Preface |
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xxiii | |
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Poetry: Reading, Responding, Writing |
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1 | (26) |
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2 | (6) |
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2 | (1) |
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Elizabeth Barrett Browning |
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3 | (1) |
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4 | (2) |
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The River-Merchant's Wife: A Letter |
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6 | (1) |
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7 | (1) |
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8 | (8) |
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9 | (1) |
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10 | (1) |
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11 | (1) |
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Fifth Grade Autobiography |
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12 | (1) |
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13 | (3) |
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16 | (1) |
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Practicing Reading: Some Poems on Love |
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16 | (11) |
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[Stop all the clocks, cut off the telephone] |
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16 | (1) |
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17 | (1) |
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To My Dear and Loving Husband |
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18 | (1) |
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[Let me not to the marriage of true minds] |
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19 | (1) |
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A Special Theory of Relativity |
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19 | (1) |
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20 | (1) |
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21 | (1) |
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22 | (1) |
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22 | (1) |
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23 | (1) |
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24 | (3) |
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27 | (276) |
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27 | (41) |
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27 | (1) |
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28 | (2) |
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30 | (2) |
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Hard Rock Returns to Prison from the Hospital for the Criminal Insane |
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32 | (1) |
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33 | (2) |
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35 | (1) |
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36 | (1) |
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Many Tones: Poems About Families |
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37 | (17) |
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After Making Love We Hear Footsteps |
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37 | (1) |
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38 | (1) |
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39 | (1) |
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39 | (1) |
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40 | (1) |
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41 | (1) |
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42 | (1) |
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43 | (1) |
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43 | (1) |
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44 | (1) |
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45 | (1) |
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45 | (1) |
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46 | (1) |
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47 | (1) |
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48 | (1) |
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49 | (1) |
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49 | (1) |
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Grandmother, a Caribbean Indian, Described by My Father |
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50 | (1) |
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51 | (1) |
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52 | (2) |
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Poems about Animals and Insects (and Humans) |
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54 | (14) |
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54 | (1) |
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55 | (1) |
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56 | (1) |
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56 | (1) |
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57 | (1) |
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58 | (1) |
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59 | (1) |
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59 | (2) |
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Ode on the Death of a Favorite Cat |
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61 | (1) |
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[A narrow Fellow in the Grass] |
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62 | (1) |
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On the Grasshopper and the Cricket |
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63 | (1) |
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63 | (2) |
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65 | (1) |
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A Noiseless Patient Spider |
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66 | (1) |
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66 | (2) |
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Speaker: Whose Voice Do We Hear? |
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68 | (25) |
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68 | (2) |
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In a Prominent Bar in Secaucus One Day |
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70 | (1) |
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Death of a Young Son by Drowning |
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71 | (2) |
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Soliloquy of the Spanish Cloister |
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73 | (2) |
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75 | (1) |
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76 | (2) |
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She Dwelt among the Untrodden Ways |
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78 | (1) |
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79 | (1) |
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80 | (1) |
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81 | (1) |
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Recovery of Sexual Desire after a Bad Cold |
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82 | (1) |
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[I celebrate myself, and sing myself] |
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82 | (1) |
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83 | (1) |
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Lessons of the War: Judging Distances |
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84 | (2) |
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86 | (1) |
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86 | (1) |
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87 | (1) |
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[Women have loved before] |
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88 | (1) |
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88 | (1) |
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L'amitie: To Mrs. M. Awbrey |
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89 | (1) |
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90 | (2) |
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92 | (1) |
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Situation and Setting: What Happens? Where? When? |
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93 | (36) |
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94 | (3) |
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97 | (1) |
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98 | (1) |
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To a Daughter Leaving Home |
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99 | (1) |
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On the Late Massacre in Piedmont |
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100 | (2) |
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102 | (2) |
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104 | (2) |
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106 | (8) |
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106 | (1) |
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106 | (2) |
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108 | (1) |
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109 | (1) |
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110 | (1) |
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A Mongoloid Child Handling Shells on the Beach |
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110 | (1) |
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111 | (1) |
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111 | (2) |
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113 | (1) |
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114 | (7) |
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[Full many a glorious morning have I seen] |
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114 | (1) |
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114 | (1) |
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115 | (1) |
