CHAPTER

16
The Speaking Tone of Voice
Everything is as good as it is dramatic. . . . [A poem is] heard as sung or spoken by a person in a
scenein character! in a setting. "y #hom! #here and #hen is the $uestion. "y the dreamer of a
better #or%d out in a storm in Autumn& by a %over under a #indo# at night.
'obert (rost! )reface! A Way Out
*f #e fa%% into the habit of saying! +,u%ia -ard .o#e says that her /eyes have seen the g%ory of the coming
of the 0ord!12 or +'obert (rost says that he thinks he kno#s /-hose #oods these are!12 #e neg%ect the
important truth in (rost1s comment about poetry as drama3 A poem is #ritten by an author 4.o#e! (rost5!
but it is spoken by an invented speaker. The author counterfeits the speech of a person in a particu%ar
situation.
The anonymous author of +-estern -ind2 4page 6665! for instance! invents the speech of an unhappy
%over #ho %ongs for the spring 4+-estron #ind! #hen #i%% thou b%o#725& ,u%ia -ard .o#e invents the
speech of someone #ho has seen 8od #orking in this #or%d& 'obert (rost! in +Stopping by -oods on a
Sno#y Evening2 4page 6965! invents a speaker #ho! sitting in a horse:dra#n s%eigh! #atches the #oods
fi%% up #ith sno#.
The speaker1s voice often has the ring of the author1s o#n voicecertain%y 'obert (rost did a great
dea% to cu%tivate the idea that he #as a farmer:poetbut even #hen the resemb%ance seems c%ose! #e
shou%d reca%% that in the poem #e get a particu%ar speaker in a particu%ar situation. That is! #e get! for
instance! not the #ho%e of (rost 4the father! the competitive poet! the pub%ic %ecturer! and so on5! but on%y a
man in a horse:dra#n s%eigh #atching the #oods fi%% up #ith sno#. *t is customary! then! in #riting about
the voice one hears in a poem! to #rite not about the author but about the speaker, or voice, or mask, or
persona 40atin for +mask25 that speaks the poem.
*n reading a poem! the first and most important $uestion to ask yourse%f is this3 Who is speaking? *f
an audience and a setting are suggested! keep them in mind! too. ;onsider! for e<amp%e! the fo%%o#ing
poem.
EMILY DICKINSON
Emily Dickinson (18301886) as !o"n into a p"ope" #e Englan$ %amily in Amhe"st& 'assachusetts(
)ecause she ne*e" ma""ie$& an$ !ecause in he" last tenty yea"s she may ne*e" ha*e le%t he" house& she
has sometimes !een pitie$( )ut as the c"itic Allen +ate sai$& ,All pity %o" 'iss Dickinson-s .sta"*e$ li%e-
is mis$i"ecte$( /e" li%e as one o% the "ichest an$ $eepest e*e" li*e$ on this continent(0 /e" !"othe" as
p"o!a!ly "ight in saying that& ha*ing seen something o% the "est o% the o"l$& ,she coul$ not "esist the
%eeling that it as pain%ully hollo( 1t as to he" so thin an$ unsatis%ying in the %ace o% the 2"eat
3ealities o% 4i%e(0 5o" a mo"e complete !iog"aphical account& an$ %o" a selection o% Dickinson-s poems
an$ lette"s& see 6hapte" 76(
*1m =obody> -ho are you7 [1?617]
*1m =obody> -ho are you7
Are you=obodytoo7
Then there1s a pair of us>
@on1t te%%> they1d banish usyou kno#> A
.o# drearyto beSomebody>
.o# pub%ic%ike a (rog
To te%% your namethe %ive%ong ,une
To an admiring "og> ?
0et1s consider the sort of person #e hear in +*1m =obody> -ho are you72 4'ead it a%oud! to see if you
agree. *n fact! you shou%d test each of our assertions by reading the poem a%oud.5 The voice in %ine 1 is
rather %ike that of a chi%d p%aying a game #ith a friend. *n %ines B and 9 the speaker sees the reader as a
fe%%o# spirit 4+Are you=obodytoo725 and invites the reader to Coin her 4+Then there1s a pair of us>25
in forming a sort of conspiracy of si%ence against outsiders 4+@on1t te%%>25. *n +they1d banish us!2 ho#ever!
#e hear a #ord that a chi%d #ou%d not be %ike%y to use! and #e probab%y fee% that the speaker is a shy but
4#ith the right companion5 p%ayfu% adu%t! #ho here is speaking to an intimate friend. And since #e hear
this voice#e are reading the poem#e are or #e become the friend. "ecause +banish2 is a #ord that
brings to mind images of a king1s court! the speaker a%most comica%%y inf%ates and thereby makes fun of
the +they2 #ho are opposed to +us.2
*n the second stanDa! or #e might better say in the space bet#een the t#o stanDas! the speaker puts
aside the chi%d%ike manner. *n +.o# dreary!2 the first #ords of the second stanDa! #e hear a sophisticated
voice! one might even say a #or%d:#eary voice! or a voice #ith perhaps more than a touch of
condescension. "ut since by no# #e are paired #ith the speaker in a conspiracy against outsiders! #e
enCoy the contrast that the speaker makes bet#een the =obodies and the Somebodies. -ho are these
Somebodies! these peop%e #ho #ou%d imperious%y +banish2 the speaker and the friend7 -hat are the
Somebodies %ike7
.o# drearyto beSomebody>
.o# pub%ic%ike a (rog
To te%% your namethe %ive%ong ,une
To an admiring "og>
The %ast t#o %ines do at %east t#o things3 They amusing%y e<p%ain to the speaker1s ne# friend 4the reader5
in #hat #ay a Somebody is pub%ic 4it proc%aims its presence a%% day5. They a%so indicate the absurdity of
the Somebody:(rog1s behavior 4the audience is +an admiring "og25. "y the end of the poem #e are $uite
convinced that it is better to be a =obody 4%ike @ickinson1s speaker! and the reader75 than a Somebody 4a
%oudmouth! %ike a croaking frog5.
Eften #e tend to think of reading as something #e do in private! and si%ent%y. "ut it is important to
remember that #riters! especia%%y poets! care great%y about ho# their #ords soun$( )oets pay attention not
on%y to ho# the poem is arranged on the pagethe %ength of the %ines! for e<amp%ebut a%so to ho# the
poem sounds #hen actua%%y read a%oud! or! at %east! #hen heard #ithin the reader1s mind.
Ene of the p%easures of reading %iterature! in fact! is the p%easure of %istening to the sound of a voice!
#ith its specia% rhythms! tones! accents! and emphases. 8etting to kno# a poem! and becoming engaged
by a poet1s sty%e! is very much a matter of getting to kno# a voice! ac$uiring a fee%ing for its fami%iar
intonations! yet a%so being surprised! puDD%ed! even start%ed by it on occasion.
*f you have done a %itt%e acting! you kno# from this e<perience ho# crucia% it is to discover the #ay a
character1s %ines in a p%ay shou%d sound. @irectors and actors spend a great dea% of time reading the %ines!
trying them in a variety of #ays to catch their truest pace and verba% shape. And so do poets. -e aren1t
making this up& in a %etter! 'obert (rost ta%ks about +the sound of sense!2 a sort of abstraction in #hich an
emotion or attitude comes through! even if the #ords are not c%ear%y heard. .e #rites3
The best p%ace to get the abstract sound of sense is from voices behind a door that cuts off the
#ords. Ask yourse%f ho# these sentences #ou%d sound #ithout the #ords in #hich they are
embodied3
Fou mean to te%% me you can1t read7
* said no such thing.
