ale
Thomas
B.
Gentry
Virginia Military Institute
Jim Jolly
Shelton State
Community
C. Herbert Gilliland
U.
S.
Naval Academy
Audrey B.Joyce
Saint Leo University
College
PROFESSIONAL ACKNOWLEDGMENTS
Samuel E. Keiser
Kutztown University
Robert K. Massey,
Robert Kinpoitner
Kathleen N.
MoUoy
St. Peter's
College
Rasma Koch
Westchester
Community
Jr.
Qiiinsigamond Community College
College,
Monahan
College
Harry Moore
Calhoun Community College
Valhalla
Patricia
Mary Kramer
J.
Moran
Troy State University-Florida Region
University of Massachusetts, Lowell
David Spencer Murdock
Matt Landrus
Lake Land College
Gadsden
Phil
Brigitte LaPresto
State
Community
College
Murdock
Ricks College
Pikeville College
Kimberly R. Myers
Montana
Lyle Larsen
State University
Santa Monica College
Nakamura
Community College
Caroline C.
Craig Larson
Kapiolani
Trinidad State Junior College
Louise Napolitano-Carmen
Ron
L. Layne
State University of
Richmond Community College
Farmingdale
Judy Logan
Eastern Washington University
Kevin Nebergall
Barry Lawler
Elizabeth Nelson
Oregon
St. Peter's
College
Sandra
Newton
State University
William W.
McCaU
Lincoln Land
Bill
Community
College
McCarron
Texas
A 8c M University, Commerce
Kirkwood Community College
S.
Naugatuck Valley Community CoUege
Rosemary Nudd, SP
Saint Mary-of-the-Woods College
Michael P McClung
Northwest Shoals Community College
Patricia
Ted McFerrin
Collin County Community College
Jane K. Parks
Christine
McMahon
Montgomery College
New York,
Sierra
A. Padden
Nevada CoUege
Dalton State College
Phillip Parotti
Sam Houston
State Universitv
IX
PROFESSIONAL ACKNOWLEDGMENTS
John W. Schwetman
Sam Houston State University,
HuntsviUe
Peter Petersen
Shasta College
Jay Peterson
State Fair
Community College,
J.
R. Scrutchins
Jefferson City
Oklahoma
Patricia Ramdeen-Anderson
Milwaukee Area Technical College
Mt. San Jacinto College
Kirk G. Rasmussen
Utah Valley State College
Montclair State University
Terri
Baptist University
Richard R. Sisk
Keith Slocum
Reno
Michael Steinman
Arkansas State University, Newport
Nassau Community College
Blakeney Richard
Mitchell E. Summerlin
John C. Calhoun State Community
Texas
A & M University, Kingsville
College
Cora L. Robey
Tidewater Community College
Jane
S.
Taylor
Dalton State College
Paul D. Robinson
Florida Baptist Theological College
Miriam M. Taylor
Chattahoochee Technical Institute
Paula Ross
Gadsden
State
Community
College
Daniel Thurber
Concordia University
Joyce Russell
Rockingham Community College
Bruce Tibbetts
Northeastern State University
Charles J. Ryan
University of Massachusetts, Lowell
Mark Vinz
Moorhead
State University
Bernd Sauermann
Hopkinsville
Community
College
Daniel White
Florence -Darlington Technical
Lois A. Schmidt
College
Hibbing Community College
Jack
Richard J. Schrader
Boston College
Wood
Citrus College
Foreword
Student
to the
You've been reading stories ever since you learned to read; your
sure to verse
came
w^ith "Pat-a-cake, pat-a-cake,
watching dramatized
life
You've developed your
varieties
since your family planted
own
tastes
first
expo-
baker s man"; you've been
you
in front
of the TV.
and your own attitudes toward what these
of "literature" can give you. In a sense,
no need
there's
to take an in-
moved beyond the
become familiar and
troductory course in reading literature, because you've
"introductory" phase. Let's
say,
then, that
it's
time to
friendly with the literary arts.
