128 Matching Annotations
  1. Jul 2020
    1. In a 2014 essay, “Poet Voice and Flock Mentality,” the poet Lisa Marie Basile connects it to an overall lack of diversity in the field, and a fear of breaking the mold. The consistent use of it, she writes, “delivers two messages: I am educated, I am taught, I am part-of a group … I am afraid to tell my own story in my own voice.”
    2. when some listeners hear poets read with one or more of these characteristics—slow pitch speed, slow pitch acceleration, narrow pitch range, low rhythmic complexity, and/or slow speaking rate—they hear Poet Voice.”
  2. Jun 2020
  3. Apr 2020
    1. Let mans Soule be a Spheare

      Like so many Donne poems, he makes great use here of astronomical imagery. I love this idea of the soul being like a spinning planet in the body, "being by others hurried every day", affected by gravitational pulls of "pleasure or businesse". What is your soul's "first mover"? By what is your soul "whirld"?

  4. Dec 2019
    1. Mont Blanc;

      The Shelleys visited Mont Blanc, located in the Swiss Alps, the site of Percy Shelley's great poem "Mont Blanc; Lines Written in the Vale of Chamouni" (1816). Compare the following lines from the poem: "Mont Blanc yet gleams on high:—the power is there, The still and solemn power of many sights, And many sounds, and much of life and death. In the calm darkness of the moonless nights, In the lone glare of day, the snows descend Upon that Mountain; none beholds them there, Nor when the flakes burn in the sinking sun, Or the star-beams dart through them."

    2. Milton

      Percy Shelley especially singles out Milton among the most important classic literature, indicating his strong influence in the novel.

    3. It was indeed a paradise

      At this moment the Creature appears more strongly associated with Adam than with Satan, apparently born into a "paradise."

    4. Iliad

      The Iliad is an epic poem attributed to Homer; its action is set earlier than the plot of Homer's The Odyssey and takes place in the last year of the Trojan War.

    5. Here is our captain, and he will not allow you to perish on the open sea

      Along with reference to Coleridge's "Rime of the Ancient Manner," Victor's hopeless plight reminds us somewhat of William Cowper's (1731-1800) "The Castaway" (1799). Victor, however, does not perish "each alone," but instead in the company of his new friend Walton. The Creature, by contrast, will choose to perish alone.

    6. I am thy creature: I ought to be thy Adam; but I am rather the fallen angel

      This allusion to Milton's Paradise Lost puzzles some readers because the epigram of Volume II has previously quoted Adam's entreaty to God. Is the Creature more like Adam or more like the fallen angel Satan?

    7. the “very poetry of nature.

      Victor quotes Leigh Hunt's poem "The Story of Rimini," published in 1816--a poem Victor could not, of course, have known in the novel's fictional time frame that ends in summer 1799. Like the passage from Percy Shelley's "Mutability," this line from Hunt's poem belongs to the novel's extra-diagetic address to readers of 1818 rather than to canons of novelistic realism. Clerval is once again made an avatar of the Romantic poet that by 1818 had become solidly esconced in the British cultural imaginary.

    8. a Paradise of my own creation

      Walton's imagined "paradise" of his own making suggests the power of imagination, yet also the possibility of creating a Hell of one's own. It is also one of the novel's many allusions to John Milton's Paradise Lost.

    9. Orlando

      Celebrated in Italian Renaissance works such as Orlando Innamorato and Orlando Furioso, Orlando, or sometimes Ronaldo, was a knight-errant with a sword named Durendal and a horse named Veillantif. The 1855 epic poem by Robert Browning, Childe Roland to the Dark Tower Came was inspired by his tales of chivalry. As a lieutenant of Charlemagne, his great deeds were sung as early as the the eleventh-century in Chanson de Roland.

    10. Dr. Darwin

      Erasmus Darwin (1731-1802), the evolutionist and poet who lived in Birmingham, England, is clearly on Percy Shelley's mind when he introduces Mary's text in the 1818 edition. Critics of the novel have not often followed this lead in thinking about it as an early work in the British evolutionary imagination. Erasmus Darwin had made "not of impossible occurrence" that one presently visible species could mutate into another. Victor contemplates this possibility—as an alarming one—when he speculates in Volume 3, Chapter 3, that the Creature's demand that he create a "mate" could result in a new evolutionary development, "a race of devils."

