| Poetry |
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| Video interview with the authors available online at www.mhhe.com/delbancopreview |
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Reading a Poem in Its Elements |
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2 | (20) |
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A Conversation on Writing with Carolyn Forche, video interview available online at www.mhhe.com/delbancole |
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4 | (1) |
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5 | (3) |
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The Museum of Stones An Interactive Reading of Carolyn Forche's |
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8 | (1) |
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9 | (13) |
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O my live's like a red, red rose |
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9 | (2) |
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11 | (1) |
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A Fragment [ ``The moon has set''] |
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12 | (2) |
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I Wandered Lonely As a Cloud |
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14 | (2) |
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16 | (2) |
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18 | (2) |
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Poem for People That Are Understandably Too Busy to Read Poetry |
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20 | (2) |
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Going Further with Reading |
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22 | (24) |
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An Interactive Reading of William Shakespeare's My mistress' eyes are nothing like the sun |
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23 | (1) |
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24 | (1) |
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25 | (6) |
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25 | (1) |
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``Behold, thou art fair, my love'' |
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26 | (2) |
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28 | (2) |
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30 | (1) |
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31 | (3) |
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Don Juan [ ``Bob Southey! You're a poet''] |
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33 | (1) |
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Don Juan [ ``I want a hero''] |
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33 | (1) |
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34 | (8) |
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35 | (3) |
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A Conversation on Translation with Stephen Mitchell, video interview available online at www.mhhe/delbanco1e |
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38 | (1) |
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Bhagavad Gita [ The Secret of Life] |
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39 | (1) |
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40 | (1) |
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I Do Not Love You Except Because I Love You |
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41 | (1) |
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For Review And Further Study |
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42 | (4) |
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42 | (1) |
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Elizabeth Barrett Browning |
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43 | (1) |
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44 | (1) |
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Not in a silver casket cool with pearls |
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44 | (1) |
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45 | (1) |
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45 | (1) |
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46 | (18) |
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A Conversation on Writing with Li-Young Lee, video interview available online at www.mhhe/delbanco1e |
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48 | (1) |
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49 | (1) |
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49 | (3) |
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An Interactive Reading of Li-Young Lee's Eating Alone |
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52 | (4) |
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Student Paper: Emma Baldwin ``The Power of Paradox in Li-Young Lee's `Eating Alone''' First Draft |
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56 | (2) |
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58 | (3) |
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61 | (3) |
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64 | (38) |
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A Conversation on Writing with Marie Howe, video interview available online at www.mhhe.com/delbanco1e |
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66 | (1) |
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67 | (1) |
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Word Choice: Varieties Of Diction |
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68 | (7) |
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70 | (2) |
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72 | (2) |
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74 | (1) |
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General vs. Specific Language |
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75 | (3) |
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Shall I compare thee to a summer's day? |
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76 | (1) |
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77 | (1) |
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78 | (4) |
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79 | (1) |
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80 | (2) |
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Denotation And Connotation |
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82 | (4) |
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83 | (2) |
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85 | (1) |
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86 | (12) |
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Stopping by Woods on a Snowy Evening |
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87 | (2) |
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89 | (1) |
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90 | (1) |
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91 | (5) |
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96 | (1) |
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97 | (1) |
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For Review and Further Study |
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98 | (4) |
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98 | (1) |
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98 | (1) |
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99 | (1) |
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A Valediction: Forbidding Mourning |
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99 | (1) |
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100 | (1) |
