The Princeton Encyclopedia of Poetry and Poetics: Fourth Edition
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The most important poetry reference for more than four decades—now fully updated for the twenty-first century
Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more. Now this landmark work has been thoroughly revised and updated for the twenty-first century. Compiled by an entirely new team of editors, the fourth edition—the first new edition in almost twenty years—reflects recent changes in literary and cultural studies, providing up-to-date coverage and giving greater attention to the international aspects of poetry, all while preserving the best of the previous volumes.
At well over a million words and more than 1,000 entries, the Encyclopedia has unparalleled breadth and depth. Entries range in length from brief paragraphs to major essays of 15,000 words, offering a more thorough treatment—including expert synthesis and indispensable bibliographies—than conventional handbooks or dictionaries.
This is a book that no reader or writer of poetry will want to be without.
- Thoroughly revised and updated by a new editorial team for twenty-first-century students, scholars, and poets
- More than 250 new entries cover recent terms, movements, and related topics
- Broader international coverage includes articles on the poetries of more than 110 nations, regions, and languages
- Expanded coverage of poetries of the non-Western and developing worlds
- Updated bibliographies and cross-references
- New, easier-to-use page design
- Fully indexed for the first time
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7 ratings1 review
- Rating: 5 out of 5 stars5/5When I was a student at the university I was fond of The Princeton Encyclopedia of Poetry and Poetics ,enlarged edition of 1974 .Now I have become a critic interested in the fields of literary theory and poetics ,still consider this edition as a great treasure of literary terms and concepts. It is precise and comprehensive.
Fadhil Thamir
A writer from Baghdad,Iraq.
fadhilthamir@yahoo. com1 person found this helpful
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The Princeton Encyclopedia of Poetry and Poetics - Stephen Cushman
The Princeton Encyclopedia of Poetry and Poetics
The Princeton Encyclopedia of Poetry and Poetics
Fourth Edition
EDITOR IN CHIEF
Roland Greene
Stanford University
GENERAL EDITOR
Stephen Cushman
University of Virginia
ASSOCIATE EDITORS
Clare Cavanagh
Northwestern University
Jahan Ramazani
University of Virginia
Paul Rouzer
University of Minnesota
ASSISTANT EDITORS
Harris Feinsod
Northwestern University
David Marno
University of California, Berkeley
Alexandra Slessarev
Stanford University
Copyright © 2012 by Princeton University Press
Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540
In the United Kingdom: Princeton University Press, 6 Oxford Street, Woodstock, Oxfordshire OX20 1TW
All Rights Reserved
Based on the original edition. Alex Preminger, editor, Frank J. Warnke and O. B. Hardison, Jr., associate editors.
Cover art: Jiri Kolar, Love Poem, 1964, collage. Photo: Jiri Lammel. Courtesy of the Museum Kampa / The Jan and Meda Mládek Foundation Collection
Library of Congress Cataloging-in-Publication Data
The Princeton encyclopedia of poetry and poetics / Roland Greene, editor in chief; Stephen Cushman, general editor; Clare Cavanagh, Jahan Ramazani, Paul Rouzer, associate editors; Harris Feinsod, David Marno, Alexandra Slessarev, assistant editors.—4th ed.
p. cm.
Rev. ed. of: The Princeton encyclopedia of poetry and poetics / Alex Preminger and T.V.F. Brogan, co-editors; Frank J. Warnke, O.B. Hardison, Jr., and Earl Miner, associate editors. 1993.
Includes bibliographical references and index.
ISBN 978-0-691-13334-8 (cloth: alk. paper)—ISBN 978-0-691-15491-6 (pbk.: alk. paper) 1. Poetry—Dictionaries. 2. Poetics—Dictionaries. 3. Poetry—History and criticism. I. Greene, Roland Arthur. II. Cushman, Stephen, 1956- III. Cavanagh, Clare. IV. Ramazani, Jahan, 1960– V. Rouzer, Paul F. VI. Feinsod, Harris. VII. Marno, David. VIII. Slessarev, Alexandra. IX. Princeton encyclopedia of poetry and poetics.
PN1021.N39 2012
808.1'03—dc23 2012005602
British Library Cataloging-in-Publication Data is available
This book has been composed in Adobe Garamond Pro with Myriad Display
Printed on acid-free paper. ∞
press.princeton.edu
Printed in the United States of America
10 9 8 7 6 5 4 3 2 1
Contents
Preface
Acknowledgments
Topical List of Entries
Bibliographical Abbreviations
General Abbreviations
Contributors
Entries A to Z
Index
Preface
Poetics, the theoretical and practical study of poetry, is among the oldest disciplines in the West, one of those founded by Aristotle along with ethics, logic, and political science. The Princeton Encyclopedia of Poetry and Poetics is the comprehensive guide to this rich field. This edition of the Encyclopedia significantly develops the past three editions of 1965, 1974, and 1993. Of the more than 1,100 articles, some incorporate and expand their antecedents in those editions, bringing their topics into the present with fresh scholarship and new perspectives. Some 250 entries are entirely new, in response to the changes that poetry and poetics have undergone in the last twenty years. Most articles on major topics have been not only made current but reconceived, in most cases to accommodate a closer attention to poetics. The scope of the Encyclopedia has always been worldwide, concerning (as the original editors put it) the history, theory, technique, and criticism of poetry from earliest times to the present.
The Plan of the Encyclopedia
The solid foundation of the previous editions has offered us the opportunity to enhance coverage without compromising the traditional attention to European and especially English-language poetry and poetics. This edition expands coverage of international poetries, avant-gardes and movements, and the many phenomena, from cognitive poetics to poetry slams to digital poetry that have gained momentum since 1993. Latin America, East and South Asia, Africa, and Eastern Europe are represented here by an infusion of new entries and specialist contributors who present not only the broad canvas of national and regional literary history but the granular detail of informed scholarship.
For instance, to complement the general article on the poetry of the United States, new entries address such topics as the Black Mountain school, the Fireside poets, confessional poetry, and the San Francisco Renaissance. Spanish America is represented by a general essay on the hemispheric tradition in poetry as well as by discrete entries on the poetries of Mexico, Peru, Argentina, Chile, and many other countries. And both sets of articles converse with an authoritative new entry on the poetry of the indigenous Americas, which is in turn augmented by pieces on Guaraní, Inuit, and Navajo poetries, among others. Asian poetry and poetics receive substantial new investments in critical discussion, notably in entries concerning the popular poetry of China, Chinese poetic drama, the influential tenth-century Japanese collection known as the Kokinshū, and the poetry of Cambodia, among others. The coverage of India now involves not only a general entry on the poetry of the subcontinent but many more articles on the history and tradition of poetic forms and styles in various languages from Hindi to Gujarati to Sanskrit. Africa and Eastern Europe see a new measure of attention to countries, languages, movements, and styles.
This wave of locality and specificity changes the character of the Encyclopedia, and brings into the book a wide-ranging cast of contributors, new approaches, and topics of different dimensions. It permitted us to reduce the size and scope of many of the larger entries on national poetries. Free of the obligation to define every episode and movement, the authors of articles on topics such as the poetry of England or the poetry of Spain have been encouraged to delineate a literary history in bold strokes; their narratives are complemented by new items on the particular histories of such topics as Georgianism and neo-Gongorism, respectively. The perspectives of omnibus entries on the poetry of Spanish America or of India still have an important place in this edition, offering the reader both a wide view and a close focus.
Moreover, we have challenged the tacit assumption of many handbooks that general poetic terms may be treated through English-language examples only. A large number of general entries here are written by scholars of poetries other than English—a Hispanist on pastoral, a scholar of the French Renaissance on epideixis, a Persianist on panegyric.
The Encyclopedia includes five kinds of entries: terms and concepts; genres and forms; periods, schools, and movements; the poetries of nations, regions, and languages; and poetry in relation to other cultural forms, disciplines, and social practices such as linguistics, religion, and science. It does not contain entries on poets or works, but discusses these in the context of the larger topics to which they are related. While the A-to-Z format tends to obscure the integrity of these five categories, each one entails certain obligations and challenges.
Terminology makes for one of the most technically exacting aspects of the project. The Encyclopedia remains the authoritative source for brief definitions of particular terms or expansive treatments of broad topics, such as the exhaustive treatment of rhyme. Entries on concepts such as structuralism or speech act theory are designed to engage with poetry over other kinds of literature or writing. This category is home to transhistorical terms such as cento, eclogue, and gai saber; fundamental topics in the history of criticism such as emotion and imagination; and critical concepts of wide application such as ethnopoetics and organicism. From its entries one could assemble a history of ideas in and about poetry.
The rubrics of genre and form often shade into one another, but at the same time they tend to follow complementary logics of openness and limitation, respectively. Most entries on genres, such as those on the alba and the paraclausithyron, follow the evolution of their objects to the present day, while many entries on forms locate them in their original settings of language, epoch, and culture. Nonetheless, the reader will encounter a number of entries that do both, as well as bracing new essays on the concepts of genre and form.