    11. Paradise Lost.

      By citing Adam's question to God in John Milton's Paradise Lost, Mary Shelley makes Milton's epic the most important intertext of Frankenstein. In Book II, the Creature hears the poem read aloud, and begins to think of himself as either Adam or Satan.

    12. “the palaces of nature,”

      Shelley is probably citing "palaces of nature" from Lord Byron's Childe Harold’s Pilgrimage, Canto III, published in 1816: “Above me are the Alps, / The palaces of Nature, whose vast walls / Have pinnacled in clouds their snowy scalps, / And throned Eternity in icy halls / Of cold sublimity” (lxii.590–94).

    13. sent me forth to this insupportable misery

      The Creature compares himself to Milton's Satan in Paradise Lost, which he has previously heard when Felix read the poem aloud.

    14. Because he knows a frightful fiend Doth close behind him tread

      In this passage from Part VI of "The Rime of the Ancient Mariner," the Mariner faces the apparition of the dead sailors--as if in a "charnel-dungeon"--standing to rebuke him for their deaths.

    15. I shall kill no albatross,

      This expression is a reference to Samuel Taylor Coleridge's poem "Rime of the Ancient Mariner," in which the Mariner inexplicably slays an albatross. The allusion may imply that Walton will play the role of Coleridge's Wedding Guest instead: he will listen to Victor's long, obsessive story that will ultimately be a confession of guilt, like the Ancient Mariner' tale. Since the poem was not published until September 1798, this reference also places the "17--" date of these letters as the summer of 1799. On the poem's role in the novel, see Beth Lau, "The Rime of the Ancient Mariner and Frankenstein," in Samuel Taylor Coleridge and the Sciences of Life, ed. Nicholas Roe (Oxford: Oxford University Press, 2001): 207-23.

    16. Dante

      Victor refers to Italian Dante Alighieri's (1265-1321) Divine Comedy in which the poet journeys through the nine circles of Hell.

    17. Nought may endure but mutability!

      This stanza from Percy Shelley's poem "Mutability" (1816) may have helped convince readers of 1818 that the novel's author was indeed Percy rather than Mary since it is not attributed to its author. However, it also, of course, is far outside the novel's fictional eighteenth-century setting.

    18. I also became a poet

      Walton's wish to be a poet, like Henry Clerval's taste for tales of romance, attest to their imaginativeness and capacity for sympathy that seems greater than Victor's, who has no literary interests. Victor also suggests that had his fate not turned out differently, he might have been a Henry Clerval. See Volume 1, Chapter 7.

    19. “old familiar faces;”

      This phrase is likely a reference to Charles Lamb's poem "The Old Familiar Faces" (1798): "I have had playmates, I have had companions/ In my days of childhood, in my joyful school-days/ All, all are gone, the old familiar faces." If so, it is also a poignant memory of his own family as Victor narrates this tale in which so many family members will be destroyed as a consequence of his own actions.

    1. Lord Byron, who was writing the third canto of Childe Harold

      Lord Byron (1788-1824) had published the first two cantos of Childe Harold's Pilgrimage, a poetic sensation across Europe that give him instant celebrity, in 1812. Canto 3 would be published in 1816 and Canto 4 in 1818.

    2. or if I should come back to you as worn and woful as the “Ancient Mariner?” You will smile at my allusion; but I will disclose a secret. I have often attributed my attachment to, my passionate enthusiasm for, the dangerous mysteries of the ocean, to that production of the most imaginative of modern poets. There is something at work in my soul, which I do not understand. I am practically industrious—pains-taking;—a workman to execute with perseverance and labour:—but besides this, there is a love for the marvellous, a belief in the marvellous, intertwined in all my projects, which hurries me out of the common pathways of men, even to the wild sea and unvisited regions I am about to explore. But to return to dearer considerations.

      In this addition to the 1831 edition, Shelley explicitly refers to her poetic source, Samuel Taylor Coleridge's "The Rime of the Ancient Mariner." Walton muses wistfully on the "dangerous mysteries" of the ocean, proposing their similarity to poetry like Coleridge's, and citing them as the root of his own profound yearnings for the dangerous and sublime discoveries of exploration.

