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 scene in 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 voice certain%y 'obert (rost did a great dea% to cu%tivate the idea that he #as a farmer:poet but 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 t enty 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%eis 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 %eeling that it as pain%ully hollo ( 1t o"l$& ,she coul$ not "esist the

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 =obody too7

Then there1s a pair of us> @on1t te%%> they1d banish us you kno#> A

.o# dreary to be Somebody>

.o# pub%ic %ike a (rog the %ive%ong ,une

To te%% your name

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 =obody too725 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# dreary to be Somebody> .o# pub%ic %ike a (rog the %ive%ong ,une

To te%% your name

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 page the %ength of the %ines! for e<amp%e but 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.

G ENDOLYN !ROOKS
2 en$olyn )"ooks (18197000) as !o"n in +opeka& :ansas& !ut as "aise$ 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.

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 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 I

* 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 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! *f * poisoned the beginnings of your breaths! "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! 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. "e%ieve me! * %oved you a%%. "e%ieve me! * kne# you! though faint%y! and * %oved! * %oved you A%%.

1I

aches! and your deaths! BH

BI

9H

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$cli%%e 6ollege& ;immons 6ollege& on nume"ous p"i>es an$ has

an$ )"an$eis Ani*e"sity( +he autho" o% ten !ooks o% poems& she has "ecei*e$ a g"ant %"om the #ational En$o ment %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.

G Topics 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 voices the 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

G Topics 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

ISLA A S#YM!ORSKA
Wisla a ;>ym!o"ska (p"onounce$ ,Disla a 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. 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. 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. 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. Ene nineteen p.m. BH 1I 1H I

=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.

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 kno n as a "ite" o% %ictionFsho"t sto"ies an$ no*elsF!ut th"oughout his p"o%essional ca"ee" he has also page 101() "itten essays an$ poems( (5o" a mo"e complete !iog"aphical note& see

*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. -ho #ants to have a%% their carefu% packing 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 * 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 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! and those gum:che#ing attendants taking tickets 9H BI 1I 1H the trave%%ers1 checks!

#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 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#. 9I

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 !RO NING

)o"n in a su!u"! o% 4on$on into a mi$$le?class %amily& )"o ning (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

+(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 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 1H

(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 (or ca%%ing up that spot of Coy. She had A heart ho# sha%% * say7 too soon made g%ad! BH

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! 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 terrace a%% and each 9H BI

-ou%d dra# from her a%ike the approving speech! Er b%ush! at %east. She thanked men good> 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%% *n speech 4#hich * have not5 to make your #i%% 9I

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 mark2 and if she %et AH

.erse%f be %essoned so! nor p%ain%y set .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& 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 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! -hich ;%aus of *nnsbruckQ cast in bronDe for me>

AI

IH

II

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

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

[16A?]

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 kno n %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

+.ad he and * but met

[16HB]

"y some o%d ancient inn! -e shou%d have sat us do#n to #et

'ight many a nipperkin>Q

+"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%though 1B +.e thought he1d 1%ist! perhaps!

Eff:hand %ike Cust as * -as out of #ork had 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

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. "ut beauty vanishes& beauty passes& .o#ever rare rare it be& A

And #hen * crumb%e! #ho #i%% remember This %ady of the -est ;ountry7 ?

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 a a"e that his highly in$i*i$ual style might pu>>le "ea$e"s(

Spring and (a%%3 To a Foung ;hi%d

JTrgarUt! are you grVeving Ever 8o%dengrove un%eaving7 0Uaves! %Vke the things of man! you

[1??H]

-ith your fresh thoughts care for! can you7 Wh> Ts the heart gro#s o%der *t #i%% come to such sights co%der I

"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 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 1H

G Topics 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 $ay( 6ullen sometimes "ote a!out !lack li%e& !ut he also e"e "ecogni>e$ in his o n

"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.

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 sho s 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 I

hospita% corners

* #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
pins b%ack dresses

hair

Sometimes she brings her o#n sheets to my house! carries toi%et seat covers @id anybody s%eep in my she a%#ays asks her hair BH

.er sheets

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 can make right 9I

Topics for ;ritica% Thinking and -riting

1. :-hat do you make of the e<tra spaces for 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 /a"*a"$& up in 6am!"i$ge& 'assachusetts& an$ as g"a$uate$ %"om

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 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 #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 1H I

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 $eg"ee %"om #o"th este"n Ani*e"sity in 18<8& she mo*e$ 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 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. 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 %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! 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 BH 1I 1H I

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% 6hippe a( /e" %athe" ha$ !een !o"n in 2e"manyI he" mothe" as a 6hippe aI !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$ t o !ooks o% poems an$ se*e"al no*els& one o% hich& 4o*e 'e$icine (1886)& on the #ational )ook 6"itics 6i"cle A a"$( 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. 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. The drum breaks. There #i%% be no par%ance. En%y the arro#s #hining! a death:c%oud of nerves 1H I

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! 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 BH

+he eye sees a lot& Cohn& !ut the hea"t is so !lin$( Death makes us o ne"s o% nothing( .e smi%es! a horiDon of teeth the credits ree% over! and then the #hite fie%ds again b%o#ing in the true:to:%ife dark. 9H The dark fi%ms over everything. -e get into the car scratching our mos$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.

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 S

I,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)

.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#! 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 I

[1,$4]

As by the ne#spapers #e1re to%d7 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! .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. "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! 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& (rom a%% his i%%:got honors f%ung! Turned to that dirt from #hence he sprung. - His Grace Duke
of Marlborough.

1H

1I

BH

BI

9H

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 amber in 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 epigram a 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

* am his .ighness1 dog at Ke#& )ray te%% me sir! #hose dog are you7

/#s 0oya) /#!hness

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