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ENG 205W-003:Poetry

Fall 2014
TTh 11:30-12:45
Callaway, N109

Professor Chinn
Office: Callaway N314
Office Hours: Monday, 11:15-12:30
Thursday, 12:45-2:00

“We make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry.”
-­‐ William Butler Yeats
English 205, “Poetry,” serves as an introduction to the English major and will prepare you to read
and write about poetry with delight. The first unit of this course will provide you with the
fundamentals of reading and writing about poetry and poetic forms. We will discuss rhyme, meter,
syntax and historical forms of poetry as written in the English language. In the second unit, we’ll
work closely with primary documents housed in MARBL. This unit will prepare you to read
revisions as a part of the poetic process, and help you to understand and value textual analysis. The
third unit will focus on poetic performance and “born-digital” poetry. This unit will ground you in
understanding the place of sound, technology, and archives as textual and contextual markers of the
evolution of poetry in the 20th century.
Required Texts: Please buy the exact copy with the correct ISBN number:
ŸFerguson, Margaret and Mary Jo Salter. The Norton Anthology of Poetry, Short Fifth Edition. ISBN 9780393979213
ŸBoland, Eavan and Mark Strand. The Making of a Poem: The Norton Anthology of Poetic Forms. ISBN
ŸPinsky, Robert. The Sounds of Poetry. ISBN 978-0374526177
ŸYoung, Kevin. Jelly Roll. ISBN 978-0375709890
ŸAll other texts, sound recordings, and web-based poems will be uploaded to:
Participation and discussion are two major components of this course. Thus, if you have more
than three absences, your grade will automatically fall one letter grade. If you have more than six
absences, you will automatically get an “F” for the course. If you cannot meet these requirements, I
encourage you to drop the course before the end of the “Add/ Drop” period. If you arrive fifteen
minutes late, you’ll automatically be counted absent.
Laptop/ E-Reader policy: I do not allow laptops or E-Readers in the classroom. While we
will have a digital component later in the semester, recent studies have shown that writing by hand
actually improves retention of classroom discussions. Please take notes by hand. (You’ll thank me
after you take your midterm exam!) Later in the semester, when we work on born-digital poetry and
listen to poets on PennSound, you may bring your laptop to class. However, if there is NO
digital component to the class, leave all digital technology at home or in your bag.
Mobile Phone Policy: Absolutely NO mobile phones allowed in class. If I see you looking at
your crotch, I will assume you are looking at your phone and will ask you to leave the
classroom for the day.

Course Objectives:
By the end of this course I expect that you will be able
-To read and annotate poems carefully.
-To identify formal choices.
-To advance compelling interpretations of poems through discussion and writing.
-To analyze poetry in relation to archival materials.
-To think critically and creatively about poetry in performance, whether that be the standard poetry
reading or newer relations between poetry and technology
Grading Breakdown:
10% Participation in class
10% Recitation, annotation
10% Midterm exam
10% Close reading paper (3-5 pages)

25% MARBL paper (5-6 pages)
25% Poetry in performance OR Poetry
and Technology Paper (8 pages)
10% Final Performance/ Technology project

Grading Rubric:
A 94-100
A- 90-93.9

B+ 87-89.9
B 83-86.9
B- 80-82.9

C+ 77-79.9
C 73-76.9
C- 70-72.9

D+ 67-69.9
D 63-66.9
D- 60-62.9

Course Schedule (Subject to Change):
Syllabus Key:
(FN)= The Norton Anthology of Poetry, Short Fifth Edition
(PF)= The Making of a Poem: The Norton Anthology of Poetic Forms
Please be aware that this website page is password-protected. Please use this password to
access the page: 1836
Week 1
Week 2

August 28
September 2

Intro, syllabus


Unit 1: How the Poem
Works: Rhythm, Meter,

Closed forms:
Pinsky: “Like and Unlike Sounds” pp. 79-95
“Rhyme” pp.1260-1263 (FN)
John Skelton “Mannerly Margery Milk and Ale” p. 81 (FN)
Lewis Carroll “Jabberwocky” pp. 736-737 (FN)
Edgar Allen Poe “Annabel Lee” pp. 618-619 (FN)
Matthew Arnold “Dover Beach” pp. 711-712 (FN)

