Poiema

By Douglas Carrington
Submitted for his Advanced Project, April 10, 2006. Used with permission of the author. Annotations by Joseph Hemmerling, Research Assistant, and Michelle Navarre Cleary, Assistant Professor and Writing Coordinator, The School for New Learning, DePaul University.

A note on citations included in research: Primary sources used to support main themes are listed in the annotated bibliography, and are cited in text. Some secondary sources have been used for illustrative purposes. These are primarily from poetry collections and anthologies, or reference books. These citations are footnoted, and are included in the suggested reading list following the annotated bibliography.
Commentaire : The student includes this note on citations as preliminary material because it is an unusual way of organizing your works cited. Most of the time, you will simply put all of your references in a single works-cited page, but if you do choose to do something different with your paper, always be sure to notify the reader of it early on.

Part 1: Introduction Poetry is a broad, comprehensive term that is used in reference to many different types of versified composition, from the most elementary doggerel, to the excellent, refined verse produced by the poet laureate. Because of the expansive use of the term, this research has been designed to examine scholarly thought on the topic, attempting to qualify a unified definition. Research Question: What is poetry (IV) and how can creative writing be expressed using accepted poetic forms (DV)? As an independent variable, this research will seek to define a unified position for poetry using diverse scholarship. This research will consider historic and philosophical definitions and consider the many levels of meaning frequently expressed in poetry.

Commentaire : In this first paragraph, the student presents both the problem (poetry is difficult to define because it is so broad) and his intended solution (a comprehensive study of scholarly thought).

2 Because the use of free verse poetry has largely eclipsed the use of traditional forms in modern times, it will be important to emphasize that free verse poetry stands firmly on the foundations of traditional poetic forms. As a dependent variable, this research will examine the elements of traditional poetic forms and how knowledge of these forms can be utilized, not to stifle creativity, but to inspire it. To conclude, these two streams of knowledge will be used to analyze some original poetry. Included in this analysis will be the development of a concept in producing original poetic works. This will also include the identification of specific terms constituting poetic form, and explanations on how the terms have been used, and how meaning has been created or enhanced.
Commentaire : The preceding three paragraphs give a very systematic account of how he will proceed in this paper. This can be a good strategy for your introduction; begin by laying out the issues you want to address in the order in which you will address them, thus giving your reader an outline for your paper.

Competence Statements: (F11) Can design and produce a significant artifact or document that gives evidence of advanced competence in Creative Writing. (F12) Can write poetry using both free verse and traditional forms. Criteria for assessment: A.) Demonstrates an understanding of the place of poetry as a literary genre. B). Demonstrates an understanding of devices regularly used in poetry, including rhyme, meter, and figurative language. C). Can produce and analyze original poetry using free verse and traditional forms. D). Demonstrates an understanding of the processes involved in layout and production of printed material. E). Can produce a professionally designed and printed chapbook of original poetry. Evidence supporting fulfillment of the competences: Written examination of the independent variable defining poetry will be utilized in fulfillment of the F11 competence. This will be produced by the process of research into positions of various

Commentaire : The student places his competence statement at the beginning of the paper. It acts as a thesis statement; serving the reader by letting him or her know what the paper will be about, and serving the writer by reminding him what points he needs to address to create a successful piece.

3 scholars on the nature and place of poetry as a literary genre. The F12 competence will be fulfilled by written research into the mechanical aspects of poetry, including rhyme schemes, syllabic meter, imagery and literary devices. The conclusions of this research will be illustrated in classical poetry and will be identified and explained as they are used in original poetry. The criteria for assessment will be addressed using the following methods: A.) Demonstrates an understanding of the place of poetry as a literary genre. This criterion will be specifically addressed in the first section of the academic justification, that of examining and defining poetry. B). Demonstrates an understanding of devices regularly used in poetry, including rhyme, meter, and figurative language. This criterion will be addressed in the second section of the academic justification, that of defining elements of poetic form. C). Can produce and analyze original poetry using free verse and traditional forms. This criterion will be addressed in section three of the academic justification, as original poems are examined and specific elements of form and meaning are identified. D). Demonstrates an understanding of the processes involved in layout and production of printed material. E). Can produce a professionally designed and printed chapbook of original poetry. The final two criteria will be evidenced by an electronic file of the chapbook layout, and by the actual chapbook. The connection to the focus area theme is complex and has expanded as a direct consequence of my learning experiences at DePaul. Many transfer credits have been included from a professional certification in purchasing management earned from Fullerton College, Fullerton, California in 1992. As a focus area theme, these credits constitute the major area of study and include cost/price analysis, quality assurance
Commentaire : The student lists here the evidence he will offer to support the claims made in his introduction and competence statement. Commentaire : The student explains here how he has addressed the requirements of the competence statement above.

4 programs, accepted business practice, uniform commercial code, business ethics and interrelatedness between purchasing and accounts payable. Also included were value analysis, inventory control, warehousing, logistics, capital equipment, make or buy, automation, financial statements, Materials Requirement Planning (MRP) systems, recycling, and negotiation techniques. Purchasing is currently a primary means of personal employment. These transfer credits, representing approximately thirty months of night classes, coupled with nearly twenty years of work experience in the field, comprise a well rounded focus area theme however, a new direction was desired, as afforded by the opportunity of a liberal arts education. As part of the learning experiences at the School for New Learning, a small interest in poetry has grown and developed through use in a number of classes (primarily in the arts and ideas, but also in humanities and sciences) as allowed through various writing assignments. As this interest has developed, a decision was made to pursue creative writing on a graduate level. At this point, competences have been crafted to address transcript entries that would reasonably be expected by a prospective graduate school creative writing program. In consideration of this split in the focus area theme, and to use a more common academic vernacular, it is here stated that this degree is a major in Applied Professional Studies with emphasis on Purchasing Management, and a minor in Creative Writing.
Commentaire : This fairly lengthy digression into the students experience with the field of purchase management would seem out of place in a paper about poetry if not for the last sentence of this paragraph, which explains its relevance to the rest of the paper, i.e. his desire for pursuing a new direction of study: creative writing. Commentaire : The student here gives us an explanation of how he became interested in his topic.

Part 2: Review of Literature Essay The purpose of this research project is to identify and comment on the nature of poetry and the use of literary devices comprising poetic form. There are many sources of

5 scholarship available on this topic however, few seem sufficiently resourceful or intrepid as to offer any defining terms. Instead, educated opinions appear in abundance. This essay will explore certain themes and patterns within the collected works cited, noting their key concepts and assumptions; identifying research methods used, and commenting on various perspectives. The essay will conclude by examining how the current research question integrates with the work of other scholars and identifying questions that arise in the process. There are a plethora of books available on poetry, including classical and contemporary anthologies, those demonstrating extremes in classification, and those advocating little or no use for poetic form. In reviewing and selecting source material for this research, a primary goal has been to establish a broad perspective. This goal has been realized through selecting sources ranging from modern and contemporary to classical. A common theme in many of the cited works is the connection between poetry and life. Kilby, Spender, Berry, Pinsky, Housman, Fox, Wordsworth, and Kowit all follow this theme is some manner. The best poetry integrates recognizable life experiences with a craftsman-like skill in imaginative language. Two works in this group stand out as deserving special attention. The first is Gilbert Highet and his book The Powers of Poetry. Professor Highet asks what use is poetry? He proceeds to provide the answer in a series of thirtynine essays addressing poetic technique, but primary attention is given to famous poets, such as Shakespeare, Traherne, Housman, Yeats, Thomas, and Cummings. Highet also examines established forms such as lyric, epic, haiku, and elegy. Highets work is a
Commentaire : Once again, the student gives his readers a guide to how he will proceed and the points he will cover. Commentaire : The transition however introduces a statement that can contradict or qualify the statement made immediately before it.

6 celebration of poetry and life, more specifically, the interconnections between poetry and life. Highet provides detailed accounts such as Trahernes modest beginnings as a rector and of his written work lying in complete obscurity for over two hundred years, and of Housman, a crotchety man Highet describes as being born elderly (115). As a Latin scholar, professor Highets skill with language shines throughout this work. The other is Dr. Clyde S. Kilby and his textbook, Poetry and Life. Academically, this book is a broad, interpretive examination of poetic form, structure, texture, language, and history. The book includes an excellent collection of poems for study. The most interesting element of reading Dr. Kilbys book is the sense of wonder with which the book is infused. Because of the many interconnections that exist between poetry and life experiences, no poetry should be seen as common. While emphasizing the importance of studying poetry, Kilby reminds his readers to take time to enjoy poetry, and not become lost in analysis - It is too much like dissecting a dead bird in the laboratory as compared with seeing a bird on the wing and hearing it sing its joyous song (327). Another dominant theme in the collected works is that of poetic form. Strand and Boland, Kilby, Highet, Kinzie, Kowit, Oliver, Allchin, and Fox address this topic in various methods. For instance, Fox includes a discussion of poetic form seemingly to assist in making poems of introspective writing. Kilby and Highet make interconnections between poetic form and the much larger tapestry of poetry. Strand and Boland, Kinzie, and Pinsky present very strong positions on various aspects of poetic form. For instance, Strand and Boland ask what is the nature and composition of
Commentaire : The transition for instance moves discussion from a general topic (all of these authors discuss poetic forms) to a more specific instance (this is how each author discusses poetic forms) Commentaire : This passage from Kilby is a good use of direct quotation: elegantly phrased and distinctive, the passage would lose much of its power and impact were the student to paraphrase it. Commentaire : Rather than lift a quotation in its entirety from his source text, the student merely takes the relevant phrase, born elderly. This is a good use of source material because the phrase is indeed charming and memorable and would lose both of these qualities were the student to attempt to rephrase it.

7 classical poetic forms. They include definitions, explanations and an anthology of classical forms including the villanelle, the sestina, the sonnet, the ballad, blank verse, and the elegy. Kinzie has authored an excellent textbook answering the question how does a poet work creatively with poetic forms. She includes explanations for use of specific elements of poetic form, classical examples, and exercises for the development of skill. Pinksy addresses poetic form, but he uses a divergent emphasis - that of sound. Pinsky explains elements such as rhythm, metrical feet, and syntax, and how such understanding can develop in the reader the ability to read poetry with insight into the vocal nature of the art (117). Poet Mary Oliver poses an interesting contemporary question, how to learn those elements of poetry that can be learned. This assumes that there are elements that are beyond learning, hence her opening statement Everyone knows that poets are born and not made in school. This is true also of painters, sculptors, and musicians (Oliver 1). Paul Dawson agrees with this assumption, Talent cannot be taught, but it can be developed. Oliver and Dawson correctly identify a commonly held assumption, and have crafted books accordingly. The elements of poetic form can be accurately identified and learned, but there is also a certain perspective poets have, a certain way of looking at the world and their own life experiences that is truly unique. Olivers statement on poets being born and not made in school has a ring of truth to it however, more accurately the poets perspective is developed through his or her life experiences. In this regard, the poets talent is quite human in that it touches many life experiences, but the question of Divine giftedness cannot be overlooked.

8 Poet Wendell Berry poses an interesting contemporary question: what is a poets responsibility? His central assumption is that good poetry is a complex work of recollection in both the poet and the reader. Here Berry states that poetry makes its connections to life by being a recorder of the memories, a key concept also found in Wordsworth who writes of poetry as human nature, absent things (memory) and real events. Poetry has the ability to record and comment on important events in memorable ways; ways that assist others in remembering. It is also interesting to note in these complimentary perspectives that Berry is contemporary, while Wordsworth is from an earlier period. Several elements of this research proved to be quite surprising, including an uncommon concept that was discovered in Edgar Allen Poe. Most poets are thought of as free spirits, but this should not be mistaken for saying that poets are not intellectuals. Poe proves this truth well. He describes his concept development for writing his poem The Raven with all the care and precision of a nuclear physicist. Anyone tempted to think that poetry cannot survive in the realms of science and logic must read Poes treatment. Another surprise concept that had great impact on this project was Allchins comparison of Welsh tradition poetry and iconography. Independently these two themes seem poles apart, yet Allchin successfully identifies their unifying perspectives. Allchins scholarship, supported by iconographic explanations from Martin, was added to the ekphrastic principles in Bosveld to form the main basis for the two poems written especially for this project. Martins thesis represents a minority position, at least from a quantitative perspective. Her work on icons may seem out of step with the current research question however, hers is an important perspective that strongly supports and
Commentaire : . The student skillfully shows a point of concurrence between two different authors.