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100 | (1) |
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101 | (1) |
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101 | (1) |
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Voice: Tone, Persona, and Irony |
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102 | (42) |
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A Conversation on Writing with Stephen Dunn, video interview available online at www.mhhe.com/delbanco1e |
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104 | (1) |
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105 | (1) |
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106 | (8) |
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The Death of the Ball Turret Gunner |
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107 | (2) |
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109 | (1) |
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110 | (3) |
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113 | (1) |
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For Review and Further Study |
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114 | (2) |
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114 | (1) |
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114 | (1) |
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Traveling through the Dark |
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114 | (1) |
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115 | (1) |
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116 | (11) |
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116 | (3) |
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119 | (2) |
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121 | (2) |
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123 | (1) |
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124 | (2) |
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Crazy Jane Talks with the Bishop |
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126 | (1) |
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For Review and Further Study |
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127 | (4) |
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127 | (2) |
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Autobiography of a Chicano Teen Poet |
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129 | (1) |
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Letter Home---New Orleans, November 1910 |
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130 | (1) |
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131 | (10) |
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132 | (1) |
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133 | (2) |
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135 | (1) |
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136 | (2) |
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The Convergence of the Twain |
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138 | (2) |
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140 | (1) |
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For Review and Further Study |
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141 | (3) |
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e. e. cummings, Next to of course god america i |
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141 | (1) |
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Sonnet for the End of a Sequence |
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141 | (1) |
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142 | (1) |
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143 | (1) |
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144 | (32) |
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A Conversation on Writing with Jane Hirshfield, video available online at www.mhhe.com/delbanco1e |
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146 | (1) |
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147 | (1) |
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148 | (1) |
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149 | (1) |
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150 | (1) |
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In a Station of the Metro |
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151 | (2) |
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153 | (2) |
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155 | (1) |
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156 | (2) |
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158 | (1) |
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159 | (6) |
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Musee des Beaux Arts with Brueghel's Fall of Icarus |
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160 | (1) |
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Automat with Edward Hopper's Automat |
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161 | (2) |
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Girl Powdering Her Neck with Kitagawa Utamaro's Ukiyo-e print of Girl Powdering Her Neck |
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163 | (2) |
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For Review and Further Study |
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165 | (11) |
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Driving to Town Late to Mail a Letter |
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165 | (1) |
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A Song for Saint Cecilia's Day, 1687 |
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165 | (2) |
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167 | (1) |
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167 | (1) |
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Scavenging on a Double Bluff |
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168 | (1) |
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169 | (2) |
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171 | (1) |
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171 | (1) |
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172 | (1) |
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172 | (1) |
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I Shall Paint My Nails Red |
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173 | (1) |
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173 | (1) |
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Reading for Images and Symbols |
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174 | (1) |
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Writing about Images and Symbols |
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175 | (1) |
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176 | (34) |
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A Conversation on Writing with Robert Pinsky, video interview available online atwww.mhhe.com/delbanco1e |
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178 | (1) |
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179 | (1) |
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180 | (4) |
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182 | (1) |
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183 | (1) |
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184 | (7) |
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185 | (1) |
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186 | (1) |
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187 | (2) |
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189 | (1) |
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190 | (1) |
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Hyperbole and Understatement |