Coverage of periods, schools, and movements has been deepened for this edition, both as a category in itself and within the other categories. For example, postmodern poetry of the United States entails new entries on (among other topics) projective verse, composition by field, Language poetry, and absorption, some contributed by poet-critics in the tradition of William Carlos Williams’s entry on the variable foot
for the 1965 edition. Again, the focus is on poetics. Our entry on naturalism, skewed toward the poetic application of that concept, is very different from an article of the same title in a handbook of general literary criticism or theory.
The fourth category, the poetries of nations, regions, and languages, is a customary strength of the Encyclopedia; many readers have found the past editions a reliable source for introductions to unfamiliar literatures. In this edition we have tried to devise topics that accommodate the histories of national poetries while taking account of local or transnational differences, and that follow languages out of national borders. The results for our nomenclature are described below. Multiple language traditions found within a nation or region are treated as much as is practical, though never fully enough to trace the poetic complexity of modern, multicultural societies.
Finally, the articles concerned with poetry in relation to disciplines, culture, and society—for titles, such entries often take the form of religion and poetry
or science and poetry
—have been focused on the implications for the history of poetry as opposed to history in a more general sense. (Depending on the topic and the contributor’s approach, some conceptual entries draw a relation to poetics rather than to poetry: thus anthropology and poetry
but linguistics and poetics.
) From these articles, one could build a history of poetry’s relations to the intellectual and cultural world at large.
Of course, these five rubrics are provisional, and many items could move among them. All of the main categories now include entries that reflect on category making, such as colonial poetics
and national poetry.
A longstanding rubric, Western poetics,
has been answered not by a corresponding omnibus entry for the non-Western world but by new articles on Chinese, Japanese, Sanskrit, and other poetics. Many items are tacitly engaged with one another and might be read in counterpoint (e.g., criticism,
interpretation,
and hermeneutics,
or imitation,
mimesis,
and representation
); some of these, such as the new set called poetry as artifact,
poetry as fiction,
poetry as information,
and poetry as knowledge,
make a sweeping overview of complementary approaches. (Several other entries continue that overview under various titles: poetry as commodity in Frankfurt school
and as object of faith in belief and poetry,
and the several entries on terms such as poem,
text,
and work.
) And many important items, such as politics and poetry,
postcolonial poetics,
and of course poetry,
straddle the divisions of the book.
As every reader will notice, this book has been conceived to enable cross-coverages and contradictions insofar as these facts register the current condition of poetry studies. The significance of Whitman or Ḥāfiẓ, the idea of poetic genius, and the continuing implications of the New Criticism are too multifarious to fit into one or two entries. The reader will find these and many other topics in several articles, often from the perspectives of distinctive fields or interests. An index, the first in the history of the Encyclopedia, makes such collations part of the experience of this book.
As the fourth edition of a book that has been in print since 1965, this project carries its history within itself; many entries include the names of past contributors whose entries have been augmented and brought up to date. Every item in the 1993 edition was evaluated by the team of editors. Some were dropped, while many more were assigned to readers and prospective contributors who were invited to assess the received material. In some cases an old entry stands on its substance while requiring only a new bibliography, which the editors have provided. In others, we publish a collaboration between past and present contributors that could take place only between the covers of this Encyclopedia. The majority of articles, and nearly all of the most prominent ones, have been entirely reconceived by new contributors.
Some six years in the making, this project is also the portrait of a discipline—the worldwide field of poetry studies—in the process of development. It attempts to address the permanent questions in the field, such as the nature of the poetic, while giving some attention to topics that seem to belong to the present and the near future, such as conceptual writing and documentary poetics; it also involves a decided effort on the editors’ part to devote resources to topics, such as exegetical interpretation and archetypal criticism, that are currently unfashionable but seem likely to be revived in new manners. No doubt in twenty years the values of this fourth edition will appear in a historical light, but in any case we have chosen both to acknowledge and to transcend the present moment as far as possible. Finally, however, such a project can be only what its population of authors—a cross-section of scholars of poetry around the world—want it to be.
The Conventions of the Fourth Edition
One of the longstanding strengths of the Encyclopedia is its coverage of the poetries of the world. The present edition attempts to make a distinction between poetries that are based in nations or territories and those that are based in language, international cultures, or diasporas—no doubt sometimes an ambiguous difference, but nonetheless one that seems worth making. The entry on the poetry of France is discrete from those on the various francophone poetries of Africa, Canada, or the Caribbean, while Persian poetry is best approached as a single topic with international ramifications. The poetry of England
and the poetry of the United States
as topics are preferable to English
or American
poetry, with their uncertain but expansive outlines. In its coverage of the British Isles, the former entry is complemented by articles on Welsh, Scottish, and Irish poetries, while the latter is cross-referenced to companion pieces on U.S. poetries wholly or partly in other languages that can claim their own fields of study, such as French-language, Chicana/o, and Asian American poetry. An entry such as German poetry
takes a linguistic rather than a national approach, but is complemented by entries on Austria, Switzerland, and the Low Countries that follow geopolitical contours and discuss discrete languages within those outlines. In many cases the contributors made the final determination of what to call their entries, which no doubt produces some asymmetries that reflect the differences in the fields represented here.
For example, Walther von der Vogelweide, a poet who wrote in Middle High German, is treated in German poetry
as the first important political poet in the language, in poetry of Austria
for his residence in Vienna and service to Duke Frederick I, in Minnesang
and Spruchdichtung
for his generic affiliations, in Meistersinger
for his influence—and in biography and poetry
as the subject of one of the first biographies of a medieval poet. The result is a comprehensive, multivocal account of many of the signal events in world poetry, from the Occitan troubadours to the modernismo of Rubén Darío to the visual and material poetries of the past fifty years.
Translations are generally given within parentheses, without quotation marks if no other words appear in the parenthetical matter, but set off within quotation marks when some qualification is needed, as in the form of many etymologies: e.g., arsis and thesis (Gr., raising and lowering
). Translated titles generally appear in the most comprehensive articles, such as those on national poetries or important developments such as modernism
; entries of smaller scope often give original titles without translation, although contributors have the discretion to translate titles where it clarifies the argument to do so. (We tolerate inconsistency that reflects to some degree the field at hand: thus some major entries, such as baroque
or Renaissance poetics,
do not translate titles at all; others such as love poetry
give only translated titles.) Translated titles of books are given in italics when the title refers to an actual English translation: e.g. the Georgian poet Shota Rustaveli’s Vepkhis tqaosani (The Man in the Panther’s Skin). For poems, translated titles are given with quotation marks when the translation has been published under that title, but without quotation marks when the translated title is ad hoc.
This convention sometimes entails reproducing a non-literal rendering that appears in a published translation, such as Boccaccio’s Trattatello in laude di Dante as Life of Dante, or the Guatemalan poet Otto René Castillo’s Vámonos patria a caminar as Let’s Go! We believe that the value of indicating an extant translation outweighs the occasional infelicity. At the same time, it is likely we have overlooked some published translations, and many new ones will appear over the life of this book.
Dates of the lives and works of poets and critics often appear in the most comprehensive entries on a given topic (e.g. a regional entry such as poetry of the Low Countries
or a major movement such as poststructuralism
), showing up less often as topics become narrower. Dates of works in the age of print refer to publication unless otherwise indicated.
Articles contain two types of cross-references: those that appear within the body of an entry (indicated with asterisks or in parentheses with small capitals), and those that follow an entry, just before the bibliographies. If the former are often topics that extend the fabric of the definition at hand, the latter often indicate adjacent topics of broader interest. Of course, both kinds of cross-reference hold out the danger of infinite connection: nearly every entry could be linked to many others, and the countless usages of terms such as line, metaphor, and poetics cannot all be linked to the entries concerned with those terms. Accordingly we have tried to apply cross-references judiciously, indicating where further reading in a related entry really complements the argument at hand.
The bibliographies are intended as guides to relevant scholarship of the distant and recent past, not only as lists of works cited in the entries. The bibliographies have been lightly standardized, but some entries—say, those that narrate the development of a field—gain from citing works of scholarship in their original iterations (John Crowe Ransom’s essay Criticism, Inc.
in its first appearance in the Virginia Quarterly Review of 1937) or in their original languages—while many others choose to cite later editions or translations into English as a convenience for the reader.
The deliberately limited standardization of the volume allows the reader to observe the conditions and assumptions that are native to each national literature, topic, or approach represented: something as fundamental as what classical
or hermeticism
means, or as technical as where one finds an important essay by Roman Jakobson, may appear differently at several places in the book. One might learn a great deal by noticing these facts—in effect, by interpreting the Encyclopedia itself as a living document of the discipline that unites us across languages, periods, and methods, namely the study of poetry and poetics.
The State of the Field
As a discipline, poetics is undergoing a renewal. In the past it was sometimes conceived as an antiquarian field, a vehicle for broadly theoretical issues in literature, or a name for poets’ reflections on their practice. Recently, however, the discipline has turned more explicitly toward historical and cross-cultural questions. In the United States, research groups on poetics at several universities have contributed to this momentum, as have digital projects that render the materials of historical and international poetries readily available and make new kinds of conversation possible. Ventures such as this Encyclopedia, new and old at once, contribute to this conversation by introducing scholars to one another, by opening local topics to comparative attention, and most of all by providing information and perspective.