9 confirms the positions of Allchin. A substantive but minority perspective is that of John Fox. This work demonstrates an adequate knowledge of poetic form, but the primary motivation or inspiration is poetry for personal therapeutic purposes. This is an admirable and legitimate position, but beyond the scope of this research. This topic is addressed further in the main narrative. To address some of the research methods used, Gilbert Highet seems to employ an ethnographic research design such as that defined by Creswell. Highets treatment of various poets represents a survey of their many life experiences and how those experiences may have affected their written work. This assessment is not ethnography in its purest form however, because that would involve face-to-face interviews over an extended period. Highets approach is necessarily limited to the poets written materials and other biographical sources. In assessing his own work, Highet does not usually make concrete conclusions, but rather educated suggestions as to why certain events in a poets life may have produced a particular element in their writing. Strand and Boland seem to have successfully navigated a qualitative literary research method in their book The Making of a Poem: The Norton Anthology of Poetic Forms. Here they identify the intricacies of classical poetic forms, and qualify their conclusions using literary sources from a variety of periods. A similar approach has been employed in this research, particularly when addressing poetic form. Because of the qualitative research methods reliance on text and data images (again as defined by Creswell), a qualitative approach seemed most appropriate in

10 researching the current topic. So far, this study has examined questions posed by other researchers in subjects related to poetry, its meaning and form; common assumptions and key concepts have also been examined. Commentary on dominant and minority perspectives has been included as well as assessments of some research methods. To conclude, this study will seek to connect the research question to the existing dialogue of the works cited. The study will also consider new questions that arise from this process. Three distinct patterns have been established within the cited materials: meaning, as defined in poetry, poetic form, and concept development. From the various perspectives of the collected source material, the research question will be addressed, particularly by examining elements of meaning and form, and then applying the findings in the development of a concept for original poetry. It is this aspect in which the current research question seems to find its best fit. In conclusion, research such as this may not provide definitive answers, but rather lead to a different and hopefully better set of questions. Some questions arising from this research project include the following: What are classical poetic forms, and why do modern writers seem reluctant to use them? What are values and culture; how are they expressed in poetry and other literature? What is the current state of American public education regarding poetry, and how does it compare with other nations? What unique poetic forms have been developed in the United States? Literature review map: Meaning M. Strand Form M. Strand Concept J. Bosveld
Commentaire : The student sums up the three points he identifies as most significant. This is a good strategy for reinforcing those ideas that you want to be sure your readers take away from your writing.

11 C. Kilby G. Highet M. Oliver P. Dawson S. Spender P. Meinke R. Jackson C.S. Lewis W. Wordsworth A. Housman W. Berry M. Kinzie C. Kilby R. Pinsky M. Oliver A. Allchin L. Martin E. Poe

J. Fox (minority pos). C. Kilby S. Kowit M. Kinzie G. Highet

Part 3: Narrative of the Central Evidence Words. Human beings living in a post-modern society increasingly seem to be surrounded and continually bombarded by words. With the advent of the internet, this situation has taken on even greater dimensions. But is there nothing more? How can

12 meaning be found amid so much meaninglessness? What is the difference between a lively and meaningful selection of verse, and the ever-present directional signs at the freeway off-ramp? The simple, one-word answer is art. This research will consider poetry from a variety of aspects, both contemporary and classical, and will define the distinctive elements of poetry. This research will also consider specific literary devices and forms regularly employed in poetry and literature. Finally, these forms and literary devices will be applied to some original poetry, in answer to the question, what is poetry, and how can creative writing be expressed using accepted poetic forms.
Commentaire : The student uses the rhetorical question as a means of bringing the reader into the next section of his paper. The question lets him prompt the readers thoughts and interest in the issue he is about to address

WHAT IS POETRY? Poetry is many things to many people, and as such, it seems to defy a standard definition. Even in reviewing the perspectives of various scholars for this research, a unified definition is slow to emerge. Poetry may not be easily defined as a concept, but is rather known by its attributes, as will be examined in this section. A poem is a place where the conditions of beyondness and withinness are made palpable, where to imagine is to feel what it is like to be. It allows us to have the life we are denied because we are too busy living. Even more paradoxically, a poem permits us to live in ourselves as if we were just out of reach of ourselves (Strand and Boland xxiv). An interesting concept presents itself: poetry is not an article, but a place. The spiritual and existential elements of this statement are undeniable-reaching beyond; reaching within. Poetry transports the reader into and out of him or her self, sometimes

13 simultaneously. What other literary form besides poetry could this be said of? What is it about poetry that can so incite the senses and the passions? It is the power of the word. Poet A.E. Housman was once asked to define poetry, to which he replied: I could no more define poetry than a terrier could define a rat (50). Housman concludes this thought by stating that poetry can be recognized by the symptoms it provokes in us (50). This definition makes poetry sound like a disease, yet it is merely Housmans way of emphasizing the strong meaning and emotional impact that is communicated through poetry. Dr. Clyde Kilby begins his poetry textbook with an examination of some of these symptomatic themes, including sanity and concrete (1-18). Of sanity: Poetry fills out language like a full sail in the wind. It seeks always to make words as large and meaningful as the things they represent. It will have as little part as possible in the trite and feeble language of everyday (Kilby 4). Of concrete: Poetry strips the complications of life not with the intention of making them less simple than they are but to reveal their complexity in a comprehensible order (Kilby 13). By focusing the gaze of attention on very specific elements, poetry brings order and understanding to the chaotic; to that which seems meaningless, and hardly worth ones time and attention. Poetry can bring the light of understanding to otherwise disparate components. Gilbert Highet considers poetry from the perspective of its communicative effect. Poetry can express general experience: can say what many men and women have thought and felt. The benefit of this is that it actually helps ordinary people, by giving them words (Highet 341). As previously discussed, poetry aids the understanding by focusing on specific components, and then it provides the reader with a greater
Commentaire : Rather than just dropping quotes into his paper and expecting them to do his work in themselves, the student is careful to explain the significance of his quotations. Pay attention to the careful way he qualifies and explains this potentially problematic quote from Housman.

14 vocabulary for expressing their own feelings and emotions. Any good literature can accomplish this, but poetry seems especially well suited to this purpose because of its intense focus on the actions and elements many would easily overlook. Poet Mary Oliver writes: Poems are not language but the content of the language (3). Oliver stands in agreement with Kilby on the ability of poetry to express a fullness of language, touching on the many levels of meaning contained in specific words and phrases. A poem is an act of communication that can explore the strata of meaning within language. Russian philosopher Mikhail Bakhtin (1895-1975) used the term heteroglossia (multilanguagedness) to describe the levels and operation of meaning within oral speech. Elaborating on this topic, Paul Dawson writes: Every word contains within it the associations of its prior use in a specific context, and a speaker must appropriate this word for his or her own expressive purposes within a concrete utterance; an utterance which is always directed towards another person and the anticipated response of this person (209). To illustrate this point: If a person stood before a classroom full of students on a bright, sunny day and said the word rain, within those students would exist diverse meanings because all would be thinking of their own individual memories and emotions surrounding their own unique experiences of rain. If rain were said to those same students on a stormy day, there would be a much more unified and immediate meaning, because the students could merely look through the window and experience rain. If a person said rain to a group of farmers whose crops were failing due to drought, yet another meaning would be evoked. Likewise rain, spoken to a group of citizens filling
Commentaire : The student takes a moment to offer an example of a difficult concept. Using vivid examples like this one is a good technique to use when supporting the claims your paper advances.

15 sand bags attempting to save their town from floodwaters, would induce still another meaning. The different meanings are dictated by the context in which the word is spoken. Although in this instance, Bakhtin and Dawson address oral speech, the term, heteroglossia, seems to apply equally well when considering poetry. Poems are heteroglossaic, in that they can specifically and intentionally use words and phrases to evoke many levels of meaning within poetrys readers, speakers, and listeners. A skillful poet will realize the possibilities represented by heteroglossia, and use them to great advantage. Both the meaning and the context can be created in poetry. Similarly, Jackson writes: Any poem is in a sense about the possibility of poetry - or the possibility of language, since language, in poetry, is vision, discovery (1). Poetry turns language into an arts and crafts project, by exploring the relationships between words, and their sounds; verbal images; alternate meanings; reality and myth. Jackson continues: The history of a poem is the history of the poets thinking about it, from its vague beginnings to its final discovered form (1). A poem is the record and product of the poets mental processes. Masterful poets can weave their own special vision and insights into their poetry, creating art that can transport all of its readers on voyages of discovery. Wordsworth writes, For all good poetry is the spontaneous overflow of powerful feelings (82). With the onrush of powerful feelings, some reach for a paintbrush, others must compose a symphony, but poets express their feelings in words. Poems to which any value can be attached were never produced on any variety of subjects but by a man who, being possessed of more than usual organic sensibility, had also thought long and
Commentaire : The student makes a very bold move here. He is taking a concept (heteroglossia) out of its specific context (oral speech) and applying it to a new concept (poetry). This can be risky, but in this case, the student makes a valid move. Notice how he spends the rest of the paragraph justifying his claim that poems are heteroglossaic.

16 deeply (Jackson 82). Here, Jackson is in agreement with Wordsworth: Poetry can convey great meaning, and it is one of the primary gifts of a poet to think deeply about the topics of their craft, yet the greater skill is the ability to express deep thoughts and emotions in written form, and in a manner understandable to the masses, or at least some of them. Because of the artistic nature of poetry, there will be those who comprehend and those who do not. C.S. Lewis adds an assessment of modern poetry that compliments the positions of Wordsworth and Jackson on the place of deep thought in poetry. Modern poetry, if it says anything at all, if it aspires to mean as well as to be, says what prose could not say in any fashion (Lewis 97). One of the key defining elements of poetry is that through its form and meaning, it differentiates itself from prose by saying and/or meaning more than prose. This is not to reduce definition to something as simple as anything that is not poetry is prose. It is, however, saying that poetry has something extra to say, something more solid and substantive, because as Wordsworth and Jackson point out, poetry is the product of deep thought and great meaning. Poetry cannot treat its subject in a cursory manner. Of poetry, Stephen Spender writes, Inspiration is the beginning of a poem and it is also its final goal. It is the first idea that drops into the poets mind and it is the final idea which he at last achieves in words. In between this start and this winning post there is the hard race, the sweat and toil (119). Can inspiring verse be its own end? It does seem a good goal for poetry; a goal that encompasses the whole concept of deep levels of meaning that poetry captures so well. The effort is in Spenders hard race, that process of maintaining inspiration while proceeding through the conceptualizing, the writing, and

17 the revisions of the poem. Yet, in that process, the art is produced. Wendell Berry agrees with Spenders assessment of inspiration and clarifies: A poem reminds us also of the spiritual elation that we call inspiration or gift. Or perhaps we ought to say that it should do so, it should be humble enough to do so, because we know that no permanently valuable poem is made by the merely intentional manipulation of its scrutable components (398). Skill with language has its place in the craft of poetry, as does a working knowledge of devices that constitute poetic form, but Spender and Berry point out that those elements alone are not enough. Inspiration is a key component to poetry; it is that which instills within poetry its fire and life. It is that which endows a poem with great meaning, and embodies the ability to touch a poems readers and listeners on so many human levels. Because poetry often contains such great meaning, a logical question to consider would be: Is meaning itself a necessary component in poetry? Peter Meinke opens his essay on Poems and Meaning by stating firmly Poems dont have to mean anything (1). Meaning can be exquisitely expressed in poetry, but art is also to be found in the sounds of the words and phrases and rhythms. Meinke admonishes: you can station yourself anywhere along the meaning continuum and you will be right: but for the sake of your poetry, let the words, the sounds, the rhythms, the images come first; and let the meaning follow (1). Meinkes is a perspective that might cause some to doubt his knowledge of poetry. Most people want a poem to mean something-after all, they have taken the time to read it. A famous example of a poem more focused on rhythm and sound instead of meaning is Lewis Carrolls Jabberwocky: Twas brillig, and the slithy toves

18 Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe. This poem illustrates Carrolls inspiration, coupled with a brilliant skill at language and rhythm. For Carroll, a master of nonsense verse, inspiration is never lost for the sake of meaning-if the right word could not be found, he merely made one up. To summarize, Strand and Boland emphasized the existential and spiritual elements of poetry. Housman pointed out that poetry is filled with indefinable meaning. According to Kilby, poetry is sane and concrete, providing meaning where, to the casual observer, none exists. Highet states that poetry expresses general experience, giving words and expressions to others. Poetry is the fullness of language, according to Oliver. In examining the positions of Bakhtin and Dawson, the conclusion is made that poetry is heteroglossaic, evoking multiple levels of meaning. In Jackson, poetry is possibility, vision, and discovery. In Lewis, poetry says and means what prose cannot. Spender and Berry agree that poetry is inspiration. Even in considering the spiritual, the sane, the expressiveness, the inspiration, and the deep meaning found in poetry, Meinke seems to ground the research, by saying that poetry does not have to mean anything. This research has sought to define poetry, and even having considered the writings of many experts and scholars in the field, a unified definition is slow to emerge, at least in any traditional empirical sense. Kilby warns of too much abstraction and overanalysis with poetry, It is too much like dissecting a dead bird in the laboratory as compared with seeing a bird on the wing and hearing it sing its joyous song. Poetry is deeper and wider than any analysis can reveal (327). Within the scope of the collective
Commentaire : Another excellent example of synthesis. The student places the main thesis of each of these writers together so we can see how their ideas interrelate and contrast. Commentaire : The student advances this excerpt from Carroll as evidence of Meinkes claim. Any time you are making a controversial claim in a paper, it is good practice to back that claim up with a specific example.

