Literature : an introduction to fiction, poetry, and drama

목차 (Table of Contents)

• 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