For two generations The Princeton Encyclopedia of Poetry and Poetics has been the common property of the worldwide community of poetry scholars. We are proud to bring it, renewed, to another generation.
Acknowledgments
The fourth edition of The Princeton Encyclopedia of Poetry and Poetics has been a collective work of the worldwide community of poetry scholars over several years. It began at the instigation of Anne Savarese, executive editor for reference at Princeton University Press, whose judgment and taste have conditioned the project at every stage. At the Press, Claire Tillman-McTigue and Diana Goovaerts kept the assembly of authors in contact with the editors, and the editors in touch with one another. Ellen Foos, production editor for the volume, was unfailingly patient with wayward editors and stretched deadlines. Mary Lou Bertucci copy-edited the text and is responsible for matters of consistency.
The editors gratefully acknowledge the help of the research assistants who have been involved with the Encyclopedia over the years: Sarah Bishop, Lauren Boehm, Maia Draper, Jaime Lynn Farrar, Suzanne Ashley King, Elizabeth Molmen, Frank Rodriguez, Whitney Trump, and Daniel Veraldi. At Stanford University, R. Lucas Coe maintained communications with the Press.
The heart of the book, its 1,100 articles, were conceived, evaluated, and improved by the gathering of contributors, whose names appear elsewhere in the front matter. Many of them read and commented anonymously on the work of others. Some did much more, especially Walter G. Andrews, Yigal Bronner, Marisa Galvez, Joseph Lease, Marjorie Perloff, and Haun Saussy.
The scholars, poets, and others who did not write articles for this edition but nonetheless advised the project are a distinguished roster, and this book belongs to them as well: Txetxu Aguado, Jaime Alazraki, David Atwell, Shahzad Bashir, Stephen C. Berkwitz, Paula Blank, Elisabeth Boyi, Dominic Parviz Brookshaw, Marina Brownlee, Ardis Butterfield, Melanie Conroy, Neil Corcoran, Mary Thomas Crane, John Dagenais, Wai Chee Dimock, Craig Dworkin, Lazar Fleishman, Barbara Fuchs, Christina Galvez, Forrest Gander, J. Neil Garcia, Simon Gaunt, Michael Gluzman, Fabian Goppelsröder, Margaret Greer, Timothy Hampton, Benjamin Harshav, Waïl Hassan, Héctor Hoyos, Jasmine Hu, Alex Hunt, Witi Ihimaera, Kate Jenckes, F. Sionil Jose, Smaro Kamboureli, Sarah Kay, Maurice Kilwein Guevara, Seth Kimmel, Paul Kiparsky, Rachel Lee, Seth Lerer, Chris Mann, Annabel Martín, John Maynard, Natalie Melas, Farzaneh Milani, Ignacio Navarrete, Patricia Parker, Michael Predmore, Phoebe Putnam, Margaret Reid, Joan Ramon Resina, Alicia Rios, Hollis Robbins, Janice Ross, David Rubin, Susan Schultz, David Shulman, Richard Sieburth, Barbara Herrnstein Smith, Sidonie Smith, Ann Smock, Willard Spiegelman, Susan Stephens, Marlene van Niekerk, Susanne Woods, Kevin Young, Shu Yi Zhou, and Jan Ziolkowski.
Finally, we gratefully acknowledge the following authors, publishers, and agents for granting us permission to use brief selections from the copyrighted material listed below. Great care has been taken to trace all the owners of copyrighted material used in this book. Any inadvertent omissions pointed out to us will be gladly acknowledged in future printings.
Alurista for five lines of his poem Mis ojos hinchados.
Arte Público Press for ten lines of Guitarreros
by Américo Paredes, from Between Two Worlds, copyright © 1991 by Arte Público Press; and four lines of Emily Dickinson
by Lucha Corpi, from Palabras de Mediodia/Noon Words, copyright © 1980 by Arte Público Press. Both reprinted by permission of Arte Público Press.
Gordon Brotherston for six lines of his translation of Preuss’s musings on the Witoto; six lines of his translation of a traditional Quechua hymn; and twelve lines of his translation from the Nahuatl of an excerpt from Cuauhtitlan Annals.
The University of California Press for five lines of The Box
by Robert Creeley, from The Collected Poems of Robert Creeley, 1945–1960, copyright © 2006 by the Regents of the University of California; and two lines of Two Voices
by Khalil Gibran from An Anthology of Modern Arabic Poetry, edited by Hamid Algar and Mounah Khouri, copyright © 1974 by the Regents of the University of California. Both reprinted by permission of the University of California Press.
Cambridge University Press for three lines of Eulogy
by al-Mutanabbi, from Poems of al-Mutanabbi, translated by A. J. Arberry, copyright © 1967 by Cambridge University Press; and three lines by al-Khansa, from Arabic Poetry: A Primer for Students, translated by A. J. Arberry, copyright © 1965 by Cambridge University Press. Both reprinted by the permission of Cambridge University Press.
Coach House Books for four lines from Eunoia, by Christian Bök (Coach House Books, 2001, updated 2009).
Columbia University Press for six lines of Tansim ka, or, Song of a Loyal Heart
from Early Korean Literature: Selections and Introductions, by David R. McCann, copyright © 2000 Columbia University Press; twelve lines of Azaleas,
six lines of Winter Sky,
and eighteen lines of Grasses,
each from The Columbia Anthology of Modern Korean Poetry, edited by David R. McCann, copyright © 2004 Columbia University Press. All reprinted by permission of the publisher.
Jayne Cortez for eight lines of If the Drum Is a Woman,
copyright © 2011 by Jayne Cortez.
Faber and Faber Ltd. for two lines of The Hollow Men
by T. S. Eliot from Collected Poems 1909–1962 by T. S. Eliot, copyright © 1974 by Faber and Faber, Ltd.; three lines of The Fragment
by Seamus Heaney, from Electric Light, copyright © 2001 by Seamus Heaney and reprinted by permission of Faber and Faber, Ltd.; In a Station of the Metro
by Ezra Pound, from Personae, copyright © 1926 by Ezra Pound; and Red Wheel Barrow
by William Carlos Williams, from The Collected Poems: Volume I, 1909–1939, copyright © 1938 by William Carlos Williams. All reprinted by permission of Faber and Faber, Ltd.
Rafael Jesús González for eleven lines of his poem The Coin (Ars Poetica)
from El hacedor de juegos/The Maker of Games (San Francisco: Casa Editorial, 1977; 2nd edition, 1987), copyright © 2012 by Rafael Jesús González. Reprinted by permission of the author.
Graywolf Press for thirteen lines of John Col
by Elizabeth Alexander from The Venus Hottentot, copyright © 1990 by the Rector and Visitors of the University of Virginia.
Harvard University Press for five lines of Artifice of Absorption
from A Poetics by Charles Bernstein, Cambridge, Mass.: Harvard University Press, copyright © 1992 by Charles Bernstein; four lines of The Kalevala: Or, Poems of the Kalevala District, compiled by Elias Lönnrot, translated by Francis Peabody Magoun, Jr., Cambridge, Mass.: Harvard University Press, copyright © 1963 by the President and Fellows of Harvard College. Both reprinted by permission of the publisher.
University of Hertfordshire Press for twelve lines from an untitled poem translated by Iren Kertesz-Wilkinson, published in Romani Culture and Gypsy Identity, edited by T. A. Acton and G. Mundy, University of Hertfordshire Press, 1997; nine lines of O Land, I Am Your Daughter
by Bronislawa Wajs and four lines of Roads of the Roma
by Leksa Manus, both published in The Roads of the Roma: A PEN Anthology of Gypsy Writers, copyright © 1998 by PEN American Center, University of Hertfordshire Press.
Henry Holt and Company for two lines of The Gift Outright
from The Poetry of Robert Frost, edited by Edward Connery Lathem, copyright © 1969 by Henry Holt and Company, copyright © 1942 by Robert Frost, copyright © 1970 by Lesley Frost Ballantine. Reprinted by permission of Henry Holt and Company, LLC.
Houghton Mifflin Harcourt Publishing Company for excerpts from The Hollow Men
from Collected Poems 1909–1962 by T. S. Eliot, copyright © 1936 by Harcourt, Inc. and renewed by T. S. Eliot; and eight lines of It Is Dangerous to Read Newspapers
from Selected Poems I, 1965–1975 by Margaret Atwood, copyright © 1976 by Margaret Atwood. Both reprinted by permission of Houghton Mifflin Harcourt Publishing Company. All rights reserved.
Robert Huey for permission to reprint five lines of his translation of Shinkokinshū
by Fujiwara Teika.
Phoebe Larrimore Literary Agency for eight lines of It Is Dangerous to Read Newspapers
by Margaret Atwood, used by permission of the author. Available in the following collections: In the United States, Selected Poems I, 1965–1975, published by Houghton Mifflin, copyright © Margaret Atwood 1976; in Canada, Selected Poems, 1966–1984, published by McClelland and Stewart, copyright © Margaret Atwood 1990; in the UK, Eating Fire, published by Virago Books, copyright © Margaret Atwood 1998.