19 findings, a broader, more comprehensive conclusion is possible: Poetry is art. Art proceeds according to principles discernable in works of art (Pinsky 7) and a review of the summary reveals that, without exception, each finding is a principle of art - the word poetry can be interchanged with painting, music, film, pottery, sculpture, photography or any other artistic expression, without drastic change in basic meaning. In a statement of purpose for her monumental textbook, Mary Kinzie writes of the need to reassert the claims of poetry as an art. But it is an art with a past and it is an art whose linguistic and imaginative components can be known and discussed (1). In the next section, these linguistic and imaginative components will be examined in greater detail. Poetry is an art. As surely as a painter creates art using canvas, oils, and brushes; and as a sculptor creates art using stone, hammer, and chisel, a poet creates art using pen, paper, words, and imagination.

HOW CAN CREATIVE WRITING BE EXPRESSED USING ACCEPTED POETIC FORMS? After examining various elements that constitute the art of poetry, the research will now consider some specific terms and devices frequently employed in writing poetry. These terms and devices are the components of poetic form, and constitute the tools of the poets craft. While the tools themselves do not automatically translate into memorable poetry, the artists skill in the use of the tools that will determine if a poem has succeeded in rising above the average and the mundane. The first term to be considered is alliteration. This is a rather easy term in

20 concept, but its importance in the construction of poetry cannot be overlooked. Alliteration is the repetition of sounds. The repeated letters are typically consonants, at the beginning of a word. For example, black, bin, bounce, by, beaming. There is broad general agreement on this definition among scholars, including Highet (5), Kilby (371), Kinzie (387), Kowit (57), Oliver (29), Pinsky (124), and Strand and Boland (289). Kowit posits a slightly wider use saying alliteration is the repetition, for musical effect, of any consonant sound in words (58). Highet calls alliteration the echo of a single sound (vowel or consonant) from one word to another (5). Music and echo are apt descriptors for the meaning that alliteration can bring to poetry. Alliteration is sometimes used as a key element in tongue twisters. Professor Mary Kinzie says the purpose of alliteration is to bind and balance (387). Skillful use of alliteration will add emphasis to a line of verse. Emphasis on a particular line (or de-emphasis on an opposing line) can balance verses, adding greatly to their readability. It can bind up the meaning being articulated in the verse, and sometimes alliteration can form the basis for the entire poem. Some examples: I put the picture back in its place (Kowit 57). Shirley sailed over slimy seas toward shimmering sands. Professor Clyde Kilby, commenting on the historical importance of alliteration, says, In early English poetry so strong was its effect, in combination with other musical qualities, that rhyme was not always deemed necessary (177). Skillfully employed alliteration can transcend the need for rhyme. The question may be asked, why is alliteration or rhyme important when modern free verse poetry seldom uses neither? Good poetry stands on good traditions. It is necessary to understand the historical poetic
Commentaire : The student here paraphrases many different authors at once, taking their individual definitions of alliteration and putting them into his own words.

21 craft to be better prepared to successfully execute the craft in producing meaningful verse that will best integrate with other classical poetic voices of history. Alliteration lightly links Stressed syllables with common consonants. Assonance is the repetition of vowel sounds in a line of verse. In a general sense, assonance is alliteration on vowels (Kinzie 395). The matching vowel sounds may be used with or against different consonants (Strand and Boland 289). Like alliteration, this definition of assonance is widely accepted among scholars, including Kowit (57), Kinzie (395), Oliver (30), Pinsky (124), and Strand and Boland (289). It is important to emphasize that this is not always the mere repetition of vowels, but rather their sounds - for example: dusk, comes; upward, awning. Assonance adds to the overall tonal effect of the poem by using like sounds in ways that are subtler than standard, ordinary rhyme. Assonance accomplishes a task similar to that of rhyme, but in a less obvious and obtrusive manner. In this the effect is as Kilby says, musical (178).

Assonance is the spirit of a rhyme A common vowel, hovering like a sigh After its consonantal body dies.

A term closely related to assonance is consonance, which is the repetition of identical consonant sounds before and after different vowels. Poetic Units of Measure: Dactyl is one of several units of measure used to describe the meter in poetry. A dactyl is one stressed syllable followed by two unstressed syllables, for example, happiness, holiday, free for all. There is scholarly agreement on
Commentaire : The student presents a lot of information here in a very straightforward, list-like way. When writing a paper on a subject with a very specialized vocabulary, this might not be a bad strategy for presenting your audience with the terms theyll need.

22 this definition from Kinzie (402-404), Kowit (157), Oliver (48-50), and Strand and Boland (160). In a slight variation, Oliver also offers a poetic derivation of the term: Dactyl comes from a Greek stem meaning finger-one long finger bone followed by two short finger bones (49-50). Kilby (374) and Pinsky (18) take a divergent perspective, not by definition, but in the use of the word dactyl itself. They use the more generic term of foot. The term foot can be used to describe any combination of syllables that comprise a poetic, rhythmic unit. Dactyl is probably the most commonly used among several units of measure. These measures include: Iamb: One unstressed and one stressed syllable. (da DA). Trochee: One stressed and one unstressed syllable. (DA da). Dactyl: One stressed and two unstressed syllables. (DA da da). Anapest: Two unstressed and one stressed syllables. (da da DA). Spondee: Two equally stressed syllables. (da da). Any individual combinations of stressed and unstressed syllables listed above are referred to as a foot, or feet as specified by Kilby (374) and Pinsky (18). When describing meter in poetry, the term used is metric feet. (This designation should not be confused with the metric system of standard measurements used in numerous countries throughout the world). When referring to one or more lines, the following terms are used: Monometer: a one-foot line. Dimeter: a two-foot line. Trimeter: a three-foot line.

23 Tetrameter: a four-foot line. Pentameter: a five-foot line. Hexameter: a six-foot line. Heptameter: a seven-foot line. Octameter: an eight-foot line. Therefore, a five-foot line of iambs comprises the famous, classical poetic style known as iambic pentameter, (da DA da DA da DA da DA da DA). This was a style used extensively by many of the classical English poets. An example is George Herbert: As I one evning sat before my cell, Me thoughts a star did shoot into my lap I rose, and shook my clothes, as knowing well, That from small fires comes oft no small mishap.

Likewise, dactylic dimeter is a line consisting of two dactyls, (DA da da, DA da da). This is illustrated in Tennysons The Charge of the Light Brigade: Forward, the Light Brigade! Was there a man dismayed? Not though the soldier knew Someone had blundered: Theirs not to make reply, Theirs not to reason why, Theirs but to do and die: Into the valley of Death

24 Rode the six hundred.

The trochaic trimeter is a line of three trochees, (DA da DA da DA da). The trochee is a reversed iamb. This combination is illustrated in Shellys To a Skylark: Keen as are the arrows Of that golden sphere, Whose intense lamp narrows In the white dawn clear

There are a great variety of possible syllabic combinations. Collectively, these terms are used to describe meter and rhythm patterns in poetry. Once the patterns are recognized, they will assist with the oral interpretation of the poem and provide guidelines for pronunciation. Run-on sentences are to be avoided when writing prose, or when writing in academic or journalistic styles. Poetry, being more artistic, sometimes breaks this rule by including run-on lines to intentionally disrupt the rhythm of the poem, either to add or remove speed or emphasis. This device is known as enjambment. Kilby refers to this technique as encroachment (373). It is literally extending beyond the normal, expected boundary of a given line or stanza. Kinzie points to the tugging action created by the device, (407). Enjambment can pull or tug the reader on to the next line, bypassing a punctual pause that can be used to great dramatic effect. Strand and Boland state that enjambment can be more effective when used

25 without rhyme, such as employed in blank verse (101). They also provide probably the most succinct definition of the term, Carrying on of sense from one line to another (Strand and Boland 290). Enjambment allows the poet to continue a thought over several successive lines, allowing variations in sound, pace, and visual impact of the poem. This can be an important factor when working within a strict syllabic meter, as it can break up the sounds and keep the poem from sounding monotonous. Kowit agrees here by stating Enjambment is a useful tool for muting the regularity of metered verse (160). Enjambment can also allow the poet a means of completing a thought when the meter of the poem may dictate a different sequence. An example of enjambment can be seen in lines from E.A. Robinsons poem George Crabbe, as the thought or sense of the piece is carried from the first line to the next. This example is two lines - one thought, and can be effectively read with or without pause: But his hard, human pulse is throbbing still With the sure strength that fearless truth endows.

Free verse is poetry that does not follow accepted metrical patterns; the lines are of no specific length, and it may or may not use rhyme. As the different forms of poetic meter have been previously examined, free verse stands alongside as yet another poetic form. It has been the poetic style of choice for the last hundred years, but it would be incorrect to say that the form was a purely modern invention. Kilby (221, 375) and Kinzie (337-340) trace the form back to the Hebrew biblical writers, as illustrated:

26 Go to the ant, thou sluggard; Consider her ways, and be wise: Which having no chief, Overseer, Or ruler, Provideth her meat in the summer, And gathereth her food in the harvest. (Proverbs 6:6-8) Free verse, by its vast departure from classical poetic styles, expresses artistic freedom by emphasizing the subject and meaning in a more direct manner. It places more immediate importance on meaning rather than form. Free verse can employ many literary and poetic devices, or none, or develop new, even hybrid means of poetic expression. In free verse, the poet is not limited to a rigid syllabic style. The name itself -free verse- implies that this kind of poetry rose out of a desire for release from the restraints of meter, the measured line, and strict rhyming patterns (Oliver 67). Gilbert Highet speaks of certain avant-garde critics positing the despising of traditional forms (190). This could, at least in part, explain the increased popularity of free verse over the past hundred years. Highets statements are indicative of a reactionary development of the free verse form, due to a perceived over-emphasis on the strict traditional metric forms and classical poets. Given the size of the body of classical English poetical work, a new form may have been deemed necessary so that new artists could more readily differentiate themselves using their own unique voices. With this understanding, it can be truthfully said that modern free verse developed and evolved from the more traditional poetic forms, a position endorsed by Oliver (15). On a
Commentaire : This transition allows the student to link his proposition that free verse has evolved from traditional poetic forms with his previous statement that free-verse was a reaction against metrical poetry.

27 cautionary note, Highet (190-191), Kinzie (53-56) and Oliver (15-18) emphasize lineation, patterns, and rhythms found in traditional poetic forms, as a basis for writing in free verse. Regardless of the independent stance free verse seeks to establish, it stands firmly on the foundations of traditional poetic forms. Beginning writers will find free verse a good medium for learning as it allows the freedom to experiment with rhyme, alliteration, metaphor, and other devices without the hard restrictions of meter. Such writers should, however, be strongly encouraged to pursue a thorough knowledge of meter that will enhance their knowledge of the craft, and provide the opportunity to develop poetry that can stand alongside classical work. With a good knowledge of the basics, metric forms can direct creativity into new, enlarged places. There are layers of meaning in poetry and free verse is no exception. Free connotes the sense of being without borders, and offers an open invitation to make even modest attempts at writing, regardless of training or skill levels in the craft. A case in point is poetry therapist John Fox and his book Finding What You Didnt Lose: Expressing Your Truth and Creativity Through Poem Making. Foxs stated intent is not to develop world-class poets, but rather to assist interested persons in reconnecting with lost creativity (xiii). Fox posits a theory of writing that is focused on creativity, personal expression and self-discovery, using journal writing and poetry as the main mediums. As such, this method lends itself especially well to free verse poetic form, because its primary focus is on personal growth and development. However, it can produce introspective poetry that can be largely deficient in artistic value due to the divorce between meaning and form. Fox and the poetry therapy movement are not right
Commentaire : The student presents John Foxs method of using poetry as a separate level of meaning in free verse poetry.

