web site hit counter Poetic Meter and Poetic Form - Ebooks PDF Online
Hot Best Seller

Poetic Meter and Poetic Form

Availability: Ready to download

Paperback: 190 pages Publisher: McGraw-Hill Humanities/Social Sciences/Languages; Revised edition (January 1, 1979) Language: English ISBN-10: 0075536064 ISBN-13: 978-0075536062 Product Dimensions: 0.5 x 5.3 x 8.2 inches Shipping Weight: 7.2 ounces (View shipping rates and policies) Average Customer Review: 4.6 out of 5 stars See all reviews (15 customer reviews) Amazon Best Selle Paperback: 190 pages Publisher: McGraw-Hill Humanities/Social Sciences/Languages; Revised edition (January 1, 1979) Language: English ISBN-10: 0075536064 ISBN-13: 978-0075536062 Product Dimensions: 0.5 x 5.3 x 8.2 inches Shipping Weight: 7.2 ounces (View shipping rates and policies) Average Customer Review: 4.6 out of 5 stars See all reviews (15 customer reviews) Amazon Best Sellers Rank: #39,615 in Books (See Top 100 in Books)


Compare

Paperback: 190 pages Publisher: McGraw-Hill Humanities/Social Sciences/Languages; Revised edition (January 1, 1979) Language: English ISBN-10: 0075536064 ISBN-13: 978-0075536062 Product Dimensions: 0.5 x 5.3 x 8.2 inches Shipping Weight: 7.2 ounces (View shipping rates and policies) Average Customer Review: 4.6 out of 5 stars See all reviews (15 customer reviews) Amazon Best Selle Paperback: 190 pages Publisher: McGraw-Hill Humanities/Social Sciences/Languages; Revised edition (January 1, 1979) Language: English ISBN-10: 0075536064 ISBN-13: 978-0075536062 Product Dimensions: 0.5 x 5.3 x 8.2 inches Shipping Weight: 7.2 ounces (View shipping rates and policies) Average Customer Review: 4.6 out of 5 stars See all reviews (15 customer reviews) Amazon Best Sellers Rank: #39,615 in Books (See Top 100 in Books)

30 review for Poetic Meter and Poetic Form

  1. 5 out of 5

    Shane Zimmer

    As a novice to the study of meter and form, I found this book interesting, accessible and illuminating. I haven't enough knowledge on the subject yet to agree or disagree with him point by point, but his passion for the study reads clear and his articulation of the ideas becomes quickly lucid. I would equate him with a professor who introduces his students to a new discipline and rather than bore them with academese, he sparks their interest with his enthusiasm and intelligence.

  2. 4 out of 5

    Tiffany

    Revisiting the classic! Worth the respect due our elders, who will always have worked harder than we and proceeded more responsibly in structuring knowledge. That said, I did laugh at a number of lines--PF is quite witty, yes, but I laughed as much at some of the sheer pluck of schematic meaning assignation and then of concomitant evaluative gouging: "What he produces is very nice, but his stanza surely lacks the dense organism that attaches to a permanent poem." What intrigues me here is the sens Revisiting the classic! Worth the respect due our elders, who will always have worked harder than we and proceeded more responsibly in structuring knowledge. That said, I did laugh at a number of lines--PF is quite witty, yes, but I laughed as much at some of the sheer pluck of schematic meaning assignation and then of concomitant evaluative gouging: "What he produces is very nice, but his stanza surely lacks the dense organism that attaches to a permanent poem." What intrigues me here is the sense that a relationship to meter and form is a relationship both to PERMANENCE and meaningfulness in the world. He actually says that excellence of formal technique rescues "poems from oblivion" (154). As an amateur theologian, I find this difficult to believe. And I'm not the only one bringing up theology here: on the departure from standard forms in 20th century literature, even Fussell gets almost theological: "Some kind of meaningful repetition would seem to be required to save a poem from oblivion. The challenge to contemporary poetry would seem to be a pair of unhappy alternatives; either to contrive new schemes of empirically meaningful repetition that reflects and--more importantly--transmit the color of contemporary experience; or to recover schemes that have reflected the experience of the past. To do the first would be to imply that contemporary experience has a pattern, a point that most post-Christian thinkers would deny. To do the second would be to suggest that the past can be recaptured, to suggest that the intolerable fractures and dislocations of modern history have not really occurred at all, or, what is worse, to suggest that they may have occurred but that poetry should act as if they have not. between these two demands of accuracy of registration on the one hand, and aesthetic organization, on the other, we seem to find no technique of RECONCILIATION: we yield now to the one demand, now to the other, producing at times a formless and artistically incoherent reflection--accurate in its way--of some civil or social or psychological reality, and at times a shapely and coherent work of art which is necessarily an inexact report on the state of affairs, not to mention the state of language and meaning and coherence in our time. . . .What is wanted is the sort of reconciliation between them that could be effected by another Yeats" (152-153). I'm after reconciliation, too. Of another sort, I expect. The reader's, too.