    1. had a refined mind; he had no desire to be idle, and was well pleased to become his father’s partner, but he believed that a man might be a very good trader, and yet possess a cultivated understanding.loved poetry and his mind was filled with the imagery and sublime sentiments of the masters of that art. A poet himself, he turned with y disgust from the details of ordinary life. His own soul mind was all the possession that he prized, beautiful & majestic thoughts the only wealth he coveted—daring as the eagle and as free, common laws could not be applied to him; and while you gazed on him you felt his soul’s spark was more divine—more truly stolen from Apollo’s sacred fire, than the glimmering ember that animates other men.

      This lengthy revision in the Thomas Copy removes the original description of Clerval as a relatively ordinary tradesman with an interest in poetry and the arts, and transforms him instead into a figure of tremendous romantic flair and verve.

      Where before he was described as "a good trader" with a "refined mind," Victor's recollection of him is now charged with profuse admiration, casting Clerval as "daring as the eagle and as free," "his soul's spark was more divine--more truly stolen from Apollo's sacred fire". He is a poet by nature, not a trader, and we now see him resisting his father's attempt to channel his abilities into narrow pursuits of profit. In the 1831 this revision is enlarged to put Clerval's passionate interests even more decisively in opposition to his father's wishes.

  5. Nov 2019
    1. Here we are ... on the page There we are ... off the page An invite to write ... please do

  6. Oct 2019
    1. A recently-unearthed performance from David Berman, reading a poem while accompanied by Bloomington, IN legends the Impossible Shapes, at Second Story, 2005.

  7. Sep 2019
    1. lffhat Johnson is obiecting to,in short, is what he takes to be the essential artificiality of Milton's elegy andthe consequent absence of natural human feeling. The author of l-ycidas,heinsisrs, simply does not sound like a man deeply afflicted with grief- Thepoem is insincere.

      I feel that judging the sincerity of the Lycidas based on Milton's insignificant relationship to King is a bit unfair. I believe this knowledge of their relationship may have tainted Johnson's critical reception. I don't believe fictitious writing in a work of poetry dedicated to a deceased person is automatically grounds for insincerity. I've read about memorials for deceased musicians where those who attended and contributed compositions or material items in the deceased's honor had no personal interaction or close relationship to them. The legacy of the deceased drew other highly-regarded musicians to pay their respects and show their appreciation for the culture that the deceased influenced and contributed to that united them intellectually and emotionally. I feel that the case with Milton's contribution to Justa Edouardo King naufrago is a similar situation.

    1. Here we go, here we go here we go now

      Implies there's nothing wrong with him.

  8. Jul 2019
    1. THE PLAINS - A PROPHECY Joaquin Miller. Rome, 1874.

      Go ye and look upon that land, That far vast land that few behold, And none beholding understand- That old, old land which men call new-Go journey with the seasons through Its wastes, and learn how limitless. The solemn silence of that plain Is, oh! so eloquent. The blue And bended skies seem built for it, And all else seems a yesterday, An idle tale but illy told. Its story is of God alone, For man has lived and gone away And left but little heaps of stone. Lo! here yon learn how more than fit And dignified is silence, when You hear the petty jeers of men. Its awful solitndes remain Thenceforth for aye a part of you, And you have learned your littleness.

      Some silent red men cross your track; Some sun-tanned trappers come and go; Some rolling seas of buffalo Break thunder-like and far away Against the foot-hills, breaking back Like breakers of some troubled bay; Some white-tailed antelope blown by So airy like; some foxes shy And shadow-like move to and fro Like weavers' shuttles as you pass; And now and then from out the grass You hear some lone bird cluck, and call A sharp keen call for her lost brood, That only makes the solitude Seem deeper still, and that is all.

      That wide domain of mysteries And signs that men misunderstand; A land of space and dreams; a land Of sea-salt lakes and dried-up seas; A land of caves and caravans And lonely wells and pools; a land That hath its purposes and plans, That seems so like dead Palestine, Save that its wastes have no confine Till pushed against the leveled skies; A land from out whose depths shall rise The new-time prophets; the domain From out whose awful depths shall come, All clad in skins, with dusty feet, A man fresh from his Maker's hand, A singer singing oversweet, A charmer charming very wise; And then all men shall not be dumb-Nay, not be dumb, for he shall say, "Take heed, for I prepare the. way For weary feet i" and from this land The Christ shall come when next the race Of man shall look upon his face.

