Poetry

HAIKUS ON MS. BARTH'S YOUTUBE CHANNEL!
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Ali P's voicethread: []

John O and Preet B's voicethread (8-4): [|http://voicethread.com/?#u124731]

Poetry Docs:
Haiku project assignment sheet


 * DO NOT USE "TO BE" VERBS -- IS, ARE, WERE, ETC.**

https://voicethread.com/share/2937411/ Max Hershey 8-3

http://voicethread.com/share/2938977/ Vinay Jain 8-2 Fall-[] Winter-[] Summer-[] Spring-[] Charlie Butler English-2

Winter: cold, snow, ice, cocoa, blue, clouds Spring: rain, flowers, green, birds, wet, love Summer: sun, swim, beach, hot Fall: leaves, red, orange, yellow, wind, trees, colors, cool No "to be" verbs.
 * 8-1 Do Not Use Words:**

Winter: cold, blue, snow, shovel, ski, trees, ice, icicles Spring: warm, rain, bloom, bud, green, flowers, geese Summer: beach, hot, bored, cheerful, water, sun, ice cream, lemonade Fall: leaves, color, red, orange, yellow, crunch, school, trees, wind No "to be" verbs.
 * 8-2 Do Not Use Words:**

Winter: snow, fire, cold, blue, white, dark, ice Spring: butterflies, green, blossom, rain, frogs, melting, flowers Summer: beach, no school, vacation, warm, sun, hot, fun, burn Fall: leaves, trees, colors, red, orange, yellow, school, wind, woods, chilly, crunch No "to be" verbs.
 * 8-3 Do Not Use Words:**

Winter: snow, cold, white, peaceful, quiet, ski, wind, snowboard, sled, Christmas, water, ice Spring: grass, butterfly, green, warm, life, melt, happy, hope, wet, rain, flower, birth, bud, blossom Summer: sun, blue, sky, ocean, beach, hot, camp, fun, swim, night, fresh Fall: crisp, leaves, orange, yellow, red, death, die, crunch, color, chill, lifeless, full, moon, Halloween No "to be" verbs.
 * 8-4 Do Not Use Words:**

Winter: wonderland, snow, ice, barren, woods, blue, peaceful, cold, freeze, frozen, white, dark, fire, hot cocoa, tree Spring: puddles, birds, rain, pastel, bunny, flower, bloom, bud, vacation, green, mud, storm, melt, new, grow Summer: storm, play, warm, hot, sun, no school, beach, water, tan, sunny, outside Fall: end, change, color, red, yellow, orange, crisp, cool, leaves, football, brisk, walk, school, friends, cover No "to be" verbs.
 * 8-5 Do Not Use Words:**

Packetful of Poetry

Poetry Memorization and Recitation:
Memorize and recite with expression, feeling, and understanding. Options: Because I Could Not Stop for Death Stopping by Woods on a Snowy Evening Jabberwocky The Road Not Taken Any of the sonnets on page six of the packet. Rubric

Poetry Links:
[|poets.org] by the Academy of American Poets [|Poetry Foundation]

Poet Links:
[|William Blake] [|The William Blake Archive] [|Gwendolyn Brooks] [|Elizabeth Barret Browning] [|Robert Browning] [|Lewis Carroll] [|Billy Collins] [|e. e. cummings] [|Emily Dickinson] [|Robert Frost] [|Langston Hughes] [|Edna St. Vincent Millay] [|Sylvia Plath] [|Walt Whitman] [|The Walt Whitman Archive] [|Carl Sandburg]

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Langston Hughes
media type="youtube" key="PiL2znfkvFk" height="390" width="480" The Harlem Renaissance A Brief Guide to the Harlem Renaissance Countee Cullen, also a poet of the Harlem Renaissance, has a book entitled //Copper Sun// (1927). Click here to learn more about Countee Culllen. Click here to learn more about Langston Hughes.

"Grass" by Carl Sandburg:
Sandburg has a Milwaukee connection: "After college, Sandburg moved to Milwaukee, where he worked as an advertising writer and a newspaper reporter. While there, he met and married Lillian Steichen (whom he called Paula), sister of the photographer Edward Steichen. A Socialist sympathizer at that point in his life, Sandburg then worked for the Social-Democrat Party in Wisconsin and later acted as secretary to the first Socialist mayor of Milwaukee from 1910 to 1912." -- poets.org. He and his wife moved from Milwaukee to Chicago.