28 or wrong - it is merely another expression; a different motivation. Critiquing work such as Foxs is beyond the scope of this research. It is included here as a means of identifying a vastly divergent viewpoint in the realm of poetry. In a diverse and holistic society, there must be room for different points of view: not either/or, but rather and/both. Artistic and therapeutic expressions of poetry can successfully coexist in the poetic form of free verse. Image or imagery are terms with several meanings; layers of meaning. For the purpose of this research, it will be necessary to define and limit the term within the framework of poetry. In general terms, an image is one thing that represents something else - a symbol. A photograph of an apple is a graphical representation. A wax fruit figure that is red with green leaves, slightly larger at the top than the bottom, is a sculpted, three-dimensional representation of an apple. The English letters a-p-p-l-e when grouped together, form the literary or linguistic representation, apple-more generically known as a word. These descriptions are only images; representations - they are not the red, juicy, sweet fruit that people like to eat. Now taking the last paragraph as an example: several types of representations have been discussed, but only the literary or linguistic representation has been used. A photograph of an apple is not included in this research, nor is a piece of wax fruit, or a basket of freshly picked red delicious apples. It is the literary or linguistic representation of various realities that comprise poetic imagery. Kowit refers to this important poetic tool as imagistic language; a language that is complexwhich works on both a conscious, explicit level and on a level that is
Commentaire : The student offers a quick definition. This is advisable when you are using terms with which your audience may be unfamiliar, or if you are using a term in a highly specialized manor.

29 subconscious and implicit (65). When poets employ this verbal imagery, they are specifically and intentionally using very particular words that will, if successful, constellate certain memories and feelings within the reader, creating in the readers mind a literary image of a particular reality. Successful verbal imagery can draw the reader into the poets reality. It becomes an attempt to refute the clich, a picture is worth a thousand words. Notice the imagery created in the following example: Oh, to have a little house, To own the hearth and stool and allThe heaped-up sods upon the fire, The pile of turf against the wall! To have a clock with weights and chains, And pendulum swinging up and down! A dresser filled with shining delph, Speckled with white and blue and brown! Imagery works on the readers recollections. Kilby endorses the concept of combined image and emotion by stating, not only can the mere image of something be recalled, but most people are able to remember with more or less intensity the mood accompanying the image (236). The poet, realizing the potential of this human tendency, attempts to write in such a manner as to ignite within the reader, as many levels of meaning and awareness as possible. Because every human being is unique with their own individual sets of memories and emotions, it is also true that such attempts can work in a negative manner by constellating in the reader images and emotions that are neither intentional nor desired.

30 Oliver calls imagery the texture of a poem: Such texture is vital to all poetry. It is what makes the poem an experience, something much more than mere statement (94). Imagery is that small extra element that lifts the poem above the ordinary, making it memorable and enjoyable. Imagery falls within the scope of the more generic term, figurative language. There are many elements of figurative language and primary concepts such as metaphor and simile will be examined in greater detail. Metaphor and simile are two exceptional tools of poetry, although they are not limited exclusively to its domain. Because the terms are employed in other areas of literature, this research will limit definition to the terms poetic use. Many have learned in high school English courses that a simile is a comparison of one thing to another, using particular words such as like or as. While a metaphor is the same comparison without like or as. There is broad scholarly acceptance on this point, including Fox (125-127), Kilby (243-245), Kinzie (435, 460), Kowit (65-66), and Oliver (101-102). Rather than restating accepted definitions, this research will focus on perspectives unique to the poetic use of metaphor and simile. Oliver calls the simile an explicit, stated comparison, while conversely referring to the metaphor as an implicit comparison (101-102). Kowit continues in that theme, stating that a metaphor is a comparison that does not state that it is a comparison, (65) while agreeing with Oliver that a simile is an explicit comparison (66). Both Oliver and Kowit seem to imply that the metaphor has a subtle, even insidious quality about it. Metaphors can be obvious, however, because they are missing the signpost of simile, they can sneak up, as it were, on the reader.

31 Kinzie, relating her use to one of poetrys main themes, calls metaphor a transfer of meaning in which one thing is explained by being changed either into another thing or into an emotion or idea (435). She goes on to state that in a simile, the two reference points appear together (Kinzie 460). By the use of these terms, Kinzie aligns her thoughts with those of Kilby, using poetry to unite words, meaning, and emotion. Kilby is in complete agreement with the other scholars in defining simile and metaphor, but he clarifies metaphor further by saying that it unites the compared objects, not by stating that one is like another but by declaring that one is the other (245). Here Kilby points to the artistic possibilities in poetry, for while such comparison would be considered absurd in almost any other literary endeavor, the comparison can thrive in poetry. An example of poetic metaphor: Sprawl is doing your farming by aeroplane, roughly, Or driving a hitchhiker that extra hundred miles home. It is the rococo of being your own still centre.
Commentaire : In this sentence, the student does an excellent job of demonstrating how Kilby both resembles and differs from other thinkers on this matter.

An example of simile: And turning over I embrace like a lover the trunk of a tree, one of those for whom the lightning was too much and grew a brilliant hunchback with a crown of leaves.

32 The figurative language of metaphor and simile is sometimes exercised to epic proportions, carrying the comparisons on continually to greater and greater lengths. Figurative language sometimes referred to as tropes, add to the artistic quality of a poem, aiding in the transmission of meaning and emotion that is common to and even expected of poetry. Its skillful use gives poetry the ability to examine and comment on situations or events with a fresh and welcome perspective, and in a manner that would never be tolerated in other literary genres. Rhyme is the tonal element that is probably most closely associated with poetry. For many centuries classical poets have produced verse identifiable through its clever use of rhyme. Skill in the use of rhyme connects various lines of verse together, and adds to the pleasing musical quality of the poem. In rhyme, the chime of repeated sounds gives us pleasure, just as we enjoy a piano and a violin playing in concord and echoing one another. But beyond the pleasure of the ear, there is in rhyme a pleasure which is connected with the mind (Highet 4). Rhyme joins figurative language and other poetic devices in the attempt to draw the hearer into the poets world. This section will examine rhymes various types and uses. Rhyming words contain both assonance and alliteration; they have a repeated vowel sound and usually some repeated end or terminal consonants or consonant sounds. Examples: hark, mark, stark. In agreement with this definition, Kilby states Rhyme proper consists of like vowel sounds andthe sounds following those vowels are the same (180). Kinzie calls rhyme the agreement of two metrically accented syllables and their terminal consonants (454). The most easily recognizable use of rhyme is known as end-rhyme. It is so called

33 because the rhyming word is always at the end of a line. For example: In the nightmare of the dark All the dogs of Europe bark. And the living nations wait, Each sequestered in its hate; There are other uses for rhyme. While end-rhyme is an obvious use, internal rhyme takes a more subtle approach: these words are found in the middle of a line. This produces line endings that look like free verse. The overall tonal effect is the same - the rhyming words tie various lines of the verse together, enhancing the sense of tonal cohesion. Example: Till, with the sudden sharp hot stink of fox It enters the dark hole of the head. The window is starless still; the clock ticks, The page is printed. Kowit refers to internal rhyme as interior music. One of the main musical devices of all English poetry, but particularly important in an age which has largely abandoned the earlier convention of end-rhyme, is internal rhyme (Kowit 57). Internal rhyme provides a means to tie one line to another, while leaving space at the end of the lines unrestricted and available for expressions of artistic freedom. An interesting variant is slant rhyme, sometimes referred to as off rhyme. This could be called almost rhyme. When the words are not true rhyming words (like pot and hot) but almost rhyme (like down and noon) (Oliver 53). Kilby calls slant rhyme Rhyme in which the sounds do not exactly harmonize, as never and giver (Kilby 378).

34 An example: Oh, my fair Pastheen is my hearts delight, Her gay heart laughs in her blue eye bright; Like the apple blossom her bosom white, And her neck like the swans on a March morn bright!

Slant rhyme, like true rhyme, can be used to add tonal cohesion to the poem in a subtler manner. It can also help to soften the sounds of a poem that has many true rhyming words, keeping the poem from sounding monotonous. A means of identifying rhyming patterns in poetry is the use of a rhyme scheme. This involves carefully examining a stanza of poetry, identifying the various rhyming lines. Example: The beauty of the morning; silent, bare, Ships, towers, domes theatres, and temples lie Open to the fields, and to the sky; All bright and glittering in the smokeless air. Notice how the first and last line rhyme, and the two middle lines rhyme. This rhyme scheme is expressed as abba. Of mystic beauty, dreamy grace, No rounded art the lack supplies; Unskilled the subtle lines to trace, Or softer shades of Natures face, I view her common forms with unanointed eyes.

35 In this example, lines one, three, and four rhyme, and line two rhymes with line five. This rhyme scheme is abaab. While this is a simple means of identifying rhyme, the concept can be greatly expanded. For example, Strand and Boland identify the rhyme scheme of a Ballad poem as abcb or abab (76). Kowit identifies the rhyme scheme of an Italian (or Petrarchian) sonnet as abbaabbaccdede (159). Kinzie identifies the rhyme scheme of a Spenserean Stanza as ababbcbcc (462). Because certain styles of poems have identifiable rhyming schemes, the schemes can provide a pattern or framework within which the poet must craft poems. This is not an impediment to creativity, but rather the direction in which creativity can flow. It requires one type of skill and creativity to craft poems in free form, and another type to write effectively using the various predefined forms. Predefined forms sometimes have a rigid formality to them. Strand and Boland explain many predefined forms in great detail, such as a villanelle, a sestina, an elegy, or a sonnet. In each instance, a standard form exists which defines the term. For example, a villanelle is a poem of nineteen lines. It has five stanzas, each of three lines, and a final one of four lines. The rhyme scheme is aba (Strand and Boland 5). A sonnet consists of fourteen lines and is usually iambic (Strand and Boland 55). An elegy mourns for a dead person and is not associated with any required pattern or cadence or repetition (Strand and Boland 167). Predefined forms can provide the framework into which a poets creativity can flow. The absence of such a framework is accommodated in free verse poetry, and probably the greatest creative effort is in the defining of a poets own form, using many of the devices considered in this research.
Commentaire : The discussion of artistic freedom within predefined poetic forms segues nicely into a discussion of predefined forms themselves.

36 This section of research has examined many elements of poetic form, though it is not exhaustive. These elements, coupled with a creative and imaginative use of language, are employed in the writing of poetry, resulting in works of art. The words, phrases, and sounds lean upon each other; rely upon each other, creating a poetic sense of unity and cohesion. As the poets skill in using these elements increases, so the beauty and artistry of the poets work will also increase.

ORIGINAL POETRY AND ANALYSIS This research has examined the nature of poetry from a scholarly perspective. It has also examined many elements that constitute poetic form, concluding that poetry is an art requiring skill with language, and with various literary devices. In this section, original poems will be analyzed using the various elements that have been examined. An individual poem or a group of poems will be presented, followed by the analysis. Because of the personal nature of some poems and their embodied meanings, this section will include some personal reflections, as deemed appropriate.
Commentaire : A quick summary reminds us of some of the points the student has covered thus far.

37

Moonlight In a moonlight that makes everything a shadow, Madness descends on its unwitting victims, Galloping through the recesses like Wild animals dazzled by the brightness. In a moonlight that makes everything a shadow, The icy rivulets fall into the black waters, Igniting the rippling darkness With diamond fire. In a moonlight that makes everything a shadow, The willing wait, while the hearty hesitate To find their way upon uneven trails, Windswept by purple forgetfulness. In a moonlight that makes everything a shadow, The blight of darkness dissolves into The shimmering cup Of that which feeds the stars. In a moonlight that makes everything a shadow, The earth itself rejoices in the glance While all the night, the garden heights Blossom their responses. In a moonlight that makes everything a shadow, Laughter planks cover the old, old wellThey grow and swell with age, Until the secret can be hidden no more. Moonlight was written as a response to a novel. An individual line from the novel was used as the inspiration for the following lines in each stanza. The poem is free verse, in that it does not follow a predefined form; no specific meter is used. Each stanza is an individual statement. The repeated phrase and imagistic language instills the poem

38 with a sense of mystery. Stanza one employs assonance in unwitting victims. This stanza also uses a simile likening madness to a stampede of wild animals. Lines three and four are enjambed. Stanza two is probably the most direct statement in the poem, using imagistic language to describe a moonlight reflection in rippling water. Assonance is used extensively in this stanza: icy, igniting, diamond, fire; rivulets, into, rippling. Stanza three features strong alliteration in willing wait, while. The alliterative theme is used again with windswept in line 4, helping to bind the stanza together. Assonance is used in lines 2 and 3 with waits, way, and trails. Traditional rhyme is seen in wait and hesitate. Stanza four is bound by consonance, as illustrated in shadow, darkness, dissolves, shimmering, feeds, and stars, all using the s sound in various ways. Alliteration is used in line 2: darkness dissolves. Also, traditional rhyme is seen in moonlight, blight. Stanza five uses traditional rhyme in moonlight, night, while assonance is used for moonlight, night, and heights. Lines 3 and 4 are enjambed. The earth metaphorically responds to the enlightening gaze of the moon. Stanza six metaphorically addresses an unnamed secret shame, deeply hidden, and denied or masked by laughter-a situation that has existed too long and is beginning to become obvious to others. Ambiguity leaves it to the reader to name the secret. Assonance is used with shadow, old, grow, and no. Traditional rhyme has been used with well and swell, however, in line 2 the rhyme is used as end-rhyme, and in line three, it is an internal rhyme.
Commentaire : The student is very straightforward in his analysis of his own poems. He lays out the significant poetic features in a simple, concise manner.

