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Overview
Doorways to Poetry is a basic introduction to poetry. It provides a comprehensive introduction to the writing and appreciation of the art.
Untermeyer presents in a clear and direct manner the fundamentals of a poet's craft. To provide the reader with examples of the basics, he presents a rich portfolio of classic poetic works to underscore the nature, diction, types and forms. Hundreds of poets are included in this collection.
Author Biography: Louis Untermeyer was author, anthologist, and translator of more than a hundred books for readers of all ages. He is best remembered as a prolific anthologist whose treasuries introduced students to contemporary poetry for decades. His collections of Modern American Poetry and Modern British Poetry, revised and amplified, have sold over a million copies. He is said to have introduced more poets to readers and more readers to poets than any other American.
Product Details
| ISBN-13: | 9780595006526 |
|---|---|
| Publisher: | iUniverse, Incorporated |
| Publication date: | 06/01/2000 |
| Edition description: | New Edition |
| Pages: | 532 |
| Product dimensions: | 5.94(w) x 8.92(h) x 1.40(d) |
Table of Contents
| Part 1 | The Nature of Poetry | |
| 1. | Why Poetry? | 1 |
| An Approach to Poetry | ||
| Is Poetry Peculiar? | ||
| Is Poetry Effeminate? | ||
| Is Poetry "Obscure"? | ||
| Is Poetry Difficult? | ||
| Poetry and Youth | ||
| The Reading of Poetry | ||
| What Do We Bring? | ||
| 2. | Prose or Poetry | 20 |
| Some of the Questions | ||
| The Basis of Poetry | ||
| How Imagination Works | ||
| Tests for the Imaginative Sense | ||
| Range of the Imagination | ||
| Prose and Poetry | ||
| The Basic Distinctions | ||
| Seeing with Our Imagination | ||
| 3. | Hurdles to Enjoyment--and How to Take Them | 36 |
| The Way Poetry is Printed | ||
| The Rhythm | ||
| Unusual Words and Word-Order | ||
| The Image | ||
| The Image Analyzed | ||
| Defining Poetry | ||
| The Final Effect | ||
| Taking the Hurdles | ||
| 4. | Music, Meaning, and Memory | 54 |
| Music and Meaning | ||
| Singing and Talking | ||
| Speed and Strength | ||
| Music and Memory | ||
| The Ideal Combination | ||
| Re-Making Music and Meaning | ||
| 5. | Rhythm | 69 |
| Source of Rhythm | ||
| Rhythm and Repetition | ||
| Thinking in "Time" | ||
| Defining Rhythm | ||
| Following the Movement | ||
| Analysis of "the Highwayman" | ||
| Tests of Rhythm | ||
| Contrasting Rhythms | ||
| Follow the Rhythm! | ||
| 6. | Rhyme | 94 |
| What it is--and Why | ||
| Kinds of Rhyme | ||
| Comic and Serious | ||
| Arrangement of Rhyme | ||
| Internal Rhyme | ||
| A Variation of Rhyme: Assonance | ||
| The Power of Rhyme | ||
| Experiments in Rhymes | ||
| 7. | Comparison, Exaggeration, and Sound-Effects | 115 |
| The Comparison Stated: the Simile | ||
| The Comparison Implied: the Metaphor | ||
| The Comparison Dramatized: Personification | ||
| The Direct Address: Apostrophe | ||
| Exaggeration | ||
| Repetition of Letters | ||
| Imitation of Sounds | ||
| Summary | ||
| Creating Images and Sound-Effects | ||
| 8. | The Material of Poetry | 138 |
| The Three "Powers" | ||
| The Power of Suggestion | ||
| Comparing Effects | ||
| The Power of Observation | ||
| The Powers of Idea and Emotion | ||
| The Use of Poetry | ||
| Applying the Powers of Poetry | ||
| Part 2 | The Diction of Poetry | |
| 9. | The Words of Poetry | 157 |
| The Choice of Words | ||
| Epithet | ||
| Allusion | ||
| Poetic Diction | ||
| Selecting the Epithet | ||
| Studying the Words of Poetry | ||
| 10. | Words as Sounds | 168 |
| Eye and Ear | ||
| Words as Music | ||
| Vowel and Consonant Sounds | ||
| Sound and Color | ||
| Sound and Silence | ||
| Tests for Effect | ||
| Training the Ear | ||
| 11. | Words as Pictures | 182 |
| Observation and Imagination | ||
| Subjects--and Objects | ||
| Kinds and Contrasts | ||
| Places and People | ||
| Stopping to Look Back | ||
| 12. | Words as Sensations | 196 |
| Heat and Cold | ||
| Motion and Emotion | ||