Before going to college at Lombard (which he attended for four years but did not graduate), Sandburg served in the Spanish-American War.

Sandburg wrote a six-volume definitive biography of President Lincoln; he was awarded the Pulitzer Prize for the second volume, //Abraham Lincoln: The War Years// (1939). He won another Pulitzer later in his life for his //Complete Poems// in 1950.

From the Napoleonic Guide website: With more and more Allied troops sucked into the attack, Bonaparte launched an assault that took back the Pratzen Heights and split the enemy. After much hard fighting the French crushed the Allies. Thousands of fleeing troops drowned when a frozen lake split under the weight of men and guns. French losses amounted to 8000 while the Russian and Austrian emperors, present at the battle, saw more than 27,000 men killed, wounded and captured. Bonaparte also captured 180 cannon.
 * Austerlitz -Napoleonic Wars**

From BBC's British History: The Battle of Waterloo was fought thirteen kilometres south of Brussels between the French, under the command of Napoleon Bonaparte, and the Allied armies commanded by the Duke of Wellington from Britain and General Blücher from Prussia. The French defeat at Waterloo drew to a close 23 years of war beginning with the French Revolutionary wars in 1792 and continuing with the Napoleonic Wars from 1803. There was a brief eleven-month respite when Napoleon was forced to abdicate, exiled to the island of Elba. However, the unpopularity of Louis XVIII and the economic and social instability of France motivated him to return to Paris in March 1815. The Allies soon declared war once again. Napoleon's final defeat at Waterloo marked the end of the Emperor's final bid for power, the so-called '100 Days', and the final chapter in his remarkable career. Check out PBS's interactive battle simulator!
 * Waterloo - Napoleonic Wars**

Click here to visit the National Park Service's website for Gettysburg. From the website: The Battle of Gettysburg was a turning point in the Civil War, the Union victory in the summer of 1863 that ended General Robert E. Lee's second and most ambitious invasion of the North. Often referred to as the "High Water Mark of the Confederacy", it was the war's bloodiest battle with 51,000 casualties. It also provided President Abraham Lincoln with the setting for his most famous address.
 * Gettysburg - Civil War**

Ypres, on the border between Belguim and France, saw battle in 1914, 1915, and 1917. The first use of poison gas in World War I occurred at Ypres. media type="youtube" key="g24GtNYJbzU" height="344" width="425"
 * Ypres (sounds like: eep-ruh) - WWI**

"The Battle of Verdun is considered the greatest and lengthiest in world history. Never before or since has there been such a lengthy battle, involving so many men, situated on such a tiny piece of land. The battle, which lasted from 21 February 1916 until 19 December 1916 caused over an estimated 700,000 casualties (dead, wounded and missing). The battlefield was not even a square ten kilometres. From a strategic point of view there can be no justification for these atrocious losses. The battle degenerated into a matter of prestige of two nations literally for the sake of fighting...... " from The Battle of Verdun website Click here to see the number of casualties in the Battle of Verdun. Click here to learn more about the Douaumont Ossuary, a beautiful building constructed to house the remains of 130,000 unknown soldiers.
 * Verdun (sounds like: veh-duhn) - WWI**

At the Arc de Triomphe in Paris Commissioned in 1806 by Napoleon, shortly after his victory at Austerlitz, it was not finished until 1836. There are four huge relief sculptures at the bases of the four pillars. These commemorate The Triumph of 1810 (Cortot); Resistance, and Peace (both by Etex); and The Departure of the Volunteers, more commonly known by the name La Marseillaise (Rude). La Marseillaise by François Rude; One of four reliefs on the pillars of the Arch. The day the Battle of Verdun started in 1916, the sword carried by the figure representing the Republic broke off. The relief was immediately hidden to conceal the accident and avoid any undesired associations or interpretations as a bad omen. Engraved around the top of the Arch are the names of major victories won during the Revolutionary and Napoleonic periods. The names of less important victories, as well as those of 558 generals, are to found on the inside walls. Generals whose names are underlined died in action. Beneath the Arch is the Tomb of the Unknown Soldier, and eternal flame commemorating the dead of the two world wars. Here every Armistice Day (11 November) the President of the Republic lays a wreath. On 14 July - the French National Day (refered to as Bastille Day everywhere except in France) - a military parade down the Champs Elysées begins here. For important occasions of state, and national holidays, a huge French tricolor is unfurled and hung from the vaulted ceiling inside of the Arch.
 * Tomb of the Unknown Soldier**[[image:http://www.paris.org/Monuments/Arc/gifs/unknowna.gif width="126" height="183" align="left" link="http://www.paris.org/Monuments/Arc/gifs/unknown.html"]]