September 4

Pinsky “Technical Terms and Vocal Realities” pp. 51-77

Emily Dickinson “There’s a certain Slant of light” (FN 723);
“The Soul selects her own Society” (FN 725)
The Emily Dickinson Online Archive:
Theodore Roethke “My Papa’s Waltz” p. 955 (FN)
Allen Ginsberg “Howl” pp. 1061-1067 (FN)
Week 3

September 9

“Forms,” p. 1263-1275 (FN)
“The Villanelle,” p. 5-8 (PF)
Pinsky “Syntax and Line” pp. 25-49
William Empson “Missing Dates” p.935 (FN)
Theodore Roethke “The Waking” p. 956 (FN)
Elizabeth Bishop “One Art” p. 966 (FN)
Dylan Thomas “Do Not Go Gentle into that Good Night” p.
991 (FN)

September 11

Meet with me by Sept.
11 to recite poem

“The Sestina,” p. 21-24 (PF)
Sir Philip Sidney from “Old Arcadia” pp. 26-27 (PF)
Dante Gabriel Rossetti “Sestina: Of the Lady Pietra degli
Scrovigni” p. 29-30 (PF)
Weldon Kees “After the Trial” p. 36 (PF)
Alberto Rios “Nani” pp. 39-41 (PF)

Week 4

September 16

“The Sonnet” pp. 55-58 (PF)
William Shakespeare “Shall I compare thee to a summer’s
day?” p. 171 (FN)
William Wordsworth “Composed upon Westminster Bridge,
September 3, 1802” p. 477 (FN)
Elizabeth Barrett Browning “Sonnets from the Portuguese”
pp. 593-594 (FN)
Edna St. Vincent Millay “[I, Being Born a Woman and
Distressed]” pp. 887-888 (FN)
Ted Berrigan “Sonnets 15” “Sonnet 59” (website)

September 18

Turn in annotation of
poem by 5pm on
Thursday, September

“Blank Verse” pp. 101-104 (PF)
“The Heroic Couplet” pp. 121-122 (PF)


Week 5

September 23

Robert Frost “Directive” pp. 808-809 (also read “Close-Up of
Blank Verse: ‘Directive’ by Robert Frost, pp. 119-120 in PF)
Richard Wilbur “Lying” PP. 114-117 (PF)
Alexander Pope “The Rape of the Lock, Canto 1” pp. 357-361
“Rhythm,” pp. 1252-1253 (FN)
“Meter,” pp.1253-1260 (FN)
Pinsky “Accent and Duration” pp. 11-24
“Caedmon’s Hymn,” p 1 (FN);
Denise Levertov “Caedmon,” pp. 1045-1046 (FN)
Jorie Graham “Reading Plato,” pp. 284-285 (PF)

September 25

Week 6

Turn in poem written
in traditional form by
Thursday, September

September 30

“Poetic Syntax,” p. 1277-1284 (FN)
Pinsky “Syntax and Line,” pp. 25-50
“The Pantoum” 43-45 (PF)
Donald Justice “Pantoum of the Great Depression” pp. 10471048 (FN)
Meredith Martin, from The Rise and Fall of Meter: “Metrical
Communities” bottom of page 5-bottom of page 10 (website)

October 2
Week 7

October 7

Sprung Rhythm
Gerard Manley Hopkins, “The Windhover,” “[As Kingfishers
Catch Fire],” “Spring and Fall” (Norton 755-757)
Seamus Heaney, “Digging” (Norton 1179-80)

Unit 2: How to Interpret a

Terry Eagleton “Is Criticism Just Subjective?” (website)
Andrew Marvell “To His Coy Mistress” pp. 293-294 (FN)
Robert Browning “Porphyria’s Lover” and “To My Last
Duchess” pp. 642-644 (FN)
Adrienne Rich “Diving into the Wreck” pp. 1119-1121 (FN)

Week 8

October 9

Mid-Term Exam
Fall Break

October 14
October 16

Shaping forms:
“Overview” pp. 165-167 (PF)
“The Elegy” pp. 167 (PF)
John Milton “Lycidas” pp. 269-274 (FN)
Thomas Gray “Elegy Written in a Country Churchyard” pp.
410-414 (FN)
Frank Bidart “To the Dead” pp. 194-196 (PF)
Natasha Trethewey: “Elegy for the Native Guards” (website)

