Beruflich Dokumente
Kultur Dokumente
BYBILLYCOLLINS
Iaskthemtotakeapoem
andholdituptothelight
likeacolorslide
orpressanearagainstitshive.
Isaydropamouseintoapoem
andwatchhimprobehiswayout,
orwalkinsidethepoemsroom
andfeelthewallsforalightswitch.
Iwantthemtowaterski
acrossthesurfaceofapoem
wavingattheauthorsnameontheshore.
Butalltheywanttodo
istiethepoemtoachair
withropeandtortureaconfessionoutofit.
Theybeginbeatingitwithahose
tofindoutwhatitreallymeans.
CONTENTS
1. The Powwow at the End of the World / Sherman Alexie......................................................3
2. Theres been a death in the opposite house / Emily Dickinson...........................................3
3. A Study of Reading Habits / Philip Larkin............................................................................4
4. Break of Day / John Donne ...................................................................................................4
5. Mirror / Sylvia Plath .............................................................................................................5
6. When my love swears that she is made of truth / William Shakespeare ............................5
7. Blackberry-picking / Seamus Heaney ..................................................................................6
8. Cross / Langston Hughes .....................................................................................................7
9. The Naming of Parts / Henry Reed ......................................................................................7
10. Birches / Robert Frost ........................................................................................................8
11. Flirtation / Rita Dove ..........................................................................................................9
12. Spring / Gerard Manley Hopkins .....................................................................................10
13. This Is Just To Say / William Carlos Williams ..................................................................10
14. Harlem / Langston Hughes ..............................................................................................11
15. Metaphors / Sylvia Plath ..................................................................................................11
16. Valediction: Forbidding Mourning / John Donne .............................................................11
17. Song: Go, lovely rose! / Edmund Waller ..........................................................................13
18. The Road Not Taken / Robert Frost .................................................................................13
19. A Noiseless Patient Spider / Walt Whitman .....................................................................14
20. The Sick Rose / William Blake .........................................................................................14
21. Our journey had advanced / Emily Dickinson .................................................................15
22. Much madness is divinest sense / Emily Dickinson ........................................................15
23. The Sun Rising / John Donne ...........................................................................................15
24. Incident / Countee Cullen ................................................................................................16
25. We are Seven / William Wordsworth................................................................................17
26. Aunt Jennifers Tigers / Adrienne Rich ............................................................................18
27. Woman Work / Maya Angelou ..........................................................................................18
28. Digging / Seamus Heaney ................................................................................................19
29. Gods Grandeur / Gerard Manley Hopkins ......................................................................20
30. That night when joy began / W. H. Auden .......................................................................20
31. We Wear the Mask / Paul Laurence Dunbar ....................................................................21
32. Virtue / George Herbert ...................................................................................................21
33. Because I could not stop for Death / Emily Dickinson ....................................................22
34. We Real Cool / Gwendolyn Brooks ...................................................................................22
35. Do Not Go Gentle into That Good Night / Dylan Thomas ...............................................23
36. Mad Girls Love Song / Sylvia Plath.................................................................................23
37. Shall I compare thee to a summers day? / William Shakespeare...................................24
38. To the Mercy Killers / Dudley Randall .............................................................................24
39. When I have Fears that I May Cease to Be / John Keats .................................................25
40. The Red Wheelbarrow / William Carlos Williams ...........................................................25
41. Buffalo Bills / e. e. cummings .........................................................................................26
42. Beautiful Black Men / Nikki Giovanni .............................................................................26
43. l(a / e. e. cummings ..........................................................................................................26
44. The Garden / Ezra Pound .................................................................................................27
45. I wandered lonely as a cloud / William Wordsworth .......................................................28
46. Suicide Note / Langston Hughes .....................................................................................28
47. A Drink of Water / Seamus Haney ...................................................................................29
48. Litany / Billy Collins .........................................................................................................29
How to Explicate a Poem ........................................................................................................30
Note: The materials presented here borrow from a number of sources, most notably the
Seventh Edition of Perrines Literature: Structure, Sound, and Sense. The volume was
edited by Thomas R. Arp. This is a fabulous resource, and, if youre lucky enough to come
across a copy at a library or elsewhere, Id encourage you to spend some quality time with
it.
it achieved?
2.
In what ways is the mirror like and unlike a person (stanza 1)? In what ways is it
like a lake (stanza 2)?
3.
What is the meaning of the last two lines?
6. When my love swears that she is made of truth
William Shakespeare
When my love swears that she is made of truth,
I do believe her, though I know she lies,
That she might think me some untutored youth,
Unlearned in the worlds false subtleties.
Thus vainly thinking that she thinks me young,
Although the knows my days are past the best,
Simply I credit her false-speaking tongue;
On both sides thus is simple truth supprest.
but wherefore says she not she is unjust?
And wherefore say not I that I am old?
Oh, loves best habit is in seeming trust,
And age in love loves not to have years told:
Therefore I lie with her and she with me,
And in our faults by lies we flattered be.
Questions
1.