-e%% read then.
Fou1re not my teacher.
*n another %etter! continuing the discussion of the topic! after giving some additiona% e<amp%es 4for
instance! +Gn%ess *1m great%y mistaken!2 +=o foo% %ike an o%d foo%25! (rost says! +*t is so and not other#ise
that #e get the variety that makes it fun to #rite and read. +he ea" $oes it( The ear is the on%y true #riter
and the on%y true reader.2 4(or a group of poems by (rost! see ;hapter B6.5
*n reading! then! your goa% is to achieve a deeper sense of character#hat this voice sounds %ike!
#hat kind of person speaks %ike this. 'ead a%oud& imagine ho# the #riter might have meant his or her
#ords to sound& read a%oud again& and %isten carefu%%y a%% the #hi%e to the echoes and resonances of the
#ords.
;onsider the dramatic situation and the voices in the fo%%o#ing poems.
GENDOLYN !ROOKS
2en$olyn )"ooks (18197000) as !o"n in +opeka& :ansas& !ut as "aise$ in 6hicago-s ;outh ;i$e&
he"e she spent most o% he" li%e( 1n 18<0& hen she on the =ulit>e" ="i>e %o" =oet"y& she !ecame the %i"st
A%"ican?Ame"ican "ite" to in a =ulit>e" ="i>e(
-e 'ea% ;oo% [166H]
+he =ool =laye"s(
Seven at the 8o%den Shove%.
-e rea% coo%. -e
0eft schoo%. -e
0urk %ate. -e
Strike straight. -e
Sing sin. -e I
Thin gin. -e
,aDD ,une. -e
@ie soon.
G Topics for ;ritica% Thinking and -riting
1. :E<act%y #hy do you identify the speaker as you do7
B. :The stanDas cou%d have been #ritten thus3
-e rea% coo%.
-e %eft schoo%.
-e %urk %ate.
-e strike straight.
And so forth. -hy do you think "rooks #rote them! or printed them! the #ay she did7
.ere is another poem by the same poet! speaking in a different voice.
The Mother [1945]
Abortions #i%% not %et you forget.
Fou remember the chi%dren you got that you did not get!
The damp sma%% pu%ps #ith a %itt%e or #ith no hair!
The singers and #orkers that never hand%ed the air.
Fou #i%% never neg%ect or beat I
Them! or si%ence or buy #ith a s#eet.
Fou #i%% never #ind up the sucking:thumb
Er scutt%e off ghosts that come.
Fou #i%% never %eave them! contro%%ing your %uscious sigh!
'eturn for a snack of them! #ith gobb%ing mother:eye. 1H
* have heard in the voices of the #ind the voices of my dim ki%%ed chi%dren.
* have contracted. * have eased
Jy dim dears at the breasts they cou%d never suck.
* have said! S#eets! if * sinned! if * seiDed
Four %uck 1I
And your %ives from your unfinished reach!
*f * sto%e your births and your names!
Four straight baby tears and your games!
Four sti%ted or %ove%y %oves! your tumu%ts! your marriages! aches! and your deaths!
*f * poisoned the beginnings of your breaths! BH
"e%ieve that even in my de%iberateness * #as not de%iberate.
Though #hy shou%d * #hine!
-hine that the crime #as other than mine7
Since anyho# you are dead.
Er rather! or instead! BI
Fou #ere never made.
"ut that too! * am afraid!
*s fau%ty3 oh! #hat sha%% * say! ho# is the truth to be said7
Fou #ere born! you had body! you died.
*t is Cust that you never gigg%ed or p%anned or cried. 9H
"e%ieve me! * %oved you a%%.
"e%ieve me! * kne# you! though faint%y! and * %oved! * %oved you
A%%.
G TE)*;S (E' ;'*T*;A0 T.*=K*=8 A=@ -'*T*=8
1. :-hom is being addressed7
B. :The first ten %ines sound %ike a chant. -hat gives them that $ua%ity7 -hat makes them
nonethe%ess serious7
9. :*n %ines BHLB9 the mother attempts to deny the +crime2 but cannot. -hat is her reasoning here7
A. :@o you find the %ast %ines convincing7 E<p%ain.
I. :The poem #as first pub%ished in 16AI. @o you think that the abundant debate about abortion in
recent years has someho# made the poem seem dated! or more time%y than ever7 E<p%ain.
LINDA PASTAN
4in$a =astan as !o"n in #e @o"k 6ity in 1837 an$ e$ucate$ at 3a$cli%%e 6ollege& ;immons 6ollege&
an$ )"an$eis Ani*e"sity( +he autho" o% ten !ooks o% poems& she has on nume"ous p"i>es an$ has
"ecei*e$ a g"ant %"om the #ational En$oment %o" the A"ts(
Jarks [16M?]
Jy husband gives me an A
for %ast night1s supper!
an incomp%ete for my ironing!
a " p%us in bed.
Jy son says * am average!
an average mother! but if
* put my mind to it
* cou%d improve.
Jy daughter be%ieves
in )assN(ai% and te%%s me
* pass. -ait 1ti% they %earn
*1m dropping out.
GTopics for ;ritica% Thinking and -riting
1. :*n addition to the A and " that are mentioned! #here e%se in the poem does )astan use the
%anguage of the #or%d of the schoo%7 The speaker of the poem receives grades! but does she a%so give
a grade! or imp%y one7
B. :-hat #ou%d be gained or %ost if )astan1s first sentence came %ast7
THE READER AS THE SPEAKER
-e have been arguing that the speaker of the poem usua%%y is not the author but a dramatiDed form of the
author! and that #e overhear this speaker in some situation. "ut #ith poems of the sort that #e have been
%ooking at! #e can a%so say that the "ea$e" is the speaker. That is! as #e read the poem! at %east to some
degree e utter the thoughts! and e e<perience the sensations or emotions that the #riter sets forth. -e
fee% that @ickinson has a%%o#ed us to set forth our o#n fee%ings about #hat it is to be =obody in a #or%d
#here others are Somebody 4and she has a%so he%ped us to say that the Somebody is a noisy frog5& #ith
"rooks #e hear or overhear thoughts and fee%ings that perhaps strike us as more re%evant and more
profound and more moving than most of #hat #e hear on te%evision or read in the ne#spapers about
urban vio%ence.
*n the fo%%o#ing poem you #i%% hear at %east three voicesthe voice of the person #ho begins the
poem by te%%ing us about a dead man 4+=obody heard him! the dead man25! the voice of the dead man 4+*
#as much further out than you thought N And not #aving but dro#ning25! and the co%%ective voice of the
dead man1s friends 4+)oor chap! he a%#ays %oved %arking25. "ut see if you don1t find that a%% of the voices
together say things that you have said 4or a%most said5.
STE"IE SMITH
;te*ie ;mith (18071891)& ch"istene$ 5lo"ence 'a"ga"et ;mith& as !o"n in Englan$& in /ull( 1n
a$$ition to "iting poems& she "ote sto"ies& essays& an$ th"ee no*els( ;he is the su!Bect o% a %ilm& ;te*ie&
in hich 2len$a Cackson plays ;mith(
=ot -aving but @ro#ning [16IM]
=obody heard him! the dead man!
"ut sti%% he %ay moaning3
* #as much further out than you thought
And not #aving but dro#ning. A
)oor chap! he a%#ays %oved %arking
And no# he1s dead
*t must have been too co%d for him his heart gave #ay!