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191 | (1) |
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191 | (3) |
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192 | (2) |
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194 | (1) |
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Personification and Apostrophe |
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194 | (5) |
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Composed upon Westminster Bridge, September 3, 1802 |
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195 | (1) |
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196 | (2) |
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198 | (1) |
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199 | (2) |
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199 | (1) |
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200 | (1) |
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201 | (2) |
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202 | (1) |
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203 | (2) |
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204 | (1) |
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For Review and Further Study |
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205 | (5) |
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205 | (1) |
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205 | (1) |
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206 | (1) |
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A Noiseless Patient Spider |
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206 | (1) |
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207 | (1) |
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Reading for Figures of Speech |
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208 | (1) |
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Writing about Figures of Speech |
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209 | (1) |
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210 | (32) |
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A Conversation on Writing with Thomas Lynch, video interview available online at www.mhhe com/delbanco1e |
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212 | (1) |
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Iambs for the Day of Burial |
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213 | (1) |
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214 | (4) |
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217 | (1) |
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For Review and Further Study |
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218 | (1) |
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Bright star---would I were as steadfast as thou art |
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218 | (1) |
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Only until this cigarette is ended |
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218 | (1) |
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219 | (1) |
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219 | (8) |
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An Essay on Criticism [ True ease in writing comes from art, not chance] |
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221 | (3) |
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224 | (2) |
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The difference between Despair |
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226 | (1) |
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For Review and Further Study |
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227 | (1) |
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227 | (1) |
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227 | (1) |
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228 | (1) |
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228 | (1) |
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228 | (3) |
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230 | (1) |
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231 | (3) |
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231 | (2) |
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Trochee trips from long to short |
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233 | (1) |
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234 | (2) |
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235 | (1) |
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For Review and Further Study |
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236 | (6) |
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236 | (1) |
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Anonymous Scottish Ballad |
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236 | (1) |
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Hymn to God, My God, In My Sickness |
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237 | (1) |
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237 | (1) |
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238 | (1) |
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Reading for Sound, Rhyme, and Rhythm |
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238 | (3) |
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Writing about Sound, Rhyme, and Rhythm |
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241 | (1) |
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242 | (46) |
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A Conversation on Writing with Edward Hirsch, video interview available online at www.mhhe.com/delbanco1e |
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244 | (1) |
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245 | (1) |
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Form, Fixed Form, Open Form |
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246 | (1) |
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The Building Blocks Of Form |
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247 | (2) |
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249 | (8) |
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How do I love thee? Let me count the ways |
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250 | (2) |
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Elizabeth Barrett Browning |
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On First Looking into Chapman's Homer |
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252 | (2) |
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When, in disgrace with fortune and men's eyes |
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254 | (1) |
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255 | (2) |
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257 | (4) |
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Do not go gentle into that good night |
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258 | (2) |
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260 | (1) |
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261 | (1) |
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261 | (1) |
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262 | (3) |
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Pantoum of the Great Depression |
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263 | (1) |
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264 | (1) |
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265 | (3) |
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266 | (1) |
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267 | (1) |
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267 | (1) |
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268 | (2) |