But
let's
take stock of where you stand.
What
have you been getting out
of the things that you enjoy reading and watching? For most people, the
answer
is
"vicarious experience," the impression that
able to live in
may be
some other world than your own
as familiar as
as space travel in
What you want
so that
your own neighborhood or
some
is
for the author to take
also
private
one
as alien to
first
are temporarily
—
a world that
your experience
future time or the adventures of explorers of the past.
you can imagine yourself as
You probably
you
want
you
where you have never been,
a world other than your own.
to
a person in
to be able to "relate" to the characters in the
things you read or watch, discovering in
them some
features of yourself or
Or you like to share vicariously
the excitements, joys, and sorrows of people who are not very much like you,
but whose lives seem rich and interesting. Or you get a lift from watching
some
qualities that
you would
like to have.
making major mistakes with their lives, and turning themin time
or maybe you are thrilled to see such people
brought to justice and punished for misdeeds.
Whatever the sources of your pleasure and enjoyment from reading, you
some
characters
selves
around just
—
may now be ready to find both broader and deeper reasons for continuing that
No matter how much experience you bring to the study of these
works, you're in for a few surprises. Some of them will be the surprises that
come from broadening your vicarious experience, from "traveling" with us
pastime.
to Harlem and Pittsburgh and DubUn, to
London and seventeenth-century Massachusetts and
nineteenth-century Wall Street. Some will be the surprises that come from
penetrating to the secret recesses of the human mind and soul in joys and
to India
and Russia and Nigeria,
sixteenth-century
agonies, from observing people
with
whom you have
whom you have
nothing in
never met or imagined and
common but your
humanness.
FOREWORD TO THE STUDENTS
xii
And, we hope,
feeling yourself
there will be the surprises and pleasures that
growing
in control or even
come from
mastery of your responses and
reactions as you learn how literature does what it does. This, of course, is
what the formal study of literature can bring you. We all know how yNzfeel
when we first read through a work. We probably start by thinking "I like
this" or "it doesn't say much to me" or "what in the world is that supposed
to mean?" If you could, you'd act on your first reaction and read the work
again, or try to see what it's trying to say, or drop it and go on to do something more pleasurable.
But you're in a special situation. You're taking a course (either by your
own choice or because you're required to), and one of the rules of the game
is that you're supposed to move from your initial reaction to some sort
of "serious" response that will satisfy your teacher. If you like something
and want to reread it, your teacher will pester you with wanting to know why
you liked it, and might even insist that you offer reasons why other people
should like
is
it
too. If you are only a little bit curious
about
it,
or think that
it
a waste of time, your teacher will lead (or nudge, or bash) you into find-
ing things in
it
that might change your
of your special situation,
zon,
make
it
as a
first
opinion. In any case, the terms
student in a course with a grade on the hori-
necessary for you to have
more than an
initial reaction. You'll
need to have a developing understanding of the work, and you'U need to
show
in discussion or writing
itself led to that
That's where this
covering
both what you understand and
how
the
work
understanding.
book will help. In addition
to a systematic guide for dis-
how and what a literary work means, we've
provided you with sug-
gestions for writing at the ends of the chapters and standards for your writ-
ten
work
in the first section
Why is writing
of the book.
so important?
It's
the most straightforward
ing out your feelings and ideas, putting
own
them
way of sort-
into shape, nailing
experience. All writing about literature has a double motive
ens your grasp of the work, and
it
is
sharp-
writing persuasively, and per-
suading others to see what you see helps you to see
in the barest sense, this
it
helps you to lead other people to share
your experience. Writing about literature
So
down your
—
book (and your
it
course)
more clearly.
want to help you with
reading and writing. But you have every right to ask,
"Why
literature?"
good question, because in our world there are so many ways of
gaining experience and insight into our lives and the lives of others that
focusing on one resource based on the spoken and written word may seem
narrow and old-fashioned. We're willing to grant that, and we'll go even further: in a sense, it is also elitist, and turning to literature as a source of expe-
That's a
I
FOREWORD TO THE STUDENTS
rience will set
you apart from the majority of people. Thus,
Xlli
literature pro-
vides not only vicarious experience and opportunities to relate to others'
lives,
but
critics,
it
also permits
you to join
and other students
lectual challenge that
it
who
has to
a special
group of scholars, instructors,
share in the wealth of enjoyment and intel-
offer.
