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Summary
Two beloved and esteemed poets have collaborated on this intimate and useful anthology illuminating the history, practice, and wonder of our most elusive art. Intended for all those who love poetry, including teachers, readers, writers, and students, The Making of a Poem will be especially valued by those who feel that an understanding of form'”sonnet, ballad, villanelle, sestina, etc.'”would enhance their appreciation of poetry, but are daunted by the terms, the names, and the histories of various poetic forms. This anthology draws the reader in, by example and explanation, to the excitement and entertainment of these forms. It explains their origins, traces their development, and shows examples from the past and present. In a feature called "The form at a glance" the reader can try his or her own hand writing a particular form. Included are essays by each of the editors describing their own personal journeys toward a form for their poetic voice. Above all, this anthology shows that poetic form is a continuing adventure. Contemporary poets can be seen here trying out the same forms that poets used hundreds of years ago, but in the new circumstances of a complicated modern world. In this way poetic form is illustrated not as a series of rules, but as a passionate conversation in which every reader of poetry can become involved. "A marvelous new anthology."'” Milwaukee Journal Sentinel
Author Biography
Mark Strand's collection Blizzard of One was awarded the Pulitzer Prize. Eavan Boland is professor of English at Stanford University
Table of Contents
Introductory Statement | p. xiii |
On Becoming a Poet | p. xvii |
Poetic Form: A Personal Encounter | p. xxv |
Acknowledgments | p. xxxi |
Verse Forms | |
Overview | p. 3 |
The Villanelle | |
The Villanelle at a Glance | p. 5 |
The History of the Form | p. 6 |
The Contemporary Context | p. 8 |
Villanelle of His Lady's Treasures | p. 9 |
The House on the Hill | p. 9 |
Missing Dates | p. 10 |
The Waking | p. 11 |
One Art | p. 11 |
Do Not Go Gentle into That Good Night | p. 12 |
The World and the Child | p. 13 |
Condemned Site | p. 13 |
By the Sound | p. 14 |
Saturday at the Border | p. 15 |
Under the Hill | p. 16 |
Villanelle | p. 16 |
Reading Scheme | p. 17 |
Villanelle for the Middle of the Night | p. 18 |
Close-Up of a Villanelle: "One Art" | p. 19 |
The Sestina | |
The Sestina at a Glance | p. 21 |
The History of the Form | p. 22 |
The Contemporary Context | p. 24 |
Ye wastefull woodes, bear witness of my woe | p. 25 |
from Old Arcadia | p. 26 |
Sestine 4 from Parthenophil and Parthenophe | p. 27 |
Sestina: Of the Lady Pietra degli Scrovigni | p. 29 |
Sestina | p. 30 |
Sestina | p. 32 |
Sestina of the Tramp-Royal | p. 33 |
Sestina: Altaforte | p. 34 |
After the Trial | p. 36 |
The Book of Yolek | p. 37 |
The Shrinking Lonesome Sestina | p. 38 |
Nani | p. 39 |
Close-Up of a Sestina: "Sestina: Altaforte" | p. 41 |
The Pantoum | |
The Pantoum at a Glance | p. 43 |
The History of the Form | p. 44 |
The Contemporary Context | p. 45 |
In Town | p. 45 |
Pantoum of the Great Depression | p. 47 |
Parents' Pantoum | p. 48 |
Pantoum | p. 49 |
Grandmother's Song | p. 50 |
The Method | p. 51 |
Close-Up of a Pantoum: "Pantoum of the Great Depression" | p. 53 |
The Sonnet | |