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268 | (1) |
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268 | (1) |
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269 | (1) |
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269 | (1) |
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270 | (2) |
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There was an Old Man with a gong |
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271 | (1) |
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271 | (1) |
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The limerick's never averse |
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272 | (1) |
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272 | (5) |
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To an Athlete Dying Young |
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273 | (1) |
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274 | (2) |
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276 | (1) |
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277 | (3) |
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278 | (2) |
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For Review and Further Study |
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280 | (8) |
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280 | (1) |
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280 | (1) |
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280 | (1) |
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281 | (1) |
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Elegy for My Father, Who Is Not Dead |
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281 | (1) |
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282 | (1) |
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Song for the Music in the Warsaw Ghetto |
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282 | (1) |
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282 | (1) |
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283 | (1) |
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283 | (1) |
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The Assassination of John Lennon As Depicted by the Madame Tussaud Wax Museum, Niagara Falls, Ontario, 1987 |
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284 | (1) |
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285 | (2) |
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Writing about Fixed Forms |
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287 | (1) |
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288 | (38) |
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A Conversation on Writing with Robert Hass, video available online at www.mhhe.com/delbanco1e |
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290 | (1) |
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291 | (1) |
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292 | (16) |
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Song of Myself [ I Celebrate myself, and sing myself] |
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293 | (2) |
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295 | (3) |
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e. e. cummings, Since feeling is first |
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298 | (2) |
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After Making Love We Hear Footsteps |
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300 | (1) |
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301 | (3) |
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304 | (1) |
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305 | (3) |
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308 | (7) |
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309 | (1) |
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310 | (2) |
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312 | (2) |
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314 | (1) |
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315 | (3) |
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315 | (1) |
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316 | (1) |
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317 | (1) |
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For Review and Further Study |
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318 | (8) |
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318 | (1) |
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319 | (1) |
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319 | (1) |
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A Supermarket in California |
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320 | (1) |
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320 | (1) |
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321 | (1) |
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322 | (1) |
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323 | (1) |
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323 | (1) |
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Autumn Begins in Martins Ferry, Ohio |
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324 | (1) |
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324 | (1) |
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325 | (1) |
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326 | (30) |
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A Conversation on Writing with Al Young, video available online at www.mhhe.com/delbanco1e |
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328 | (1) |
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329 | (1) |
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330 | (2) |
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331 | (1) |
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332 | (2) |
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332 | (2) |
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Songs Of The Countryside: Pastoral Poetry |
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334 | (2) |
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The Passionate Shepherd to His Love |
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335 | (1) |
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336 | (1) |
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Fear no more the heat o' the sun |
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336 | (1) |
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337 | (2) |
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Song (Go and catch a falling star) |
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338 | (1) |
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339 | (1) |
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339 | (1) |
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340 | (4) |
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341 | (3) |
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344 | (1) |
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344 | (6) |
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So What! (for the white dude who said dis ain't poetry) |
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345 | (3) |
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348 | (1) |
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349 | (1) |
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For Review and Further Study |
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350 | (6) |
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350 | (1) |
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351 | (1) |
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351 | (1) |