They said. ?
Eh! no no no! it #as too co%d a%#ays
4Sti%% the dead one %ay moaning5
* #as much too far out a%% my %ife
And not #aving but dro#ning. 1B
GTopics for ;ritica% Thinking and -riting
1. :*dentify the speaker of each %ine.
B. :-hat sort of man did the friends of the dead man think he #as7 -hat type of man do you think
he #as7
9. :The first %ine! +=obody heard him! the dead man!2 is %itera%%y true. @ead men do not speak. *n
#hat other #ays is it true7
ISLAA S#YM!ORSKA
Wislaa ;>ym!o"ska (p"onounce$ ,Dislaa Eim!o"ska0)& a nati*e o% =olan$& as !o"n in 1873( 1n 1886
she "ecei*e$ the #o!el ="i>e %o" poet"y(
The Terrorist! .e -atches [16?1]
+"anslate$ !y 3o!e"t A( 'agui"e an$ 'agnus Can :"ynski
The bomb #i%% go off in the bar at one t#enty p.m.
=o# it1s on%y one si<teen p.m.
Some #i%% sti%% have time to get in!
some to get out.
The terrorist has a%ready crossed to the other side of the street. I
The distance protects him from any danger!
and #hat a sight for sore eyes3
A #oman in a ye%%o# Cacket! she goes in.
A man in dark g%asses! he comes out.
8uys in Ceans! they are ta%king. 1H
Ene seventeen and four seconds.
That shorter guy1s rea%%y got it made! and gets on a scooter!
and that ta%%er one! he goes in.
Ene seventeen and forty seconds.
That gir% there! she1s got a green ribbon in her hair. 1I
Too bad that bus Cust cut her off.
Ene eighteen p.m.
The gir%1s not there any more.
-as she dumb enough to go in! or #asn1t she7
That #e1%% see #hen they carry them out. BH
Ene nineteen p.m.
=o one seems to be going in.
*nstead a fat ba%dy1s coming out.
0ike he1s %ooking for something in his pockets and
at one nineteen and fifty seconds BI
he goes back for those %ousy g%oves of his.
*t1s one t#enty p.m.
The time! ho# it drags.
Shou%d be any moment no#.
=ot yet. 9H
Fes! this is it.
The bomb! it goes off.
G TE)*;S (E' ;'*T*;A0 T.*=K*=8 A=@ -'*T*=8
1. :-ho speaks the poem7 The terrorist7 Er someone #atching the terrorist7 Er a sort of
combination7 Er #hat7
B. :;haracteriDe the speaker.
$OHN %PDIKE
Cohn Ap$ike (!( 1837) is !est knon as a "ite" o% %ictionFsho"t sto"ies an$ no*elsF!ut th"oughout his
p"o%essional ca"ee" he has also "itten essays an$ poems( (5o" a mo"e complete !iog"aphical note& see
page 101()
*carus [BHH1]
E.K.! you are sitting in an airp%ane and
the person in the seat ne<t to you is a s#eaty! s#arthy gent%eman
of Jidd%e Eastern origin
#hose carry:on %uggage consists of a bu%ky b%ack brief:case he
stashes!
in comp%iance #ith air%ine regu%ations!
underneath the seat ahead. I
.e keeps %ooking at his #atch and c%osing his eyes in prayer!
resting his profuse%y dank forehead against the seatback ahead of him
Cust above the b%ack briefcase!
#hich if you %isten through the droning of the engines seems to be
ticking! ticking
soft%y! softer than your heartbeat in your ears. 1H
-ho #ants to have a%% their carefu% packingthe trave%%ers1 checks!
the fo%ded under#ear
end as f%oating sea:#rack five mi%es be%o#!
drifting in a rainbo# scum of Cet fue%!
and their doci%e hopes of a p%astic:#rapped mea%
dashed in a concussion #hiter than the sun7 1I
* say to my companion! +Smooth f%ight so far.2
+So far.2
+That1s $uite a briefcase you1ve got there.2
.e shrugs and says! +*t contains my %ife1s #ork.2
+And #hat is it! e<act%y! that you do72 BH
+Fou cou%d say * am a %obbyist.2
.e does not #ant to ta%k.
.e #ants to keep praying.
.is hands! #ith their si%ky beige backs and their nai%s cut c%ose %ike
a technician1s!
tremb%e and Cump in hand%ing the p%astic g%ass of Sprite #hen it BI
comes #ith its e<p%oding bubb%es.
Ah! but one gets s#ept up
in the airport throng! a%% those #orkaday faces!
faint%y pampered and spoi%ed in the boomer sty%e!
and those e%ders dressed %ike chi%dren for f%ying
in hi:tech sneakers and po%ychrome catsuits! 9H
and those gum:che#ing attendants taking tickets
#hi%e keeping up a running f%irtation #ith a uniformed bystander!
a stoic b%ond pi%ot
a%% so norma%! #ho cou%d resist
this vau%t into the impossib%e7
Four s#eat has s%o#%y dried. Four praying neighbor 9I
has fa%%en as%eep! emitting an odor of cardamom.
.is briefcase seems to have def%ated.
)erhaps not this time! then.
"ut the possibi%ity of impossibi%ity #i%% keep dra#ing us back
to this scrape against the numbed sky! AH
to this s%eek sheathed tang%e of co%or:coded #ires! these mi%%ion rivets!
this #ing
%ike a froDen %ake at your e%bo#.
G Topics for ;ritica% Thinking and -riting
1. :Take a moment to %ook up the *carus myth in a c%assica% dictionary or encyc%opedia. @o you see
connections bet#een the myth and the story that Gpdike te%%s in this poem7
B. :-ho is the +you2 in the first %ine7
9. :-hat kinds of assumptions does the poem make about the +gent%eman of Jidd%e Eastern
origin27 Are these assumptions cha%%enged7 )oint to specific detai%s in the %anguage to e<p%ain your
responses.
A. :-hat kind of conc%usion does the poem reach7
I. :@oes +*carus2 disturb you7 *f so! #hy7
6. :-hich poem do you think is more effective& Gpdike1s +*carus2 or SyDmborska1s +The Terrorist27
-hat! more genera%%y! does it mean to say that one poem is more effective than another7
THE DRAMATIC MONOLOG%E
-e have said at some %ength that in most poems the speaker is not $uite the author 4say! 'obert (rost5 but
is a dramatiDed version 4a man sitting in a s%eigh! #atching the +#oods fi%% up #ith sno#25. -e have a%so
said that in most poems the reader can imagine himse%f or herse%f as the speaker& as #e read @ickinson or
even "rooks and )astan! #e say to ourse%ves that the poet is e<pressing thoughts and emotions that might
be our o#n. "ut in some poems the poet creates so distinct a speaker that the character c%ear%y is not us
but is something Ether. Such a poem is ca%%ed a &rama'ic mono(o)*e+ *n it! a high%y specific character
speaks! in a c%ear%y specified situation. The most famous e<amp%e is 'obert "ro#ning1s +Jy 0ast
@uchess!2 #here a 'enaissance duke is addressing an emissary from a count.
