Sound and Form in Modern PoetryWhy are poems important? What do people mean when they use the word prosody? How does a poem read and sound? How does a poem's shape--its form--help to create its meaning? Sound and Form in Modern Poetry provides useful answers to these questions for readers of poetry. Through careful attention to the poems of modern masters, the book offers an accessible guide to the way today's poems really work, and to the way they are linked in style to poems of earlier times. Poet, critic, and editor Robert McDowell has updated this classic text in the light of the poetic and critical developments of the last three decades. Segments on Dickinson, Robinson, Frost, Jeffers, and Lowell, among other poets, have been greatly expanded, and Ashbery, Creeley, Ginsberg, Hall, Kees, Kumin, Levertov, Levine, O'Hara, Plath, Rich, Simpson, and Wilbur added, among others. The epilogue discusses a new generation of poets whose works will likely be read well into the next century-- among others, Thomas M. Disch, Rita Dove, Dana Gioia, Emily Grosholz, Mark Jarman, Molly Peacock, Gjertrud Schnackenberg, Timothy Steele, Mary Swander, and Marilyn Nelson Waniek. Over the last ten years, the most inspiring topic of conversation and argument among poets and their readers has been the resurgence of narrative and traditional forms. The new Sound and Form in Modern Poetry is a seminal text in this discussion, examining not only this movement but all of the important developments (Dadaism, Surrealism, Imagism, Language Poetry, and the Confessional School) that have defined our poetry in the twentieth century and have set the stage for poetry's continued life in the twenty-first. The original Sound and Form in Modern Poetry enjoyed extensive classroom use as a text; the revised version promises to be even more accessible, and more essential, for years to come. The late Harvey Gross was Professor of Comparative Literature, State University of New York at Stony Brook. Robert McDowell is publisher and editor of Story Line Press, and is also poet, critic, translator, fiction writer, and essayist. |
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So who is Robert McDowell and why does he piggy back his stuff on a classic? Why not write his very own book?
Contents
Prosody as Rhythmic Cognition | 8 |
The Scansion of the English Meters | 22 |
II Quantitative and Syllabic Meters | 29 |
III Prosodic Analysis | 34 |
Modern Poetry in the Metrical Tradition | 38 |
II William Butler Yeats | 44 |
III Robert Bridges | 51 |
Edwin Arlington Robinson | 58 |
VI The Visual in the Verbal | 124 |
The Celebrated Metric of Ezra Pound | 127 |
T S Eliot and the Music of Poetry | 161 |
Stevens Frost and Jeffers Three Who Stayed Home Hart Crane One Who Found No Home | 202 |
I Wallace Stevens | 203 |
II Robert Frost | 217 |
III Robinson Jeffers | 224 |
IV Hart Crane | 230 |
V Edwin Muir | 62 |
VI Langstan Hughes | 67 |
VII John Crowe Ransom | 68 |
NineteenthCentury Precursors | 75 |
I Robert Browning | 76 |
II Walt Whitman | 80 |
III Emily Dickinson | 85 |
IV Gerard Manley Hopkins | 87 |
V Toward the Twentieth Century | 94 |
Imagism and Visual Prosody | 99 |
II Des Imagistes | 102 |
III Marianne Moore | 109 |
IV William Carlos Williams | 115 |
V e e Cummings | 120 |
Auden and After | 238 |
I W H Auden | 239 |
II Louis MacNeice and Patrick Kavanagh | 247 |
III Dylan Thomas | 252 |
IV Theodore Roethke | 258 |
V Robert Lowell John Benyman Sylvia Plath Weldon Kees Elizabeth Bishop | 266 |
Larkin Wilbur and Company | 285 |
VII Robert Creeley Robert Bly Adrienne Rich Denise Levertov | 293 |
Frank OHara Allen Ginsberg John Ashbery | 300 |
IX Louis Simpson Philip Levine Donald Hall Maxine Kumin | 305 |
Epilogue New Poets | 317 |
Notes | 327 |
335 | |
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