The Sonnet at a Glance | p. 55 |
The History of the Form | p. 56 |
The Contemporary Context | p. 58 |
Shall I compare thee to a summer's day? | p. 59 |
Farewell to Love | p. 59 |
from Pamphilia to Amphilanthus | p. 60 |
Sonnet XXIII: Methought I saw my late espoused saint | p. 60 |
Holy Sonnet: At the round earth's imagined corners | p. 61 |
Composed upon Westminster Bridge, September 3, 1802 | p. 61 |
Ozymandias | p. 62 |
Bright Star | p. 62 |
from Monna Innominata | p. 63 |
from Sonnets from the Portuguese (XLIII) | p. 63 |
Carrion Comfort | p. 64 |
What lips my lips have kissed, and where, and why | p. 64 |
From the Dark Tower | p. 65 |
Epic | p. 65 |
from "Tulips and Chimneys" | p. 66 |
To My Mother | p. 66 |
After the Bomb Tests | p. 67 |
A Game of Chess | p. 67 |
The Haw Lantern | p. 68 |
Heat | p. 68 |
The Roman Baths at Nimes | p. 69 |
Half a Double Sonnet | p. 69 |
Sonnet | p. 70 |
Close-Up of a Sonnet: "What lips my lips have kissed, and where, and why" | p. 71 |
The Ballad | |
The Ballad at a Glance | p. 73 |
The History of the Form | p. 74 |
The Contemporary Context | p. 77 |
The Cherry-tree Carol | p. 78 |
Sir Patrick Spens | p. 79 |
The Wife of Usher's Well | p. 81 |
My Boy Willie | p. 82 |
The Changeling | p. 83 |
from The Ballad of Reading Gaol | p. 86 |
Peter and John | p. 88 |
Bagpipe Music | p. 90 |
Death in Leamington | p. 91 |
The Tale of Custard the Dragon | p. 92 |
We Real Cool | p. 94 |
Riverbank Blues | p. 94 |
Ballad of John Cable and Three Gentlemen | p. 95 |
Close-Up of a Ballad: "We Real Cool" | p. 99 |
Blank Verse | |
Blank Verse at a Glance | p. 101 |
The History of the Form | p. 102 |
The Contemporary Context | p. 104 |
from his translation of The Aeneid | p. 105 |
from Tamburlaine the Great | p. 105 |
from Julius Caesar | p. 106 |
from Paradise Lost | p. 107 |
from Beachy Head | p. 108 |
from The Prelude | p. 109 |
Ulysses | p. 110 |
Rain | p. 112 |
Directive | p. 113 |
Lying | p. 114 |
Stanzas in Bloomsbury | p. 117 |
Close-Up of Blank Verse: "Directive" | p. 119 |
The Heroic Couplet | |
The Heroic Couplet at a Glance | p. 121 |
The History of the Form | p. 122 |
from The Description of Cooke-ham | p. 123 |
The Author to Her Book | p. 123 |
A Letter to Daphnis, April 2, 1685 | p. 124 |
from Absalom and Achitophel | p. 125 |
from The Vanity of Human Wishes | p. 126 |
To S. M., a Young African Painter, on Seeing His Works | p. 127 |
from The Deserted Village | p. 128 |
from An Essay on Criticism | p. 129 |
My Last Duchess | p. 130 |
Strange Meeting | p. 132 |
The J Car | p. 133 |
Close-Up of the Heroic Couplet: "My Last Duchess" | p. 135 |
The Stanza | |
The Stanza at a Glance | p. 136 |
The History of the Form | p. 137 |
The Contemporary Context | p. 139 |
from Troilus and Criseyde | p. 140 |
from The Faerie Queene | p. 141 |
They Flee from Me | p. 142 |
Easter Wings | p. 143 |
The Tyger | p. 143 |
So We'll Go No More A-Roving | p. 144 |
I died for Beauty--but was scarce | p. 145 |
The Convergence of the Twain | p. 145 |
The Song of the Mad Prince | p. 146 |
A Quoi Bon Dire | p. 147 |
Song of the Son | p. 147 |
The Tropics in New York | p. 148 |
Night Song at Amalfi | p. 149 |
Not Waving but Drowning | p. 149 |
On Teaching the Young | p. 149 |
Those Winter Sundays | p. 150 |
Yes | p. 150 |
Warming Her Pearls | p. 151 |
Epith | p. 152 |