RO!ERT !RONING
)o"n in a su!u"! o% 4on$on into a mi$$le?class %amily& )"oning (18171888) as e$ucate$ p"ima"ily at
home& he"e he "ea$ i$ely( 5o" a hile he "ote %o" the English stage& !ut a%te" ma""ying Eli>a!eth
)a""ett in 18G6Fshe too as a poetFhe li*e$ ith he" in 1taly until he" $eath in 1861( /e then "etu"ne$
to Englan$ an$ settle$ in 4on$on ith thei" son( 3ega"$e$ as one o% the most $istinguishe$ poets o% the
Dicto"ian pe"io$& he is !u"ie$ in Westminste" A!!ey(
My Last Duchess [1844]
(erraraO
That1s my %ast @uchess painted on the #a%%!
0ooking as if she #ere a%ive. * ca%%
That piece a #onder! no#& (rP )ando%f1sQ hands
-orked busi%y a day! and there she stands.
-i%%1t p%ease you sit and %ook at her7 * said I
+(rP )ando%f2 by design! for never read
Strangers %ike you that pictured countenance!
The depth and passion of its earnest g%ance!
"ut to myse%f they turned 4since none puts by
The curtain * have dra#n for you! but *5 1H
And seemed as they #ou%d ask me! if they durst!
.o# such a g%ance came there& so! not the first
Are you to turn and ask thus. Sir! 1t#as not
.er husband1s presence on%y! ca%%ed that spot
Ef Coy into the @uchess1 cheek& perhaps 1I
(rP )ando%f chanced to say +.er mant%e %aps
Ever my 0ady1s #rist too much!2 or! +)aint
Just never hope to reproduce the faint
.a%f:f%ush that dies a%ong her throat.2 Such stuff
-as courtesy! she thought! and cause enough BH
(or ca%%ing up that spot of Coy. She had
A heartho# sha%% * say7too soon made g%ad!
Too easi%y impressed& she %iked #hate1er
She %ooked on! and her %ooks #ent every#here.
Sir! 1t#as a%% one> Jy favor at her breast! BI
The dropping of the day%ight in the #est!
The bough of cherries some officious foo%
"roke in the orchard for her! the #hite mu%e
She rode #ith round the terracea%% and each
-ou%d dra# from her a%ike the approving speech! 9H
Er b%ush! at %east. She thanked mengood> but thanked
Someho#* kno# not ho#as if she ranked
Jy gift of a nine:hundred:years:o%d name
-ith anybody1s gift. -ho1d stoop to b%ame
This sort of trif%ing7 Even had you ski%% 9I
*n speech4#hich * have not5to make your #i%%
Ruite c%ear to such an one! and say! +,ust this
Er that in you disgusts me& here you miss!
Er there e<ceed the mark2and if she %et
.erse%f be %essoned so! nor p%ain%y set AH
.er #its to yours! forsooth! and made e<cuse!
E1en then #ou%d be some stooping& and * choose
=ever to stoop. Eh! Sir! she smi%ed! no doubt!
-hene1er * passed her& but #ho passed #ithout
Juch the same smi%e7 This gre#& * gave commands& AI
Then a%% smi%es stopped together. There she stands
As if a%ive. -i%%1t p%ease you rise7 -e1%% meet
The company be%o#! then. * repeat!
The ;ount your master1s kno#n munificence
*s amp%e #arrant that no Cust pretense IH
Ef mine for do#ry #i%% be disa%%o#ed&
Though his fair daughter1s se%f! as * avo#ed
At starting! is my obCect. =ay! #e1%% go
Together do#n! Sir. =otice =eptune! though!
Taming a sea:horse! thought a rarity! II
-hich ;%aus of *nnsbruckQ cast in bronDe for me>
G TE)*;S (E' ;'*T*;A0 T.*=K*=8 A=@ -'*T*=8
1. :-hat is the occasion for the meeting7
B. :-hat #ords or %ines do you think especia%%y convey the speaker1s arrogance7 -hat is your
attitude to#ard the speaker7 0oathing7 (ascination7 'espect7 E<p%ain.
9. :The time and p%ace are 'enaissance *ta%y& ho# do they affect your attitude to#ard the duke7
-hat #ou%d be the effect if the poem #ere set in the %ate t#entieth century7
A. :Fears after #riting this poem! "ro#ning e<p%ained that the duke1s +commands2 4%ine AI5 #ere
+that she shou%d be put to death! or he might have had her shut up in a convent.2 @o you think the
poem shou%d have been more e<p%icit7 @oes "ro#ning1s %ater uncertainty indicate that the poem is
bad%y thought out7 Suppose #e did not have "ro#ning1s comment on %ine AI. @o you think the %ine
then cou%d mean on%y that he commanded her to stop smi%ing and that she obeyed7 E<p%ain.
DICTION AND TONE
(rom the #ho%e of %anguage! one conscious%y or unconscious%y se%ects certain #ords and grammatica%
constructions& this se%ection constitutes one1s &ic'ion+ *t is part%y by the diction that #e come to kno# the
speaker of a poem. Stevie Smith1s speaker 4page MB95 used #ords such as +chap2 and +%arking!2 #hich are
scarce%y imaginab%e in the mouth of "ro#ning1s 'enaissance duke. "ut of course some #ords are used in
both poems3 +*!2 +you!2 +thought!2 +the!2 and so on. The fact remains! ho#ever! that a%though a %arge part
of %anguage is shared by a%% speakers! certain parts of %anguage are used on%y by certain speakers.
0ike some #ords! some grammatica% constructions are used on%y by certain kinds of speakers.
;onsider these t#o passages3
*n Adam1s fa%%
-e sinned a%%.
Anonymous! +he #e Englan$ ="ime"
Ef Jan1s first disobedience! and the fruit
Ef that forbidden tree #hose morta% taste
"rought death into the -or%d! and a%% our #oe!
-ith %oss of Eden! ti%% one greater Jan
'estore us! and regain the b%issfu% seat!
Sing! .eaven%y Juse! that! on the secret top
Ef Ereb! or of Sinai! didst inspire
That shepherd #ho first taught the chosen seed
*n the beginning ho# the heavens and earth
'ose out of ;haos. . . .
,ohn Ji%ton! =a"a$ise 4ost
There is an enormous difference in the diction of these t#o passages. Ji%ton! speaking as an inspired poet!
appropriate%y uses #ords and grammatica% constructions some#hat removed from common %ife. .ence!
#hi%e the anonymous author of the primer speaks direct%y of +Adam1s fa%%!2 Ji%ton speaks a%%usive%y of
the fa%%! ca%%ing it +Jan1s first disobedience.2 Ji%ton1s sentence is nothing that any Eng%ishman ever said
in conversation& its genitive beginning 4+Ef Jan1s first disobedience25! its %ength 4the sentence continues
for si< %ines beyond the $uoted passage5! and its postponement of the main verb 4+Sing25 unti% the si<th
%ine mark it as the utterance of a poet #orking in the tradition of 0atin poetry. The primer1s statement! by
its choice of #ords as #e%% as by its brevity! suggests a far %ess sophisticated speaker.
Speakers have attitudes to#ard themse%ves! their subCects! and their audiences! and 4conscious%y or
unconscious%y5 they choose their #ords! pitch! and modu%ation according%y& a%% these add up to the 'one+
*n #ritten %iterature! tone must be detected #ithout the aid of the ear& the reader must understand by the
se%ection and se$uence of #ords the #ay in #hich they are meant to be heard 4that is! p%ayfu%%y! angri%y!
confidentia%%y! sarcastica%%y! etc.5. The reader must catch #hat (rost ca%%s +the speaking tone of voice
someho# entang%ed in the #ords and fastened to the page of the ear of the imagination.2
(ina%%y! #e shou%d mention that a%though this discussion concentrates on the speaker1s tone! one can
a%so ta%k of the author1s tone! that is! of the author1s attitude to#ard the invented speaker. The speaker1s
tone might! for e<amp%e! be angry! but the author1s tone 4as detected by the reader5 might be humorous.