| Studies in Emotion | ||
| The Strangeness of Words | ||
| Practice in Words as Sensations | ||
| 13. | Words in New Settings | 209 |
| Poems to Sing | ||
| The Speaking Choir | ||
| Psalms and Ballads for Groups | ||
| Suggestions for Reading and Singing | ||
| Part 3 | The Kinds of Poetry | |
| 14. | Telling a Story in Verse | 216 |
| The Old Ballads | ||
| Characteristics of the Ballad | ||
| Ballads of Real Events | ||
| Modern Ballads | ||
| Ballad Range and Variety | ||
| Working with Ballads | ||
| 15. | In the First Person | 239 |
| How Characters Reveal Themselves | ||
| The Dramatic Monolog | ||
| Character and Background | ||
| The Monolog of Protest | ||
| The Mood of Meditation | ||
| Knowing People by What They Say | ||
| 16. | The Long Story-Poem | 251 |
| Natural and Supernatural | ||
| "The Rime of the Ancient Mariner" | ||
| Analyzing the Effects | ||
| Further Guides | ||
| 17. | The Singing Word | 278 |
| The Lyric | ||
| Characteristics of the Lyric | ||
| Different Kinds of Lyrics | ||
| The Simple Emotional Lyric | ||
| The Pictorial Lyric | ||
| The Meditative Lyric | ||
| The Dramatic Lyric | ||
| Misusing the Lyric | ||
| Comparing the Lyrics | ||
| Exploring the Music and Ideas | ||
| 18. | Pointed Arrows | 298 |
| The Epigram | ||
| Epigrams Old and New | ||
| The Epitaph | ||
| Twentieth Century Epitaphs of Wit | ||
| Enjoying the Point | ||
| Part 4 | The Mind of Poetry | |
| 19. | The World of Ideas | 309 |
| Thought in Poetry | ||
| Transformation of the Idea | ||
| Idea and Emotion | ||
| Man and Nature | ||
| "The Art of Living" | ||
| Sermons in Rhyme | ||
| The Unconquerable Soul | ||
| Tracing the Thought | ||
| Emotions Which Have Inspired Poetry | ||
| 20. | Dream of a Better World | 329 |
| Toward the Vision | ||
| The New Voices | ||
| Praise and Protest | ||
| A Social Conscience | ||
| Looking at Our Fellow Men | ||
| 21. | Peaks of Joy and Anger | 345 |
| Intensity: The Ode | ||
| Beauty and Truth | ||
| Sorrow: The Elegy | ||
| Scorn and Anger: Satire | ||
| Comment and Mockery | ||
| Understanding the Poet's Mood | ||
| 22. | Wit and the Sense of Nonsense | 359 |
| Fun and Fantasy | ||
| Cart-Wheels and Hand-Springs | ||
| Light Verse Today | ||
| The Sense of Nonsense | ||
| Just for Fun | ||
| Part 5 | The Forms of Poetry | |
| 23. | How Poetry is Built | 373 |
| Feet and Meters | ||
| Pattern and Variation | ||
| The Prevailing Accent | ||
| Examining the Structure of Verse | ||
| 24. | Shapes and Stanzas | 385 |
| Units of Verse | ||
| The Couplet | ||
| The Tercet | ||
| The Quatrain | ||
| The Quintet | ||
| The Cinquain | ||
| Defining Stanza Lengths | ||
| 25. | The Sonnet | 397 |
| Varieties of the Sonnet | ||
| The Shakespearian Sonnet | ||
| The Petrarchan Sonnet | ||
| The Composite Sonnet | ||
| Sonnet Types for Comparison | ||
| Theme and Treatment | ||
| Understanding the Sonnet | ||
| 26. | Forms Fixed and Free | 410 |
| Blank Verse | ||
| Blank Verse Good and Bad | ||
| Free Verse | ||
| Free Verse and Rhyme | ||
| The Borderland Between Verse and Prose | ||
| The Limerick | ||
| Analyzing Poetic Forms | ||
| Part 6 | The Appreciation of Poetry | |
| 27. | Local and Universal Appeal | 429 |
| The Common Material | ||
| What is Commonplace? | ||
| Local and Universal | ||
| Much in Little | ||
| The Ugly Duckling | ||
| Understanding with all the Senses | ||
| 28. | True and False Emotion | 447 |
| What Makes A Poem Good | ||
| What Makes a Poem Bad | ||
| Exaggerated and Inflated Language | ||
| Flat and Dull Phrases | ||
| Poorly Chosen Words | ||
| Unfulfilled Expectations | ||
| False Sentiment | ||
| Choosing Good and Bad | ||
| Using Our Critical Ability | ||
| 29. | Studying the Poet: His Life and Works | 473 |
| Two Modern Pioneers | ||
| Rudyard Kipling | ||
| Robert Frost | ||
| 30. | Re-Creating Poetry | 489 |
| A Few Don't's | ||
| The Question of Taste | ||
| The Poetic Values | ||
| The Poet in You | ||
| Acknowledgments | 497 | |
| Index | 501 |
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