The Intimate Art of Writing PoetryPrentice-Hall, 1980 - 297 sider Here is a comprehensive but personal poetry-writing guide that combines essential "how to" information with the intellectual and emotional stimulation needed to produce the proper environment for writing creatively. In these pages you'll discover unique methods that can help get a new writer started or remove an experienced poet's creative "block." You'll find suggestions that explain how you can produce effective self-criticism and make necessary revisions, along with methods that elicit valuable appraisal of your poetry from group discussions. And you'll find scores of examples from traditional poems to contemporary experiments that provide a historical as well as a technical framework within which you can strengthen your ability to create poetry. Finally, this unique handbook gives you a complete list of suggested readings and poetry recordings in addition to important information that reveals the most effective ways to submit your poetry to editors for publication. |
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Side 41
... century , the term has come to identify any poem written to express an exalted mourning of either death in general or the death of a particular person . The nature of the elegy is lyrical and dignified . Elegies appear throughout the ...
... century , the term has come to identify any poem written to express an exalted mourning of either death in general or the death of a particular person . The nature of the elegy is lyrical and dignified . Elegies appear throughout the ...
Side 81
Ottone Riccio. through the centuries . Here is a loosely rhymed example occurring in the latter part of the nineteenth century : Emily Dickinson # 712 Because I could not stop for Death— He kindly stopped for me- The Carriage held but ...
Ottone Riccio. through the centuries . Here is a loosely rhymed example occurring in the latter part of the nineteenth century : Emily Dickinson # 712 Because I could not stop for Death— He kindly stopped for me- The Carriage held but ...
Side 101
... century ) . His great- est imitators were among the Victorian poets , who used French forms largely for light verse . In our century , however , these forms have been used with serious intent , and this has changed the forms ' character ...
... century ) . His great- est imitators were among the Victorian poets , who used French forms largely for light verse . In our century , however , these forms have been used with serious intent , and this has changed the forms ' character ...
Indhold
The Engagement | 3 |
Brain and Heart | 15 |
Bone and Muscle | 62 |
Copyright | |
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accept achieve anapest audience ballad CALIFORNIA/SANTA CRUZ century concrete poetry consonants contemporary couplet CRUZ The University device diction dramatic dreams Dylan Thomas editor effect elements emotional end words English example experience expression feel feet figures of speech free verse full rhyme haiku Hellric Publications iamb iambic images language letters look Lord Randal lyric magazine Marianne Moore material meaning metaphor meter metrical mind mood nature occurs pauses phrases poem poem's poet poet's poetic projective verse prose published quatrain reader Reprinted by permission Review rhyme scheme rhyme sounds rhythm rhythmic SANTA CRUZ sense sestet sestina shape songs spondee sprung rhythm stanza stressed structure style subconscious syllables symbols technique tercet term theme there's things thou tion tone traditional trochee turn University Library UNIVERSITY UNIVERSITY OF CALIFORNIA/SANTA unstressed variations verse paragraph villanelle vowels W. H. Auden workshop writing York