RO!ERT HERRICK
3o!e"t /e""ick (1<81169G) as !o"n in 4on$on& the son o% a gol$smith( A%te" taking an '(A( at
6am!"i$ge& he as o"$aine$ in the 6hu"ch o% Englan$( 4ate"& he as sent to the count"y pa"ish o% Dean
="io" in De*onshi"e& he"e he "ote most o% his poet"y( A loyal suppo"te" o% the king& in 16G9 he as
eHpelle$ %"om his pa"ish !y the =u"itans& though in 1667 he as "esto"e$ to Dean ="io"(
To the Virgins! to Jake Juch of Time [16A?]
8ather ye rosebuds #hi%e ye may!
E%d Time is sti%% a:f%ying&
And this same f%o#er that smi%es today!
Tomorro# #i%% be dying. A
The g%orious %amp of heaven! the sun!
The higher he1s a:getting!
The sooner #i%% his race be run!
And nearer he1s to setting. ?
That age is best #hich is the first!
-hen youth and b%ood are #armer&
"ut being spent! the #orse! and #orst
Times sti%% succeed the former. 1B
Then be not coy! but use your time&
And #hi%e ye may! go marry3
(or having %ost but once your prime!
Fou may for ever tarry. 16
6a"pe $iem 40atin3 +seiDe the day25 is the theme. "ut if #e #ant to get the fu%% force of the poem! #e must
understand #ho is ta%king to #hom. 0ook! for e<amp%e! at +E%d Time2 in %ine B. Time is +o%d2 in the
sense of having been around a %ong #hi%e! but doesn1t +o%d2 in this conte<t suggest a%so that the speaker
regards Time #ith easy fami%iarity! a%most affection7 -e visit the o%d schoo%! and our friend is o%d
8eorge. Time is destructive! yes! and the speaker urges the young maidens to make the most of their
spring. "ut the speaker is neither bitter nor importunate& rather! he seems to be the #ise o%d man! the
counse%or! the man #ho has made his peace #ith Time and is giving advice to the young. Time moves
rapid%y in the poem 4the rosebud of %ine 1 is a%ready a f%o#er in %ine 95! but the speaker is unhurried& in
%ine I he has %eisure to e<p%ain that the g%orious %amp of heaven is the sun.
*n +To the Virgins!2 the pauses! indicated by punctuation at the ends of the %ines 4e<cept in %ine 11!
#here #e tumb%e #ithout stopping from +#orst2 to +Times25! s%o# the reader do#n. "ut even if there is
no punctuation at the end of a %ine of poetry! the reader probab%y pauses s%ight%y or gives the fina% #ord an
additiona% bit of emphasis. Simi%ar%y! the space bet#een stanDas s%o#s a reader do#n! increasing the
emphasis on the %ast #ord of one stanDa and the first #ord of the ne<t.
THOMAS HARDY
+homas /a"$y (18G01878) as !o"n in Do"set& Englan$& the son o% a stonemason( Despite g"eat
o!stacles he stu$ie$ the classics an$ a"chitectu"e& an$ in 1867 he mo*e$ to 4on$on to stu$y an$ p"actice
as an a"chitect( 1ll health %o"ce$ him to "etu"n to Do"set& he"e he continue$ to o"k as an a"chitect an$
to "ite( )est knon %o" his no*els& /a"$y cease$ "iting %iction a%te" the hostile "eception o% Cu$e the
O!scu"e in 1886 an$ tu"ne$ to "iting ly"ic poet"y(
The Jan .e Ki%%ed [16HB]
+.ad he and * but met
"y some o%d ancient inn!
-e shou%d have sat us do#n to #et
'ight many a nipperkin>Q A
+"ut ranged as infantry!
And staring face to face!
* shot at him as he at me!
And ki%%ed him in his p%ace. ?
+* shot him dead because
"ecause he #as my foe!
,ust so3 my foe of course he #as&
That1s c%ear enough& a%though1B
+.e thought he1d 1%ist! perhaps!
Eff:hand %ikeCust as *
-as out of #orkhad so%d his trapsQ
=o other reason #hy. 16
+Fes& $uaint and curious #ar is>
Fou shoot a fe%%o# do#n
Fou1d treat if met #here any bar is!
Er he%p to ha%f:a:cro#n.2 BH
G TE)*;S (E' ;'*T*;A0 T.*=K*=8 A=@ -'*T*=8
1. :-hat do #e %earn about the speaker1s %ife before he en%isted in the infantry7 .o# does his
diction characteriDe him7
B. :-hat is the effect of the series of monosy%%ab%es in %ines M and ?7
9. :;onsider the punctuation of the third and fourth stanDas. -hy are the heavy! fre$uent pauses
appropriate7 -hat $uestion is the speaker trying to ans#er7
A. :*n the %ast stanDa! #hat attitudes to#ard #ar does the speaker e<press7 -hat! from the evidence
of this poem! #ou%d you infer .ardy1s attitude to#ard #ar to be7
ALTER DE LA MARE
Walte" $e la 'a"e (189318<6) as !o"n in :ent& Englan$( /e o"ke$ %o" many yea"s as an accountant
%o" the Anglo?Ame"ican Oil 6ompany until a legacy ena!le$ him to $e*ote his li%e to "iting ly"ic poet"y
an$ %iction(
An Epitaph [16BI]
.ere %ies a most beautifu% %ady3
0ight of step and heart #as she&
* think she #as the most beautifu% %ady
That ever #as in the -est ;ountry. A
"ut beauty vanishes& beauty passes&
.o#ever rarerare it be&
And #hen * crumb%e! #ho #i%% remember
This %ady of the -est ;ountry7 ?
G TE)*;S (E' ;'*T*;A0 T.*=K*=8 A=@ -'*T*=8
1. :-ho is the speaker of the poem7
B. :@o you think that the simp%e %anguage %acks dignity7 *n some o%der poetry! especia%%y poetry that
#as passed do#n ora%%y! a #ord of t#o sy%%ab%es at the end of the %ine has the stress on the second
sy%%ab%e! as +sai%Sr.2 *n this poem! #hat is the effect of rhyming +country2 and +she2 and +be27
9. :@o you think that the %ast t#o %ines introduce a ne# idea! or do they deepen the imp%ications of
the ear%ier %ines7 -hen you read a%oud the fina% stanDa! pay specia% notice to the pause at the end of
%ine 6. .o# does your voice register the movement from %ine 6 to %ine M7
GERARD MANLEY HOPKINS
2e"a"$ 'anley /opkins (18GG1888) as !o"n nea" 4on$on an$ e$ucate$ at OH%o"$& he"e he stu$ie$
the classics( A con*e"t %"om Anglicanism to 3oman 6atholicism& he as o"$aine$ a Cesuit p"iest in 1899(
A%te" se"*ing as a pa"ish p"iest an$ teache"& he as appointe$ ="o%esso" o% 2"eek at the 6atholic
Ani*e"sity in Du!lin( /opkins pu!lishe$ only a %e poems $u"ing his li%etime& pa"tly !ecause he !elie*e$
that the pu"suit o% lite"a"y %ame as incompati!le ith his *ocation as a p"iest& an$ pa"tly !ecause he as
aa"e that his highly in$i*i$ual style might pu>>le "ea$e"s(
Spring and (a%%3 To a Foung ;hi%d [1??H]
JTrgarUt! are you grVeving
Ever 8o%dengrove un%eaving7
0Uaves! %Vke the things of man! you
-ith your fresh thoughts care for! can you7
Wh> Ts the heart gro#s o%der I
*t #i%% come to such sights co%der
"y and by! nor spare a sigh
Though #or%ds of #an#ood %eafmea% %ie&
And yet you #i%% #eep and kno# #hy.