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116 | (1) |
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117 | (1) |
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Aubade on East 12th Street |
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117 | (1) |
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A Description of the Morning |
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118 | (1) |
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118 | (1) |
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Evening in the Sanitarium |
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119 | (1) |
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120 | (1) |
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121 | (8) |
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121 | (1) |
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122 | (1) |
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123 | (1) |
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124 | (1) |
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124 | (1) |
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125 | (1) |
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126 | (1) |
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127 | (1) |
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127 | (2) |
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129 | (70) |
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129 | (24) |
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[The golf links lie so near the mill] |
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129 | (1) |
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130 | (1) |
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130 | (2) |
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At the San Francisco Airport |
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132 | (2) |
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134 | (1) |
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135 | (2) |
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[After great pain, a formal feeling comes---] |
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137 | (1) |
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138 | (1) |
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139 | (1) |
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140 | (1) |
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141 | (1) |
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[I dwell in Possibility---] |
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142 | (1) |
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142 | (1) |
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143 | (1) |
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Reflections on Ice-Breaking |
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143 | (1) |
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Here Usually Comes the Bride |
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143 | (1) |
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144 | (1) |
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144 | (3) |
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147 | (1) |
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147 | (1) |
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148 | (1) |
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149 | (1) |
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149 | (1) |
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150 | (3) |
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Picturing: The Languages of Description |
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153 | (12) |
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155 | (1) |
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156 | (1) |
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The Snow Arrives after Long Silence |
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156 | (1) |
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157 | (1) |
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158 | (1) |
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159 | (1) |
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159 | (1) |
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Home Movies: A Sort of Ode |
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160 | (1) |
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161 | (2) |
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163 | (2) |
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165 | (18) |
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[That time of year thou mayst in me behold] |
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166 | (2) |
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168 | (1) |
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169 | (1) |
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170 | (1) |
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171 | (2) |
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[Shall I compare thee to a summer's day?] |
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173 | (1) |
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173 | (1) |
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174 | (1) |
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[Batter my heart, three-personed God] |
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174 | (1) |
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175 | (1) |
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175 | (1) |
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176 | (1) |
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177 | (1) |
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The Death of the Ball Turret Gunner |
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178 | (1) |
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A Comparison of the Life of Man |
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178 | (1) |
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The Night Has a Thousand Eyes |
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179 | (1) |
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Francis William Bourdillon |
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An Elegy for My Mother in Which She Scarcely Appears |
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179 | (1) |
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180 | (1) |
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181 | (1) |
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181 | (1) |
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[Wild Night--Wild Nights!] |
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182 | (1) |
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182 | (1) |
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183 | (16) |
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Leningrad Cemetery, Winter of 1941 |
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183 | (2) |
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185 | (3) |
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188 | (1) |
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189 | (1) |
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189 | (1) |
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190 | (1) |
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191 | (1) |
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191 | (2) |
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193 | (2) |
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195 | (1) |
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195 | (2) |
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197 | (2) |
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199 | (32) |
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199 | (1) |
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200 | (2) |
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202 | (2) |
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204 | (4) |
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208 | (1) |
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208 | (1) |
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[There was a young girl from St. Paul] |
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209 | (1) |
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209 | (1) |
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To the Memory of Mr. Oldham |
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210 | (2) |
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212 | (3) |
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215 | (1) |
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215 | (1) |
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216 | (1) |
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217 | (1) |
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217 | (1) |
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218 | (1) |
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218 | (1) |
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219 | (12) |
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220 | (1) |
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When to Her Lute Corinna Sings |
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221 | (1) |
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221 | (1) |
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Faith's Review and Expectation |
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222 | (1) |
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A Prayer, Living and Dying |
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223 | (1) |
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Augustus Montague Toplady |
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Homage to the Empress of the Blues |
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224 | (1) |
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224 | (1) |
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225 | (2) |
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227 | (1) |
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228 | (3) |
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231 | (24) |
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231 | (3) |
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234 | (2) |
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236 | (3) |
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239 | (1) |