Co ntents
v
Preface
Writing about Literature
I.
IL
IIL
IV!
V.
VI.
VII.
1
Why Write about Literature?
For Whom Do You Write?
Choosing
A Topic
3
3
5
L
Papers that Focus on a Single Literary
2.
Papers of Comparison and Contrast
3.
Papers on a
4.
Papers on a
Number
Number
Authorship
in
of Works with
Some
8
Feature Other than
10
11
Writing the Paper
12
Introducing Quotations
Documentation
5
8
of Works by a Single Author
Common
Proving Your Point
Work
(Ql-Qll)
15
22
(TD1-TD5)
23
Documentation (PD1-PD6)
24
Stance and Style (SI -S6)
27
Grammar, Punctuation, and Usage: Common Problems
1.
Textual Documentation
2. Parenthetical
VIII.
IX.
1.
Grammar (G1-G2)
30
30
Punctuation (P1-P5)
Usage (U1-U2)
33
Writing Samples
36
2.
31
3.
X.
1.
Fiction Explication: "Darkness" in the Conclusion of "The
Child by Tiger"
2.
Fiction Analysis:
upon
a
Time"
36
The Function of the Frame Story
3.
Poetry Explication: "A Study of Reading Habits"
4.
Poetry Analysis: Diction in "Pathedy of Manners"
5.
Drama
Truth
6.
Drama
in
"Once
38
40
42
Explication: Theseus's "Cool Reason" vs. Poetic
44
Analysis: Place
Names
in
"Mind
the
Gap"
46
xvi
CONTENTS
The Elements of Fiction
FICTION
49
Chapter One
51
Reading the Story
Game
Dangerous
57
Richard Connell The Most
Francis
Macomber
Ernest Hemingway The Short Happy Life of
Suggestions for Writing
106
Plot and Structure
115
Graham Greene The Destructors
How I Met My Husband
Alice Munro
Jhumpa Lahiri Interpreter of Maladies
ChapterTwo
Chapter Three
in the
Theme
210
218
Eveline
A Worn Path
Eudora Welty
187
203
The Lesson
Toni Cade Bambara
James Joyce
182
Snow
202
Suggestions for Writing
Chapter Four
223
Nadine Gordimer Once upon a Time
237
Suggestions for Writing
Chapter Five
Willa Gather
168
173
Miss BriU
Hunters
Tobias Wolff
130
147
Characterization
Everyday Use
Katherine Mansfield
—^^
107
167
Suggestions for Writing
Alice Walker
Point of View
Case
245
The Lottery
263
231
238
Paul's
Shirley Jackson
Katherine Anne Porter
William Faulkner
The Jilting of Granny WeatheraU
A Rose for Emily
Suggestions for Writing
272
281
290
291
Symbol, Allegory, and Fantasy
302
The Rocking-Horse Winner
316
Nathaniel Hawthorne Young Goodman Brown
Gabriel Garcia Mdrquez
A Very Old Man with Enormous Wings
Chapter
77
Six
D. H. Lawrence
Translated by Gregory Rabassa
Suggestions for Writing
335
329
CONTENTS
Humor and Irony
Chapter Seven
The Drunkard
Lorrie Moore You're Ugly, Too
Albert Camus The Guest
Frank O'Connor
337
342
352
371
Translated by Justin O'Brien
384
Suggestions for Writing
Chapter Eight
Evaluating Fiction
385
General Exercises for Analysis and Evaluation
389
Exercise
390
O Henry A Municipal Report
Susan Glaspell A Jury of Her Peers
Exercise
xvii
391
406
426
Edith Wharton
Roman
Suggestions for Writing
453
Anton Chekhov, Flannery O'Connor, and
455
Joyce Carol Gates
Three Writers
Ajiton Chekhov
427
439
Fever
A New Leaf
F. Scott Fitzgerald
Gooseberries
457
Translated by Constance Garnett
The Lady with
Dog
the
467
Translated by Constance Garnett
The Darling
483
Translated by Constance Garnett
Flannery O'Connor
A Good Man Is Hard to Find
495
A Late Encounter with the Enemy
520
Greenleaf
Joyce Carol Oates
Heat
543
The Lady with the Pet Dog
555
Life after High School
572
Suggestions for Writing
588
Stories for Further Reading
ChinuaAchebe
Civil Peace
589
591
Raymond Carver Errand
596
Cheever
The Swimmer
607
John
Stephen Crane The Bride Comes to Yellow Sky
Dagoberto Gilb
Love
in
L.A.