=o# no matter! chi%d! the name3 1H
SSrro#1s sprVngs Tre the same.
=or mouth had! no nor mind! e<pressed
-hat heart heard of! ghostQ guessed3
*t Vs the b%ight man #as born for!
*t Vs Jargaret you mourn for. 1I
GTopics for ;ritica% Thinking and -riting
1. :About ho# o%d do you think the speaker is7 -hat is his tone7 -hat connection can you make
bet#een the tit%e and the speaker and Jargaret7 -hat meanings do you think may be in +(a%%27
B. :-hat is meant by Jargaret1s +fresh thoughts2 4%ine A57 )araphrase 4put into your o#n #ords5
%ines 9LA and %ines 1BL19.
9. :+-an#ood2 and +%eafmea%2 are #ords coined by .opkins. -hat do they suggest to you7
A. :.o# can you e<p%ain the apparent contradiction that Jargaret #eeps for herse%f 4%ine 1I5 after
the speaker has said that she #eeps for +8o%dengrove un%eaving2 4%ine B57
CO%NTEE C%LLEN
6ountee 6ullen (180318G6) as !o"n 6ountee =o"te" in #e @o"k 6ity& "aise$ !y his g"an$mothe"& an$
then a$opte$ !y the 3e*e"en$ 5"e$e"ick A( 6ullen& a 'etho$ist ministe" in /a"lem( 6ullen "ecei*e$ a
!achelo"-s $eg"ee %"om #e @o"k Ani*e"sity (=hi )eta :appa) an$ a maste"-s $eg"ee %"om /a"*a"$( /e
ea"ne$ his li*ing as a high school teache" o% 5"ench& !ut his lite"a"y gi%ts e"e "ecogni>e$ in his on
$ay( 6ullen sometimes "ote a!out !lack li%e& !ut he also "ote on othe" topics& insisting that A%"ican?
Ame"icans nee$ not o"k only in the lite"a"y t"a$ition eHempli%ie$ !y such "ite"s as 4angston /ughes(
For a Lady I Know [1925]
She even thinks that up in heaven
.er c%ass %ies %ate and snores!
-hi%e poor b%ack cherubs rise at seven
To do ce%estia% chores.
G Topics for ;ritica% Thinking and -riting
1. :-hat is the gist of #hat ;u%%en is saying7
B. :.o# #ou%d you characteriDe the tone7 (urious7 *ndifferent7
LYN LI,SHIN
)o"n in )u"lington& De"mont& in 18GG an$ e$ucate$ at ;y"acuse Ani*e"sity an$ the Ani*e"sity o%
De"mont& 4yn 4i%shin has "itten many !ooks o% poet"y on a "ange o% topics& %"om ;hake" communities o%
ea"ly Ame"ica to Eskimo cultu"e in the A"ctic( 'uch o% he" o"k shos a st"ong %eminist conce"n(
My Mother and the Bed [1999]
=o! not that #ay she1d
say #hen * #as M! pu%%ing
the bottom sheet smooth!
you1ve got to saying
hospita% corners I
* #et the bed much %ater
than * shou%d! unti%
Cust #riting this *
hadn1t thought of
the connection 1H
Jy mother #ou%d never
s%eep on sheets someone
e%se had * never
sa# any stains on hers
tho her bedroom #as 1I
a maDe of po#der hair
pins b%ack dresses
Sometimes she brings her
o#n sheets to my house!
carries toi%et seat covers BH
@id anybody s%eep
in my she a%#ays asks
.er sheets her hair
she says the rooms here
sme%% funny BI
-e drive at 9 am
s%o#%y into "oston and
strip #hat %ooks %ike
t#o c%ean beds as the
sky gets %ight * 9H
smooth on the form
fitted f%o#er bottom!
she redoes it
She thinks of my %ife
as a bed on%y she 9I
can make right
G Topics for ;ritica% Thinking and -riting
1. :-hat do you make of the e<tra spacesfor instance! the space bet#een +to2 and +saying2 in %ine
A7 *n reading the poem a%oud! ho# do you +read2 the spaces7
B. :-ou%d you agree that the poem is humorous and! on the #ho%e! genia%7 Er do you think that
bitterness overshado#s the humor7 E<p%ain.
9. :Ene student made the suggestion that the fina% stanDa! perhaps because it seems to +e<p%ain2 the
poem to the reader! is the %east effective part of the poem. @o you agree7 *f you do! #rite a ne# fina%
stanDa.
THE "OICE O, THE SATIRIST
The #riter of sa'ire, in one #ay or another! ridicu%es an aspect or severa% aspects of human behavior!
seeking to arouse in the reader some degree of amused contempt for the obCect. .o#ever urbane in tone!
the satirist is a%#ays critica%. "y c%ever%y ho%ding up foib%es or vices for the #or%d1s derision! satire
4A%e<ander )ope c%aimed5 +hea%s #ith mora%s #hat it hurts #ith #it.2 The %aughter of comedy is an end in
itse%f& the %aughter of satire is a #eapon against the #or%d3 +The inte%%ectua% dagger!2 (rank E1;onnor
ca%%ed satire! +opposing the rea% dagger.2 ,onathan S#ift! of #hom E1;onnor is speaking! insisted that his
satires #ere not ma%ice but medicine3
.is satire points at no defect
"ut #hat a%% morta%s may correct. . . .
.e spared a hump or crooked nose!
-hose o#ners set not up for beau<.
"ut S#ift! a%though he c%aimed that satire is therapeutic! a%so sa# its futi%ity3 +Satire is a sort of g%ass [i.e.!
mirror] #herein beho%ders do genera%%y discover everybody1s face but their o#n.2
Sometimes the satirist speaks out direct%y as defender of pub%ic mora%s! abusive%y but #itti%y chopping
off heads. "yron! for e<amp%e! #rote3
)repare for rhyme*1%% pub%ish! right or #rong3
(oo%s are my theme! %et Satire be my song.
"ut sometimes the satirist chooses to invent a speaker far removed from himse%f or herse%f! Cust as
"ro#ning chose to invent a 'enaissance duke. The satirist may invent a ca%%ous brigadier genera% or a
pompous Cudge #ho unconscious%y annihi%ates himse%f. ;onsider this satirica% poem by e. e. cummings
4pen name of Ed#in Est%in ;ummings5.