  9. Jun 2019
  10. May 2019
    1. "I sound my barbaric yawp over the roofs of the world." Walt Whitman, 1855.

      from Song of Myself, 52 https://www.poets.org/poetsorg/poem/song-myself-52

      Which is also played out in a scene from The Dead Poet's Society https://www.youtube.com/watch?v=S6xyHna-NuM

    1. destruction of Sennacherib

      From MCCONNELL 289: "'The Destruction of Sennacherib' is the title of one of the most famous poems of Lord Byron (1788-1824). In II Kings: 19 it is related how the Assyrian King Sennacherib brought a great army to war against the Israelites; but, thanks to the prayers of the Israelites, the Lord killed Sennacherib's whole army in a single night. The legend has an obvious relevance to the sudden, total, and unhoped-for obliteration of the Martian invaders."

      From HUGHES AND GEDULD 224: "In a single night, in answer to the prayers of the Israelites, God destroyed the Assyrian army led by King Sennacherib (II Kings 19:35-37). This is the subject of Byron's celebrated poem 'the Destruction of Sennacherib'."

      From DANAHAY 182: "reference to II Kings: 19 in which an entire army is wiped out by God in one night"

  11. Apr 2019
  12. quickthoughts.jgregorymcverry.com quickthoughts.jgregorymcverry.com
    1. I'd rather be a tall, ugly weed

    2. "Drop a Mouse into Poetry"
    3. learned to breathe fresh air

      Fresh air; breathing -

      seemingly uncaring, deepening

      the world, packed full of sharing,

      pairing up city rhymes to street rhythms

      in a line of ideas - go on and fill 'em -

      feel 'em, they're all about the scaring you -

      white 'burbs with earbuds dangling -

      regaling you with words you've never heard,

      the air fresh, from the breathing:

      this is the season for believing in the poem

    4. Funny it seems, but by keeping it's dreams

      I am a sucker for internal rhymes. Although these lyrics (for me) don't always hold up as a poem on its own, the art of internal rhyme to create rhythm against the backdrop of bass and drums is a key element of HipHop that I greatly admire. https://www.youtube.com/watch?v=BfgR2bEjAFg

    5. concrete
    6. I'd rather be unseen

      Making a choice? Or maybe not ...

    7. the abyss of the bizarre

      This is where

      we go when we

      have no other place

      to take us

  13. Mar 2019
    1. But it’s far more that just a cultural signpost. The reason Coney Island of the Mind has held up so well is that it also marks the first full flowering of Ferlinghetti’s considerable poetic gifts. Employing open elastic lines that often seesaw across the page, Ferlinghetti’s verse is a unique combination of Whitmanesque proclamation and Dionysian celebration, where a deep love for life and art is interlaced with call for the human race to finally begin living up to its potential. … Fifty years on, Coney Island of the Mind, Ferlinghetti’s artistic and commercial breakthrough, still stands as an excellent example of both his social and poetic contributions, and is not only a worthy but probably a necessary volume for the library of anyone truly serious about understanding where English-language poetry has been and where it is going.

      Go, Ferlinghetti, for at least another 100 years.

  14. Feb 2019
    1. and omit<; the use of the true signs of the passions, which are, tones, looks, and gestures.

      This happens in poetry all the time. When we just read the words on the page (which we'll often do internally), we miss so much of the tonal and sonic qualities of the work. Listening to a poet actually read their work aloud is always fascinating, because suddenly you're thinking "oh, this was meant to be performed, and I'm supposed to actually feel these things."

  15. Jan 2019
  16. Dec 2018
  17. gutenberg.net.au gutenberg.net.au
    1. irregularities

      This presumably is in reference to Robert Burns's well known love affairs. See section "The Life of a Lover and Writer": https://www.biography.com/people/robert-burns-9232194

    2. 'Some feelings

      This is from Scott's "Lady of the Lake," and Sir Edward Denham seems to quickly forget the rest of the lines.

      Here is a synopsis of "Lady of the Lake" and link to full work: http://www.walterscott.lib.ed.ac.uk/works/poetry/lady.html

    3. 'Oh! Woman

      These lines are from Sir Walter Scott's "Marmion."

      "O woman! In our hours of ease Uncertain, coy, and hard to please, And variable as the shade By the light, quivering aspen made; When pain and anguish wring the brow, A ministering angel thou!"