628
617
510
CONTENTS
xviii
The Gilded
Zora Neale Hurston
Herman
Edgar Allan Poe
He
Katherine Anne
Porter
Thomas Wolfe
The Child by Tiger
POETRY
Owen
The Eagle
Winter
Dulce
et
720
722
725
The Whipping
Hayden
727
Ballad of Birmingham
728
729
Kitchenette Burning
Gwendolyn Brooks
William Carlos Williams
The Red Wheelbarrow
In a Station of the Metro
Langston Hughes
Suicide's
Housman
Note
Terence, this
Archibald MacLeish
Chapter Two
731
stupid stuff
Reading the Poem
Housman
Is
my team
House
Carter Revard
747
748
Mirror
749
Discovery of the
Edwin Arli7igton Robinson
Katherine Philips
Dabney Stuart
746
There's been a Death, in the Opposite
Emily Dickinson
Sylvia Plath
740
744
plowing
Break of Day
737
739
Killed
General Exercises for Analysis and Evaluation
John Donne
732
734
A Study of Reading Habits
Philip Larkin
730
731
735
The Man He
Thomas Hardy
is
Ars Poetica
Suggestions for Writing
A. E.
717
How many times these low feet staggered
Dudley Randall
A. E.
715
719
Decorum Est
Spring
William Shakespeare
Emily Dickinson
Ezra Pound
695
What is Poetry?
Lord Tennyson
William Shakespeare
Robert
680
686
The Elements of Poetry
Chapter One
Wilfred
642
675
The Shawl
The Cask of Amontillado
Cynthia Ozick
Alfred,
631
Six-Bits
Bartleby the Scrivener
Melville
New World
Eros Turannos
Against Love
Hidden Meanings
Suggestions for Writing
755
754
754
750
752
726
CONTENTS
Denotation and Connotation
Chapter Three
There
Emily Dickinson
Pathedy of Manners
swears that she
On My First Son
Henry Reed Naming of Parts
Langston Hughes Cross
766
The world
William Wordsworth
764
764
is
too
much with
A Hymn to God the Father
One Art
Elizabeth Bishop
770
Imagery
Robert Browning
Meeting
Robert Browning
Parting at
Gerard Manley Hopkins
I felt
at
771
Night
772
Morning
Spring
774
a Funeral, in
my Brain
Thomas Hardy
776
Robert Hayden
Those Winter Sundays
Reapers
781
782
To Autumn
783
Suggestions for Writing
784
Chapter Five
778
780
After Apple-Picking
Jean Toomer
Springtime
in
The Forge
777
The Convergence of the Twain
Seamus Heaney
Robert Frost
773
The Widow's Lament
William Carlos Williams
Emily Dickinson
768
769
Suggestions for Writing
Chapter Four
Figurative Language 1
Simile, Metaphor, Personification,
Apostrophe, Metonymy
The Guitarist Tunes Up
786
The Hound
787
Frances Cornford
Robert Francis
Robert Frost
Exercise
787
Bereft
Emily Dickinson
Thomas Hardy
766
us
767
Desert Places
Robert Frost
John Keats
made of
is
761
Benjonson
John Keats
757
758
763
Exercises
John Donne
Book
like a
759
truth
Kay
no Frigate
When my love
William Shakespeare
Ellen
is
XIX
It sifts
The
Subalterns
Bright Star
796
from Leaden Sieves
792
791
788
785
775
XX
CONTENTS
Mind
796
Emily Dickinson I taste a liquor never brewed
Metaphors
798
Sylvia Plath
Richard Wilbur
Dog
Pink
Elizabeth Bishop
798
800
Toads
Philip Larkin
797
A Valediction: Forbidden Mourning
John Donne
801
803
To His Coy Mistress
805
Ralph Waldo Emerson Suum Cuique
805