39

Whats In a Name? Pinched, prodded, poked, but serving, To the oft coarse, and undeserving; Deliverance shall come, and bliss With Spring-the guidepost is A diamond ring.

40 Hmmmmmmmmmmmmmmm Perpetual motion, marked Only by blurs of yellow and white, And hours of blank monotony. The fright of sleeplessness Tinged with stale beer, And the ever present Hmmmmmmmmm. Round and around they spin and tumble, Until a single line is found amidst the grumbleThe cash runs between the curses, torn paper, Rum and Coke; I struggle to find my words In this dungeon of dreams and smoke. Dancing, dancing, dancing Barefoot in Brazil while Coconut shells, guava, papaya, Banana leaves and such as that, Creates a hat that has no space for bowsDancing, dancing, dancing In a shower of sequins and a rainbow Of rhinestones. Dancing, dancing Dancing.

This free verse poem has been called a vocational poem. Its themes are various labor professions. This poems themes are bound together primarily through alliteration and repetition. This poem has a great sense of ambiguity because its themes are never directly named. Stanza one (the waitress) opens with strong alliteration, pinched, prodded, poked. Lines one and two illustrate end-rhyme. Lines three and four are enjambed, and the enjambment creates an internal rhyme, spring. The rhymes mate, ring, appears as an end-rhyme in line five. Stanza two (the truck driver) is bound by repetition of the humming sound, representing the sound of the engine and the whine of the tires on the pavement. Line

41 two uses alliteration, motion, marked. Lines three and four feature slant rhyme, blurs, hours. Stanza three (the bingo caller) uses traditional end-rhyme in lines one and two. Line three uses alliteration in cash, curses, and is enjambed with line four. Line four contains an internal rhyme in Coke, mating with an end-rhyme in line five. Line five also features alliteration in dungeon, dreams. Stanza four (Carmen Miranda) features the repetition of the dancing theme at the beginning, middle, and ending. Line two uses alliteration, barefoot, Brazil. Line four concludes with an end-rhyme, that, mated with an internal rhyme, hat, in line five. Lines seven and eight feature alliterations, shower, sequins and rainbow, rhinestones. Also, lines seven and eight are enjambed.

Seven Magnolia Blossoms Granny dont low no fightin in the houseYou gonna break my winders and my dishes. So us kids just sat around and ate a bowl of souse, Tryin best to avoid what she wishes! Uncles gone a walkin in the cool morning dew, To cast off thepleasures of last nights possum stew. We have such appreciation; the outhouse is our friend. And we thank our lucky stars, cause its two miles down wind! Auntie dont like no smokin in the shedShed rather be behind the barn instead.

42 Chewin some tobaccy or sippin on her julepsOr lookin round to find her lover boys two-lips. Pappys chasin women at the Dew Drop Inn. A pretty pair of legs can sure make his head spin. We thought hed learnt his lesson and his faced be turnin red, After last time when mama laid the skillet on his head! Brother got all gussied up and stumbled out the doorHe was off to a night of gamblin in the backroom of the general store. They were throwing cards and dice, with women and extra boozeWith a hand like that, a country boy couldnt lose! Sisters in the kitchen cookin bacon and grits, And takin down her moonshine in tiny little sips. I cant down the jug, cause it dont become a lady! That never stopped her before, dear sweet sister Sadie! Cousins gone to church, to catch up on her prayin Cause everyones a sinnin or a lyin or a layin. She tripped on her morals and fell into the bedAnd hallelujahs what the preacher-man said!

Seven Magnolia Blossoms is a dialect poem that is intended to be read with a strong southern drawl, such as might be heard in Tennessee, Georgia, or Alabama. Dialect is difficult to capture on the printed page; nonetheless, the attempt has been made which hopefully explains the unusual spellings and unconventional punctuation. Having grown up in the southern United States, this poem was an attempt to reconnect with the past. This free verse poem employs a rhyme scheme of abab in the first stanza, and ccdd, eeff, and so on in the remaining stanzas. Rhythm is created in the poem through the use of uneven syllabic combinations, and end-rhyme.

43

Remember

Remember Footballs flung heavenward and Children playing Old Maid, and Red Rover. Remember Prom nights, first dates and Parking in that special place. Remember When all the worlds problems could be Solved by Coca-Cola for two Down at Fullers Grocery. I never wanted to leave

44

Remember Remember it all Remember me.

Billy-Mac
Shaken loose by the howling winds of dementia; Dislodged from the tangled web of tired synapses; Disinterred from the blue and grey mountain mists and Deciphered from messages hidden in icy waters, Comes the ancient laughter Of a child. Jostling in the backyard is a Young four-star general, whose Decorated chest is strong and proudPresenting all the symbolic imagery Of one who is alive-Yes, and very much alive. Heart and soul and melodious laughs Echo in every detail:

45

All the world a great possibility In gaze of the warrior son, Waiting to bend low in submission. Throw a lasso around Uncle John, And then around your dreams: Your own dreams of manhood Never quite materialized, Leaving you etched forever In golden memories. It is left to those who come after To give a little bit to youTo live a little bit for youThat that which slipped so easily from your fingers, Might not be forgotten on the dusty shelves Of time, or left alone to smolder On the windswept hilltop. Youve been rescued from the coiling depths; Released from the wintry stone pavilions. Youve found safe harbor as a Man among men. Fatherless one, You belong to the Father of the Ages.
This pair of poems belongs to the formal poetic form known as elegy. They recall a person who has died. Both poems are free verse, following no set syllabic pattern or specific line length. They do not employ clever rhymes or other devices. The concept was derived through a novel, as well as a personal experience. Lois Lowrys The Giver had been assigned for a class. This story is the fictional account of one who had been chosen to be the holder of the collective memories for his unusual community. Shortly after reading the book, a cousin was diagnosed with Alzheimer's disease and had to be moved into a healthcare facility.

46 In distributing and disposing of her household goods and personal effects, I was given a large collection of very old family photographs, including photos of my father, with whom this cousin had been close since childhood. Also included were photographs of her younger brother, William T. Billy McCollum, who had died in a tragic accident at age 18. Through this experience, I recognized a correlation between myself and the hero in Lowrys story: as the memories melted, as it were, from my cousins mind, they were being given to me. My cousin told me the stories of her young brother Billy, and I knew some sort of response was necessary. The poem Remember is based on a photograph of Billy and his girlfriend (see figure 1) that appears in the chapbook. The theme is simple-what might Billy have to say? Using free verse, this poem integrates meaning from childhood, school days, a teenage romance, and a sudden death, bound together through repetition of a single word.

47 (fig.1) (fig.2)

Family photographs courtesy of Irene E. Beaver. The poem Billy-Mac opens with a metaphorical description of the memories processing their change in ownership. This poem is based on a photograph of Billy and his Uncle John (see figure 2) that appears in the chapbook, and is specifically referenced in stanza four. This poem uses imagistic language to establish an ethereal mood, and uses alliteration in the first, fourth, and sixth stanzas.

Commentaire : . It is not always necessary to include graphical components such as photographs in your papers, but doing so can help to make the topics and images youre discussing come to life for your reader.

48

Angeltalk Bed and breakfast at Tiffanys On the first day of spring Is the whimsical wish of Every squeezably soft princess With white diamonds in her eyes. Leprechauns treasure hidden in The apple orchard nightmare Of this finicky eater. Donny & Marie Osmond on the radio Awakens this direct descendent of delirium: A live-in maid of Dover, Delaware who Jumps for Joy dishwashing liquid, Dust and ostrich feathers, while dreaming Someday my prince will come. A long pregnant pause for profiles On park benches and billboards; Mining for love but striking Oil of OlayMr. Moose, Captain Kangaroo, and Mr. Greenjeans Are the visions seen through her bridal veil. Honey, youre barking up the Wrong tree surgeon. Make a wish and blow out the candlesYoure getting a star on Hollywoods Walk of fame. Youve really outdone yourself, But dont stop nowbuy another vowel!

Angeltalk is a rather whimsical poem derived from a concept encountered in the Australian film Angel Baby. The female lead character is mentally unstable, and believes that angels send messages to her through the puzzles on the Wheel of Fortune

49 television program. Rather than using original words, this poem consists of actual Wheel of Fortune puzzles that have been arranged in poetic style. Although the individual phrases have little meaning on their own, they have been arranged so as to create new meanings. Very little has been added to the phrases, other than an adjective or a conjunction to tie certain thoughts together. The final line in the poem is the only line that is completely original work.

50 EarthDance The earth had shining moments once, Before the window panes became too smudged to see, And friendly memories faded into forgetful mists Of blushing ruddy ochre. Mediocre is my way upon the meandering footpathsI roam the constellations, looking for the place; My place; the place where I belongTHE face, to whom I belong. A whirl of riotous colours is on mine every side; A blink to stop and think only mixes that which is unnamed. Can one tame madness? Or dismiss the whirlwind? Can One so large be touched by one so small? The earth had swept through me and left me changed. When people sing, I dance. They sing of earth, water, and sky; They sing of wind and rain; fire and ice. When people sing, I dance. A song of earth, I would sing. A song of love to Natures bright and shining leaf. When people sing, I dance. And the Creator joins in with gladness, Reveling in recognition. When people sing, I dance. This free verse poem consists of three stanzas and a refrain. Consonance is seen in stanza one in the words once and window as the w sound is repeated unexpectedly. Line three uses alliteration in friendly memories, faded, forgetful mists. Assonance is seen in the final line, blushing, ruddy. Stanzas one and two are tied together by a rhyme between the final word of stanza one and the first word of stanza two. The primary means of cohesion in this stanza is repetition. Stanza three contains one traditional rhyme and metaphorically describes the meeting of man and creation.

51 The refrain is bound by repetition, imagistic language, and alliteration in line nine.

George Hillary-Billary George Stephanopoulos Why do you stand on the White House Lawn?

52

Sesquipedalically He said the view is freeThats where my fans come to See me at dawn.

Snake Oil Doubling-Bubbling Doctor Kevorkian What is the secret of Potions of death? Bindandgagectomy Venom, tubes, chemistry, All work the same if you Just hold your breath!

One Too Many Inkydo-Blinkydo Jumpin Jehosophat Slipped on a high ball and Fell in the dump. Garbagecantankerous And always lecherousNow he is known as the Consummate grump!

This trio of poems is in the form of dactylic dimeter. They use a form originated by Anthony Hecht and John Hollander referred to as Higgledy-Piggledy, or double dactyl. This is a lighter form of poetry, similar to a limerick. The basic form consists of eight lines, two stanzas. Lines one through three and five through seven are in dactylic

53 dimeter, (DA da da DA da da). Lines four and eight are shortened by one or two syllables and use end rhyme. Line one is gibberish; line two is a proper noun; line five is a single word (the poet is allowed to be creative here). There is some variation on this form. The challenge to creativity when writing in this form is to find words and names that will fit correctly into the meter, particularly the single word for line five. In two of the poems, an imaginative contraction has been used in line five. The poem Snake Oil has a medical theme. In a linguistic manner similar to a tonsillectomy, the term bind and gag has been contracted and medicalized resulting in bindandgagectomy. In the poem One Too Many, the terms garbage can, and cantankerous have been combined into garbagecantankerous, creating the imagistic impression of a misspent life of unbridled profanity. These poems and their large words illustrate another benefit of working with this particular form-knowing the syllabic meter aids in the pronunciation of difficult words.

You never enjoy the world aright till the sea itself flows in your veins, till you are clothed with the heavens and crowned with the stars and perceive yourself to be the sole heir of the whole world, and more than so, because men are in it who are every one sole heirs as well as you. Thomas Traherne (1636-1674) Wishes

I wish you the seas to flow within your veins, Until life itself overflows the darkened banks. I wish you greenest depths, to be navigated

54 By your hearts desires, and dazzling dreams. I wish you the heavens, to wrap around your shoulders Like a blanket, to grant you protection From cruel realities. I wish you bluest blue, in hues to fill the lack and Find the path that leads you on to true. I wish you the stars, to crown your years, And guard your precious treasures locked within. I wish you brilliant light, as that of which the Very worlds are made. I wish you rushing waves and cataracts; Blue skies, and puffy clouds; Galaxies, moons, and planets in their courses. Heir to the world, I wish you friends, for Life is found in sharing such as these.

