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 163
... sounds produced by vowels are increased in number by the use of proper or full diphthongs ( a speech sound changing continuously from one vowel to another in the same syllable ) . This list includes only those vowel diphthongs that do ...
... sounds produced by vowels are increased in number by the use of proper or full diphthongs ( a speech sound changing continuously from one vowel to another in the same syllable ) . This list includes only those vowel diphthongs that do ...
Side 164
... sounds are indeed available to us , even though only twenty - three letters are involved . THE QUALITY OF SOUNDS Our professional interest in these letters and sounds is with the textures they make possible in lines of poetry - the ...
... sounds are indeed available to us , even though only twenty - three letters are involved . THE QUALITY OF SOUNDS Our professional interest in these letters and sounds is with the textures they make possible in lines of poetry - the ...
Side 177
... sounds are identical ( ow / cow , but not mow ) ; ( 2 ) the consonant sounds , if any , following the vowels are identical ( how / mow / cow , catch / thatch , gruff / rough ) ; ( 3 ) the consonant sounds preceding the stressed vowels ...
... sounds are identical ( ow / cow , but not mow ) ; ( 2 ) the consonant sounds , if any , following the vowels are identical ( how / mow / cow , catch / thatch , gruff / rough ) ; ( 3 ) the consonant sounds preceding the stressed vowels ...
Indhold
The Engagement | 3 |
Brain and Heart | 15 |
Bone and Muscle | 62 |
Copyright | |
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accept achieve anapest audience ballad called century concrete poetry consonants contemporary couplet critical diction dramatic dreams Dylan Thomas editor effect elements emotional end words English example experience expression eyes feel feet figures of speech free verse full rhyme haiku Hellric Publications iamb iambic idea images involved language letters listen look Lord Randal lyric magazine Marianne Moore material meaning metaphor meter metrical mind mood narrative nature occurs pauses phrases poem poem's poet poet's projective verse prose published quatrain reader Reprinted by permission Review rhyme scheme rhyme sounds rhythm rhythmic SASE sense sestet sestina shape songs sonnet form spondee sprung rhythm stanza stressed structure style subconscious syllables symbols technique tercet term theme there's things thou tion tone traditional trochee turn unstressed syllables variations verse paragraph villanelle vowels W. H. Auden workshop writing York