Week 9

October 21

Close Reading paper
DUE by 5pm by email

“The Ode” p. 240 (PF)
Percy Bysshe Shelley “Ode to the West Wind” pp. 543-545
Marianne Moore “The Paper Nautilus” p. 248 (PF)
Robert Creeley “America” p. 252 (PF)
Robert Pinsky “Ode to Meaning” pp. 252-254 (PF)

October 23

Week 10

Week 11

October 28

October 30
November 4

Prep for MARBL visit


[workshop with
Shanna/ Gabrielle/
Prep for MARBL visit

Selected poems by Alice Walker and Lucille Clifton (website)

[workshop with
Shanna/ Gabrielle/

Selected poems by Seamus Heaney and Michael Longley

MARBL visit

Meet in Woodruff Library, 7th Floor

Unit 3: Poetry,
Performance, and

Open Forms:

Draft of paper from
MARBL visit

“Overview” p. 259



Denise Levertov “Uncertain Oneiromancy” pg. 273 (PF)
Jayne Cortez “Everywhere Drums” (website- and watch video
on website)

November 6

Ekphrasis and Ut Pictura Poesis:
Princeton Encyclopedia of Poetry & Poetics, 4 edition, “Ut Pictura
Poesis” (website)
W. H. Auden, “Musée des Beaux Arts” p. 939 (FN)
William Carlos Williams, “Landscape with the Fall of Icarus”
p. 838 (FN)
Adrienne Rich, “Aunt Jennifer’s Tigers” pp. 1114-15 (FN)

Week 12

November 11

Hard copy of paper
from MARBL visit

Eagleton, How to Read a Poem, Poetry and Performance, 88-top
96 (website)
John Donne, “A Valediction Forbidding Mourning” p 198
“The Flea” p. 202 & “Elegy XIX. To His Mistress Going to
Bed” pp. 203-4 (FN)
T. S. Eliot, “The Love Song of J. Alfred Prufrock” pp. 862-866
H.D. “Helen” p 851 (FN) and listen to part of “Helen in
Egypt” on website (from PennSound)

November 13

Alfred, Lord Tennyson “Ulysses”
Charles Olson “I, Maximus of Gloucester, to You”
Ange Mlinko “Classical Music”
Lorenzo Thomas “Red Cross Stations”
Alfred, Lord Tennyson “Ulysses”
Charles Olson “I, Maximus of Gloucester, to You”
Ange Mlinko “Classical Music” (PennSound)
Lorenzo Thomas “Red Cross Stations” (PennSound)

Week 13



November 18

Eric Vos “Media Poetry-Theories and Strategies” (website)
Johannes Helden and Hakan Jonson “Evolution”

Week 14

Week 15

Week 16

November 20

Kevin Young: Jelly Roll “Epithalamion” to “Nocturne”

November 25

Kevin Young: Jelly Roll “Break” to “Suite”

November 27
December 2
December 4
December 9
December 15


Kevin Young: Jelly Roll “Envoy” to “Elegy, Niagara Falls”

Last Day of Class


Final exam period (35:30pm) Meet during
final for presentations

Further Assistance
Writing Center
The Writing Center is an excellent resource for writers of all skill levels. It offers assistance
with all aspects of writing, including brainstorming, organization, thesis formation, style,
wording, and revision. I strongly encourage each of you to schedule a meeting at the Writing
Center at least once this semester. It is a good idea to secure appointments as far in advance
as possible, especially towards the end of the semester when the Writing Center is busiest.
The Writing Center is located in Callaway North 212. Make an appointment in person, or
call the Writing Center at (404) 727-6451. The Writing Center’s website is
Disability Accommodations
It is the policy of Emory University to make reasonable accommodations for qualified
students with disabilities. These accommodation requests are best made early in the semester
and do not become active until the student presents to the instructor the official support
letter from the ODS. Accommodations are not retroactive.
To contact the Office of Disability Services (ODS):
Telephone: 404-727-9877