Langston Hughes Dream Deferred
Andrew Marvell
806
Suggestions for Writing
Chapter
Figurative Language 2
807
Symbol, Allegory
807
The Road Not Taken
Six
Robert Frost
Walt Whitman
A Noiseless Patient Spider
William Blake
The
Seamus Heaney
Sick Rose
812
Digging
Robert Herrick
To
George Herbert
Redemption
Robert Frost
Alfred,
Richard Wilbur
The Writer
Sun and
Emily Dickinson
Exercises
I
818
821
Curiosity
Hymn
to
822
Moon
God
824
My God,
started Early
in
My Sickness
— Took my Dog
828
Figurative Language
Chapter Seven
3
Paradox, Overstatement,
Understatement, Irony
Emily Dickinson
Much Madness
The Sun
Countee Cullen
divinest Sense
831
Rising
Incident
is
832
Edwin Arlington Robinson New England
Marge Piercy Barbie Doll
835
William Blake The Chimney Sweeper
Percy Bysshe Shelley
Exercise
825
826
828
Suggestions for Writing
John Donne
815
818
Ulysses
Jay Macpherson
John Donne
of Time
817
Fire and Ice
Alastair Reid
Make Much
the Virgins, to
Lord Tennyson
809
811
839
Ozymandias
838
833
837
829
830
1
CONTENTS
John Donne
my heart,
Batter
three-personed
Sorting Laundry
Elisavietta Ritchie
W. H. Auden
The Unknown
Robert Frost
Departmental
844
846
847
in the inner city
Lucille Clifton
Z
M. CarlHolman
Mr.
Robert Browning
My Last Duchess
848
Suggestions for Writing
Chapter Eight
Robert Frost
Allusion
died
855
hereafter
e. e.
852
853
From Macbeth: She should have
William Shakespeare
cummings
John Milton
849
85
Out— "
"Out,
840
843
Citizen
APO 96225
Larry Rottmann
God
841
856
in Just-
On
His Blindness
Edwin Arlington Robinson
857
Miniver Cheevy
858
Leda and the Swan
859
Katharyn Howd Machan Leda's Sister and the Geese
Emily Dickinson Abraham to kill him
861
William Butler Yeats
Walter McDonald
860
862
Life with Father
Laurence Perrine
A monkey sprang down from a tree
863
Laurence Perrine
Two
863
brothers devised what at sight
864
Suggestions for Writing
Meaning and Idea
Chapter Nine
865
Anonymous Little Jack Horner
865
A. E. Housman
Loveliest of Trees
867
Robert Frost Stopping by Woods on a Snowy Evening
William Cullen Bryant
Robert Frost
To
Design
Emily Dickinson
Emily Dickinson
I
Waterfowl
Moor
never saw a
"Faith"
is
The
John Donne
Love's Deity
the
871
872
a fine invention
872
Indifferent
To
869
870
John Donne
Dudley Randall
a
867
873
Mercy
875
Killers
Edwin Arlington Robinson How Annandale Went Out
Gerard Manley Hopkins The Caged Skylark
877
Gerard Manley Hopkins
No worst,
Suggestions for Writing
878
there
is
none
878
876
XXI
CONTENTS
xxii
Chapter Ten
Tone
Richard Eberhart
For
a
880
Lamb
882
Emily Dickinson
Apparently with no surprise
Michael Drayton
Since there's no help
884
My mistress' eyes
885
William Shakespeare
Lord Tennyson Crossing the Bar
Thomas Hardy The Oxen
887
886
Alfred,
Emily Dickinson
One
Emily Dickinson
'Twas
John Donne
John Donne
dignity delays for
warm
—
The Apparition
The Flea
890
like
Us
889
Matthew Arnold Dover Beach
Philip Larkin
Church Going
Cleopatra Mathis
Getting Out
Anonymous Love