  3. 4 out of 5

    Maria

    This is a well-written and engaging survey. I picked up the book to develop my understanding of poetic techniques, and Fussell's organized discussion of meter and form fit the bill. His writing is clear and not overly dense, and he uses plenty of interesting examples, although most of these illustrations come from the canon of white male poets. Fussell is not afraid to offer his opinions or exercise his wit, and I found his analyses intriguing, if not always convincing. Since this book was publi This is a well-written and engaging survey. I picked up the book to develop my understanding of poetic techniques, and Fussell's organized discussion of meter and form fit the bill. His writing is clear and not overly dense, and he uses plenty of interesting examples, although most of these illustrations come from the canon of white male poets. Fussell is not afraid to offer his opinions or exercise his wit, and I found his analyses intriguing, if not always convincing. Since this book was published in the 1960s, some of its content is a bit outdated in today's scholarly conversation, but I still think it has a lot to offer. The concepts of metrical variation and poetic density, for instance, will stick with me in my future encounters with poetry.

  4. 4 out of 5

    Denis

    I don't always agree with some of Fussell's pronouncements, but on the whole he gives a very nice introduction to the principles of prosody. The book's precision is one of it's great strengths, but it can also be a weakness on occasion when it leads to black and white depictions of things that are not so clear-cut. For anyone who is able to occasionally disagree with Fussell without feeling like those points of disagreement invalidate everything else, this book can a wonderful tool for any write I don't always agree with some of Fussell's pronouncements, but on the whole he gives a very nice introduction to the principles of prosody. The book's precision is one of it's great strengths, but it can also be a weakness on occasion when it leads to black and white depictions of things that are not so clear-cut. For anyone who is able to occasionally disagree with Fussell without feeling like those points of disagreement invalidate everything else, this book can a wonderful tool for any writer or reader of poetry to learn about the role of meter in English verse.

  5. 4 out of 5

    Tim Covell

    Years ago, it was just a required text for an English class, and I sold it or gave it away when the class was done. But I've never forgotten some of the advice, and finally replaced it. Glad I did. A classic for any reader or writer of poetry.

  6. 4 out of 5

    Andrew

    Split into two main sections, Meter and Form (per the title). The meter section was useful, but, as another reviewer here has stated, suffers from a glut of examples. It drags on a bit. I found the form section the better of the two: discussions of line, rhyme, stanza, and a selection of standard forms, such as the sonnet (of course).

  7. 4 out of 5

    Dawn

    Helpful but no imperative. A good explanation of prosody (without getting too lofty) and decent source for examples. I used the book to help my students scan poems better. *NOTE* The chapter on free verse is garbage.

  8. 5 out of 5

    Lisa

    Pretty good on the fixed forms (which I should know MUCH more about considering my profession). Utterly dismissive of anything innovative post-WW2. Sometimes this contempt is valid, sometimes not.

  9. 4 out of 5

    Julie G

    I never would have learned how to scan poetry without this book. Intensely boring, but lots of good information on writing and scanning poetry.