Ian Monk for excerpts from his poems A Threnodialist’s Dozen
and Elementary Morality.
James T. Monroe for his translation of Envoie to a Love Poem
from Hispano-Arabic Poetry: A Student Anthology, published by the University of California Press, 1974.
José Montoya for six lines of his poem El Louie.
New Directions Publishing Corporation for five lines of The Five Day Rain
by Denise Levertov, from Collected Earlier Poems 1940–1960, copyright © 1960 by Denise Levertov; four lines of Poems
by Dylan Thomas, from Collected Poems, copyright © 1952 by Dylan Thomas; five lines of Epigram (After the Greek)
by H. D. (Hilda Doolittle), from Collected Poems, 1912–1944, copyright © 1982 by The Estate of Hilda Doolittle; In a Station of the Metro
by Ezra Pound, from Personae, copyright © 1926 by Ezra Pound; and Red Wheel Barrow
by William Carlos Williams, from The Collected Poems: Volume I, 1909–1939, copyright © 1938 by New Directions Publishing Corp. All reprinted by permission of New Directions Publishing Corp.
Nightwood Editions for six lines of language (in)habits
from Forage by Rita Wong, published by Nightwood Editions, 2007; http://www.nightwoodeditions.com.
Oxford University Press for eight lines of It Is Dangerous to Read Newspapers
from Margaret Atwood, The Animals in that Country, copyright © 1969 Oxford University Press Canada. Reprinted by permission of the publisher.
Burton Raffel for his translation of a pantun, the traditional Malay four-line verse.
Random House for four lines of River Snow
from The Anchor Book of Chinese Poetry, edited by Tony Barnstone and Chou Ping, copyright © 2005 by Tony Barnstone and Chou Ping. Used by permission of Anchor Books, a division of Random House, Inc.
Lynne Rienner Publications for five lines of Lazarus 1962
by Khalil Hawi from Naked in Exile: The Threshing Floors of Hunger, translated by Adnan Haydar and Michael Beard, © 1984. Reprinted by permission of Lynne Rienner Publications.
Sonia Sanchez for four lines of her poem a / coltrane / poem.
Maekawa Sajuro for five lines of an untitled poem from Shokubutsusai by Maekawa Samio, translated by Leith Morton.
Simon & Schuster, Inc., for three lines of Leda and the Swan,
reprinted by the permission of Scribner, a Division of Simon & Schuster, Inc., from The Collected Works of W. B. Yeats, Volume 1: The Poems, Revised by W. B. Yeats, edited by Richard J. Finneran, copyright © 1928 by the Macmillan Company, renewed 1956 by Georgie Yeats. All rights reserved.
Society of Biblical Literature for six lines of Kirta,
from Ugaritic Narrative Poetry, edited by Simon B. Parker, copyright © 1997. Reprinted by permission of the Society of Biblical Literature.
Talon Books for twenty-one lines of Naked Poems
from Selected Poems: The Vision Tree copyright © 1982 Phyllis Webb, Talon Books, Vancouver, B.C. Reprinted by permission of the publisher.
University of Virginia Press for four lines of A Warm Day in Winter
by Paul Laurence Dunbar from The Collected Poetry of Paul Laurence Dunbar, edited by Joanne M. Braxton, copyright © 1993 Rector and Visitors of the University of Virginia. Reprinted by permission of the University of Virginia Press.
Wesleyan University Press for eight lines of Spring Images
by James Wright from Collected Poems, copyright © 1971 by James Wright; eleven lines of Altazor
by Vincente Huidobro, translated by Eliot Weinberger, copyright © 2004 by Eliot Weinberger. Both reprinted by permission of Wesleyan University Press.
Topical List of Entries
Terms and Concepts
Genres and Forms
Periods, Schools, and Movements
National, Regional, and Diasporic Poetries
Poetry in Culture and Society
Terms and Concepts
absorption
accent
accentual-syllabic verse
accentual verse
acephalous
address
adonic
adynaton
aeolic
aestheticism
affect
affective fallacy
afflatus
agudeza
alaṃkāra
alcaic
alcmanic verse
aleatory poetics
alexandrine
allaeostropha
alliteration
allusion
ambiguity
amphibrach
amplification
anaclasis
anacoluthon
anacreontic
anacrusis
anadiplosis
anagram
analogy. See METAPHOR; SIMILE; SYMBOL
anapest
anaphora
anceps
anthimeria
anthology
anticlimax
antimetabole
antispast
antistrophe
antithesis
antonomasia
antropofagia
aphaeresis
apocope
aporia
aposiopesis
apostrophe
appreciation
archaism
archetype
archilochian
argument
arsis and thesis
arte mayor
arte menor
artifice, poetic
Arzamas
asclepiad
assonance
asynarteton
asyndeton
attention
audience. See PERFORMANCE; READER; READER RESPONSE; RHETORIC AND POETRY
aureate diction
autonomy
auto sacramental
autotelic
auxesis
bacchius
ballad meter, hymn meter
bard
barzelletta. See FROTTOLA AND BARZELLETTA
bathos
beat
binary and ternary
bob and wheel
book, poetic
boustrophedon
bouts-rimés
bridge
broken rhyme
burden
Burns stanza
bylina
caccia
cacophony
cadence
caesura
cancionero/cancioneiro
canon
cante jondo
canticum and diverbium
canto
canzone
canzoniere
capitolo
carmen
carmina figurata
carpe diem
catachresis
catalexis
catalog
catharsis
cauda
caudate sonnet
cento
chain rhyme
character, Theophrastan
chastushka
chiasmus
choliambus
choriamb
chorus
Christabel meter
Chuci
classical meters in modern languages
classical poetics
classicism
clavis
cliché
climax
close reading
close rhyme
closure
cobla
codework
cognitive poetics
colon
colonial poetics
commonplace
composition. See ORAL-FORMULAIC THEORY; POET; RHETORIC AND POETRY; VERSIFICATION
composition by field
concatenation
conceit
conceptismo
concision
concrete universal
connotation and denotation
consonance
constraint
conte dévot
contests, poetic. See POETIC CONTESTS; POETRY SLAM
contrafactum
convention
copla
coq-à-l’âne
corona
coronach
correlative verse
cossante
counterpoint
counterpoint rhythm
coupe
couplet
courtly love
cretic
criticism
cross rhyme
cuaderna vía
cueca chilena
cultural criticism
curtal sonnet
cybertext
cynghanedd
cywydd
dactyl
dactylo-epitrite
dansa
dead metaphor
decadence
decasyllable
décima
decir
decorum
defamiliarization
deixis
demotion
descort
dhvani
diaeresis
dialogue
diction
difficulty
dimeter
dindshenchas
dipodism, dipodic verse
discordia concors
dissociation of sensibility
dissonance
distich
dithyramb
ditty
divan
dizer
dochmiac
dol’nik
double dactyl
dozens
duration
dyfalu
eclogue
écriture
eisteddfod
elegiac distich
elegiac stanza
elision
ellipsis
emotion
empathy and sympathy
enargeia
end-stopped
en(h)oplian
enjambment
envelope
envoi
epanalepsis
epenthesis
epiploke
epitrite
epode
equivalence
estilística
estribillo
ethnopoetics
ethos
euphony
evaluation
exegesis
exemplum
exoticism
explication
explication de texte
expression
eye rhyme
fancy
fatras
feigning
figura
figuration
fili
flyting
folia
foot
formalism
formula
fourteener
fractal verse
fragment
Frankfurt school
frottola and barzelletta
furor poeticus
gai saber
gaita gallega
galliamb(us)
generative metrics
generic rhyme
Geneva school
genius
Gesellschaftslied
glosa
glossolalia
glyconic
grammatical rhyme
Greek Anthology
greguería
Guslar
haibun
Hebraism
Hellenism. See GREEK POETRY; HEBRAISM
hemiepes
hemistich
hendecasyllable
hendiadys
heptameter
heptasyllable
hermeneutics
hermeticism
heroic couplet
heterogram
heterometric
heteronym
hexameter
hiatus
hieroglyph
historicism
homodyne and heterodyne
homoeoteleuton
hovering accent
hudibrastic verse
huitain
humors
hypallage
hyperbaton
hyperbole
hypermetric
hypogram
hypometric
hyporchema
hypotaxis and parataxis
hysteron proteron
iambe
iambic
iambic shortening
iconicity
iconology
ictus
identical rhyme
ideogram
idyll
image