897
Suggestions for Writing
888
all
—
at first
882
892
893
896
897
Chapter Eleven
Musical Devices
899
OgdenNash The Turtle
900
W. H. Auden That night when joy began
902
Theodore Roethke The Waking
903
Gerard Manley Hopkins God's Grandeur
905
We
Gwendolyn Brooks
Dudley Randall
Real Cool
Woman Work
Maya Angelou
907
Blackberry Sweet
907
908
Emily Dickinson
The Snowstorm
909
As imperceptibly as Grief
910
William Stafford
Traveling through the dark
Ralph Waldo Emersoti
Autumnus
912
Nothing Gold Can Stay
911
Joshua Sylvester
Robert Frost
Exercise
Suggestions for Writing
Chapter Twelve
George Herbert
Exercises
Virtue
913
Rhythm and Meter
915
920
929
William Blake
A. E.
913
913
Housman
"Introduction" to Songs ofInnocence
Epitaph on an
Army of Mercenaries
930
931
CONTENTS
Had
Wa/t Whitman
I
Sylvia Plath
Linda Pastan
Lawrence Ferlinghetti
The
James Merrill
Emily Dickinson
Alfred,
the Choice
Fifteenth
Because
Sound and Meaning
heard
I
943
944
Fly buzz
a
Owen
Anthem
Margaret Atwood
— when
I
died
Heaven-Haven
for
953
954
Landcrab
Maxine Kumin Nurture
955
At the round earth's imagined corners
Galway Kinnell Blackberry Eating
957
Richard Wilbur
A Fire -Truck
William Carlos Williams
Ch7\pter Fourteen
Emily Dickinson
These
956
958
The Dance
959
959
Suggestions for Writing
John Keats
948
952
Doomed Youth
John Donne
Anonymous
942
unto these yellow sands
951
Gerard Manley Hopkins
Wilfred
Come
Song:
941
941
Sound and Sense
Emily Dickinson
Exercise
Hot
Eight O'Clock
Alexander Pope
938
939
940
Pease Porridge
Housman
935
937
could not stop for Death
I
Chapter Thirteen
William Shakespeare
Summer
Break, break, break
Suggestions for Writing
A. E.
934
Constantly risking absurdity
Lord Tennyson
Anonymous
932
The Aim Was Song
932
Old Ladies' Home
933
To a Daughter Leaving Home
Robert Frost
Pattern
961
when Birds come back
are the days
An epicure dining at Crewe
964
On First Looking into Chapman's Homer
William Shakespeare
Dylan Thomas
That time of year
Do Not Go
963
965
966
Gentle into That
Good Night
A Smattering of Limericks
970
Carolyn Wells A tutor who tooted the flute
968
970
Anonymous There was a young fellow named HaU
970
Martin Bristow Smith A goat on a stroU near a brook
970
Laurence Perrine The limerick's never averse
970
William Shakespeare From Romeo and Juliet
970
xxiii
CONTENTS
XXIV
John Donne
Death, be not proud
Martha Collins The Story We
Wendy Cope Lonely Hearts
Edward
977
Delight in Disorder
Michael McFee
In Medias Res
981
Suggestions for Writing
Evaluating Poetry 1
Sentimental, Rhetorical,
982
Didactic Verse
Chapter Fifteen
Gods Will
You and
for
A Poison Tree
The Most
Thing
987
in Life
988
Longing
988
989
Pitcher
The Old-Fashioned
Breathes there the
The Engine
to see
990
man
991
991
it
lap the Miles
993
The Toys
Little Boy Blue
I
may cease
995
to be
995
not stand by
my grave
and weep
996
996
Suggestions for Writing
Chapter Sixteen
Donne
John Keats
992
994
have fears that
Solitude!