Fax: 404-727-1126
Web address: <>
Counseling Center
The Emory Student Counseling Center provides free, confidential counseling for enrolled
students. If you need help with any stress, problem, or crisis, please contact them at (404)
727-7450. The website is at <>
Instructions for Textual Analysis MARBL paper:
FINAL DUE November 11 by 5pm by email.
Format: 6-8 pages, double-spaced, MLA format, plus a process reflection, which should describe
your aims for the paper and how those aims change over the course of your research.
In this paper, you will focus on a single poem and the drafts of it held in Emory’s Manuscripts and
Rare Book Library. Consider the significance of the poet’s process of drafting and revising the
poem. If you would like to answer one or more of the questions that I give you, you are more than
welcome to do so; however, if you feel you have a clear idea for your reading, please come discuss it
with me. These questions are meant to initiate your thinking about the poem you chose. Please refer
back to the assignment sheet and to your close reading papers (DUE October 23), as well as any
valuable online resources (for instance, the Harvard Writing Center has a good example of how to
do a close reading here:
You should not only look at the drafts of these poems, but also look at the book of poetry in which
your poem was published (please come discuss with me if you are planning to work on Lucille
Clifton’s “incantation”—I’ll have to photocopy some pages for you). Thus, you should remember
here that this paper is not JUST a close reading, but you will also need to do some contextual work.
Ask yourself: When was the poem written? Is it written within a few years of publication? How does
it fit within the context of that poet’s other work?
As you think about and write about your poem, develop your own specific claim about the finished
poem in relation to the drafts you have seen. Don’t forget to quote passages from both the drafts
and the final version.

Give your essay a distinctive title.

Insert page numbers.

Follow MLA citation style. Cite poems by page number, not line number.
When citing MARBL drafts, use the following format in your works cited:
Heaney, Seamus. Drafts of “Strange Fruit.” Seamus Heaney Collection,
Manuscripts, Archives, and Rare Book Library, Emory University.

Include a Works Cited page.

In your conclusion, don’t just restate your argument. Try to answer the “So what?” or “Why
does this matter?” question.

Carefully proofread for grammar, punctuation, spelling, and usage.


Thursday, October 23, meet in MARBL, Room 875. We will discuss Lucille Clifton and
Alice Walker, as well as the Michael Longley and Seamus Heaney materials. Gabrielle Dudley
(Instruction Archivist and QEP Librarian) will give an overview of the collections and their
importance. Erika Farr (Head of Digital Archives) will then discuss the digital archives of
Alice Walker and Lucille Clifton (to get you thinking about your final papers!)

Tuesday, October 28, meet in MARBL, Room 875. PLEASE COME PREPARED
You will work in groups, examining the items that you will work with for your paper.

Please set up an appointment to discuss with me your work in progress and possible
secondary sources.

Consider making an appointment with the Writing Center:

Thursday, October 30, bring rough draft of paper to class. In-class writing workshop.

Tuesday, November 4, draft of paper DUE to me in class. Failure to bring a rough draft will
result in losing HALF of the grade of your final MARBL paper.

Tuesday, November 11, FINAL MARBL PAPER DUE. Absolutely NO exceptions.
Prompts for individual poems:
1) Alice Walker
Alice Walker MSS 1061
Box 37
Folder 14
From Once: “African Images” typescript drafts and AW notes
Alice Walker’s “African Images” starts with short, haiku-like stanzas. Towards the end, however, the
stanzas are longer, but the line structure stays relatively stable. What effect does this line style have
on the narrative trajectory of the poem? How do Alice Walker’s hand-written notes in the
manuscript version change the poem?
Alice Walker MSS 1061
Box 37
Folder 23
From Once: “On Being Asked to Leave a Place of Honor…” (variant titles), typescript drafts

In “On Being Asked to Leave a Place of Honor for one of Comfort; Preferably in the Northern
Suburbs,” the title gives us a context for the rest of the poem. What do the variant titles suggest?
What can we learn from the titles’ graphic representation on the page? How does the epigraph play
off of and work to tie the text of the poem to the title?