This poem opens with a quote from Thomas Traherne. The stanzas of this poem are bound by the repetition of the word wish as the alliteration is carried throughout all stanzas. Additional alliteration is seen in stanza one, darkened, depths, desires, dazzling, dreams. Stanza two uses a simile to liken heaven to a blanket. Assonance is employed in cruel, bluest, blue, hues, and true. Stanza three contains a simile using light and creation. Stanza four concludes the poem with additional alliteration, wish, waves, world, and wish.

55

Hymn In awe we stand in Bethlehem To see the mystery, The holy One weve waited for The child of destiny. Our Saviour comes, and hearts prepared Will see the glorious sight; Receive His healing for your soul, Receive His life and light. The Word made flesh to dwell with us! The holy angels tell, Their joy and mirth: Incarnate birth! Jesus, Emmanuel. From ages past, weve looked in hope,

56 From youth till time grows dim. Hearts near and far, youve seen His star Now come and worship Him!

When working with strict form in poetry, words must be used which will fit into the meter. This poetic effort takes that process a step further by writing, not to poetic meter, but to musical meter. In this instance, a sixteenth century hymn tune is used. (The full musical setting appears in the chapbook). In this poem, alternating iambic octameter lines with iambic hexameter lines creates the rhythm. By variation, only the hexameter lines are end-rhymed; the octameter lines are not rhymed, making possible a slightly freer approach.

Ekphrastic Poems: a Concept The final two poems to be examined and analyzed were written especially for this project. These poems, Lindisfarne and Incense, have similar themes that were developed from several sources, which will be examined in this section. Edgar Allen Poe, in describing the concept for his poem The Raven, posits an unexpected theory, Here then the poem may be said to have had its beginning - at the end where all works of art should begin - for it was here at this point of my preconsiderations that I first put pen to paper in the composition of the stanza (third from the end) (5). Poe advances the idea of writing the climax first, followed by the remaining stanzas to allow for proper pacing of the poem, so tension can be built making

57 a climax worthy of the name. When crafting a longer poem like The Raven, this is probably good advice. Poe however, has revealed details of his own writing process that may not be agreeable to every writer, the work proceeded sep by step, to its completion, with the precision and rigid consequence of a mathematical problem (2). Poes statements illustrate the problem in working with strict poetic forms-they require a much greater level of precision in thought, language and rhythm, to the point that many may find their creativity stifled when trying to write in strict form. In defeat, such writers settle for writing free verse rather than taking up the challenge of poetic form. Strand and Boland have written that poetic forms are not locks, but keys (xiii). As previously stated, forms are not meant to stifle creativity, but to provide direction, like a roadmap. Form forces creativity into exciting new undiscovered regions. Both of the poems to be examined rely heavily on strict form and use a concept developed from Bosveld and Allchin. Jennifer Bosveld writes: In ekphrasis, or ekphrastic art, there are initially two imaginations at work - that of the original artist, and that of the respondent through his/her medium (9). Ekphrasis is derived from a Greek word meaning description. Ekphrastic poetry is more than an elaborate description of an object dart. Bosveld advocates a broad definition and use of the term in which an original work of art is created based on another artists original work. The original work of art is used as the inspiration for a new work of art. The ekphrastic response may use simple themes such as shapes or colors, or it may be more complex, delving into the abstract - as art, the only limit is the artists imagination. On a different topic, professor A.M. Allchin has written an excellent introduction
Commentaire : This simple transition allows the student to shift gears and talk about a different topic.

58 to Welsh tradition poetry. This style of poetry uses Celtic themes of strong faith in God, and a deep respect for the earth. The practice of praise stands at the heart of the Welsh poetic tradition, and the purpose of praise, as Waldo Williams (1904-71) put it, is to recreate an unblemished world (Allchin 3). In the Welsh tradition, praise of God and His creation is the highest and noblest use for the art of poetry. While other topics may be poetically addressed, praise is the ultimate vocation for one with poetic gifts. One of the qualities which marks the whole Welsh tradition is a desire for a kind of epigrammatic terseness, a desire to say much in little (Allchin 143). In the Welsh tradition, lines can be quite short, forcing the writer into the terseness of which Allchin writes. It can be a very strict form but as previously discussed, strict forms can provide creativity with new pathways in which to find expression. Welsh tradition poetry is an area where free verse would not be effective. Of terseness in a particular poem, Allchin continues, this quality is emphasized by the shortness of the lines, only seven syllables long, and by the fact that even they are divided into halves and constructed with intricate patterns of internal alliteration and assonance (143). The place of these qualities in this poetic form will become more apparent later. The strictness of Welsh tradition poetry invites comparison with other art forms that also call for strict adherence to certain rules. Allchin suggests an appropriate but unusual comparison - Welsh tradition poetry and religious icons. See the similarities between the (Welsh tradition poem) and the icon. The icon painter accepts a very strict set of conventions that enables him to achieve the special effect that he wishes for. He too forces his lines to practice a certain self-denial, so that the whole picture may become

59 the vehicle of some over-all hidden idea binding it (Allchin 144). This description could be speaking of just about any sort of writing, yet it addresses the crafting of icons. Icons, like poetry, can express meaning on a grand scale; both art forms can be heavy with meaning. To fully comprehend the importance of this comparison, it will be necessary to briefly examine iconography, the visual language. Artist Linette Martin refers to the language icons: Among Orthodox Christians, icons are described as being written rather than painted or carved; that is because they are designed to communicate (xv). Martin continues, they are designed to be doors between this world and another world (xv). It is of particular interest that icons are not painted but written. In iconography, every individual detail has a meaning; the colors, the lines, the materials used, and so on. The art of iconography is as demanding and precise as a strict poetic form, hence Allchins comparison. Both art forms have the same goal, to recreate an unblemished world (Allchin 3). For the poem Lindisfarne, Bosvelds ekphrastic principle has been used. The original subject is an eleventh century Norman priory located on the Holy Island of Lindisfarne. Holy Island is a small tidal island just off the Northeast coast of England, near the Scottish borderlands. The history of the island dates back to approximately 450 A.D. when a monastic community was founded there. The community thrived for several hundred years, until Viking raiders arrived and viciously murdered many members of this peaceful community. Holy Island is a place of great beauty, history and memory. A visit to Holy Island is an unforgettable experience. Many of these elements have been included in the poem, and a photograph of the priory (see figure 3) is included in the chapbook.

60 The Pilgrims Way is a series of wooden posts marking a safe pathway through the boggy marsh, from the mainland to Holy Island. A photograph is featured on the cover of the chapbook.

(fig.3)

Original digital photograph: Lindisfarne Priory Douglas Carrington 2005

Lindisfarne I walked across the sand and stone, Led from the Pilgrims wayCelt relics there of cloth and bone Upon the centuries lay. The veil: thy cloudy veil so thin Conceals a golden lightWhat mystic secrets lie within

61 The Norman priorys height? A low iconic gleam and bright Beyond sea grass and tide: Come bird and bead and bid recite Thy recollections wide. The sons of Eire brought the torch Igniting Celtic flame; Unto the isles they carried forth Thy worships holy Name. Thy intertwining vision lifts The ordinary plain, Ennobling even earthly gifts Of fire, grape, and grain. Eternitys been massed upon The Isle of Northern seaI came to know thee, LindisfarneInstead twas thou knew me.

Lindisfarne has a chant-like rhythm created by alternating lines of eight and six syllables. The rhyme scheme in each stanza is abab. All of the lines employ end-rhyme. Following the Welsh tradition, and honoring the history, meaning, and religious significance of the island, the poem has a religious theme. Stanza one uses alliteration, sand, stone; and assonance, Celt, relics. Lines three and four are enjambed. Stanza three is notable for alliteration, gleam, grass, bright, beyond, bird, bead,
Commentaire : This transition reminds the reader of the origin of this poetic form, discussed earlier in the paper.

62 bid. The bead refers to St. Cuthberts beads, the fossil joints of crinoid stems that were discovered on the island. Stanza four, Eire (pronounced era) is the ancient Gaelic name for Ireland. Lines one and two are enjambed, as are lines three and four. Stanza five features assonance in line one, intertwining vision lifts, and concludes with alliteration, gifts, grape, and grain. Stanza six uses a slant rhyme on lines one and three, upon, Lindisfarne. Lines one and two are enjambed.

Incense Shining silver reflection Of the numinous delight. Beaming focused, blazing light: Original creation. Paschal fire on sea and lake; Dazzling words, bright burning wakeShining silver reflection. Ancient languages of praise Cloaked in lazuline secretsHonor greatest Name befits. Adoration higher raised. Bread and wine, the Presence Real; Words creative, sent to heal.

63 Ancient languages of praise. Aire of gold, prayer-sweet perfume, Pouring life through stone domainResonance of royal reign; Flaming bush does not consume. Heavenward the bird words fly; Tree and river song reply. Aire of gold, prayer-sweet perfume.

(fig.4)

64

Icon: Christ the Merciful, circa 12th century, mosaic. Image courtesy of St. Isaac of Syria Skete, www.skete.com. Used with permission.

The poem Incense also employs Bosvelds ekphrastic principle, and elements of the Welsh tradition. To carry the theme a step further and make a practical use of Allchins comparison of poetry with an icon, the ekphrastic subject of this poem is a twelfth century mosaic icon. A photograph of the icon (see figure 4) is included in the chapbook. Following Welsh tradition, this poem is three stanzas of seven lines. Each line is seven syllables. All lines are end rhymed and each stanza follows the rhyme scheme abbacca. Given the praise element in the Welsh tradition, and the wealth of meaning contained in the icon, this poem has a religious theme. It would be inappropriate to treat this particular ekphrastic subject otherwise. Welsh terseness referred to by Allchin is apparent in the short, choppy lines. While there are some familiar themes, there is still a sense of mystery and ambiguity. Each stanza addresses a specific aspect of the icon. To add emphasis on meaning, the first and last lines of each stanza are repeated. Stanza one features alliterations, shining, silver; beaming, blazing, bright, burning, and ending in repetition. Stanza two opens with assonance, the repeated vowel sounds in ancient, languages, praise. Line two features consonance, the repeated consonant sound of L:

65 cloaked, lazuline. The stanza ends in repetition. Stanza three also opens with assonance, aire, prayer, and is carried into line two, stone, domain. Line three features the alliteration, resonance, royal, reign. Line five contains a slant rhyme, heavenward, words. Like the others, the stanza ends in repetition.

CONCLUSION: Poetry is a broad, comprehensive term that is used in reference to many different types of versified composition, from the most elementary doggerel, to excellent, refined verse produced by the poet laureate. Because of the extensive use of the term, this research has sought to examine scholarly thought on the topic, attempting to identify a unified definition. Many seem to take great care in how they use the term, being careful what they actually refer to as poetry. A consensus that emerged during the research was that poetry is best known by its attributes; by the reactions it produces in its readers. After a review of the writings of many scholars and experts in the field, the conclusion was made that poetry is art. Poetry earns its definition as art by the manner in which it addresses meaning on so many different levels. It is also an art because of the craftsmanship required to produce a poem. Craftsmanship in poetry requires knowledge and skill in language, and in the use of many literary devices that comprise poetic form. This research has explored form in its various basic components, including assonance, alliteration, rhyme, rhyme schemes, and meter. Modern poetry relies almost exclusively on free verse, in which few or none of these elements are used. The fact that these terms are missing from poetry does not diminish their importance. As this research has examined, modern free verse poetry

66 stands firmly on the foundations established by centuries of classical verse that sometimes used very strict rules of composition. Free verse poetry places a higher value on meaning, and a lesser value on form. Classical poetry emphasizes both meaning and form. Classical poetic forms sometimes dictate the number of lines in a particular poem, the number of syllables in each line, and even which syllables are accented. It can be a temptation for modern poets to ignore classical poetic history in favor of free verse. As this research has examined, strict poetic form is not meant to stifle creativity, but to provide creativity with new avenues in which to find expression. This research has illustrated the use of the devices of poetic form in original poems. The primary emphasis on this exercise is to show that reasonably good modern poetry can be produced using older elements of classical form. Form is not a bad word, but rather a word modern poets should be encouraged to become more familiar and comfortable with. Creative writing can be equally creative and expressive using free verse or a strict form. This research has specifically addressed two competence statements: (F11) Can design and produce a significant artifact or document that gives evidence of advanced competence in creative writing. (F12) Can write poetry using both free verse and traditional forms. The first competence statement (F11) has been fulfilled in the design and production of a chapbook of original poems and illustrations entitled, Poiema. Competence fulfillment is also evidenced by this academic justification. The second competence statement (F12) is fulfilled by the original poetry in the
Commentaire : The student effectively summarizes the main points of his paper in these three paragraphs.