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The Revolution Will Not Be Televised |
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352 | (1) |
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353 | (1) |
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The Electric Slide Boogie |
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353 | (1) |
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353 | (1) |
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Poem Reaching towards Something |
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354 | (2) |
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356 | (24) |
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A Case Study on Langston Hughes and His Contempories |
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356 | (2) |
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358 | (3) |
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The Poetry of Langston Hughes |
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361 | (1) |
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The Negro Speaks of Rivers |
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361 | (1) |
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361 | (1) |
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362 | (1) |
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362 | (1) |
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362 | (1) |
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363 | (1) |
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363 | (1) |
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363 | (1) |
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364 | (1) |
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364 | (1) |
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Let America Be America Again |
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364 | (1) |
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365 | (1) |
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366 | (1) |
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367 | (1) |
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368 | (1) |
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368 | (1) |
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368 | (1) |
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369 | (1) |
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Essay: ``The Negro Artist and the Racial Mountain'' |
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369 | (3) |
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372 | (1) |
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Sonnet to a Negro in Harlem |
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373 | (1) |
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374 | (1) |
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375 | (1) |
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376 | (1) |
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376 | (1) |
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Getting Started: A Research Project |
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377 | (1) |
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Further Suggestions For Writing and Research |
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377 | (1) |
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Some Sources For Research |
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378 | (2) |
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380 | (20) |
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A Case Study on William Blake |
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380 | (2) |
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Blake in Context: Eighteenth Century London |
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382 | (4) |
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Selected Poems From Songs Of Innocence |
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386 | (2) |
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388 | (1) |
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388 | (1) |
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388 | (1) |
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389 | (1) |
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389 | (1) |
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389 | (1) |
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390 | (2) |
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Selected Poems From Songs Of Experience |
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392 | (1) |
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393 | (1) |
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393 | (1) |
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393 | (1) |
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393 | (1) |
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394 | (1) |
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394 | (1) |
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395 | (1) |
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395 | (1) |
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395 | (1) |
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396 | (1) |
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397 | (1) |
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Getting Started: A Research Project |
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398 | (1) |
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398 | (1) |
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Further Suggestions For Writing and Research |
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399 | (1) |
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Some Sources For Research |
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399 | (1) |
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400 | (21) |
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A Case Study on Emily Dickinson and Robert Frost |
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400 | (2) |
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The Roots of American Plain Style |
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402 | (2) |
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Success is counted sweetest |
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404 | (1) |
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I taste a liquor never brewed |
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405 | (1) |
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Some keep the Sabbath going to Church |
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405 | (1) |
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Safe in their Alabaster Chambers |
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405 | (1) |
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406 | (1) |
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406 | (1) |
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There's a certain Slant of light |
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406 | (1) |
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I felt a Funeral, in my Brain |
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407 | (1) |
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407 | (1) |
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The Soul selects her own Society |
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408 | (1) |
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After great pain, a formal feeling comes |
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408 | (1) |
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Much madness is divinest Sense |
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408 | (1) |
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I died for Beauty---but was scarce |