The Tomb of the Unknowns, near the center of the cemetery, is one of Arlington's most popular tourist sites. The Tomb contains the remains of unknown American soldiers from [|World Wars I] and II, the Korean Conflict and (until 1998) the [|Vietnam War]. Each was presented with the Medal of Honor at the time of interment and the medals, as well as the flags which covered their caskets, are on display inside the [|Memorial Amphitheater], directly to the rear of the Tomb.
 * At Arlington National Cemetery**

Dickinson
Dickinson led a reclusive life, keeping mostly to her family home and receiving few visitors. None of her poetry was published during her lifetime. After her death, forty small booklets of her poetry were discovered. Over time, her work was published, and Dickinson has come to be considered, along with Whitman, the origins of a distinctly American voice in poetry.

"Upon her death, Dickinson's family discovered 40 handbound volumes of nearly 1800 of her poems, or "fascicles" as they are sometimes called. These booklets were made by folding and sewing five or six sheets of stationery paper and copying what seem to be final versions of poems in an order that many critics believe to be more than chronological. The handwritten poems show a variety of dash-like marks of various sizes and directions (some are even vertical). The poems were initially unbound and published according to the aesthetics of her many early editors, removing her unusual and varied dashes and replacing them with traditional punctuation. The current standard version replaces her dashes with a standard "n-dash," which is a closer typographical approximation of her writing. Furthermore, the original order of the works was not restored until 1981, when Ralph W. Franklin used the physical evidence of the paper itself to restore her order, relying on smudge marks, needle punctures and other clues to reassemble the packets. Since then, many critics have argued for thematic unity in these small collections, believing the ordering of the poems to be more than chronological or convenient. //The Manuscript Books of Emily Dickinson// (Belknap Press, 1981) remains the only volume that keeps the order intact." -- poets.org

Dickinson died of Bright's disease when she was 55 years old. The poem "No Coward Soul is Mine" by Emily Bronte (a celebrated author in her own right and sister of Charlotte Bronte, who wrote //Jane Eyre//). Click here to read "No Coward Soul is Mine."

Dickinson and Whitman and the Civil War
Emily Dickinson and Walt Whitman were both writing during the Civil War. Consider their poetry juxtaposed with Mathew Brady's photographs of Civil War battle aftermath. Click here for The Classroom Electric: Dickinson, Whitman, and American Culture.

Whitman
Like many Americans, Whitman and his family daily checked the lists of wounded in the newspapers, and one day in December 1862 the family was jolted by the appearance of the name of " G. W. Whitmore" on the casualty roster from Fredericksburg. Fearful that the name was a garbled version of George Washington Whitman's, Walt immediately headed to Virginia to seek out his brother. Changing trains in Philadelphia, Whitman's pocket was picked on the crowded platform, and, penniless, he continued his journey to Washington, where, fortunately, he ran into William Douglas O'Connor, the writer and abolitionist he had met in Boston, who loaned him money. Futilely searching for George in the nearly forty Washington hospitals, he finally decided to take a government boat and army-controlled train to the battlefield at Fredericksburg to see if George was still there. After finding George's unit and discovering that his brother had received only a superficial facial wound, Whitman's relief turned to horror as he encountered a sight he would never forget: outside of a mansion converted into a field hospital, he came upon "a heap of amputated feet, legs, arms, hands, &c., a full load for a one-horse cart." They were, he wrote in his journal, "human fragments, cut, bloody, black and blue, swelled and sickening." Nearby were "several dead bodies . . . each cover'd with its brown woolen blanket." The sight would continue to haunt this poet who had so confidently celebrated the physical body, who had claimed that the soul existed only //in// the body, that the arms and legs were extensions of the soul, the legs moving the soul through the world and the hands allowing the soul to express itself. Now a generation of young American males, the very males on which he had staked the future of democracy, were literally being disarmed, amputated, killed. It was this amputation, this fragmenting of the Union—in both a literal and figurative sense—that Whitman would address for the next few years, as he devoted himself to becoming the arms and legs of the wounded and maimed soldiers in the Civil War hospitals. By running errands for them, writing letters for them, encircling them in his arms, Whitman tried, the best he could, to make them whole again. -- The Walt Whitman Archive
 * Whitman served in the battlefield hospitals of the Civil War:**