imagery
imagination
imitation
incantation
incremental repetition
indeterminacy
influence
in medias res
In Memoriam stanza
inscape and instress
inspiration
intensity
intention
intentional fallacy
internal rhyme
interpretation
intertextuality
intuition
invective
invention
ionic
irony
isochronism or isochrony
isocolon and parison
isometric
ithyphallic
je ne sais quoi
jitanjáfora
jongleur
kenning
kharja
Kokinshū
laisse
lauda
laureate. See POET LAUREATE
leich
leonine rhyme, verse
letrilla
line
lipogram
lira
litotes
logaoedic
mal mariée
Man’yōshū
masculine and feminine
matrix
measure
meiosis
melopoeia, phanopoeia, logopoeia
metalepsis or transumption
metaphor
meter
metonymy
metrici and rhythmici
metron
mime
mimesis
minstrel
molossus
monk’s tale stanza
monody
monometer
monorhyme
monostich
mora
mosaic rhyme
mote
motif
muse
myth
naïve-sentimental
narrator. See PERSONA; VOICE
national poetry
nature
Natureingang
near rhyme
negative capability
neoterics
New Criticism
New Historicism
Nibelungenstrophe
novas (rimadas)
number(s)
numerology
objective correlative
obscurity
octave
octonarius
octosyllable
odl
Omar Khayyám quatrain
Onegin stanza
onomatopoeia
open form
oral-formulaic theory
oral poetry
organicism
originality
ornament
ottava rima
oxymoron
paeon
palindrome
parabasis
paraclausithyron
paradox
paralipsis
parallelism
paraphrase, heresy of
parenthesis
paroemiac
paronomasia
partimen
pathetic fallacy
pathos
patronage
pause
pentameter
penthemimer
performance
period
periphrasis
persona
personification
phalaecean
phonestheme
pie quebrado
pitch
plain style
ploce
plot
poet
poète maudit
poetess
poetic contests
poetic function
poetic license
poetic madness
poetics, Western
poet laureate
poetry reading
poiēsis
point of view. See PERSONA; PLOT; VOICE
polyptoton
polysemy
polysyndeton
postcolonial poetics
poststructuralism
poulter’s measure
préciosité
pregunta
presence
priamel
priapea
proceleusmatic
promotion
pronunciation
prose rhythm
prosimetrum
prosodic feature analysis of verse
prosody
prosopopoeia
pseudo-statement
pun. See PARONOMASIA
punctuation
pure poetry
pyrrhic
pythiambic
a
quantity
quatrain
querelle des anciens et des modernes
quintain
reader
reader response
reception theory. See READER RESPONSE
recitation
refrain
refrán
refrein
rejet
relative stress principle
remate
renga
repetition
representation
resolution
responsion
reversed consonance
reverse rhyme
rhapsode
rhopalic verse
rhyme
rhyme counterpoint
rhyme-prose
rhyme royal
rhyme scheme
rhythm
rhythmic figures
rich rhyme
rime riche. See IDENTICAL RHYME; RHYME; RICH RHYME
rising and falling rhythm
ritornello
rota virgiliana
rune
running rhythm
Saturnian
saudosismo
scansion
scheme
Schüttelreim
scop
seguidilla
senarius
senhal
sensibility
sentimentality
septenarius
septet
serial form
serranilla
sestet
sexain
Shijing
Shinkokinshū
Sicilian octave
sign, signified, signifier
signifying
simile
sincerity
slang. See DICTION
śleṣa
songbook
sound
space, poetic
spatial form
speaker. See PERSONA; VOICE
speech act theory
Spenserian stanza
split lines
spoken word. See PERFORMANCE
spondee
spontaneity
Spruchdichtung
sprung rhythm
stances
stanza
stave
stichomythia
stichos
stock
stornello
strambotto
strophe
structure
style
stylistics
sublime
substitution
syllabic verse
syllable
syllepsis
symbol
synaeresis
synaesthesia
synaloepha
synapheia
syncopation
syncope
synecdoche
system
syzygy
tail rhyme
taste
technopaegnion
telesilleum
tenor and vehicle
tercet
tetrameter
tétramètre
text
textual criticism
textuality
texture
thematics
timbre
tlacuilolli
tmesis
tone
topos
tornada
Tottel’s Miscellany
touchstones
tradition
translation
tribrach
trilogy
trimeter
trimètre
triple rhyme
triplet
trobairitz
trobar clus, trobar leu
trochaic
trope
troubadour
trouvère
typography
unity
upamā
ut pictura poesis
utprekṣā
variable foot
variation
vates
Venus and Adonis stanza
verisimilitude. See MIMESIS
vers
verse and prose
verse paragraph
verse systems. See METER
verset
versification
versi sciolti
vers libéré
vers mesurés à l’antique
verso piano
verso sdrucciolo
verso tronco
vida
villancico
visual rhyme. See EYE RHYME
voice
volta
Wartburgkrieg
wheel. See BOB AND WHEEL
wit
word-count
work
wrenched accent
xenoglossia
yuefu
zaum’
zeugma
Genres and Forms
abecedarius
acrostic
air
alba
allegory
anecdote
anthem, national
aphorism. See EPIGRAM
balada
balagtasan
ballad
ballade
beast epic
bestiary
Biblical poetry. See HEBREW POETRY; HEBREW PROSODY AND POETICS; HYMN; PSALM
blank verse
blason
blues
broadside ballad
bucolic
burlesque. See CONTRAFACTUM; PARODY; PASTICHE
calendrical poetry
calligramme
canción
canso
cantar
cantiga
carol
chanso, chanson. See FRANCE, POETRY OF; OCCITAN POETRY; SONGBOOK; TROUBADOUR; TROUVÈRE
chanson de geste
chanson de toile
chant
chante-fable
chant royal
charm
ci
clerihew
closet drama
collage
comedy
comma poem
companion poems
complaint
computational poetry
conceptual poetry
concrete poetry
conversation poem
corrido. See CHICANA/O POETRY; ROMANCE
country house poem
cowboy poetry
descriptive poetry
devotional poetry
dialect poetry
didactic poetry
Dinggedicht
dirge
dit
dizain
doggerel
dramatic monologue. See MONOLOGUE
dramatic poetry
dream vision
dub poetry. See CARIBBEAN, POETRY OF THE
echo verse
ecstatic poetry
edda
ekphrasis
electronic poetry
elegy
emblem
encomium
endecha
englyn
ensalada
ensenhamen
epic
epicedium
epideictic poetry
epigram
epinikion
epitaph
epithalamium
epithet
epyllion
erotic poetry
espinela
estampida
fable
fabliau
fescennine verses
finida
folk poetry. See ORAL POETRY
form
found poetry
free verse
freie rhythmen
freie verse
fu
gaucho poetry
genre
georgic
ghazal
gnomic poetry
Goliardic verse
haikai
haiku, Western
heroic verse
hybrid poetry
hymn
jingle
kind
Knittelvers
lai
lament
landscape poem
letter, verse. See VERSE EPISTLE
lied
light verse
limerick
liturgical poetry
long poem
love poetry
lullaby
lyric
lyric sequence
macaronic verse
madrigal
manifesto
masnavī
masque
medieval romance
melic poetry
micropoetries
Minnesang
mock epic, mock heroic
monologue
morale élémentaire
muwashshaḥ. See AL-ANDALUS, POETRY OF; ARABIC POETRY; HEBREW POETRY
narrative poetry
nativity poem
Nō
nonsense verse
nursery rhymes
occasional verse
ode
paean
palinode
panegyric
pantun
parody
pastiche
pastoral
pastourelle
pattern poetry. See CALLIGRAMME; CONCRETE POETRY; TECHNOPAEGNION; VISUAL POETRY
payada
penitential psalms
planctus
planh
poem
poetry
poetry slam
political verse
proem
prophetic poetry
prose poem
proverb
psalm
psalms, metrical
qaṣīda
quatorzain
quintilla
rap. See HIP-HOP POETICS
razo
recusatio
redondilla
reverdie
riddle
rímur
ring composition
rispetto
romance
rondeau
rondel
rotrouenge
roundel
ī
saga
sapphic
satire
sestina
sextilla
shi
silloi
silva
sirventes
Skeltonic
skolion
slam, poetry. See POETRY SLAM
song
sonnet
sonnet sequence
sotadean
sound poetry
spiritual
stasimon
tagelied
tenso
terza rima
terza rima sonnet
toast
tragedy
tragicomedy
triolet
tumbling verse
verse drama. See DRAMATIC POETRY
verse epistle
verse novel. See NARRATIVE POETRY
vers libre
villanelle
virelai
visual poetry
waka
war poetry
ymryson
zéjel
Periods, Schools, and Movements
acmeism
Agrarians
Alexandrianism
Areopagus
avant-garde poetics
baroque
Beat poetry
Biedermeier
Black Arts movement
Black Mountain school
Cavalier poets
Chicago school
Ciceronianism
classical poetics
classical prosody
Cockney school of poetry
confessional poetry
Connecticut wits
constructivism
courtly makers
creationism
cubism
Dada
Dark Room Collective