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408 | (1) |
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I heard a Fly buzz---when I died |
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409 | (1) |
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The Brain---is wider than the Sky |
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409 | (1) |
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I started Early, Took my Dog |
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409 | (1) |
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Because I could not stop for Death |
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410 | (1) |
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One need not be a Chamber---to be Haunted |
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410 | (1) |
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A narrow Fellow in the Grass |
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411 | (1) |
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411 | (1) |
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Tell all the Truth but tell it slant |
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411 | (1) |
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There is no Frigate like a Book |
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412 | (1) |
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413 | (1) |
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413 | (1) |
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413 | (1) |
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414 | (1) |
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415 | (1) |
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415 | (1) |
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416 | (1) |
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416 | (1) |
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Acquainted with the Night |
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416 | (1) |
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416 | (1) |
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417 | (1) |
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417 | (1) |
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417 | (1) |
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Getting Started: A Research Project |
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418 | (1) |
|
Further Suggestions For Writing and Research |
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|
419 | (1) |
|
Some Sources For Research |
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420 | (1) |
|
An Anthology of Poems for Further Reading |
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|
421 | |
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422 | (1) |
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To live in the Borderlands means you |
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422 | (1) |
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422 | (1) |
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To My Dear and Loving Husband |
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423 | (1) |
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423 | (1) |
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423 | (1) |
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423 | (1) |
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424 | (1) |
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Most Like an Arch This Marriage |
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424 | (1) |
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424 | (1) |
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424 | (1) |
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425 | (1) |
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e. e. cummings, anyone lived in a pretty how town |
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425 | (1) |
|
e. e. cummings, Buffalo Bill's |
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426 | (1) |
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426 | (1) |
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426 | (1) |
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426 | (1) |
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427 | (1) |
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The Love Song of J. Alfred Prufrock |
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427 | (1) |
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428 | (1) |
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429 | (1) |
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429 | (1) |
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429 | (1) |
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430 | (1) |
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431 | (1) |
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431 | (1) |
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432 | (1) |
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432 | (1) |
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To the Virgins, to Make Much of Time |
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432 | (1) |
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432 | (1) |
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432 | (1) |
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Loveliest of trees, the cherry now |
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433 | (1) |
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When I was one-and-twenty |
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433 | (1) |
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433 | (1) |
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433 | (1) |
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434 | (1) |
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434 | (1) |
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434 | (1) |
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435 | (1) |
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435 | (1) |
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436 | (1) |
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436 | (1) |
|
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|
For the Anniversary of My Death |
|
|
436 | (1) |
|
|
|
Paradise Lost [ ``Of Man's first disobedience''] |
|
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437 | (1) |
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|
|
When I consider how my light is spent |
|
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437 | (1) |
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437 | (1) |
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437 | (1) |
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438 | (1) |
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438 | (1) |
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438 | (1) |
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438 | (1) |
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|
The River-Merchant's Wife: A Letter |
|
|
439 | (1) |
|
|
|
The Nymph's Reply to the Shepherd |
|
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439 | (1) |
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440 | (1) |
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|
|
beware: do not read this poem |
|
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440 | (1) |
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441 | (1) |
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441 | (1) |
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441 | (1) |
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|
Leaving Port Authority for the St. Regis Rezz |
|
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442 | (1) |
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443 | (1) |