Song
990
Pitcher
The Long Voyage
Johti
985
986
Vital
To Marguerite
Do
Me
986
Pied Beauty
O
979
980
981
Exercise
When I
974
976
Acquainted with the Night
Robert Herrick
I like
972
973
Gascoigne's Lullaby
George Gascoigne
Robert Frost
Anonymous
971
Know
997
Evaluating Poetry' 2
Poetic Excellence
The Canonization
Ode on a Grecian Urn
1000
1002
998
CONTENTS
Robert Frost
1004
There's a certain Slant of light
Emily Dickinson
Home
XXV
1005
Burial
The Love Song of J. Alfred Prufrock
Sunday Morning
1015
1019
Elizabeth Bishop The Fish
1022
Derek Walcott The Virgins
1010
T. S. Eliot
Wallace Stevens
Poems for Further Reading
Margaret Atwood
1025
Song
1027
1028
W. H. Auden Musee des Beaux Arts
D. C. Berry On Reading Poems to a Senior Class
Siren
William Blake
The Lamb
The Tiger
David Bottoms
Sign for
Rupert Brooke
The Dead
William Blake
at
South High
1028
1029
1030
My Father, Who
Stressed the
Bunt
1031
1032
If thou must love me
1032
good times
1033
1033
Lucille Clifton
the lost baby poem
1034
Samuel Taylor Coleridge Kubla Khan
1036
Countee Cidlen For a Lady I Know
Walter de la Mare
Scholars
1036
1036
Emily Dickinson A Light exists in Spring
1037
Emily Dickinson A narrow Fellow in the Grass
1038
Emily Dickinson I died for Beauty
but was scarce
1038
Emily Dickinson I like a look of Agony
Emily Dickinson What Inn is this
1039
Tom Disch The Lipstick on the Mirror
1039
Good-Morrow
1040
Donne
The
John
1041
John Donne Song: Go and catch a falling star
1042
Donne
Song:
Sweetest
love,
I
do
not
go
John
1043
John Donne The Triple Fool
1044
Keith Douglas Vergissmeinnicht
Elizabeth Barrett Browning
Lucille Clifton
—
Stephen
Dunn
1045
Tangier
The Colonel
Carolyn Forche
1046
1046
Robert Frost
Birches
Robert Frost
1048
Mending Wall
Never Again Would Birds' Song Be
1050
The Oven Bird
Robert Frost
Robert Frost
Nikki Giovanni
Thom Gunn
R. S. Gwynn
On
Nikki-Rosa
the
Move
Snow White and
the
Same
1049
1050
1051
the Seven Deadly Sins
1052
CONTENTS
xxvi
1054
Fourteen
Marilyn Hacker
The Red Hat
Rachel Hadas
1054
1055
Donald Hall My Son, My Executioner
1056
Thomas Hardy Channel Firing
1057
Thomas Hardy The Darkling Thrush
1058
Thomas Hardy Hap
Riddle
1059
William Heyen
1060
To an Athlete Dying Young
A. E. Housman
Bredon Hill
1061
A. E. Housman
1062
Langston Hughes Theme for English B
Ted Hughes
1063
Thistles
The Death of the Ball Turret Gunner
1064
Song: To Celia
RandallJarrell
Benjonson
Warning
Jennyjoseph
DonaldJustice
Vaughn
John Keats
In
1064
1065
Memory of the Unknown
Poet, Robert
Boardman
1066
La
Belle
Dame
sans
1067
Merci
1068
Ode to a Nightingale
1071
Maxine Kumin The Sound of Night
John Keats
1072
Aubade
Philip Larkin
Marianne Moore What Are Years?