Click here to explore one of Whitman's Hospital Notebooks

The Library of Congress has an amazing collection of Whitman's papers and notebooks, including a cardboard butterfly he created.

Robert Frost
In February of last year, NPR ran a story called "Wintry Literature for a Snowy Day," which featured a recording of Robert Frost himself reciting "Stopping by Woods on a Snowy Evening." Click here to check it out. media type="custom" key="8220924" media type="youtube" key="1wwXfAFQoh8" height="390" width="640"

Plath
Click here to read a 1962 interview with Sylvia Plath.

Plath’s friend, the poet and critic Al Alvarez, once said: “I would love to think that the culture’s fascination is because Plath is a great and major poet, which she is. But it wouldn’t be true. It is because people are wildly interested in scandal and gossip.” -- from TimesOnline

ee cummings

 * "in Just-"**

In [|Roman religion and myth], Pan's counterpart was [|Faunus], a nature god who was the father of [|Bona Dea], sometimes identified as [|Fauna]. In the 18th and 19th centuries, Pan became a significant figure in [|the Romantic movement] of western Europe, and also in the 20th-century [|Neopagan movement].[|[][|4][|]]
 * Pan** (from wikipedia):
 * Pan** ([|Greek] Πάν, [|genitive] Πανός), in [|Greek religion] and [|mythology], is the god of shepherds and flocks, of mountain wilds, hunting and [|rustic music], as well as the companion of the [|nymphs].[|[][|1][|]] His name originates within the Greek language, from the word //paein// (Πάειν), meaning "to pasture."[|[][|2][|]] He has the hindquarters, legs, and horns of a goat, in the same manner as a [|faun] or [|satyr]. With his homeland in rustic [|Arcadia], he is recognized as the god of fields, groves, and wooded glens; because of this, Pan is connected to fertility and the season of spring. The ancient Greeks also considered Pan to be the god of theatrical criticism.[|[][|3][|]]


 * Satyr** (from wikipedia):
 * Satyrs** acquired their [|goat]-like aspect through later Roman, conflation with [|Faunus], a carefree [|Italic] nature spirit of similar characteristics and identified with the Greek god [|Pan]. Hence satyrs are most commonly described in Latin literature as having the upper half of a man and the lower half of a goat, with a goat's tail in place of the Greek tradition of horse-tailed satyrs; therefore, satyrs became nearly identical with [|fauns].

**Enjoy "Jabberwocky" and "Stopping by Woods on a Snowy Evening" as performed by The Muppets.**
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And a version of "Jabberwocky" by beloved Johnny Depp:
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And "The Eagle" by a three-year-old!
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A charming version of "This Is Just to Say"...
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I totally think we should have a haiku battle:
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The Raven by our good friend Edgar Allan Poe[[image:8th-grade-english/RavenManuscript.jpg width="385" height="472" align="right"]]
The introduction to the poem printed in American Review (February 1845): [The following lines from a correspondent — besides the deep quaint strain of the sentiment, and the curious introduction of some ludicrous touches amidst the serious and impressive, as was doubtless intended by the author — appear to us one of the most felicitous specimens of unique rhyming which has for some time met our eye. The resources of English rhythm for varieties of melody, measure, and sound, producing corresponding diversities of effect, have been thoroughly studied, much more perceived, by very few poets in the language. While the classic tongues, especially the Greek, possess, by power of accent, several advantages for versification over our own, chiefly through greater abundance of spondaic feet, we have other and very great advantages of sound by the modern usage of rhyme. Alliteration is nearly the only effect of that kind which the ancients had in common with us. It will be seen that much of the melody of "The Raven" arises from alliteration, and the studious use of similar sounds in unusual places. In regard to its measure, it may be noted that if all the verses were like the second, they might properly be placed merely in short lines, producing a not uncommon form; but the presence in all the others of one line — mostly the second in the verse — which flows continuously, with only an aspirate pause in the middle, like that before the short line in the Sapphic Adonic, while the fifth has at the middle pause no similarity of sound with any part beside, gives the versification an entirely different effect. We could wish the capacities of our noble language, in prosody, were better understood. — E D. A M. R EV .]