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443 | (1) |
|
|
|
Letter Written on a Ferry While Crossing Long Island Sound |
|
|
443 | (1) |
|
|
|
Let me not to the marriage of true minds |
|
|
444 | (1) |
|
|
|
Not marble, nor the gilded monuments |
|
|
444 | (1) |
|
|
|
That time of year thou mayest in me behold |
|
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444 | (1) |
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445 | (1) |
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445 | (1) |
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445 | (1) |
|
|
|
Disillusionment of Ten O'Clock |
|
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446 | (1) |
|
|
|
Thirteen Ways of Looking at a Blackbird |
|
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446 | (1) |
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447 | (1) |
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447 | (1) |
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448 | (1) |
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|
|
On Being Brought from Africa to America |
|
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448 | (1) |
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448 | (1) |
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449 | (1) |
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449 | (1) |
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|
The World is Too Much With Us |
|
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449 | (1) |
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449 | (1) |
|
|
|
Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota |
|
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450 | (1) |
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450 | (1) |
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|
450 | |
|
|
|
A HANDBOOK FOR WRITING FROM READING |
|
|
1 | (1) |
|
Critical Approaches to Literature |
|
|
3 | (22) |
|
Approach criticism as an ongoing conversation |
|
|
3 | (1) |
|
Use a critical approach as a lens for examination |
|
|
3 | (1) |
|
Consider multiple approaches |
|
|
4 | (21) |
|
|
|
4 | (1) |
|
The Theory of the Formal Method |
|
|
5 | (1) |
|
|
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6 | (1) |
|
Dickinson's Literary Background |
|
|
6 | (1) |
|
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7 | (1) |
|
|
|
8 | (1) |
|
|
|
Psychological Or Psychoanalytic Criticism |
|
|
9 | (1) |
|
|
|
9 | (2) |
|
|
|
Archetypal, Mythic, Or Mythological Criticism |
|
|
11 | (1) |
|
The Archetypes of Literature |
|
|
11 | (1) |
|
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|
|
12 | (1) |
|
Literature and Revolution |
|
|
13 | (1) |
|
|
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|
|
13 | (1) |
|
Fairy Tale Transformations |
|
|
14 | (1) |
|
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15 | (1) |
|
The Power of Forms in the English Renaissance |
|
|
16 | (1) |
|
|
|
|
|
16 | (1) |
|
On the Politics of Literature |
|
|
17 | (1) |
|
|
|
Ethnic Studies and Post-Colonialism |
|
|
18 | (1) |
|
Loose Canon: Notes on the Culture Wars |
|
|
19 | (1) |
|
|
|
Reader-Response Criticism |
|
|
20 | (1) |
|
Interplay between Text and Reader |
|
|
20 | (1) |
|
|
|
Poststructuralism and Deconstruction |
|
|
21 | (1) |
|
|
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22 | (1) |
|
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|
|
23 | (1) |
|
Poststructuralist Cultural Critique |
|
|
24 | (1) |
|
|
|
|
|
25 | (22) |
|
Consider the value of reading in a digital age |
|
|
25 | (1) |
|
Master writing from reading for college success |
|
|
25 | (1) |
|
Use reading strategies that support writing |
|
|
26 | (2) |
|
Move from summary to interpretation |
|
|
28 | (2) |
|
|
|
30 | (5) |
|
|
|
35 | (3) |
|
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38 | (2) |
|
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40 | (1) |
|
|
|
40 | (5) |
|
Edit and format your paper |
|
|
45 | (2) |
|
Common Writing Assignments across the Curriculum |
|
|
47 | (22) |
|
Connect writing in college to writing beyond college |
|
|
47 | (1) |
|
Write to learn across the curriculum |
|
|
47 | (1) |
|
Use summary to distill a text |
|
|
48 | (2) |
|
Sample Student Summary Lily Solis, ``Precis of `Bartleby, the Scrivener''' |
|
|
|
Use analysis to examine how the parts contribute to the whole |
|
|
50 | (7) |
|
Sample Student Explication Deborah Brown, ``Repression and the Church: Understanding Blake's The Garden of Love''' |
|
|
|
Sample Student Card Report Tessa Harville, card report on ``A Good Man Is Hard to Find'' |
|
|
|
|
|
Use synthesis to show relationships |
|
|
57 | (6) |
|
Sample Student Comparison/contrast Paper Anthony Melmott, ``Visions of the Villain: The Role of Grendel in Beowulf the Epic and the Movie'' |
|
|
|
Use critique to bring in your own evaluation |
|
|
63 | (1) |
|
Find an effective approach to the essay exam |
|
|
64 | (5) |
|
Sample Student Essay Exam on Robert Frost's ``Stopping by Woods on a Snowy Evening'' |
|
|
|
Quoting, Paraphrasing, Summarizing, and Avoiding Plagiarism |
|
|
69 | (14) |
|
Know what information requires documentation |
|
|
69 | (2) |
|
Use sources to support your commentary |
|
|
71 | (4) |
|
|
|
75 | (1) |
|
Format quotations to avoid plagiarism |
|
|
76 | (4) |
|
Format a paraphrase to avoid plagiarism |
|
|
80 | (1) |
|
Format summary to avoid plagiarism |
|
|
81 | (2) |
|
Writing the Research Paper, Avoiding Plagiarism, and Documenting Sources |
|
|
83 | (20) |
|
Understand research today |
|
|
83 | (1) |
|
|
|
84 | (1) |
|
Find and manage print and online sources |
|
|
85 | (3) |
|
|
|
88 | (1) |
|
|
|
88 | (2) |
|
Recognize unreliable website warning signs |
|
|
90 | (1) |
|
Work with sources to avoid plagiarism |
|
|
91 | (1) |
|
Reference citations within the paper in the end-of-paper works cited page |
|
|
92 | (1) |
|
Organize your research and develop a thesis |
|
|
93 | (1) |
|
Draft and revise your draft |
|
|
94 | (9) |
|
Sample Student Research Paper Christine Keenan, ``From Dream Keeper to Dream Deferred: Langston Hughes and Jazz Poetry'' |
|
|
|
MLA Documentation Style Guide |
|
|
103 | |
|
Document sources consistently in an appropriate style |
|
|
104 | (1) |
|
Document in-text citations, MLA style |
|
|
104 | (1) |
|
Author named in parentheses |
|
|
104 | (1) |
|
Author named in a sentence |
|
|
104 | (1) |
|
Two or more works by the same author |
|
|
105 | (1) |
|
Source of a long quotation |
|
|
105 | (1) |
|
Document list of works cited, MLA style |
|
|
105 | |
|
Citing book sources (with visual quick-reference diagram) |
|
|
106 | (1) |
|
|
|
106 | (2) |
|
Book with two or three authors |
|
|
108 | (1) |
|
Book with four or more authors |
|
|
108 | (1) |
|
Two or more books by the same author |
|
|
108 | (1) |
|
|
|
108 | (1) |
|
|
|
109 | (1) |
|
Book with an author and an editor |
|
|
109 | (1) |
|
Book by an unknown author |
|
|
109 | (1) |
|
Work in an anthology or chapter in an edited book |
|
|
109 | (1) |
|
|
|
109 | (1) |
|
Introduction/preface/foreword/afterword to a text |
|
|
110 | (1) |
|
|
|
110 | (1) |
|
|
|
110 | (1) |
|
|
|
111 | (1) |
|
|
|
111 | (1) |
|
|
|
111 | (1) |
|
|
|
111 | (1) |
|
Citing periodical sources (with visual quick-reference diagram) |
|
|
112 | (1) |
|
Article in a scholarly journal |
|
|
113 | (1) |
|
|
|
113 | (1) |
|
|
|
113 | (1) |
|
|
|
113 | (1) |
|
Citing online resources (with visual quick-reference diagram) |
|
|
114 | (1) |
|
|
|
114 | (1) |
|
Article on a Web site/part of an online scholarly project |
|
|
115 | |
|
Article in an online periodical |
|
|
113 | (2) |
|
|
|
115 | (1) |
|
|
|
115 | (1) |
|
|
|
115 | (1) |
|
|
|
116 | (1) |
|
|
|
116 | (1) |
|
|
|
116 | (1) |
|
|
|
116 | (1) |
|
|
|
116 | (1) |
|
|
|
116 | |
| Glossary of Terms |
|
1 | (1) |
| Credits |
|
1 | (1) |
| Index |
|
1 | |