1074
Sharon Olds The Victims
Mary
Oliver
Simon J. Ortiz
The Summer Day
1075
1076
Speaking
Linda Pastan
The Imperfect
Marge
A Work of Artifice
Piercy
Sylvia Plath
Mad
Sylvia Plath
Spinster
Deborah Pope
Girl's
1077
Love Song
1078
1079
Aunt Jennifer's Tigers
Adrienne Rich
Living in Sin
Alberto Rios
1082
Edvoin Arlington Robinson
The Mill
Edwin Arlington Robinson
Edwin Arlington Robinson
Theodore Roethke I knew
Mr.
Anne
Anne
Sexton
Sexton
1081
1081
Storm Warnings
1083
Nani
Theodore Roethke
1078
Bells for John Whiteside's Daughter
Adrienne Rich
Adrienne Rich
1076
Paradise
Getting Through
John Crowe Ransom
1073
1084
Flood's Party
Richard Cory
woman
1088
My Papa's Waltz
1089
a
1089
The Abortion
Her Kind
1090
1085
1087
1080
CONTENTS
William Shakespeare
Fear no more
William Shakespeare
Let
William Shakespeare
Shall
The
Karl Shapiro
me
I
1091
not to the marriage of true minds
compare thee
to a
summer's day?
1094
Loving
Gary Soto
Town with One Road
in truth
1095
Wallace Stevens
The Death of a
Wallace Stevens
Disillusionment of Ten O'Clock
Wallace Stevens
The Snow Man
Alfred,
Dylan Thomas
Edmund
1096
1097
1098
1099
Fern Hill
1100
Telephone Poles
Song: Go, lovely rose!
Waller
1097
From In Memoriam A. H. H.
Lord Tennyson
John Updike
1096
Soldier
A Description of the Morning
Jonathan Swift
1092
1092
1093
Fly
Sir Philip Sidney
Small
xxvii
1101
Snowy Egret
1102
Walt Whitman When I Heard the Learn'd Astronomer
Bruce Wiegl
Richard Wilbur
April
5,
1974
William Carlos Williams
Poem
William Carlos Williams
Spring and
September
3,
William Wordsworth
William Butler Yeats
William Butler Yeats
William Butler Yeats
DRAMA
AH
1105
wandered lonely as a cloud
1106
Solitary Reaper
1107
Sailing to Byzantium
1108
The Second Coming
1109
The Wild Swans at Coole
1110
I
The
The Elements of Drama
1113
The Nature of Drama
Chapter One
Bridge,
1106
1802
William Wordsworth
1104
Composed upon Westminster
William Wordsworth
1115
General Exercise for Analysis and Evaluation of Drama
Mind
Meredith Oakes
Susan Glaspell
the
Trifles
Gap
1132
The Sandbox
Christopher Durang Naomi in
Suggestions for Writing
Chapter Two
1145
the Living
Room
Realistic
Translated by Otto Reinert
The
1152
1158
and Nonrealistic Drama
A Doll House
Tennessee Williams
1118
1120
Edward Albee
Henrik Ibsen
1103
1103
1165
Glass Menagerie
1234
1160
xxviii
CONTENTS
Los Vendidos
Luis Valdez
1291
1302
Suggestions for Writing
Tragedy and Comedy
Chapter Three
Sophocles
1303
Oedipus Rex
Translated by Dudley Fitts
William Shakespeare
William Shakespeare
and Robert Fitzgerald
Moor of Venice
A Midsummer Nights Dream
Othello, the
The Boor
Translated by Avrahm Yarmolinsky
Anton Chekhov
1530
1542
Suggestions for Writing
1543
Plays for Further Reading
1545
Death of a Salesman
Samuel Beckett Krapp's Last Tape
1632
Arthur Miller
August Wilson
Fences
Glossary of Terms
1641
1703
Copyrights and Acknowledgments
1717
Index of Authors, Titles, and First Lines
1731
1310
1361
1463