67 chapbook, and evidenced by the analysis of the original poems included in this research.

Part 4: Summary and Assessment Potential Ethical Issues: Given the literary nature of this research, from an Institutional Review Board perspective the main area of potential risk has been from using sources incorrectly or illegally. This concern has been addressed by making full and correct MLA citations, and if necessary including brief annotations explaining any special circumstances encountered. Since there are also some comparative steps involved in this process, it is important to avoid making the data state findings that are not supported by the literature. This research should fall under exempt, benign risk since no live human subjects have been involved at any stage of the process, and every effort has been made to correctly cite all source information. An additional ethical concern for this project has been the use of an icon as the basis for one of the ekphrastic poems. A twelfth century mosaic icon was selected, specifically because its age would likely place any copyright concerns within the public domain. A wooden plaque of the icon was purchased from a small monastery in Wisconsin. An inquiry was also made to this organization about the use of a photo in this project. The group confirmed that the icon image was indeed in the public domain, but that they would appreciate a photo credit in the work. This request is included on the credits page in the chapbook. Since this group is a small charitable organization, a donation was made as a gesture of goodwill.
Commentaire : The student here anticipates possible concerns with his paper and then immediately addresses them.

68 Project Critique: One of the main strengths of this research, from my perspective, is the talent and level of competence of the scholarly books selected for use as source material. To provide an extra wide scope, sources were selected ranging from the very recent to those dating to more classical periods. Among this group are poet laureates, university professors, and published poets. A weakness here is that time did not permit the inclusion of additional sources of equal stature and merit. An attempt has been made to provide other sources with at least an honorable mention in the suggested reading list that follows the annotated bibliography. There were other topics that were considered such as caesura, blank verse, onomatopoeia, or mimesis, however working with deadlines did not permit the examination of secondary terms. The scope of the project had to be limited to what some would consider basic elements. When considering how infrequently strict poetic form is currently used, the elements used in this research can be considered advanced. Additionally, these secondary terms do not appear in any of the original poetry. This is another area where the scope of the project was limited - the positions were strengthened by using illustrations from classical poetry and by explaining how the same terms were used in the original poetry. Another strength of this work is in the inclusion of classical poetry illustrating the various techniques of form, and also the analysis using original poetry. In this way, truly great poems can be compared to original work in a single document. My own voice is added alongside that of other poets and scholars, hopefully justifying such a position by the quality of the work and demonstrated competence. As viable as the scholarly sources are, a weakness of this work is that only written
Commentaire : The student here circumvents possible criticism by admitting to the limitations of his own research. Working on a strict deadline and within a pagelimit, it is almost impossible to completely exhaust any topic, so when you know your papers have a particular deficiency, dont be afraid to admit to it.

69 texts were used. Had time permitted, I would have liked to contact some of the authors (if only by email) to discuss certain elements and opinions that might have added a different perspective to the work. Self-Critique: I began this project with three sources in hand that I knew had to be included in this work. Poetry and Life by Dr. Clyde S. Kilby (1902-86), the legendary English professor at Wheaton College, and founder of the Marion E. Wade Collection; The Powers of Poetry by Gilbert Highet (1906-78), who was the Anthon Professor of Latin Language and Literature at Columbia University; and Praise Above All by A.M. Allchin, an honorary professor in the Department of Theology and Religious Studies at University College of North Wales. Kilby and Highet both came highly recommended and I thoroughly enjoyed reading their passionate treatments of their topics. Allchin was a new discovery, and I almost immediately envisioned a poetry project based on an icon after reading his interesting comparison. I have been fortunate to meet two of the cited authors, Jennifer Bosveld and Steve Kowit, though not in any context related to this project. I met Steve Kowit several years ago when I attended his poetry workshop in San Diego. Ms. Bosveld was in the Chicago area last Fall and I attended her poetry workshop at an art gallery. She explained ekphrastic poetry and then the assembled group put the principles into practice by writing poems or lines using the various displays in the gallery. None of the poems produced at either workshop have been included in this project. As to the learning experience, I intentionally did not address the current topic during Research Seminar, even though it would have made this project easier. I was

70 comfortable with this approach because of my personal philosophy regarding college: learning experiences should be a broad as possible. By addressing one topic for Research Seminar and another topic for Advanced Project, I was able to stretch academically, and in the process produce one thorough research project, and have plenty of material for another interesting topic should I decide to pursue that later. Such an approach to these competences seems to align well with both the specific intent and the spirit of a liberal arts education. In a sense, my approach to this project was poetic, in that I specifically and intentionally addressed individual aspects. It was interesting to focus an intense gaze upon these aspects and join my own voice and thoughts with an interesting collection of scholars and experts. The act of compiling data forced me to think critically about the poetic process. Through this I learned that I am much more used to thinking of poetry in a holistic manner, instead of abstracting its various parts. Both modes of thinking are necessary. Another important fact to notice is that this project is the largest individual written work I have completed to date. Between this work and the chapbook, I am left with a certain hopefulness about future written work, either for graduate school, or for general publication. An important thing to learn about myself-I can do this! My proofreader has reported enjoyment in reading the drafts and it is my hope that my instructors at DePaul will be equally pleased. Implementation Plan: My immediate plan is to complete any corrections in this project as may be noted in the grading process, so I focus full attention on Advanced Elective, Summit Seminar, and graduation.

71 Attending graduate school seeking a Master of Fine Arts in Creative Writing or poetry is my next educational goal. Applications I have reviewed usually request three poems, and sometimes ask for a page limit. In the process of preparing this project, I have a ready set of poems from which to draw for graduate school applications. The chapbook will be reserved for admission interviews. I would like to be able to say that I was already accepted and would begin graduate school in the fall however, the economic reality is that current student loans must be paid before I will be comfortable with additional educational debt. In the meantime, I can continue reading and writing poetry, and my degree from DePaul will assist with maintaining steady employment.

Part 5: Annotated Bibliography Annotations for cited works address the following: 1. Central assumptions 2. Central problem or question 3. Key concepts supporting argument 4. Chief conclusion and support 5. Connection to this project 6. Weakness
Commentaire : The student has put forth a very thorough, systematic guide for his annotation. It is not always necessary to annotate your bibliography, but doing so provides a powerful service to any reader who may be interested in pursuing further reading on your topic.

(1) Allchin, A.M. Praise Above All: Discovering the Welsh Tradition. Cardiff, UK: University of Wales, 1991. 1. In the Welsh tradition, there are interconnections dating back as far as the sixth century. Also, assumes a basic understanding of Celtic Christian faith and practice. 2. How can the practice of praise recreate an unblemished world? 3. An enlightened, elevated sense of purpose: praise. Beauty will save the world (Dostoevsky). 4. Comparisons and contrasts are developed between Welsh poetic traditions and those of other nations, identifying its specific quality in a European and international context.

72 Supported by an overview of the Welsh tradition from the ninth century forward, and a review of the work of some of the major Welsh poets. 5. Concept poems. (part III). 6. This book is strong on the traditions and writings, but somewhat weak on specific mechanics related to the Welsh tradition. Could be strengthened by adding more on metrical elements-will need to consult a writing guide on Welsh tradition. (2) Berry, Wendell. The Responsibility of the Poet. The Christian Imagination. Ed. Leland Ryken. Colorado Springs: Shaw, 2002. 1. Good poetry is a complex work of recollection in both the poet and the reader. 2. What is the responsibility of the poet? 3. Memory, recollection, form, inspiration. 4. Because of the vast artistic nature of poetry, it will never fit nicely in the realm of professionalism. Poems remind us of the grandeur of creation. The responsibility of the poet is to recognize these elements and use them to the greatest advantage. Supported by a brief analysis of reminding, inspiration, community, and form and how from the authors perspective, they contribute to the craft of poetry. 5. Poetry (part I). 6. This is a small work that leaves the reader wanting more. To strengthen this position, it will be necessary to consult Berrys book and develop these ideas further.

(3) Bosveld, Jennifer. Elastic Ekphrastic. Johnstown, OH: Pudding House, 2003. 1. Ekphrastic art involves two imaginations - that of the original artist and that of the respondent artist working in her/his own medium. 2. How to write poetry in response to visual art. 3. Definition; using the five senses, understanding the artist. 4. By whatever means the poet is comfortable with, try to achieve a level of interaction with the art - and give poetic expression to that interaction. Supported by both ancient Greek and modern definitions of ekphrasis, and brief guidelines for writing while on museum tours. 5. Concept poems (part III). 6. A weakness is that, while the term is traceable to ancient Greece, it has fallen out of regular use. It is largely left up to adventurous poets to work with the form restoring it to current practice, which will strengthen its position.

(4) Dawson, Paul. Creative Writing and the New Humanities. London: Routledge, 2005. 1. Talent cannot be taught, but it can be developed and nourished by training in literary craft. Academic creative writing programs isolate themselves (protecting artistic expression) within rigorous academic disciplines. 2. How to make connections between artistic expression and rigorous scholarship, resulting in new relevance for the craft.

73 3. Heteroglossia 4. A sociological workshop poetics will not abstract the language of the author, but rather free its socially dialogic associations by tracing their resonances outside the text. 5. Poetry. (Part I). 6. The author is Austrailian; book is on the creative writing genre in Australia, England, and America. The international tone of the book is welcome, but it must be acknowledged that Dawsons critiques of American and English schools could be strongly biased and skewed by an over-emphasis of American influence, or colored by false or misunderstood concepts of American schools.

(5) Fox, John. Finding What You Didnt Lose. New York: Putnam, 1995. 1. Everyone has a need to find their own voice; to express their own particular truth. Many have been restrained in this expression for numerous reasons. 2. How does one foster creative delight in making poems? How can one follow natural creative impulses? 3. Censor voices, self-revelation, connections to life, journal entries, starting with a line, creating community, the sacred. 4. Poetry is within each person. Everyone can be inspired to add their own unique and authentic voices to the community of poets. Supported by essays and writing exercises designed to take the writer beyond the internalized no voices, to a place of more free poetic expression. 5. Poetry (part I) and mechanics (part II). 6. Author is a teacher/practitioner of poetry therapy. This valid practice does have its place, but therapy poems often cannot progress beyond the therapeutic realm - they are merely angst on papernot art. This position can be strengthened by especially emphasizing an outer-directedness in the authors connections between poetry and meaning, avoiding the deep introspection that accompanies poetry therapy.

(6) Highet, Gilbert. The Powers of Poetry. New York: Oxford, 1960. 1. Poetry, like music, is enjoyed by following patterns of sound. Poetry is sometimes better than prose for telling a story. 2. What use is poetry? 3. Melody, rhythm, obscurity, biography. Poems: lyric, epic, elegy, dramatic. 4. Poetry can give adequate expression to general experience. Poetry can be an aid to life. Its words sound like spells; its subjects are often dreams, visions, and myths. 5. Poetry (part I) and mechanics (part II). 6. Book is intended as a broad general overview - as such, it is significant but weak on poetic mechanism. Position can be strengthened by comparison with other works that are stronger on mechanism.

(7) Housman, A.E. The Name and Nature of Poetry. Creators on Creating: Awakening and Cultivating the Imaginative Mind. Ed. Frank Barron, Alfonso Montuori, Anthea Barron. New York: Tarcher/Putnam, 1997.

74 1. Poetry is more physical than intellectual. Poetry can be recognized by the symptoms it provokes in the hearer. Poetry is a very wide term. 2. How can physical sensations contribute to the creative process? 3. Pathos, Keats, reference to Wordsworth powerful feelings. 4. Even slight changes in consciousness aid the creative process by changing the sensitivities to ones surroundings. These subtle changes can inspire lines and phrases that can be shaped and formed into verse. Supported by analysis of the experience of drinking a pint of beer or taking a walk and following the development of the poetic concept, which will later be developed further by applying elements of form. 5. Poetry (part I). 6. The method Housman describes is not necessarily logical or scholarly, yet his result would not be possible without a thorough knowledge of poetry. Position could be strengthened by exploring the relationship between the inspired verses and the process of revision and development leading up to the finished poem.

(8) Jackson, Richard P. The dream of the Snail: The History of a Poem The Literary Review 44.1 (2000): 66-70. 1. All poems are about the possibility of language. The history of a poem is the history of the poets thinking about it. 2. How is language condensed or settled into a particular poetic form that allows the retention of original meaning? 3. Resonance, imitation, dissimilarity, originality, political poetry, stanzas. 4. Complex and contradictory themes in poetry can be unified and held together through form. Supported by detailing the process of revising a long poem into a workable, readable, understandable piece. 5. Poetry (part I). 6. The poem Jackson chooses to revise is not his own work. Revisions can be made which the original author never intended. Completing the same analysis on one of Jacksons own poems and comparing the two could strengthen position.