1845 (Jan. 29) - Poe’s most famous poem, “[|The Raven]” is published in the New York //Evening Mirror//, where it becomes a sensational hit. It is widely reprinted and brings Poe considerable praise and fame, although financially he receives only about $15 for the initial printing. (Many stories have been told of the writing of “The Raven.” Indeed, the list of people who claimed to be present at its infancy seemed to grow with each reminiscence published after Poe’s death. Poe’s explanation of the poem’s creation, “[|The Philosophy of Composition],” is largely fictional, by Poe’s own admission. The most probable account is that Poe wrote the poem in late 1844, while staying at the farm of Mr. and Mrs. Patrick Henry Brennan in New York.) -- from Edgar Allan Poe Society of Baltimore website

**"The Raven":**
The Annotated Raven Another annotated version of "The Raven" media type="custom" key="5224051"

The poem read by James Earl Jones:
media type="youtube" key="sXU3RfB7308" height="344" width="425" NPR's Present at the Creation on "The Raven" "The Raven" -- The illustrated text at Read.gov

**OK, this is like so weird...[[image:8th-grade-english/02_Poe_Grip.jpg width="525" height="350" align="right" caption="Grip, Charles Dickens's pet raven."]]**
Remember who Poe asked to help him secure a publisher for //Tales of the Grotesque and Arabesque// in England? The two writers met briefly in Philadelphia while this British author was on a tour of the United States in 1842. This author agreed to help Poe, although he was unable to actually do anything for him. And later in his life, this author "said that he had only once in his life tried to help someone else with publication, and that man was Edgar Allan Poe" (Harry Lee Poe in //Edgar Allan Poe: An Illustrated Companion to His Tell-Tale Stories// on page 103). When this author returned to the United States again, Poe had passed away, but the author visited Maria Clemm, Poe's aunt and mother-in-law, and provided her with some badly needed money. Who was this writer? Charles Dickens.

Guess what kind of pet Charles Dickens had. A raven. Actually, he had three over the course of his life, and they were all named "Grip." Click here to learn a little more about Grip. Dickens's pet ravens could "talk," trained to repeat a few phrases. Dickens's //Barnaby Rudge: A Tale of the Riots of 'Eighty//, published at first as a serial in 1840-41, featured a talking raven. Poe read and reviewed //Barnaby Rudge// in serial and was able to predict the ending before it was printed, a feat that impressed Dickens very much. See the information from the Poe Society of Baltimore website below.

1842 (March 6) - During Dickens’ tour of America, Poe and Charles Dickens arrange to meet while he is in Philadelphia. (Dickens had been greatly impressed by Poe’s ability to guess the ending of his //Barnaby Rudge//. In the //Saturday Evening Post// for May for 1841, Poe had reviewed the work, which was being published serially in a magazine a chapter at a time.) Dickens agrees to consider writing for //Graham’s// and to try to find an English publisher for Poe’s //Tales of the Grotesque and Arabesque//, although nothing of substance will ever come of either promise.

Maybe Dickens's Grip was a bit of inspiration, whether consciously or not, for "The Raven." Indeed, Colonel Richard Gimbel, the famous Poe aficionado, purchased Dickens's stuffed Grip (after its death, Grip was taken to a taxidermist!), and it is now on display at the Philadelphia Free Library, along with the amazing collection of Poe's manuscripts and other rare Poe books that Gimbel assembled and bequeathed to the city of Philadelphia. Explore the Philadelphia Free Library's Poe collection here.