E+ E+ C%MMINGS
E$in Estlin 6ummings (188G1867) g"e up in 6am!"i$ge& 'assachusetts& an$ as g"a$uate$ %"om
/a"*a"$& he"e he !ecame inte"este$ in mo$e"n lite"atu"e an$ a"t& especially in the mo*ements calle$
cu!ism an$ %utu"ism( /is %athe"& a conse"*ati*e cle"gyman an$ a p"o%esso" at /a"*a"$& seems to ha*e
!een !a%%le$ !y the youth-s inte"ests& !ut 6ummings-s mothe" encou"age$ his a"tistic acti*ities& inclu$ing
his use o% uncon*entional punctuation as a means o% eHp"ession(
=olitically li!e"al in his youth& 6ummings !ecame mo"e conse"*ati*e a%te" a *isit to 3ussia in 1831&
!ut ea"ly an$ late his o"k emphasi>es in$i*i$uality an$ %"ee$om o% eHp"ession(
next to o course !od a"er#ca # [192$]
+ne<t to of course god america i
%ove you %and of the pi%grims1 and so forth oh
say can you see by the da#n1s ear%y my
country 1tis of centuries come and go
and are no more #hat of it #e shou%d #orry I
in every %anguage even deafanddumb
thy sons acc%aim your g%orious name by gorry
by Cingo by gee by gosh by gum
#hy ta%k of beauty #hat cou%d be more beauti:
fu% than these heroic happy dead 1H
#ho rushed %ike %ions to the roaring s%aughter
they did not stop to think they died instead
then sha%% the voice of %iberty be mute72
.e spoke. And drank rapid%y a g%ass of #ater
;ummings might have #ritten! in the voice of a so%id citiDen or a good poet! a direct attack on
chauvinistic #indbags& instead! he chose to invent a #indbag #hose rhetoric punctures itse%f. Fet the %ast
%ine te%%s that #e are rea%%y hearing someone #ho is recounting #hat the #indbag said& that is! the speaker
of a%% the %ines but the %ast is a combination of the chauvinist an$ the satiric observer of the chauvinist.
4-hen ;ummings himse%f recited these %ines! there #as mockery in his voice.5
En%y in the fina% %ine of the poem does the author seem to speak entire%y on his o#n! and even here he
adopts a matter:of:fact pose that is far more potent than invec'ive 4direct abuse5 #ou%d be. Fet the %ast
%ine is not tota%%y free of e<p%icit hosti%ity. *t might! for e<amp%e! have run! +.e spoke. And s%o#%y poured
a g%ass of #ater.2 -hy does this version %ack the punch of ;ummings1s7 And #hat do you think is
imp%ied by the absence of a fina% period in %ine 1A7
MARGE PIERCY
'a"ge =ie"cy& !o"n in Det"oit in 1836& as the %i"st mem!e" o% he" %amily to atten$ college( A%te" ea"ning
a !achelo"-s $eg"ee %"om the Ani*e"sity o% 'ichigan in 18<9 an$ a maste"-s $eg"ee %"om #o"theste"n
Ani*e"sity in 18<8& she mo*e$ to 6hicago( +he"e she o"ke$ at o$$ Bo!s hile "iting no*els
(unpu!lishe$) an$ engaging in action on !ehal% o% omen an$ !lacks an$ against the a" in Dietnam( 1n
1890Fthe yea" she mo*e$ to Well%leet& 'assachusetts& he"e she still li*esFshe pu!lishe$ he" %i"st !ook&
a no*el( ;ince then she has pu!lishe$ othe" no*els& as ell as sho"t sto"ies& poems& an$ essays(
"arbie @o%% [1666]
This gir%chi%d #as born as usua%
and presented do%%s that did pee:pee
and miniature 8E stoves and irons
and #ee %ipsticks the co%or of cherry candy.
Then in the magic of puberty! a c%assmate said3 I
Fou have a great big nose and fat %egs.
She #as hea%thy! tested inte%%igent!
possessed strong arms and back!
abundant se<ua% drive and manua% de<terity.
She #ent to and fro apo%ogiDing. 1H
Everyone sa# a fat nose on thick %egs.
She #as advised to p%ay coy!
e<horted to come on hearty!
e<ercise! diet! smi%e and #heed%e.
.er good nature #ore out 1I
%ike a fan be%t.
So she cut off her nose and her %egs
and offered them up.
*n the casket disp%ayed on satin she %ay
#ith the undertaker1s cosmetics painted on! BH
a turned:up putty nose!
dressed in a pink and #hite nightie.
@oesn1t she %ook pretty7 everyone said.
;onsummation at %ast.
To every #oman a happy ending. BI
G TE)*;S (E' ;'*T*;A0 T.*=K*=8 A=@ -'*T*=8
1. :-hy is the poem ca%%ed +"arbie @o%%27
B. :-hat voice do you hear in %ines 1LA7 0ine 6 is! #e are to%d! the voice of +a c%assmate.2 .o# do
these voices differ7 -hat voice do you hear in the first three %ines of the second stanDa7
9. :E<p%ain in your o#n #ords #hat )iercy is saying about #omen in this poem. @oes her vie# seem
to you fair! s%ight%y e<aggerated! or great%y e<aggerated7
LO%ISE ERDRICH
4ouise E"$"ich& !o"n in 18<G in 4ittle 5alls& 'innesota& g"e up in #o"th Dakota& a mem!e" o% the +u"tle
'ountain )an$ o% 6hippea( /e" %athe" ha$ !een !o"n in 2e"manyI he" mothe" as a 6hippeaI !oth
pa"ents taught at the )u"eau o% 1n$ian A%%ai"s ;chool( A%te" g"a$uating %"om Da"tmouth 6ollege (maBo"
in anth"opology) in 1896& E"$"ich "etu"ne$ !"ie%ly to #o"th Dakota to teach in the =oet"y in the ;chools
="og"am& an$ ent to Cohns /opkins Ani*e"sity& he"e she ea"ne$ a maste"-s $eg"ee in c"eati*e "iting(
E"$"ich has pu!lishe$ to !ooks o% poems an$ se*e"al no*els& one o% hich& 4o*e 'e$icine (1886)&
on the #ational )ook 6"itics 6i"cle Aa"$( We pu!lish one o% he" sho"t sto"ies& ,+he 3e$ 6on*e"ti!le&0
in 6hapte" 11(
Dear %ohn &ayne [1984]
August and the drive:in picture is packed.
-e %ounge on the hood of the )ontiac
surrounded by the s%o#:burning spira%s they se%%
at the #indo#! to van$uish the hordes of mos$uitoes.
=othing #orks. They break through the smoke screen for b%ood. I
A%#ays the %ookout spots the *ndians first!
spread north to south! barring progress.
The Siou< or some other )%ains bunch
in spectacu%ar co%umns! *;"J missi%es!
feathers brist%ing in the meaningfu% sunset. 1H
The drum breaks. There #i%% be no par%ance.
En%y the arro#s #hining! a death:c%oud of nerves
s#arming do#n on the sett%ers
#ho die beautifu%%y! tumb%ing %ike dust #eeds
into the history that brought us a%% here 1I
together3 this #ide screen beneath the sign of the bear.
The sky fi%%s! acres of b%ue s$uint and eye
that the cro#d cheers. .is face moves over us!
a thick c%oud of vengeance! pitted
%ike the %and that #as once f%esh. Each rut! BH
each scar makes a promise3 1t is
not o*e"& this %ight& not as long as you "esist(
E*e"ything e see !elongs to us(
A fe# %aughing *ndians fa%% over the hood
s%ipping in the hot spi%%ed butter. BI
+he eye sees a lot& Cohn& !ut the hea"t is so !lin$(
Death makes us one"s o% nothing(
.e smi%es! a horiDon of teeth
the credits ree% over! and then the #hite fie%ds
again b%o#ing in the true:to:%ife dark. 9H
The dark fi%ms over everything.
-e get into the car
scratching our mos$uito bites! speech%ess and sma%%
as peop%e are #hen the movie is done.