(9) Kilby, Clyde. Poetry and Life. New York: Odyssey, 1953. 1. The reader may not possess the necessary language skills to fully appreciate foreign poetry. Extremes in classification (sonnet, ode, elegy, epic) are to be avoided. Rhyme scheme, poetic feet, stanza form are important reference information, but are not and end in themselves. 2. Is poetry something more than pretty but inconsequential little ideas ornamented with sweet phrases? 3. The wealth of connections between poetry and life, including meaning, language, music, and imagination 4. Yes! Poetry is more than ornamental verses. Form has its own very important place, but more importantly, poetry is about meaning; it is an expression of life and passions. This is supported by examination and examples of various life themes and the manner in which they appear in poetic forms. The themes include: wonder, technique, science, experience, imagery, symbol, morality, and truth.

75 5. Poetry (part I) and mechanics (part II). 6. The work covers much philosophical ground. Because poetry can encompass this and more, the position can be strengthened by courageously committing to encounter philosophical themes in poetry without shame or hesitation.

(10) Kinzie, Mary. A Poets Guide To Poetry. Chicago: University of Chicago, 1999. 1. Any poem is best imagined as provisional; poetic forms trigger more ideas than they destroy. 2. How does the poet creatively deal with the problem of poetic forms? 3. A thorough review of various poetic forms such as half-meaning versus whole meaning, diction, rhetoric, rhythm, syllabic meter, stanza, rhyme, echo, counted and noncounted forms. 4. Working with poetic forms provides the poet with opportunities to expand and explore new vocabularies, new means of expressing old thoughts. Writing exercises supports the conclusion. The best way to learn, to press through the challenges of poetic form is to write. 5. Poetry (part I) and mechanics (Part II). 6. Possible over-emphasis on forms. Forms are good, even necessary to the craft, but are a poor substitute for meaning. The best poems thoroughly marry the two. Because so many forms are explored in this book, the position seems best strengthened by working to understand a particular form until it seems second nature, that state where ones writing flows with greatest ease.

(11) Kowit, Steve. In The Palm of Your Hand. Gardiner, ME: Tilbury House, 1995. 1. Some writers are beginners; others are intermediate; still others more experienced. Poetry can be used to celebrate the art of living. 2. How can life experiences be used as a springboard to develop skills in writing poetry? 3. Prose, revision, meter, rhyme, experimentation, language, line breaks, publishing. 4. Poetry can be used to explore and celebrate many aspects of life in a manner unique to the medium. Supported by essays and writing exercises on various poetic forms and mechanics. Some items are written for beginners; others for more experienced writers. 5. Poetry (part I) and mechanics (part II). 6. The resources section covers a number of graduate writing programs, however, there is no information on graduate writing scholarships. It seems the two should logically go together. This simple addition would strengthen the position of this otherwise lively and valuable work.

(12) Lewis, C.S. An Experiment in Criticism. London: Cambridge, 1961. 1. Bad taste is equivalent to bad taste in books. 2. Is there an advantage to be gained in judging literature by the way people read it? 3. Good literature must be judged by the types of reading it invites; evaluative criticism is of little use, especially condemnations. 4. Good literature is a means of entering more fully into the thoughts and experiences of

76 others. Support given is a review of special considerations for certain types of literature, including myth, fantasy, realism, and poetry. 5. Poetry (part I). 6. A rather obvious weakness, Lewis seems to aim his harshest words at the literary critics of his day who had, no doubt, been harpooning him in the press. He addresses them collectively as so many lamp-posts for a dog (p.112). While humorous, the position could be strengthened merely by omission.

(13) Martin, Linette. Sacred Doorways. Brewster, MA: Paraclete, 2002 1. Art historians will be sufficiently familiar with much of the book content. Pictorial language of the Orthodox Church is largely unknown to people in the west. 2. How can symbols, themes, and physical components of icons be appreciated without a thorough knowledge of Orthodox Theology? 3. History, artists, materials, visual language. 4. Icons are symbolic doorways communicating ultimate meaning and reality, as they are understood by the Orthodox faith. Supported by essays exploring icon subjects, writers, and methodologies. 5. Concept poems (part III). Source will be used to augment Allchins comparison of Welsh tradition poetry with icons. 6. This source does not directly address poetry-it does, however, speak of its own poetic language. Position can be strengthened by comparison with elements of poetry and identifying similar themes. (14) Meinke, Peter. Poems and Meaning. The Writer 108 (1995): 15-18. 1. Poems do not necessarily have to mean anything. 2. How do poems move towards meaning? 3. Metaphor, symbol, rhyme, rhythm. 4. Poetic language has the ability to embody the interconnectedness of things, even in a world of chaos, and thereby to give meaning to the seeming random and meaningless. Supported by an analysis of poetic devices used to convey meaning as found in the authors poem Apples. 5. Poetry (part I). 6. This short essay could easily reach book length by applying similar analysis to the works of others, or famous classical works of poetry. This essay works especially well because of the authors familiarity with his own work, but adding other poetry to the analysis could strengthen the position.

(15) Oliver, Mary. A Poetry Handbook. San Diego: Harcourt, Brace, 1994. 1. Poets are born-not made in school. Good poems are the best teachers. Professional criticism (opinions) is not necessarily the most important matter. 2. How to effectively learn those elements of poetry that can be learned. 3. Reading poems, artistic forms. 4. While certain elements of expression and meaning cannot be taught, there are many

77 elements of poetry that can be learned, such as history, current theories, and techniques. Supported by essay on reading poetry, as well as discussion of writing poetry including imitation, devices of sound, forms, free verse, and imagery. 5. Mechanics (part II). 6. Book is weak on prose poetry, mainly suggestions for further study. Expanding this section and augmenting with additional sources can strengthen position.

(16) Pinsky, Robert. The Sounds of Poetry. New York: Farrar, Straus, and Giroux, 1998. 1. Every speaker intuitively navigates the subtleties of sounds and accents. Everyone deals with sound patterns organically. 2. How to develop a greater ability to listen to the intentional sounds in poetry as a means of gaining understanding. 3. Accents, syntax, like and unlike sounds. 4. Art is best understood through careful attention to great examples. Supported by a review of theory and aspects of various poetic sound devices. 5. Mechanics (part II). 6. Poems used as examples are not cited in the text - sometimes only a few lines of a particular work are used. It is necessary to refer to endnotes to find author and citation. Position could be strengthened by at least including author and title in the text.

(17) Poe, Edgar Allen. The Philosophy of Composition. 1846. University of Virginia, American Studies Department. 25 January 2006 <http://xroads.virginia.edu/~HYPER/poe/composition.html> 1. The circumstances leading to the occasion of writing a poem are irrelevant. 2. To prove that the composition of a poem is an intentional work, proceeding step-bystepwith the precision and rigid consequence of a mathematical problem. 3. Proper length, object, form, refrain. 4. Following a very logical process of concept development, a poem is best written backwards, beginning at the final climactic stanza, followed by the remaining stanzas leading up to the climax. In this manner, the remaining stanzas can be properly paced and composed so as to avoid unevenness detracting from the climax. Supported by logical explanations of each sequential step in concept development and composition of the famous poem, The Raven. 5. Concept (part III). 6. While The Raven is a masterful work, a weakness in the essay is that Poe does not cite any of his other works or different styles. It will be necessary to consult other works by Poe to find material (which may or may not exist) showing Poes self-analysis of other styles. This would strengthen this position.

(18) Spender, Stephen. The Making of a Poem. The Creative Process: Reflections on Invention in the Arts and Sciences. Ed. Brewster Ghiselin. Berkeley: University of California, 1985. 113-126.

78 1. Authors personal views are not to be confused with ground rules. 2. Explain the process of writing poetry from a professional, published writers perspective. 3. Concentration, language, inspiration, spirituality. 4. The writing of a poem requires a special degree of concentration; also of confronting ones own personality, both good traits and bad. Supported by self-analysis of the writers process of writing, including aspects of memory, faith, and song. 5. Poetry (part I). 6. Because this essay was written over sixty years ago, the modern reader can be tempted to think that basic or fundamental skills are lost or misplaced due to modern technological advances. Position can be strengthened by emphasizing skills apart from technology; i.e.-complete the work in longhand and then go to the computer.

(19) Strand, Mark and Boland, Eavan. The Making of a Poem. New York: Norton, 2000. 1. Poetic forms are not locks, but keys. 2. What is the nature of poetic forms? How do they work? 3. Historical forms versus present forms. 4. Poetry is a process, a dialogue. To best understand it, one must become familiar with many aspects, both modern and historical. 5. Mechanics (part II). 6. This anthology contains many fine examples, but one that is noticeably missing is that of Paul Lawrence Dunbar (1872-1906). Perhaps this omission is due to Dunbars lack of education (hopefully not), but his wonderful rhythmical works certainly deserve a mention. This would strengthen this anthology by adding the voice of a common man.

(20) Wordsworth, William. Preface to Second Edition of Lyrical Ballads. The Creative Process: Reflections on Invention in the Arts and Sciences. Ed. Brewster Ghiselin. Berkeley: University of California, 1985. 81-82. 1. Purpose is not prerequisite to writing poetry, but rather a consequence. 2. What is the nature of the craft of poetry? 3. Human nature, absent things (memory), real events. 4. Good poetry is the spontaneous outflow of powerful emotions. Composition must take place, not in the heat of emotion, but rather during a recollected tranquility. Supported by a brief examination of a poet, defined as one who thinks and feels deeply; one who is especially sensitive to his/her surroundings. 5. Poetry (part I). 6. This piece is a preface to a book of Wordsworths poems. While enlightening, his position could be strengthened by applying his conclusions directly to his poetry and elaborating.

79

Suggested Reading Addonizio, Kim, and Dorianne Laux. The Poets Companion. New York: Norton, 1997. Allchin, A.M. Gods Presence Makes the World: The Celtic Vision through the Centuries in Wales. London: Darton, Longman, and Todd, 1997. Allchin, A.M. Songs to Her God. Cambridge, MA: Cowley, 1987 Bakhtin, M.M. The Dialogic Imagination. Trans. Caryl Emerson and Michael Holquist. Ed. Michael Holquist. Austin: University of Texas, 1981. Blaisdell, Bob, ed. Irish Verse: An Anthology. Mineola, NY: Dover, 2002. Carroll, Lewis. The Complete Works of Lewis Carroll. With introduction by Alexander Woollcott. New York: Modern Library, N.D. Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. Fourth Ed. Revised by C.E. Preston. London: Penguin, 1999. Dubay, Thomas. The Evidential Power of Beauty. San Francisco: Ignatius, 1999. Dunbar, Paul Laurence. The Complete Collected Poems of Paul Laurence Dunbar. Philadelphia: Hakim, N.D. Ferguson, Margaret, and Mary Jo Salter and Jon Stallworthy. The Norton Anthology of Poetry. Fourth edition. New York: Norton, 1996. Herbert, George. The Complete English Works. Ed. Ann Pasternak Slater. New York: Alfred A. Knopf, 1995. Hunter, J. Paul. The Norton Introduction to Poetry. Seventh ed. New York: Norton, 1999. Kilby, Clyde S. Christianity and Aesthetics. Chicago: Inter-Varsity, 1961. LEngle, Madeleine. Walking on Water: Reflections on Faith and Art. Wheaton, IL: Shaw, 1980. Nes, Solrunn. The Mystical Language of Icons. Grand Rapids, MI: Eerdmans, 2004.

80 Parry, Thomas. A History of Welsh Literature. Trans. H. Idris Bell. Oxford: Clarendon, 1955. Reeves, James. The Idiom of the People: English Traditional Verse. Ed. Cecil J. Sharp. New York: Norton, 1965. Rilke, Rainer Maria. Letters to a Young Poet. Trans. M.D. Herter Norton. New York: Norton, 1954. Rukeyser, Muriel. The Life of Poetry. Ashfield, MA: Paris, 1996. Smith, Michael and Suzanne Greenberg. Panning for Gold in the Kitchen Sink: Everyday Creative Writing. Chicago: NTC, 1999. Traherne, Thomas. Waking Up in Heaven: A Contemporary Edition of Centuries of Meditations. Ed. David Buresh. Spencerville, MD: Hesed, 2002. Wimsatt, William K. The Verbal Icon: Studies in the Meaning of Poetry. Lexington: University of Kentucky, 1954. Wooldridge, Susan Goldsmith. Poemcrazy: Freeing Your Life with Words. New York: Three Rivers, 1996.