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240 | (2) |
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242 | (1) |
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Arrangements with Earth for Three Dead Friends |
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243 | (1) |
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244 | (2) |
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246 | (1) |
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[The Wind begun to knead the Grass---] |
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247 | (1) |
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247 | (1) |
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248 | (2) |
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250 | (1) |
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251 | (1) |
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252 | (1) |
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Stray Paragraphs in February, Year of the Rat |
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253 | (1) |
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Poem with Lines in Any Order |
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253 | (2) |
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255 | (35) |
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258 | (16) |
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259 | (1) |
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[My lady's presence makes the roses red] |
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260 | (1) |
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A Sonnet Is a Moment's Monument |
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261 | (1) |
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261 | (1) |
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My True Love Hath Mine Heart |
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262 | (1) |
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263 | (1) |
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In This Strange Labyrinth |
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263 | (1) |
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Sweep Me through Your Many-Chambered Heart |
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264 | (1) |
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264 | (1) |
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265 | (1) |
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265 | (1) |
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266 | (1) |
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[When I consider how my light is spent] |
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266 | (1) |
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267 | (1) |
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268 | (1) |
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[When our two souls stand up] |
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268 | (1) |
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Elizabeth Barrett Browning |
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[What lips my lips have kissed] |
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269 | (1) |
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[I shall forget you presently, my dear] |
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269 | (1) |
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270 | (1) |
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270 | (1) |
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271 | (1) |
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Sir Charles G. D. Roberts |
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271 | (1) |
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272 | (1) |
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272 | (1) |
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273 | (1) |
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273 | (1) |
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274 | (6) |
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Do Not Go Gentle into That Good Night |
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275 | (1) |
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276 | (1) |
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277 | (1) |
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beware : do not read this poem |
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278 | (2) |
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280 | (1) |
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280 | (10) |
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281 | (1) |
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Composed in the Composing Room |
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281 | (1) |
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282 | (1) |
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283 | (1) |
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284 | (1) |
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285 | (1) |
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286 | (1) |
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286 | (1) |
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287 | (1) |
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288 | (2) |
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290 | (13) |
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290 | (2) |
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292 | (1) |
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293 | (2) |
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295 | (1) |
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296 | (1) |
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297 | (1) |
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297 | (1) |
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[My Life had stood---a Loaded Gun---] |
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298 | (1) |
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Epitaph on Elizabeth, L. H. |
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299 | (1) |
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299 | (1) |
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300 | (3) |
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303 | (221) |
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Reading Poetry in Context |
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303 | (36) |
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304 | (1) |
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305 | (1) |
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Sonnet: The Ladies' Home Journal |
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306 | (3) |
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Times, Places, and Events |
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309 | (12) |
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309 | (1) |
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309 | (1) |
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310 | (1) |
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Thinking about Bill, Dead of AIDS |
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311 | (1) |
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312 | (1) |
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313 | (1) |
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314 | (1) |
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Hattie McDaniel Arrives at the Coconut Grove |
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315 | (1) |
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316 | (1) |
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317 | (1) |
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318 | (1) |
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A Satirical Elegy on the Death of a Late Famous General |
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318 | (1) |
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319 | (1) |
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320 | (1) |
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321 | (1) |
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Constructing Identity, Exploring Gender |
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321 | (18) |
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321 | (1) |
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322 | (1) |
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323 | (1) |
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To George Sand [A Desire] |
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324 | (1) |
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Elizabeth Barrett Browning |
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To George Sand [A Recognition] |
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324 | (1) |
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Song: To Lucasta, Going to the Wars |
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325 | (1) |
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325 | (1) |
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326 | (1) |
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327 | (2) |
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329 | (1) |
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330 | (1) |
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331 | (1) |
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Written the First Year I Was Marry'd |
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332 | (1) |
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Lady Mary Wortley Montagu |
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332 | (1) |
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333 | (1) |
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334 | (1) |
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335 | (1) |
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335 | (2) |
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337 | (2) |
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The Author's Work as Context: John Keats and Adrienne Rich |
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339 | (43) |
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342 | (15) |
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On Seeing the Elgin Marbles |
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344 | (1) |
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344 | (1) |