Deep Image
Dolce stil nuovo
ecopoetry. See ENVIRONMENT AND POETRY
Évora critics
expressionism
Félibrige
Finland-Swedish modernists
Fireside poets
Flarf
fleshly school of poetry
Fugitives
futurism
Fyrtiotalisterna
gay poetry
Georgianism
graveyard poetry
Harlem Renaissance
Hellenistic poetics. See ALEXANDRIANISM; CLASSICAL POETICS
Hellenistic poetry. See GREEK POETRY
hip-hop poetics
imagism
impressionism
jazz poetry
Jindyworobak
Kootenay school
Lake school
Language poetry
lesbian poetry
lettrisme
mannerism
Marinism
medieval poetics
medieval poetry
Meistersinger
metaphysical poetry
minimalism
modernism
modernismo
Moscow-Tartu school. See STRUCTURALISM
Movement, the
naturalism
Negritude
neobaroque
neoclassical poetics
neo-Gongorism
New Formalism
New York school
Nil Volentibus Arduum
Noigandres
Norske Selskab
Nuyorican Poets Café
objectivism
Oulipo
Parnassianism
Petrarchism
Pléiade
postmodernism
Prague school. See STRUCTURALISM
Pre-Raphaelite Brotherhood
Pre-Raphaelitism
preromanticism
primitivism
procedural poetry. See ALEATORY POETICS; CONCEPTUAL POETRY; OULIPO
projective verse
protest poetry
queer poetry
realism
rederijkers
Renaissance poetics
Renaissance poetry
rhétoriqueurs, grands
Rhymers’ Club
rococo
romantic and postromantic poetry and poetics
romanticism
Russian formalism
San Francisco Renaissance
Satanic school
school of Spenser
Scottish Chaucerians or Makars
seconde rhétorique
Sicilian school
smithy poets
spasmodic school
structuralism
Sturm und Drang
surrealism
symbolism
Tachtigers
Tel Quel
TISH
Transcendentalists
ultraism
vorticism
XUL
National, Regional, and Diasporic Poetries
Africa, poetry of
African American poetry
Afrikaans poetry. See SOUTH AFRICA, POETRY OF
Akkadian poetry. See ASSYRIA AND BABYLONIA, POETRY OF
Al-Andalus, poetry of
Albania, poetry of
American Indian poetry. See INDIGENOUS AMERICAS, POETRY OF THE; INUIT POETRY; NAVAJO POETRY
American poetry. See UNITED STATES, POETRY OF THE
American Sign Language poetry
Amerind poetry. See INDIGENOUS AMERICAS, POETRY OF THE
Amharic poetry. See ETHIOPIA, POETRY OF
Arabic poetics
Arabic poetry
Arabic prosody
Araucanian poetry. See INDIGENOUS AMERICAS, POETRY OF THE
Argentina, poetry of
Armenian poetry and poetics
Asian American poetry
Assamese poetry
Assyria and Babylonia, poetry of
Australia, poetry of
Austria, poetry of
Aztec poetry. See INDIGENOUS AMERICAS, POETRY OF THE
Basque Country, poetry of the
Belarus, poetry of. See RUSSIA, POETRY OF
Belgium, poetry of
Bengali poetry
Bhakti poetry. See INDIA, POETRY OF
Bolivia, poetry of
Bosnian poetry
Brazil, poetry of
Breton poetry
Bulgaria, poetry of
Byzantine poetry
Cambodia, poetry of
Canada, poetry of
Caribbean, poetry of the
Catalan poetry
Celtic prosody
Chicana/o poetry
Chile, poetry of
China, modern poetry of
China, poetry of
China, popular poetry of
Chinese poetic drama
Chinese poetics
Chinese poetry in English translation
Chinese poetry in Japan
Colombia, poetry of
Cornish poetry
Croatian poetry
Cuba, poetry of. See CARIBBEAN, POETRY OF THE
Czech poetry
Danish poetry. See DENMARK, POETRY OF
Denmark, poetry of
Dutch poetry. See LOW COUNTRIES, POETRY OF THE
Ecuador, poetry of
Egypt, poetry of
El Salvador, poetry of
England, poetry of
English prosody
Esperanto poetry
Estonia, poetry of
Ethiopia, poetry of
Finland, poetry of
Flemish poetry. See LOW COUNTRIES, POETRY OF THE
France, poetry of
francophone poets of the U.S.
French poetry. See FRANCE, POETRY OF
French prosody
Frisian poetry
Gaelic poetry. See IRELAND, POETRY OF; SCOTLAND, POETRY OF
Galicia, poetry of
Georgia, poetry of
Germanic prosody
German poetry
Greek poetics. See ALEXANDRIANISM; BYZANTINE POETRY; CLASSICAL POETICS
Greek poetry
Guaraní poetry
Guatemala, poetry of
Gujarati poetry
Gypsy poetry. See ROMANI POETRY
Haiti, poetry of. See CARIBBEAN, POETRY OF THE
Hausa poetry
Hebrew poetry
Hebrew prosody and poetics
Hindi poetry
Hispano-Arabic poetry. See AL-ANDALUS, POETRY OF
Hittite poetry
Hungary, poetry of
Iceland, poetry of
Inca poetry. See INDIGENOUS AMERICAS, POETRY OF THE
India, English poetry of
India, poetry of
Indian prosody
indigenous Americas, poetry of the
Indonesian poetry
Inuit poetry
Iranian poetry. See PERSIAN POETRY
Ireland, poetry of
Italian prosody
Italy, poetry of
Japan, modern poetry of
Japan, poetry of
Japanese linked verse. See RENGA
Japanese poetic diaries
Japanese poetics
Java, poetry of. See INDONESIAN POETRY
Judeo-Spanish poetry
Kannada poetry
Kashmiri poetry
Korea, poetry of
Ladino poetry. See JUDEO-SPANISH POETRY
Latin America, poetry of. See ARGENTINA, POETRY OF; BOLIVIA, POETRY OF; BRAZIL, POETRY OF; CHILE, POETRY OF; COLOMBIA, POETRY OF; ECUADOR, POETRY OF; EL SALVADOR, POETRY OF; GAUCHO POETRY; GUARANÍ POETRY; GUATEMALA, POETRY OF; INDIGENOUS AMERICAS, POETRY OF THE; MAPUCHE POETRY; MEXICO, POETRY OF; NICARAGUA, POETRY OF; PERU, POETRY OF; SPANISH AMERICA, POETRY OF; URUGUAY, POETRY OF; VENEZUELA, POETRY OF
Latin poetics. See CLASSICAL POETICS; CLASSICISM; MEDIEVAL POETICS
Latin poetry
Latin prosody. See CLASSICAL PROSODY
Latvia, poetry of
Lithuania, poetry of
Low Countries, poetry of the
Macedonian poetry
Magyar poetry. See HUNGARY, POETRY OF
Malayalam poetry
Malay poetry
Maori poetry. See NEW ZEALAND, POETRY OF
Mapuche poetry
Marathi poetry
Mayan poetry. See INDIGENOUS AMERICAS, POETRY OF THE
Mesoamerica, poetry of. See INDIGENOUS AMERICAS, POETRY OF THE
Mexican American poetry. See CHICANA/O POETRY
Mexico, poetry of
Mongolia, poetry of
Mozarabic poetry. See SPAIN, POETRY OF
Nahuatl, poetry of. See INDIGENOUS AMERICAS, POETRY OF THE
Native American poetry. See INDIGENOUS AMERICAS, POETRY OF THE; INUIT POETRY; NAVAJO POETRY
Navajo poetry
Nepāl Bhāṣa. See NEWAR POETRY
Nepali and Pahari poetry
Netherlands, poetry of the. See LOW COUNTRIES, POETRY OF THE
Newar poetry
New Norse (Nynorsk)
New Zealand, poetry of
Nicaragua, poetry of
Norse poetry
Norway, poetry of
Nuyorican poetry
Occitan poetry
Oriya poetry
Persian poetry
Peru, poetry of
Philippines, poetry of the
Poland, poetry of
Polynesian poetry
Portugal, poetry of
Prakrit poetry
Provençal poetry. See OCCITAN POETRY
Puerto Rico, poetry of. See CARIBBEAN, POETRY OF THE
Punjabi poetry
Rāmāyaṇa poetry
Romania, poetry of
Romani poetry
Romansh poetry. See SWITZERLAND, POETRY OF
Russia, poetry of
Sanskrit poetics
Sanskrit poetry
Scotland, poetry of
Scottish Gaelic poetry. See SCOTLAND, POETRY OF
Sephardic poetry. See JUDEO-SPANISH POETRY
Serbian poetry
Siamese poetry. See THAILAND, POETRY OF
Sindhi poetry. See INDIA, POETRY OF
Sinhalese poetry. See SRI LANKA, POETRY OF
Slavic poetics. See BOSNIAN POETRY; CROATIAN POETRY; CZECH POETRY; POLAND, POETRY OF; RUSSIA, POETRY OF; SERBIAN POETRY; SLOVENIAN POETRY
Slovakia, poetry of
Slovenian poetry
Somali poetry
South Africa, poetry of
South America, poetry of. See ARGENTINA, POETRY OF; BOLIVIA, POETRY OF; BRAZIL, POETRY OF; CHILE, POETRY OF; COLOMBIA, POETRY OF; ECUADOR, POETRY OF; GAUCHO POETRY; GUARANÍ POETRY; INDIGENOUS AMERICAS, POETRY OF THE; MAPUCHE POETRY; PERU, POETRY OF; URUGUAY, POETRY OF; VENEZUELA, POETRY OF
Spain, poetry of
Spanish America, poetry of
Spanish prosody
Sri Lanka, poetry of
Sumerian poetry
Swahili poetry
Sweden, poetry of
Switzerland, poetry of
Tamil poetry and poetics
Telugu poetry
Thailand, poetry of
Tibet, contemporary poetry of
Tibet, traditional poetry and poetics of
Turkic poetry
Turkish poetry
Ukraine, poetry of
United States, poetry of the
Urdu poetry