2) Lucille Clifton
Lucille Clifton MSS 1054
Box 17
Folders 23-25
From Next: New Poems: “incantation” typescript and drafts. The “leukemia as” poems
You can consider these poems—“incantation” and the “leukemia as” poems—together. You might
want to focus on their discussion of medical care. In “incantation” you might want to focus on line
length and title changes. In the “leukemia as” poems, you may want to focus on how the title
changes the content of the poem.
Lucille Clifton MSS 1054
Box 19
Folder 4
From The Book of Light: “far memory: a poem in seven parts," typescript draft with corrections
[includes "convent," "someone inside me remembers," "again," "trying to understand this life,"
"sinnerman," "karma," and "gloria mundi"
Lucille Clifton is known for her use of séance as a type of communion with the world. In fact, we
have her “spirit journals,” and I encourage you to look at these, especially if you are thinking about
writing about the poem below. “far memory: a poem in seven parts” takes us to place we don’t
expect. What is the significance of the first-person “i” in this poem? How does this “i” interact with
the interior struggle that we read?
3) Seamus Heaney
Seamus Heaney MSS 960
Box 1
Folder 10
“Strange Fruit”
Look at the form of this poem. What does it mean for him to choose the sonnet form here? Think
about the manuscript version and the title that he gives the manuscript version. How does it change
how you interact with this poem?

Seamus Heaney MSS 960
Box 98
Folder 2
Heaney changes the last lines significantly in the draft versions of this poem. How does this change
the overall meaning or significance of it?
4) Michael Longley
Michael Longley MSS 744
Box 16
Folder 27
"Nausicaa" [variant titles: "A Gloss on 'Lycidas,'" "Lycidean Glosses"]
(from No Continuing City)
What does the change in title signify? Longley uses couplets for a short, six-line poem. How does he
change the couplet to fit his purpose (think about what we said about the couplet and its
relationship to narrative).
Michael Longley MSS 744
Box 17
Folder 26
"Doctor Jazz" [variant title: "Hello Central!"] [includes "Billie Holliday," "King Oliver," "Django
Reinhardt," "Formby," "Keaton"] [See also Uncollected poems, "Masters"] (from An Exploded View)
How do the manuscript versions of these poems change the overall, not so pleasant, view of jazz
given here? What does it mean for Longley to slander rather than praise some of the greats of the
jazz world?
Final Paper ENG 205
DUE December 11TH by 5pm by email
6-8 pages, double-spaced, MLA format
Final paper requirements:
There are two ways you may approach this paper. You may either:
Focus on a poet’s shift from “analog” to “digital” writing:
For this type of paper, you must go back to MARBL and use either the Alice Walker or Lucille
Clifton manuscripts to see how the shift from hand-written/ typewriter-written work to working on
drafts on a computer affected or changed the way the poet writes. If you chose this final assignment,
please be aware that you will have to spend more time in MARBL, and you will have to narrow

your paper to down to a single poem of your choice. Please also be aware that you will need to
find the published version elsewhere. I can help you with this, so please come talk to me.
You may focus on a particular poem and several readings of the same poem:
For this one, you will need to use one of the resources below to find a poem that is a) on the
syllabus, and b) that is written in the 20th century. First, examine the final, finished poem. Next,
go to one of the archival websites below and chose up to 3 (no more than 3, no less than 1)
performances or readings of the poem. You must chose at least 1 reading done by the poet
herself. If there are multiple readings of the same poem by the poet, and there are significant
differences between reading performances, feel free to use more than 1 reading by the poet herself.
If not, feel free to choose another reading done by someone else as well as the author.
Archival websites/ resources:
For more avant-garde work:
For readings by contemporary and mid-century poets:
For readings by earlier 20th-century figures:
You may, of course, use other websites (in fact, the T.S. Eliot Society has “Prufrock” and other
poems on their website: ) but please come talk to me
or email me to see if a site is credible or not.
Technical requirements:
-You must use a maximum of 5 secondary sources in addition to the materials on the syllabus.
-Your final paper should be 6-8 pages in length, in Times New Roman, 12-point font, 1” margins all
-MLA format

Give your essay a distinctive title.

Insert page numbers.

Follow MLA citation style.

Include a Works Cited page.

In your conclusion, don’t just restate your argument. Try to answer the “So what?” or “Why
does this matter?” question.

Carefully proofread for grammar, punctuation, spelling, and usage.

Make an appointment with the Writing Center. They are wonderful people and extremely

Helpful poetry resources (besides your Norton Anthology) as you being to write:
Princeton Encyclopedia of Poetry and Poetics. Online access available through DiscoverE
Helpful writing resources:
-Purdue Online Writing Lab: (they basically have
everything you could ever want for citation styles, grammar, punctuation, etc.)