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345 | (2) |
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347 | (2) |
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349 | (1) |
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350 | (1) |
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Passages from Letters and the Preface to Endymion |
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351 | (1) |
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To Benjamin Bailey (Nov. 22, 1817) |
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351 | (1) |
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To George and Thomas Keats (Dec. 21, 1817) |
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352 | (1) |
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To John Hamilton Reynolds (Feb. 19, 1818) |
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353 | (2) |
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To John Taylor (Feb. 27, 1818) |
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355 | (1) |
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Preface to Endymion (dated April 10, 1818) |
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355 | (1) |
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355 | (2) |
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357 | (25) |
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359 | (1) |
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359 | (1) |
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360 | (1) |
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Snapshots of a Daughter-in-Law |
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361 | (4) |
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365 | (1) |
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366 | (1) |
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366 | (1) |
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367 | (1) |
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[My mouth hovers across your breasts] |
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368 | (1) |
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368 | (1) |
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369 | (1) |
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370 | (1) |
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371 | (1) |
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From When We Dead Awaken: Writing as Re-Vision |
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371 | (1) |
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How Does a Poet Put Bread on the Table? |
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372 | (2) |
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374 | (1) |
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Why I Refused the National Medal for the Arts |
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375 | (4) |
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379 | (3) |
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Literary Tradition as Context |
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382 | (41) |
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383 | (6) |
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[Come, my Celia, let us prove] |
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384 | (1) |
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385 | (1) |
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385 | (2) |
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387 | (1) |
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You Too? Me Too---Why Not? Soda Pop |
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388 | (1) |
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[Not marble, nor the gilded monuments] |
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389 | (1) |
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389 | (2) |
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The Passionate Shepherd to His Love |
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390 | (1) |
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391 | (6) |
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392 | (1) |
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[A village without bells---] |
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393 | (1) |
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393 | (1) |
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393 | (1) |
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394 | (1) |
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394 | (1) |
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[The moon and the flowers] |
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394 | (1) |
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394 | (1) |
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394 | (1) |
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395 | (1) |
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395 | (1) |
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395 | (1) |
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395 | (1) |
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396 | (1) |
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[Looking over my shoulder] |
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396 | (1) |
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396 | (1) |
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396 | (1) |
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Poets on Poets: Imitation, Homage, Doubt |
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397 | (13) |
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[The Nymph's Reply to the Shepherd] |
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397 | (1) |
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398 | (1) |
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399 | (1) |
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[(ponder, darling, these busted statutes] |
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399 | (1) |
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Ode on a Grecian Urn Summarized |
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400 | (1) |
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400 | (1) |
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[Not only marble, but the plastic toys] |
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401 | (1) |
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On First Looking into Chapman's Homer |
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402 | (1) |
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402 | (1) |
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403 | (1) |
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403 | (2) |
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405 | (1) |
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406 | (1) |
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Taking Off Emily Dickinson's Clothes |
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406 | (2) |
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408 | (1) |
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409 | (1) |
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Cultural Belief and Tradition |
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410 | (13) |
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411 | (1) |
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412 | (1) |
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413 | (1) |
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413 | (1) |
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414 | (1) |
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414 | (1) |
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415 | (1) |
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On Being Brought from Africa to America |
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415 | (1) |
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Something Like a Sonnet for Phillis Miracle Wheatley |
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416 | (1) |
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416 | (1) |
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417 | (1) |
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418 | (1) |
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419 | (1) |
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420 | (3) |
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Cultural and Historical Contexts: The Harlem Renaissance |
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423 | (43) |
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A Black Man Talks of Reaping |
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433 | (1) |
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433 | (1) |
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434 | (1) |
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435 | (1) |
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435 | (1) |
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435 | (1) |
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436 | (1) |
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The Negro Speaks of Rivers |
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437 | (1) |
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438 | (1) |
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438 | (1) |
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Sonnet to a Negro in Harlem |
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439 | (1) |
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439 | (1) |
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440 | (1) |
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440 | (1) |
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440 | (1) |
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441 | (1) |
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441 | (1) |
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From the Preface to The Book of American Negro Poetry |
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442 | (3) |
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445 | (6) |
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The Caucasian Storms Harlem |
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451 | (4) |
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455 | (1) |
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How It Feels to Be Colored Me |