Uruguay, poetry of
Vedic poetry. See INDIA, POETRY OF
Venezuela, poetry of
Vietnam, poetry of
Welsh poetry
Welsh prosody. See CELTIC PROSODY
West Indian poetry. See CARIBBEAN, POETRY OF THE
Xhosa poetry
Yiddish poetry
Yoruba poetry. See AFRICA, POETRY OF
Zulu poetry
Poetry in Culture and Society
anthropology and poetry
artifact, poetry as
belief and poetry
biography and poetry
cultural studies and poetry
dance and poetry
documentary poetics
environment and poetry
feminist approaches to poetry
fiction, poetry as
gender and poetry
history and poetry
information, poetry as
knowledge, poetry as
linguistics and poetics
music and poetry
novel, poetry in the
painting and poetry
philosophy and poetry
poetry therapy. See THERAPY AND POETRY
politics and poetry
psychology and poetry
religion and poetry
rhetoric and poetry
science and poetry
semantics and poetry
semiotics and poetry
syntax, poetic
technology and poetry
therapy and poetry
visual arts and poetry. See CARMINA FIGURATA; CONCRETE POETRY; EKPHRASIS; PAINTING AND POETRY; UT PICTURA POESIS; VISUAL POETRY
Bibliographical Abbreviations
Abrams M. H. Abrams, The Mirror and the Lamp: Romantic Theory and the Critical Tradition, 1953
AION-SL Annali dell’Istituto Universitario Orientale di Napoli: sezione filologico-letteraria
AJP American Journal of Philology
AJS American Journal of Semiotics
AL American Literature
Allen W. S. Allen, Accent and Rhythm, 1973
Analecta hymnica Analecta hymnica medii aevi, ed. G. M. Dreves, C. Blume, and H. M. Bannister, 55 v., 1886–1922
Attridge, Poetic Rhythm D. Attridge, Poetic Rhythm: An Introduction, 1995
Attridge, Rhythms D. Attridge, The Rhythms of English Poetry, 1982
Auerbach E. Auerbach, Mimesis: The Representation of Reality in Western Literature, trans. W. R. Trask, 1953
Beare W. Beare, Latin Verse and European Song, 1957
Bec P. Bec, La Lyrique Française au moyen âge (XIIe–XIIIe siècles): Contribution à une typologie des genres poétiques médiévaux, 2 v., 1977–78
Benjamin W. Benjamin, The Work of Art in the Age of Mechanical Reproduction,
Illuminations, trans. H. Zohn, 1968
BGDSL (H) Beiträge zur Geschichte de deutschen Sprache und Literatur (Halle)
BGDSL (T) Beiträge zur Geschichte de deutschen Sprache und Literatur (Tübingen)
BHS Bulletin of Hispanic Studies
BJA British Journal of Aesthetics
Bowra C. M. Bowra, Greek Lyric Poetry from Alcman to Simonides, 2d ed., 1961
Bridges R. Bridges, Milton’s Prosody, rev. ed., 1921
Brogan T.V.F. Brogan, English Versification, 1570–1980: A Reference Guide with a Global Appendix, 1981
Brooks C. Brooks, The Well Wrought Urn, 1947
Brooks and Warren C. Brooks and W. P. Warren, Understanding Poetry, 3d ed., 1960
Carper and Attridge T. Carper and D. Attridge, Meter and Meaning: An Introduction to Rhythm, 2003
CBEL Cambridge Bibliography of English Literature, ed. F. W. Bateson, 4 v., 1940; v. 5, Supplement, ed. G. Watson, 1957
CBFL A Critical Bibliography of French Literature, gen. ed. D. C. Cabeen and R. A. Brooks, 6 v., 1947–1994
CE College English
Chambers F. M. Chambers, An Introduction to Old Provençal Versification, 1985
Chatman S. Chatman, A Theory of Meter, 1965
CHCL Cambridge History of Classical Literature, v. 1, Greek Literature, ed. P. E. Easterling and B.M.W. Knox, 1985; v. 2, Latin Literature, ed. E. J. Kenney and W. V. Clausen, 1982
CHEL Cambridge History of English Literature, ed. A. W. Ward and A. R. Waller, 14 v., 1907–16
CHLC Cambridge History of Literary Criticism, 9 v., 1989–2005
Chomsky and Halle N. Chomsky and M. Halle, The Sound Pattern of English, 1968
CJ Classical Journal
CL Comparative Literature
CML Classical and Modern Literature
Corbett E.P.J. Corbett, Classical Rhetoric for the Modern Student, 3d ed., 1990
CP Classical Philology
CQ Classical Quarterly
Crane Critics and Criticism, Ancient and Modern, ed. R. S. Crane, 1952
CritI Critical Inquiry
Crusius F. Crusius, Römische Metrik: ein Einführung, 8th ed., rev. H. Rubenbauer, 1967
Culler J. Culler, Structuralist Poetics: Structuralism, Linguistics, and the Study of Literature, 1975
Cureton R. D. Cureton, Rhythmic Phrasing in English Verse, 1992
Curtius E. Curtius, European Literature and the Latin Middle Ages, trans. W. R. Trask, 1953
CW Classical World
DAI Dissertation Abstracts International
Dale A. M. Dale, The Lyric Meters of Greek Drama, 2d ed., 1968
DDJ Deutsches Dante-Jahrbuch
de Man P. de Man, Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism, 2d ed., 1983
Derrida J. Derrida, Of Grammatology, trans. G. C. Spivak, 2d ed., 1998
DHI Dictionary of the History of Ideas, ed. P. P. Weiner, 6 v., 1968–74
Dronke P. Dronke, Medieval Latin and the Rise of European Love Lyric, 2d ed., 2 v., 1968
Duffell M. J. Duffell, A New History of English Metre, 2008
E&S Essays and Studies of the English Association
ELH ELH (formerly English Literary History)
Eliot, Essays T. S. Eliot, Selected Essays, rev. ed., 1950
Elwert W. T. Elwert, Französische Metrik, 4th ed., 1978
Elwert, Italienische W. T. Elwert, Italienische Metrik, 2d ed., 1984
Empson W. Empson, Seven Types of Ambiguity, 3d ed., 1953
ENLL English Language and Linguistics
Fabb et al. N. Fabb, D. Atridge, A. Durant, and C. MacCabe, The Linguistics of Writing, 1987
Faral E. Faral, Les arts poétique du XIIe et du XIIIe siècles, 1924
Finch and Varnes An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art, ed. A. Finch and K. Varnes, 2002
Fish S. Fish, Is There a Text in This Class? The Authority of Interpretive Communities, 1980
Fisher The Medieval Literature of Western Europe: A Review of Research, Mainly 1930–1960, ed. J. H. Fisher, 1965
FMLS Forum for Modern Language Studies
Fontanier P. Fontanier, Les figures du discourse, 1977
Fowler A. Fowler, Kinds of Literature: An Introduction to the Theory of Genres and Modes, 1982
Frye N. Frye, Anatomy of Criticism: Four Essays, 1957
FS French Studies
Gasparov M. L. Gasparov, Sovremennyj russkij stix: Metrika i ritmika, 1974
Gasparov, History M. L. Gasparov, A History of European Versification, trans. G. S. Smith and M. Tarlinskaja, 1996
GRLMA Grundriss der romanischen Literaturen des Mittelalters, ed. H. R. Jauss and E. Köhler, 11 v., 1968–
Group μ Group μ (J. Dubois, F. Edeline, J.-M. Klinkenberg, P. Minguet, F. Pire, H. Trinon), A General Rhetoric, trans. P. B. Burrell and E. M. Slotkin, 1981
Halporn et al. J. W. Halporn, M. Ostwald, and T. G. Rosenmeyer, The Meters of Greek and Latin Poetry, 2d ed., 1980
Hardie W. R. Hardie, Res Metrica, 1920
HJAS Harvard Journal of Asiatic Studies
Hollander J. Hollander, Vision and Resonance: Two Senses of Poetic Form, 2d ed., 1985
Hollier A New History of French Literature, ed. D. Hollier, 1989
HQ Hopkins Quarterly
HR Hispanic Review
HudR Hudson Review
ICPhS International Congress of Phonetic Sciences (journal)
IJCT International Journal of Classical Tradition
JAAC Journal of Aesthetics and Art Criticism
JAC JAC: A Journal of Rhetoric, Culture, and Politics
JAF Journal of American Folklore
Jakobson R. Jakobson, Selected Writings, 8 v., 1962–88
Jakobson and Halle R. Jakobson and M. Halle, Fundamentals of Language, 1956
JAOS Journal of American Oriental Society
Jarman and Hughes A Guide to Welsh Literature, ed. A. O. H. Jarman and G. R. Hughes, 2 v., 1976–79
Jeanroy A. Jeanroy, La Poésie lyrique des Troubadours, 2 v., 1934
Jeanroy, Origines A. Jeanroy, Les origines de la poésie lyrique en France au moyen âge, 4th ed., 1965
JEGP Journal of English and Germanic Philology