In 2009 the Philadelphia Free Library Rare Books Collection hosted a special exhibit in honor of the 200th anniversary of Poe's birth: "Parkway Central Library’s [|Rare Book Department] is celebrating the 200th birthday of Poe with the Colonel Richard Gimbel Collection in the new exhibit, //Quoth the Raven: A 200 Year Remembrance of the Life and Legacy of Edgar Allan Poe...//the exhibit features rare autographed manuscripts, first editions, and Poe family heirlooms. Among the manuscripts are //The Murders in the Rue Morgue//, //The Raven//, //Annabel Lee//, and //For Annie//. First editions of //Tamerlane// and //The Balloon Hoax// will also be on display. Visitors can also view Grip, Charles Dickens’ pet raven and the inspiration behind Poe’s most famous poem." -- from the Library's website

But best of all..."The Raven" a la "The Simpsons":
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e.e. cummings
It is a picture of an action rather than a description of it; word-clusters representing each psrt of the action (take-off, leap, landing) are to be received simultaneously, not as words occurring one at a time. In the penultimate line, for example, the arranging and the becoming are simultaneous processes. One word is therefore as nearly superimposed upon the other as is physically possible. -from Sam Hynes, "Cummings' COLLECTED POEMS, 276." //Explicator// 10 (Nov. 1951): Item 9.

If we follow the sequence of letters that makes most sense — thus we have to read the first word from right to left rather than from left to right —, our reading process follows lines of //motion// that provide a diagrammatic icon of the elusive, haphazard jumps and flights of a grasshopper. Thus we move to the left, to the right, to the left, etc. and follow words, syllables or letters that hop down one or two lines, vault typographic voids, skip up to capitals and down to small letters; we are interrupted by stops and reversals as well as puzzled by a saltatory punctuation (ll.9, 12, 15). Furthermore, the word "grasshopper" itself, whose eleven letters behave like grasshoppers in a bait box, wildly hops around in the poem, leaping lines, landing in the middle of a word (l.5) or a sentence (l.12). Even the title of the poem, I suggest, has hopped from its proper place to line 7 ("The") and line 15 ("grasshopper") thus disguising the fact that the poem has the fourteen lines of a sonnet. But the reading process also involves the progressive’ unscrambling or unravelling of the differently and successively less scrambled words for "grasshopper." Quite apart from offering various onomatopoeic icons of the grasshopper’s whirring and stridulation, the sequential unscrambling on the part of the reader is an iconic imitation of a gradual //change// in the perceiving subject, of a gradually firmer perceptual grasp of the nature and identity ("The," l.7) of the evasive object called grasshopper. Hence, the initially slow and laborious act of rearranging the letters can be seen as an iconic reenactment of the subjective process of perception that bundles disparate sensory impressions into the whole of a meaningful "gestalt." The progressive recognition of the poem’s genre as a titled sonnet matches this process in terms of poetic form. This cognitive process that results in the eventual detachment of the "figure" of the grasshopper from the perplexing, seemingly chaotic sensory "ground" of cummings’ typography is paralleled and reinforced on the iconic level of //spatial configuration,// too. For if we look at his "poempicture" as if it were a picture puzzle, we discover to our surprise the rough outline of a grasshopper facing right. Thus "aThe):l/eA/!p:" forms the joint and femur of the hind or saltatorial leg, the "S" on the very left of line 10, which pricks the invisible vertical line of the left margin justification, stands for the sting; "a" on the very right of the same line represents the antenna; "r" is the place where the rubbing of the leg against the wing, the stridulation occurs; "rIvIng" indicates the hind claw on which the grasshopper lands or arrives after a jump; ".gRrEaPsPhOs)" represents the segmented thorax and the head with its compound eye ("0"), leaving "to" for the front claw or toe (the curve described by "S/aThe):1/A/!p /(r" may, of course, also be seen as a diagram of the grasshopper’s jump): In short, the puzzling difficulties of the cognitive process of clearly grasping a jumping insect’s position in the grass, its species or name as well as its outward form are given simultaneous iconic expression in this virtuoso poem. -From "Iconic Dimensions in Poetry". In Richard Waswo (ed.) //On Poetry and Poetics//. © Gunter Narr Verlag, 1985.

**Proof page of cummings's grasshopper poem:**

 * [|Learn more about the proof page by clicking here!]**[[image:8th-grade-english/EECproof1.jpg width="437" height="503" align="left" link="http://www.gvsu.edu/english/cummings/proof1.html"]]