-e are back in our skins. 9I
.o# can #e he%p but keep hearing his voice!
the f%ip side of the sound track! sti%% p%aying3
6ome on& !oys& e got them
he"e e ant them& $"unk& "unning(
+hey-ll gi*e us hat e ant& hat e nee$( AH
Even his disease #as the idea of taking everything.
Those ce%%s! burning! doub%ing! sp%itting out of their skins.
G TE)*;S (E' ;'*T*;A0 T.*=K*=8 A=@ -'*T*=8
1. :-ho is the speaker of most of the poem7 -ho speaks the ita%iciDed %ines7
B. :There are curious shifts in the diction! for instance from +some other )%ains bunch2 4%ine ?5 to
+par%ance2 4%ine 115. -hose voice do #e hear in +some . . . bunch27 ;onsider! too! the diction in +to
van$uish the hordes of mos$uitoes2 4%ine A5. *f you #ere ta%king about mos$uitoes! you probab%y
#ou%d not use the #ord +van$uish.2 -hat do you think Erdrich is up to7
9. :-hat do you make of %ines BALBI! ta%king of *ndians +s%ipping in the hot spi%%ed butter27 -hat
connection do these %ines have #ith #hat presumab%y is going on in the fi%m7
$ONATHAN SI,T
,onathan S#ift 4166ML1MAI5! born in *re%and of Eng%ish parents! became dean of St. )atrick1s ;athedra%!
@ub%in! but he a%so had a significant career as a propagandist for the Tory party in Eng%and. .e is
significant today! ho#ever! neither for his ecc%esiastica% nor his po%itica% #ork. 'ather! he is best kno#n
for a short satiric essay! +A Jodest )roposa%!2 and for a %onger prose satire! 8u%%iver1s Trave%s 41MBI5!
#hich! because some of its characters are giants and others are on%y a fe# inches ta%%! has had the curious
fate of being regarded as a book for chi%dren.
S#ift1s poetry ranges from the tender to the scato%ogica%. -e reprint one of his satiric poems! a
scathing e%egy ce%ebrating the death of ,ohn ;hurchi%%! @uke of Jar%borough! #ho died in 1MBB.
' (at#r#ca) *)e!y on the Death o a Late Fa"ous +enera) [1,$4]
.is 8race>Q impossib%e> #hat! dead>
Ef o%d age too! and in his bed>
And cou%d that Jighty -arrior fa%%7
And so ing%orious! after a%%>
-e%%! since he1s gone! no matter ho#! I
The %ast %oud trump must #ake him no#3
And! trust me! as the noise gro#s stronger!
.e1d #ish to s%eep a %itt%e %onger.
And cou%d he be indeed so o%d
As by the ne#spapers #e1re to%d7 1H
Threescore! * think! is pretty high&
1T#as time in conscience he shou%d die.
This #or%d he cumbered %ong enough&
.e burnt his cand%e to the snuff&
And that1s the reason! some fo%ks think! 1I
.e %eft behind so g"eat a s(((k(
"eho%d his funera% appears!
=or #ido#1s sighs! nor orphan1s tears!
-ont at such times each heart to pierce!
Attend the progress of his hearse. BH
"ut #hat of that! his friends may say!
.e had those honors in his day.
True to his profit and his pride!
.e made them #eep before he died.
;ome hither! a%% ye empty things! BI
Fe bubb%es raised by breath of Kings&
-ho f%oat upon the tide of state!
;ome hither! and beho%d your fate.
0et pride be taught by this rebuke!
.o# very mean a thing1s a @uke& 9H
(rom a%% his i%%:got honors f%ung!
Turned to that dirt from #hence he sprung.
- His Grace Duke of Marlborough.
G TE)*;S (E' ;'*T*;A0 T.*=K*=8 A=@ -'*T*=8
1. :Erdinari%y! #hat #ou%d be the tone of a poem #ritten for someone #ho had recent%y died7 -hat
is S#ift1s tone in the first %ine7 *n the second7 "y the end of the eighth %ine 4+.e1d #ish to s%eep a
%itt%e %onger257 -hich #ords! if any! in the first t#o %ines might you e<pect to find in a poem about
the death of an eminent pub%ic figure7 =o# %ook c%ose%y at the %ast %ine of the poem. +Turned to that
dirt from #hence he sprung.2 "y substituting on%y one #ord in the %ast %ine! ho# can you convert
the %ine into one that might be uttered in church in a sermon eu%ogiDing the deceased7
B. :0ines 1?LBA introduce #ido#s and orphans! figures #ho might #e%% be mentioned in an e%egy.
"ut e<act%y #hat is S#ift saying here about the re%ationship bet#een Jar%borough and #ido#s and
orphans7
ALE.ANDER POPE
A%e<ander )ope 416??L1MAA5! born in 0ondon of a midd%e:c%ass fami%y! from chi%dhood on#ard #as
p%agued #ith i%% hea%th! notab%y #ith curvature of the spine. .is schoo%ing #as private and in fact he #as
%arge%y se%f:taught. A chi%d prodigy! the youth #as recogniDed by some of the %eading #riters of the day!
and he %ater formed notab%e friends! inc%uding ,onathan S#ift. )ope a%so made notab%e enemies! many of
#hom he immorta%iDed%ike f%ies in amberin his poetry.
=ope is one o% the most Juota!le poets( 1% you ha*e e*e" sai$& ,A little lea"ning is a $ange"ous
thing&0 o" ,+o e"" is human& to %o"gi*e $i*ine&0 o" ,5ools "ush in he"e angels %ea" to t"ea$&0 o" ,Who
shall $eci$e hen $octo"s $isag"ee?&0 o" ,/ope sp"ings ete"nal in the human !"east0Fto Juote only a
han$%ul o% eHamplesFyou ha*e Juote$ AleHan$e" =ope(
-e give an epigrama short! #itty observation#hich )ope engraved on the co%%ar of a puppy that
he gave to (rederick! )rince of -a%es in 1M96. Ke#! Cust #est of 0ondon! #as the site of a roya% pa%ace.
*n!ra-ed on the .o))ar o a Do! wh#ch I !a-e to /#s 0oya) /#!hness
* am his .ighness1 dog at Ke#&
)ray te%% me sir! #hose dog are you7
G TE)*; (E' ;'*T*;A0 T.*=K*=8 A=@ -'*T*=8
The speaker of the first %ine is very civi%. .o# #ou%d you characteriDe his or her tone in the second
%ine7 )%ease e<p%ain.
Emi%y @ickinson
;hapter 16 N The Speaking Tone of Voice
8#endo%yn "rooks
;hapter 16 N The Speaking Tone of Voice
Stevie Smith
;hapter 16 N The Speaking Tone of Voice
,ohn Gpdike
;hapter 16 N The Speaking Tone of Voice
'obert "ro#ning
O,errara to#n in *ta%y. / ,r0 Pan&o(1 a fictitious painter.
;hapter 16 N The Speaking Tone of Voice
23 C(a*s o1 Inns4r*ck a fictitious sculptor.
@iction and Tone
;hapter 16 N The Speaking Tone of Voice
Thomas .ardy
5 nipperkin cup. -2 'raps persona% be%ongings.
;hapter 16 N The Speaking Tone of Voice
;ountee ;u%%en
-/ )6os' spirit.
;hapter 16 N The Speaking Tone of Voice
The Voice of the Satirist
;hapter 16 N The Speaking Tone of Voice
Jarge )iercy
;hapter 16 N The Speaking Tone of Voice
,onathan S#ift
;hapter 16 N The Speaking Tone of Voice
A%e<ander )ope