      This is not the greatest description of women, and Austen seems pointed in how she uses Scott's work.

      The full poem: https://archive.org/stream/marmion05077gut/marmn10a.txt

    4. either

      This may imply that despite having other published work at the time, "Lady of the Lake" and "Marmion," quoted below, were the most popular/wide read.

      Lady of the Lake: https://www.gutenberg.org/files/3011/3011-h/3011-h.htm

      Marmion: https://www.gutenberg.org/files/4010/4010-h/4010-h.htm

    5. Scott's beautiful lines

      Austen is referring to the Romanticism poetry of Sir Walter Scott, a popular poet and novelist at the time.

      Biography of Scott for context: https://www.britannica.com/biography/Sir-Walter-Scott-1st-Baronet See particularly his "literary gifts," interest in German Romanticism, and ambiguity of his feelings towards Scotland.

    6. description of the religious cottager

      Austen's reference is to a section of William Cowper's lengthy poem "Truth," with which many of her readers would likely have been familiar. Cowper's dig at Voltaire, who commented that "if God did not exist, it would be necessary to invent him," has often been misconstrued as evidence of Voltaire's atheism. In fact, he was a deist. See https://graceonlinelibrary.org/church-history/sermons-tracts/truth-by-william-cowper/

    7. Campbell

      Pleasures of Hope by Thomas Campbell: http://spenserians.cath.vt.edu/TextRecord.php?textsid=37917

    8. Wordsworth

      William Wordsworth, Romantic poet.

      https://www.poets.org/poetsorg/poet/william-wordsworth

    9. Montgomery

      James Montogomery, Scottish-born poet and jounalist.

      https://www.britannica.com/biography/James-Montgomery

    10. lines

      Poet and musician Robert Burns wrote of Mary "Highland Mary" Campbell

      http://www.robertburns.org/encyclopedia/CampbellHighlandMary176315186.180.shtml

    11. Links to common words/themes throughout the annotations

    12. interrupt my enjoyment

      Charlotte cannot enjoy Burn's poetry due to his known indiscretions.

    13. Scott

      A reference to the poet Walter Scott.

  18. Oct 2018
    1. Lowth seems to have been the first modern Bible scholar to notice or draw attention to the poetic structure of the Psalms and much of the prophetic literature of the Old Testament.
  19. Sep 2018
  20. Jul 2018
  21. Feb 2018
    1. The mental energy required for readers to constantly jump from the present text to an older one is considerable, and if readers must supply the gaps in their ‘allusive competency’ by engaging in ‘textual archaeology,’35or going outside the text to research its allusions, the demand is indeed extreme.

      This demand seems especially daunting in poetry, with few words as it is. Does the novel or film have an easier go of connecting the reader to the demands of allusion? Less of a loss in understanding the idea of the work if the reader doesn't bat a thousand with the allusions because other elements carry the storyline.

  22. Jan 2018
    1. Sometimes
    2. Some time back, I was writing about how one might use digital annotation to a text with media only, no words. How would this work? Would it allow the reader to be more strongly connected to the text? What would be lost without words? Gained, with video and audio and media? I still am not sure, but this experiment with this wonderful poem by Mark Irwin allowed me to closely read his text, and use the margins for adding media. I used keywords both from his text itself and my reactions to the text. I don't know if it works for you, reader, but it worked for me. You are invited to annotate, too. --Kevin

    3. remember
    4. ghost ruining the sky
    5. child
    6. pages into the fire
    7. tilt the paper
    8. letters
    9. listen
    10. blindfolded
    11. emotions
    12. space
    13. white paper
    14. pencil
    15. sit in the sun
    16. notebook with water
    17. crumple the paper
  23. Oct 2017
    1. Emotion is an important factor in literary works. It is the motive force of creation, the yeast of imagination and the element of artistic charm. Therefore, all literature and art activities are inseparable from emotion. In a sense, there is no art without emotion

  24. Sep 2017
    1. Calling people out using the constructionist ideals — The American government is not living up to their high ideals.

      Poetry as a way to express frustration when there is no way to go up against actual US military power. A weapon of the weak; a powerful message.

  25. Apr 2017
  26. Mar 2017
  27. Feb 2017
    1. Another exercise is the conversion of Poetry into Prose.

      I have never heard of this before. Not entirely sure why'd you do it? Googling isn't turning up all that much except other people talking about how to do it. Did turn up a program for automatically converting the other direction, which is pretty interesting.