How old is the speaker? How old is his beloved? What is the nature of their
relationship?
2.
How is the contradiction in line 2 to be resolved? In lines 5-6? Who is lying to
whom?
3.
How do simply and simple (8) differ in meaning?
4.
What is the tone of this poem that is, the attitude of the speaker toward his
situation? Should line 11 be taken as an expression of (a) wisdom, (b) conscious
rationalization, or (c) self-deception? In answering these questions, consider both
the situation and the connotations of the key words throughout the poem.
7. Blackberry-picking
Seamus Heaney
Late August, given heavy rain and sun
For a full week, the blackberries would ripen.
At first, just one, a glossy purple clot
Among others, red, green, hard as a knot.
You ate that first one and its flesh was sweet
Like thickened wine: summer's blood was in it
Leaving stains upon the tongue and lust for
Picking. Then red ones inked up and that hunger
Sent us out with milk cans, pea tins, jam-pots
Where briars scratched and wet grass bleached our boots.
Round hayfields, cornfields and potato-drills
We trekked and picked until the cans were full,
Until the tinkling bottom had been covered
With green ones, and on top big dark blobs burned
Like a plate of eyes. Our hands were peppered
With thorn pricks, our palms sticky as Bluebeard's.
We hoarded the fresh berries in the byre.
8. Cross
Langston Hughes
My old mans a white old man
And my old mothers black.
If ever I cursed my white old man
I take my curses back.
If ever I cursed my black old mother
And wished she were in hell,
Im sorry for that evil wish
And now I wish her well.
My old man died in a fine big house.
My ma died in a shack.
I wonder where Im gonna die,
Being neither white nor black.
Questions
1.
What different denotations does the title have? What connotations are linked to
each of them?
2.
The language in this poem, such as old man (1, 3, 9), ma (10), and gonna (11)
is plain, and even colloquial. Is it appropriate to the subject? Why or why not?
9. The Naming of Parts
Henry Reed
Today we have the naming of parts. Yesterday
We had daily cleaning. And tomorrow morning,
We shall have what to do after firing. But today,
Today we have naming of parts. Japonica
Glistens like coral in all of the neighboring gardens,
And today we have the naming of parts.
This is the lower sling swivel. And this
Is the upper sling swivel, whose use you will see,
When you are given your slings. And this is the piling swivel,
Which in your case you have not got. The branches
Hold in the gardens their silent, eloquent gestures,
Which in our case we have not got.
This is the safety-catch, which is always released
With an easy flick of the thumb. And please do not let me
See anyone using his finger. You can do it quite easy
If you have any strength in your thumb. The blossoms
Are fragile and motionless, never letting anyone see
Any of them using their finger.
And this you can see is the bolt. The purpose of this
Is to open the breech, as you see. We can slide it
Rapidly backwards and forwards: we call this
Easing the spring. And rapidly backwards and forwards
The early bees are assaulting and fumbling the flowers:
They call it easing the Spring.
10
11
12
and which
you were probably
saving
for breakfast
Forgive me
they were delicious
so sweet
and so cold
Questions
1.
Who is the speaker in this poem? Can we say that the speaker and the author are
the same person?
2.
Where might one find these words written in everyday life?
3.
William Carlos Williams, the author of this poem, subscribed to a modern view of
poetry known as imagism. Williams believed that, rather than focusing on
conveying ideas and deeper truths, a poets job was to create a powerful and
concise sensory experience for the reader through ones writings. Does he live up
to this task in this poem?
14. Harlem
Langston Hughes
What happens to a dream deferred?
Does it dry up
like a raisin in the sun?
Or fester like a sore
And then run?
Does it stink like rotten meat?
Or crust and sugar over
like a syrupy sweet?
Maybe it just sags
like a heavy load.
Or does it explode?
Questions
1.
This poem offers any number of rhetorical questions questions posed with no
reasonable expectation of being answered. Do you think the reader gets any
answers to the initial question? Explain your answer?
2.
Of the six images, five are similes. Which is a metaphor? Comment on its position
and its effectiveness.
3.
Since the dream could be any dream, the poem is general in its implication. What
happens to your understanding of it on learning that its author was a black
American?
15. Metaphors
Sylvia Plath
Im a riddle in nine syllables,
An elephant, a ponderous house,
A melon strolling on two tendrils,
13
14
15
2.
Rather than using apostrophe to compare his love to a rose, the speaker might have
addressed her directly, making the comparison in a simile or a metaphor (you are
like a rose or you are a rose), or he might have used an abstract third-person
form (she is like a rose or she is a rose). What does this poem gain from
apostrophe?
16
Questions
1.
In this poem, why is Whitmans comparison of his soul to the spider considered
to be a symbol and not a simile or a metaphor?
2.
In what ways are the spider and the soul contrasted? What do the contrasts
contribute to the meaning of the symbol?
3.
Can the questing soul represent human actions other than the search for spiritual
certainties?
20. The Sick Rose
William Blake
O Rose, thou art sick!
The invisible worm
That flies in the night,
In the howling storm,
Has found out thy bed
Of crimson joy,
And his dark secret love
Does thy life destroy.