Close-Up of a Stanza: "I died for Beauty--but was scarce" | p. 154 |
Meter | |
Meter at a Glance | p. 159 |
A Brief Checklist of Further Reading on Meter | p. 161 |
Shaping Forms | |
Overview | p. 165 |
The Elegy | |
Overview | p. 167 |
Lament for the Makaris | p. 168 |
If Ever Hapless Woman Had a Cause | p. 171 |
On My First Son | p. 172 |
Epitaph. On her Son H.P. at St. Syth's Church where her body also lies Interred | p. 172 |
Lycidas | p. 173 |
Here Follows Some Verses upon the Burning of Our House July 10th, 1666. Copied out of a Loose Paper | p. 178 |
Elegy Written in a Country Churchyard | p. 180 |
R. Alcona to J. Brenzaida | p. 184 |
O Captain! My Captain! | p. 185 |
Dover Beach | p. 185 |
To His Love | p. 187 |
Bells for John Whiteside's Daughter | p. 187 |
Tears in Sleep | p. 188 |
In Memory of W. B. Yeats | p. 188 |
from The Quaker Graveyard in Nantucket | p. 191 |
Dream Song 324 | p. 194 |
To the Dead | p. 194 |
In Memoriam Paul Celan | p. 196 |
The Legend | p. 197 |
The Elegy for New York | p. 198 |
Tiara | p. 199 |
Supernatural Love | p. 200 |
Mirror in February | p. 202 |
Iris | p. 203 |
Child Burial | p. 204 |
Song | p. 205 |
The Pastoral | |
Overview | p. 207 |
The Passionate Shepherd to His Love | p. 209 |
from Love's Labor's Lost | p. 210 |
The Garden | p. 210 |
To My Sister | p. 213 |
Ode on a Grecian Urn | p. 214 |
Loveliest of Trees | p. 215 |
The Wife of Llew | p. 216 |
Urban Pastoral | p. 216 |
Remembered Morning | p. 217 |
The Thought-Fox | p. 217 |
The Explosion | p. 218 |
Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota | p. 219 |
Midsummer, Tobago | p. 220 |
The Bear | p. 220 |
Fog | p. 223 |
Let Evening Come | p. 224 |
Smoke | p. 224 |
Meditation at Lagunitas | p. 226 |
From the Porch | p. 227 |
A Walrus Tusk from Alaska | p. 227 |
Looking West from Laguna Beach at Night | p. 228 |
The Broad Bean Sermon | p. 229 |
Of the Finished World | p. 230 |
Tornados | p. 231 |
Loss | p. 232 |
Waiting for the Storm | p. 233 |
An Engraving of Blake | p. 233 |
Pygmalion's Image | p. 233 |
Mock Orange | p. 234 |
The Black Walnut Tree | p. 235 |
Gateposts | p. 236 |
Heart of the Matter | p. 236 |
Shoeing the Currach | p. 238 |
The Ode | |
Overview | p. 240 |
Ode to the West Wind | p. 241 |
To Autumn | p. 243 |
Ode | p. 244 |
The Fire of Driftwood | p. 245 |
from The Bridge | p. 247 |
The Paper Nautilus | p. 248 |
Australia 1970 | p. 249 |
Miracle Glass Co. | p. 250 |
The Blue Swallows | p. 250 |
America | p. 252 |
Ode to Meaning | p. 252 |
Perhaps the World Ends Here | p. 254 |
Open Forms | |
Overview | p. 259 |
The Circus Animals' Desertion | p. 260 |
The Love Song of J. Alfred Prufrock | p. 262 |
I, Too | p. 266 |
The Idea of Order at Key West | p. 266 |
Spring and All | p. 268 |
America | p. 269 |
Ave Maria | p. 272 |
Uncertain Oneiromancy | p. 273 |
Daddy | p. 274 |
Diving into the Wreck | p. 276 |
Move | p. 279 |
The Language of the Brag | p. 280 |
The Colonel | p. 281 |
The German Army, Russia, 1943 | p. 282 |
Starlight Scope Myopia | p. 282 |
Reading Plato | p. 284 |
Close-Up of Open Forms: "Diving into the Wreck" | p. 287 |
A Brief Glossary | p. 289 |
Biographies and Further Reading | p. 293 |
Suggested Reading | p. 335 |
Credits | p. 337 |
General Index | p. 349 |
Index of Authors, Titles, and First Lines | p. 357 |
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