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456 | (4) |
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From The Big Sea [Harlem Literati] |
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460 | (6) |
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Critical Contexts: A Poetry Casebook |
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466 | (31) |
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467 | (4) |
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471 | (3) |
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From The Plath Celebration: A Partial Dissent |
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474 | (1) |
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475 | (2) |
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From Rituals of Exorcism: ``Daddy'' |
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477 | (3) |
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480 | (3) |
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From A Feminine Tradition |
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483 | (1) |
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From A Disturbance in Mirrors |
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484 | (4) |
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488 | (9) |
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497 | (11) |
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Love Calls Us to the Things of This World Early drafts of the first stanza |
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498 | (1) |
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499 | (1) |
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[Bright Star! Would I were stedfast as thou art!] |
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500 | (1) |
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500 | (1) |
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500 | (1) |
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501 | (1) |
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502 | (1) |
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503 | (1) |
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503 | (1) |
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[O where ha' you been, Lord Randal, my son?] |
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504 | (1) |
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505 | (1) |
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505 | (1) |
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505 | (1) |
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[Safe in their Alabaster Chambers---] |
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506 | (1) |
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506 | (1) |
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506 | (1) |
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507 | (1) |
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507 | (1) |
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508 | (16) |
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[Th' expense of spirit in a waste of shame] |
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511 | (2) |
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513 | (2) |
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515 | (1) |
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516 | (1) |
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516 | (1) |
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517 | (1) |
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517 | (1) |
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Bells for John Whiteside's Daughter |
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518 | (1) |
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518 | (1) |
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[The Brain---is wider than the Sky---] |
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519 | (1) |
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519 | (1) |
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520 | (1) |
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Reading Time : 1 Minute 26 Seconds |
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520 | (1) |
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521 | (3) |
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524 | (77) |
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On the Amtrak from Boston to New York City |
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524 | (1) |
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525 | (1) |
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526 | (1) |
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As I Walked Out One Evening |
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526 | (2) |
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528 | (1) |
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528 | (1) |
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529 | (1) |
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529 | (2) |
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[Because I could not stop for Death---] |
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531 | (1) |
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[I reckon---when I count at all---] |
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532 | (1) |
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[I stepped from Plank to Plank] |
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532 | (1) |
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[We do not play on Graves---] |
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532 | (1) |
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[She dealt her pretty words like Blades---] |
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533 | (1) |
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533 | (1) |
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534 | (1) |
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A Valediction: Forbidding Mourning |
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535 | (1) |
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536 | (1) |
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536 | (1) |
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537 | (1) |
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The Love Song of J. Alfred Prufrock |
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538 | (4) |
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542 | (1) |
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Stopping by Woods on a Snowy Evening |
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543 | (1) |
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A Supermarket in California |
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543 | (1) |
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544 | (1) |
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Elegy Written in a Country Churchyard |
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545 | (3) |
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548 | (1) |
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548 | (1) |
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549 | (2) |
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551 | (1) |
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552 | (1) |
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552 | (1) |
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553 | (1) |
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554 | (2) |
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556 | (5) |
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561 | (1) |
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562 | (1) |
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563 | (1) |
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563 | (1) |
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Black Rook in Rainy Weather |
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564 | (1) |
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565 | (2) |
|
In a Station of the Metro |
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567 | (1) |
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567 | (1) |
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568 | (1) |
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|
The Idea of Order at Key West |
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|
568 | (2) |
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570 | (1) |
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570 | (3) |
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Now Sleeps the Crimson Petal |
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573 | (1) |
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574 | (1) |
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575 | (1) |
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576 | (2) |
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|
578 | (2) |
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|
Facing West from California's Shores |
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580 | (1) |
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580 | (1) |
|
When Lilacs Last in the Dooryard Bloomed |
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|
581 | (6) |
|
Lines Written a Few Miles above Tintern Abbey |
|
|
587 | (4) |
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|
The Lake Isle of Innisfree |
|
|
591 | (1) |
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591 | (1) |
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592 | (2) |
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594 | (1) |
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595 | (1) |
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|
595 | (1) |
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596 | (2) |
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|
598 | (3) |
|
Biographical Sketches: Poets |
|
|
601 | (22) |
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|
623 | (60) |
|
Paraphrase, Summary, and Description |
|
|
623 | (3) |
|
The Elements of the Essay |
|
|
626 | (7) |
|
|
633 | (12) |
|
|
645 | (15) |
|
Quotation, Citation, and Documentation |
|
|
660 | (12) |
|
Sample Research Paper: ``Keeping the Sabbath Separately: Emily Dickinson's Rebellious Faith'' |
|
|
672 | (11) |
|
|
|
683 | |
Glossary |
|
1 | (6) |
Permissions Acknowledgments |
|
7 | (18) |
Index of Authors |
|
25 | (6) |
Index of Titles and First Lines |
|
31 | |