JFLS Journal of French Language Studies
JHS Journal of Hellenic Studies
JL Journal of Linguistics
Jour. P. Society Journal of Polynesian Society
JPhon Journal of Phonetics
Kastner L. E. Kastner, A History of French Versification, 1903
Keil Grammatici Latini, ed. H. Keil, 7 v., 1855–80; v. 8, Anecdota helvitica: Supplementum, ed. H. Hagen, 1870
Koster W.J.W. Koster, Traité de métrique greque suivi d’un précis de métrique latine, 5th ed., 1966
KSMB Keats-Shelley Journal
KR Kenyon Review
L&S Language and Speech
Lang Language
Lang&S Language and Style
Lanham R. A. Lanham, A Handlist of Rhetorical Terms, 2d ed., 1991
Lausberg H. Lausberg, Handbook of Literary Rhetoric: A Foundation for Literary Study, trans. M. T. Bliss, A. Jansen, and D. E. Orton, 1998
Le Gentil P. Le Gentil, La Poésie lyrique espagnole et portugaise à la fin du moyen âge, 2 v., 1949–53
Lewis C. S. Lewis, The Allegory of Love, 1936
LingI Linguistic Inquiry
Lord A. B. Lord, The Singer of Tales, 2d ed., 2000
Lote G. Lote, Histoire du vers française, 9 v., 1940
M&H Medievalia et Humanistica: Studies in Medieval and Renaissance Culture
Maas P. Maas, Greek Metre, trans. H. Lloyd-Jones, 3d ed., 1962
Manitius M. Manitius, Geschichte der lateinischen Literatur des Mittelalters, 3 v., 1905–36
Mazaleyrat J. Mazaleyrat, Éléments de métrique française, 3d ed., 1981
Meyer W. Meyer, Gesammelte Abhandlungen zur mittelateinischen Rhythmik, 3 v., 1905–36
MGG Die Musik in Geschichte und Gegenwart: Allegemeine Enzyklopaedia der Musik, ed. F. Blume, 16 v., 1949–79
MGH Monumenta germaniae historica
MHRA Modern Humanities Research Association
Michaelides S. Michaelides, The Music of Ancient Greece: An Encyclopaedia, 1978
MidwestQ Midwest Quarterly
Migne, PG Patrologiae cursus completus, series graeca, ed. J. P. Migne, 161 v., 1857–66
Migne, PL Patrologiae cursus completus, series latina, ed. J. P. Migne, 221 v., 1844–64
Miner et al. E. Miner, H. Odagiri, and R. E. Morrell, The Princeton Companion to Classical Japanese Literature, 1986
MLN Modern Language Notes
MLQ Modern Language Quarterly
MLQ (London) Modern Language Quarterly (London)
MLR Modern Language Review
Morier H. Morier, Dictionnaire de poétique et de rhétorique, 5th ed., rev. and exp., 1998
Morris-Jones J. Morris-Jones, Cerdd Dafod, 1925, rpt. with index, 1980
MP Modern Philology
Murphy J. J. Murphy, Rhetoric in the Middle Ages: A History of Rhetorical Theory from St. Augustine to the Renaissance, 1974
N&Q Notes & Queries
Navarro T. Navarro, Métrica española: Reseña histórica y descriptiva, 6th ed., 1983
NER/BLQ New England Review / Bread Loaf Quarterly
New CBEL New Cambridge Bibliography of English Literature, ed. G. Watson and I. R. Willison, 5 v., 1969–77
New Grove New Grove Dictionary of Music and Musicians, ed. S. Sadie, 20 v., 1980
Nienhauser et al. W. H. Nienhauser, Jr., C. Hartman, Y. W. Ma, and S. H. West, The Indiana Companion to Traditional Chinese Literature, 1986
NLH New Literary History
NM Neuphilologische Mitteilungen (Bulletin of the Modern Language Society)
Norberg D. Norberg, Introduction a l’étude de la versification latine médiévale, 1958
Norden E. Norden, Die antike Kunstprosa, 9th ed., 2 v., 1983
OED Oxford English Dictionary
OL Orbis Litterarum: International Review of Literary Studies
Olson C. Olson, Projective Verse,
Collected Prose, ed. D. Allen and B. Friedlander, 1997
Omond T. S. Omond, English Metrists, 1921
P&R Philosophy and Rhetoric
Parry M. Parry, The Making of Homeric Verse, ed. A. Parry, 1971
Parry, History T. Parry, A History of Welsh Literature, trans. H. I. Bell, 1955
Patterson W. F. Patterson, Three Centuries of French Poetic Theory: A Critical History of the Chief Arts of Poetry in France (1328–1630), 2 v., 1935
Pauly-Wissowa Paulys Realencyclopädie der classischen Alterumswissenschaft, ed. A. Pauly, G. Wissowa, W. Kroll, and K. Mittelhaus, 24 v. (A–Q), 10 v. (R–Z, Series 2), and 15 v. (Supplements), 1894–1978
PBA Proceedings of the British Academy
Pearsall D. Pearsall, Old English and Middle English Poetry, 1977
PMLA Publications of the Modern Language Association of America
PoT Poetics Today
PQ Philological Quarterly
PsychologR Psychological Review
Puttenham G. Puttenham, The Arte of English Poesie, ed. F. Whigham and W. A. Rebhorn, 2007
QJS Quarterly Journal of Speech
Raby, Christian F.J.E. Raby, A History of Christian-Latin Poetry From the Beginnings to the Close of the Middle Ages, 2d ed., 1953
Raby, Secular F.J.E. Raby, A History of Secular Latin Poetry in the Middle Ages, 2d ed., 2 v., 1957
Ransom Selected Essays of John Crowe Ransom, ed. T. D. Young and J. Hindle, 1984
Reallexikon I Reallexikon der deutschen Literaturgeschichte, 1st ed., ed. P. Merker and W. Stammler, 4 v., 1925–31
Reallexikon II Reallexikon der deutschen Literaturgeschichte, 2d ed., ed. W. Kohlschmidt and W. Mohr (v. 1–3), K. Kanzog and A. Masser (v. 4), 1958–84
Reallexikon III Reallexikon der deutschen Literaturwissenschaft, 3d ed, ed. H. Fricke, K. Frubmüller, J.-D. Müller, and K. Weimar, 3 v., 1997–2003
REL Review of English Literature
RES Review of English Studies
Richards I. A. Richards, Principles of Literary Criticism, 1925
RLC Revue de littérature compareé
RPh Romance Philology
RQ Renaissance Quarterly
RR Romanic Review
SAC Studies in the Age of Chaucer
Saintsbury, Prose G. Saintsbury, A History of English Prose Rhythm, 1912
Saintsbury, Prosody G. Saintsbury, A History of English Prosody, from the Twelfth Century to the Present Day, 2d ed., 3 v., 1961
Saisselin R. G. Saisselin, The Rule of Reason and the Ruses of the Heart: A Philosophical Dictionary of Classical French Criticism, Critics, and Aesthetic Issues, 1970
Sayce O. Sayce, The Medieval German Lyric, 1150–1300: The Development of Its Themes and Forms in Their European Context, 1982
Scherr B. P. Scherr, Russian Poetry: Meter, Rhythm, and Rhyme, 1986
Schipper J. M. Schipper, Englische Metrik, 3 v., 1881–88
Schipper, History J. M. Schipper, A History of English Versification, 1910
Schmid and Stählin W. Schmid and O. Stählin, Geschichte der griechischen Literatur, 7 v., 1920–48
Scott C. Scott, French Verse-Art: A Study, 1980
Sebeok Style in Language, ed. T. Sebeok, 1960
SEL Studies in English Literature 1500–1900
ShQ Shakespeare Quarterly
Sievers E. Sievers, Altergermanische Metrik, 1893
SIR Studies in Romanticism
Smith Elizabethan Critical Essays, ed. G. G. Smith, 2 v., 1904
Snell B. Snell, Griechesche Metrik, 4th ed., 1982
SP Studies in Philology
Spongano R. Spongano, Nozioni ed esempi di metric italiana, 2d ed., 1974
SR Sewanee Review
Stephens The Oxford Companion to the Literature of Wales, ed. M. Stephens, 1986
TAPA Transactions of the American Philological Association
Tarlinskaja M. Tarlinskaja, English Verse: Theory and History, 1976
Terras Handbook of Russian Literature, ed. V. Terras, 1985
Thieme H. P. Thieme, Essai sur l’histoire du vers française, 1916
Thompson J. Thompson, The Founding of English Metre, 2d ed., 1989
Trypanis C. A. Trypanis, Greek Poetry from Homer to Seferis, 1981
TPS Transactions of the Philological Society
TSL Tennessee Studies in Literature
TSLL Texas Studies in Literature and Language
Vickers B. Vickers, Classical Rhetoric in English Poetry, 2d ed., 1989
Vickers, Defence B. Vickers, In Defence of Rhetoric, 1988
VP Victorian Poetry
VQR Virginia Quarterly Review
Weinberg B. Weinberg, A History of Literary Criticism in the Italian Renaissance, 2 v., 1961
Wellek R. Wellek, A History of Modern