    1. Bentham takes poetry to be a persuasive art because ideas conveyed poetically are readily believed by virtue of the pleasure poems im-part

      I have never really understood poetry until my modern literature class this semester. But, this claim cannot be truer. Maybe not all poetry has a persuasive nature, but for the most part, poets tend to make points by making cunning connections to moments to history or another works. Just to tie it in to modern times, N.W.A back in their day would use moments in their lives for their raps to persuade not only the audience, but everyone.

    2. s Coleridge plainly put it, poetry i!. not rhetoric at all. Poetry. unlike rhetoric, is the expression of the poet's feelings. It is a mimetic art that medi-ates between people and nature. If poetry, like rhetoric, seeks to stimulate the emo-tions, it docs so for quite different reasons-poetry for contemplation, rhetoric for action.

      Lanham pushpin

    1. pirituality provided a gateway to political thought and often functioned as a springboard for discussions of secular history,"s as can be seen in Stewart's many references (noted also by Richardson) to the African pa

      This description reminds me of the 18th century work of Phillis Wheatley, the first African American poet to publish a book. Wheatley doesn't have the best reputation now, but maybe looking at how Wheatley's work has influenced not just poets but other prominent African American women could renew appreciation for her work.

      Also, in finding this comparison, I think this indicates that rhetoric and poetry are perhaps not so separate. They can have similar motives and techniques. And some of Wheatley's works, if I'm not mistaken, were delivered in public, and I don't think I would consider all of her work as a "soliloquy"; there's definitely an argument being made in her work, even if it's perhaps coded so as not to offend a white audience.

    1. Ifhumanistswanttoremainperpetualchildren,thentheirpoetrywill,touseBentham'salliterativepairing,neverbeanybetterthanpushpin,willindeedbetaughtasifitwerepushpin
  28. Jan 2017
  29. Jul 2016
    1. “Think like a wise man but communicate in the language of the people.” ― W.B. Yeats

      “Think like a wise man but communicate in the language of the people.” ― W.B. Yeats

    2. “Do not wait to strike till the iron is hot; but make it hot by striking.” ― W.B. Yeats

      “Do not wait to strike till the iron is hot; but make it hot by striking.” ― W.B. Yeats

  30. Apr 2016
    1. I can clearly remember the fear I felt when one such instructor asked me to voice my opinion about the meaning of a particular poem.

      I remember feeling this way when we were going over poetry in classrooms, Poetry is hard for me to understand and when inside a classroom, teachers want to know how you feel, or what you think about the poem. Honestly, I think a lot of students have issues with this and find it hard to understand the words inside the poems. I think if teachers work more with students to help understand poems, then they may be easier for students to understand.

    2. y looking at my successful attempts to teach poetry, I demonstrate how to skillfully incorporate the writ ing of poetry into the classroom using ideas from others and relying upon the skills many teachers al ready possess.

      When teachers work on assignments, they usually research and collaborate with other teachers to get ideas about assignments that work and don't work.

  31. Mar 2016
    1. have found through trial and error that even a first grader can write poetry in the style of a favorite author, and that modern, unrhymed poetry gener ally works best.

      I loved this part of the article because it showed that you must never doubt the abilities of your students. In order to see what their full potential is you must have faith in them, and life the author of this article explained, they will pleasantly surprise you!

    2. his type of writing can often do more harm than good in inspiring chil dren to write poetry. Little or no original thinking is required in order to complete such scripted tasks, and students end up with no foundation for the cre ative aspects of open-ended poetry writing.

      When I discovered my love for poetry it was because there were very little rules that I had to follow when it came to creating my own. As the poet I could make it rhyme and give it a set meter, or I could make it not rhyme and have it consist of no specific meter. The power was mine to decide. It saddens me that students are being stripped of this discovery themselves because teachers are giving them scripted tasks that involve zero creativity.

    3. erfect (1999) noted that these fears may include a teacher's perceived need to have skill in the teaching of poetry methods and conventions, as well as an understanding of how to analyze and interpret poetry.

      Unfortunately. this is probably very true. The thought of having to analyze poetry is a dreaded task by many, but it shouldn't be. Analyzing a poem in class can be a group effort. Ask children what they think the poet was trying to express and have them use examples from the poem to support their thinking. As a class decide which analysis is the most plausible. This is a great opportunity to allow students to think out loud and to work off of one another's ideas.