Questions
1.
In your interpretation, what is the symbolic meaning of the rose? Of the worm?
Explain your answer by referencing the text.
2.
Should symbolic meanings be found for the night ant the storm? If so, what
meanings would you suggest? If not, explain your reasoning.
17
18
19
Questions
1.
What accounts for the effectiveness of the last stanza?
2.
Comment on the title. Does it match up with the subject of the poem?
3.
Does the last stanza understate or overstate Cullens reaction? Explain your answer
with evidence.
20
21
22
23
24
No trespassers reproach,
And loves best glasses reach
No fields but are his own.
Questions
1.
What has been the past experience of the two people in the poem? What is their
present experience? What precisely is the tone of the poem?
2.
What basic metaphor underlies this poem? Work it out stanza by stanza.
3.
Does line 10 mean that no trespasser reproaches the lovers or that no one
reproaches the lovers for being trespassers?
4.
The rhyme pattern in this poem is intricate and exact. Work it out, considering
alliteration, assonance, and consonance. Mark examples of each on your poem, and
write out the rhyme scheme and other notable musical techniques used in the poem
on your answer sheet.
31. We Wear the Mask
Paul Laurence Dunbar
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,
This debt we pay to human guile;
With torn and bleeding hearts we smile,
And mouth with myriad subtleties.
Why should the world be overwise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.
We smile, but, O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise,
We wear the mask!
Questions
1.
Explain the extended metaphor explored throughout the poem? Based on this
metaphor, what guesses can you make about the speakers identity?
2.
A refrain is a line or group of lines repeated throughout a poem. Write out the
rhyme scheme of this poem, and then note how the refrain in this poem interrupts
the rhyme scheme. What does this do to emphasize the theme of the poem?
3.
Where do you see alliteration and assonance in the poem? Where do you see
internal line rhyme?
32. Virtue
George Herbert
Sweet day, so cool, so calm, so bright,
The bridal of the earth and sky;
The dew shall weep thy fall to night,
For thou must die.
Sweet rose, whose hue, angry and brave,
Bids the rash gazer wipe his eye;
25
26
3.
4.
27
Questions
1.
Scan the poem. What patterns emerge? Where does the poem stray from the basic
patterns established?
2.
This poem is an example of a French form of poetry known as a villanelle. Based
on this poem, how would you tentatively define this form of poetry? What
characteristics of this poetic form seem to be key?
36. Mad Girls Love Song
Sylvia Plath
I shut my eyes and all the world drops dead;
I lift my lids and all is born again.
(I think I made you up inside my head.)
The stars go waltzing out in blue and red,
And arbitrary blackness gallops in:
I shut my eyes and all the world drops dead.
I dreamed that you bewitched me into bed
And sung me moon-struck, kissed me quite insane.
(I think I made you up inside my head.)
God topples from the sky, hell's fires fade:
Exit seraphim and Satan's men:
I shut my eyes and all the world drops dead.
I fancied you'd return the way you said,
But I grow old and I forget your name.
(I think I made you up inside my head.)
I should have loved a thunderbird instead;
At least when spring comes they roar back again.
I shut my eyes and all the world drops dead.
(I think I made you up inside my head.)
Questions
1.
Like poem 35, this is a villanelle. How does this villanelle change the definition you
came up with for this form of poetry?
2.
One key characteristic of villanelles is the repetition of last lines. How would the
theme of this poem be different if these lines were not repeated at the ends of
stanzas?
3.
Explain the tone of this poem, and identify key textual features or poetic devices
that support the tone you identify.
37. Shall I compare thee to a summers day?
William Shakespeare
Shall I compare thee to a summers day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summers lease hath all too short a date;
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And every fair from fair sometime declines,
28
29
30
1.
2.
31
l(a
le
af
fa
ll
s)
one
l
iness
Questions
1.
Write the poem out on one line, adding spaces and punctuation where you believe
appropriate. Does this change your understanding of the poem? What does the
poem mean?
2.
Why do you think the author chose to write the poem spread out over so many lines?
What does this accomplish?
3.
Would the poem retain its meaning if the parentheses were removed? Explain your
answer.
32
33
Itmightinterestyoutoknow,
speakingoftheplentifulimageryoftheworld,
thatIamthesoundofrainontheroof.
Ialsohappentobetheshootingstar,
theeveningpaperblowingdownanalley
andthebasketofchestnutsonthekitchentable.
Iamalsothemooninthetrees
andtheblindwoman'steacup.
Butdon'tworry,I'mnotthebreadandtheknife.
Youarestillthebreadandtheknife.
Youwillalwaysbethebreadandtheknife,
nottomentionthecrystalgobletandsomehowthewine.
Andaquicklookinthemirrorwillshow
thatyouareneitherthebootsinthecorner
northeboatasleepinitsboathouse.
34
35
Has the poem created a change in mood for you--or a change in attitude? How have the
technical elements helped the poet create this effect?
From http://wwwpp.uwrf.edu/~sl01/explcat.html
36