    4. It nurtures a love and appreciation for the sound and power of language. Poetry can help us see differently, understand ourselves and others, and validate our hu man experience. It...enhances thinking skills, and pro motes personal connections.... Such attributes deserve a closer look.

      This is a perfect explanation about just how important poetry is. Students should learn how powerful language can be when it is written in certain ways, and how soothing it can be to incorporate their own life into that writing. We are constantly trying to get students to connect with their writing, why not use poetry to accomplish just that?

    5. s it the premise that poetry has to rhyme? (It doesn't.)

      When I was in elementary school I was always taught that poems rhymed. It wasn't until I was put in an enrichment program that I learned how fun writing poetry could be because it didn't in fact have to rhyme, and it also didn't need any punctuation. I went through a poetry phase after this that lasted for quite a while.

  32. Dec 2015
    1. rage

      Okay, notice how this sonnet is unlike Shakespeare's. Here, no interlocking rhymes, not the same variety of rhyme, no pithy couplet. If you had to describe the impact of this structure, how would you?

  33. Jul 2015
    1. “AWP has removed Vanessa Place from the AWP Los Angeles 2016 Subcommittee. We did so after taking into consideration the controversy her Twitter feed has generated. Place has been tweeting the text of Gone with the Wind and using a photograph of Hattie McDaniel as the profile picture. The context of this and similar work is explained by a few literary theorists and advocates of conceptual poetry, such as Jacob Edmond and Brian M. Reed. AWP believes in freedom of expression. We also understand that many readers find Vanessa Place’s unmediated quotes of Margaret Mitchell’s novel to be unacceptable provocations, along with the images on her Twitter page. AWP must protect the efficacy of the conference subcommittee’s work. The group’s work must focus on the adjudication of the 1,800 submitted proposals, not upon the management of a controversy that has stirred strong objections and much ill-will toward AWP and the subcommittee. Perpetuating the controversy would not be fair to the many writers who have submitted the proposals.”

      "Unmediated"?

      That depends on where you're looking. Here we have a poet, with their own history and an established dialogue with race, transcribing in a completely different medium than the original text, surrounded by controversy. How in hell can this be said to be "unmediated"?

  34. Apr 2015
    1. Since Number Five is out of the bathroom now, We think of lukewarm water, hope to get in it.

      Such kitchenettes were single-room apartments, subdivided from a larger apartment, so they might all share a single bathroom.

      "Number Five" refers to a neighbor in one of the other kitchenette apartments. That they are not given a name only further emphasizes the dehumanization of these living conditions, in which they can't even expect hot water.

    1. Unreal City, Under the brown fog of a winter dawn,

      Why is the city, London in this case, "unreal"? The weather has given it a mystical quality no doubt. But more deeply, the city seems unreal in that it is not realizable, that is comprehensible, to Eliot in the modern sense. In short, he can't make sense of it.

  35. Mar 2015
    1. Like other open mics, POSA, is an invitation to both novice and seasoned poets to share their writing in a space that promotes reading, writing, thinking, and activism, as well as collabo- ration among elders and children. V.S. Chochezi and Staajabu, the mother daughter poetry duo also known as Straight Out Scribes (SOS), begin with saying “hello,” in several languages punctuated with a decidedly urbanized “What’s up!”

      Speaks to the sense of belonging to a much larger discourse and community.

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  36. Jan 2015
  37. Feb 2014
    1. He is mentioned in the iambic verses of Archilochus of Parus who lived about the same time.

      1.12. A fragment of a poem of Archilochus mentioning Gyges -- probably the one Herodotus is referring to -- is preserved in Aristotle's Rhetoric and in Plutarch. Perseus cites it as CURFRAG.tlg-0232.26.

  38. Oct 2013
    1. Even now most uneducated people think that poetical language makes the finest discourses. That is not true: the language of prose is distinct from that of poetry. This is shown by the state of things to-day, when even the language of tragedy has altered its character.

      Poetry does not equal intelligence. Distinct difference between poetry and prose.

    2. the language of prose is distinct from that of poetry.
    1. The simile is a full-blown metaphor. Similes are useful in prose as well as in verse; but they must not be used often, since they are of the nature of poetry.

      Simile=poetic devise