  10. 4 out of 5

    Katrina Sark

    p.3 – “Rhythm must have meaning,” Ezra Pound insisted in 1915. p.4 – Meter is what results when the natural rhythmical movements of colloquial speech are heightened, organized, and regulated so that pattern – which means repetition – emerges. p.16 – Purpose of meter: 1. Give pleasure 2. Give coherence 3. Demonstrate skill 4. Fir into a tradition 5. Qualify as poetry 6. Draw attention to the two words that rhyme p.77 – free verse – despite its name – follows its own more-or-less strict imperatives. Tw p.3 – “Rhythm must have meaning,” Ezra Pound insisted in 1915. p.4 – Meter is what results when the natural rhythmical movements of colloquial speech are heightened, organized, and regulated so that pattern – which means repetition – emerges. p.16 – Purpose of meter: 1. Give pleasure 2. Give coherence 3. Demonstrate skill 4. Fir into a tradition 5. Qualify as poetry 6. Draw attention to the two words that rhyme p.77 – free verse – despite its name – follows its own more-or-less strict imperatives. Two of these are instantly obvious to ear and eye. The free-verse poem establishes a texture without metrical regularity p.90 – a poem stands a chance of attaining greater success and permanence the nearer it approaches absolute economy and coherence of the parts that comprise it. p.122 – In the Petrarchan sonnet the problem is often solved by reasoned perception or by a relatively expansive and formal mediative process. But the Shakespearean sonnet, because resolution muse take place within the tiny compass of a twenty-syllable couplet, the “solution” is more likely to be the fruit of wit, or paradox, or even a quick shaft of sophistry, logical cleverness, or outright comedy.

  11. 5 out of 5

    Karen

    I've been reading poetry for decades, but this was my first detailed view into the technical aspects. But make no mistake. This is not dry material. Challenging, yes. Boring, no. Fussell ties the mechanics of poetry to meaning and even to the body. When I first started this book, I became hyper aware of meter everywhere. I was counting stress / unstress in everything I read, spoke, and heard (including music). He has a mix of theory and examples, which helped me understand (somewhat!) the concep I've been reading poetry for decades, but this was my first detailed view into the technical aspects. But make no mistake. This is not dry material. Challenging, yes. Boring, no. Fussell ties the mechanics of poetry to meaning and even to the body. When I first started this book, I became hyper aware of meter everywhere. I was counting stress / unstress in everything I read, spoke, and heard (including music). He has a mix of theory and examples, which helped me understand (somewhat!) the concepts. I'm taking a poetry class, and I tried to write a few poems with strict form. Oh, it's so hard! I have an increased respect for poets to focus on meter. (Every poetry uses meter; just some put more of the poem's "energy" there than others.) Check out Fussell's book. It's out of print, but there are still some copies floating out there for reasonable purchase.

  12. 4 out of 5

    Jeffrey May

    Never expected a 1965 academic, textbook assessment of poetic meter to have such excellent writing, and an incisive sense of humor. I picked up Paul Fussell’s Poetic Meter and Metric Form off the free table at, of all places, the technical college where I’ve been an English Comp adjunct for 15 years. Can’t imagine many “gearheads” read it. This book is not for those interested in easy reading or beach books, but it does offer clear concise explanations of iamb, anapest, trochee, spondee, and more, Never expected a 1965 academic, textbook assessment of poetic meter to have such excellent writing, and an incisive sense of humor. I picked up Paul Fussell’s Poetic Meter and Metric Form off the free table at, of all places, the technical college where I’ve been an English Comp adjunct for 15 years. Can’t imagine many “gearheads” read it. This book is not for those interested in easy reading or beach books, but it does offer clear concise explanations of iamb, anapest, trochee, spondee, and more, along with near perfect examples of successful and not so successful attempts by famous poets. One of my favorite passages: “…quantitative composition was a laborious academic-theoretical business, like all such nonempirical enterprises more gratifying to the self-congratulating practitioner than to the perplexed reader.”

  13. 4 out of 5

    Robin

    I am working on an article about hymnic meter and saw a blog post which referenced this book. While it did not touch on the specific topic I am working on, it is a good general read/textbook about meter, scansion, poetic form (sonnets English stanzas), and metrical analysis. It took me back to my days in an undergrad course on poetry which I took as a grad student in theology, linguistics, and rhetoric. Though the students were all twenty years younger, they were very hospitable, and I wrote som I am working on an article about hymnic meter and saw a blog post which referenced this book. While it did not touch on the specific topic I am working on, it is a good general read/textbook about meter, scansion, poetic form (sonnets English stanzas), and metrical analysis. It took me back to my days in an undergrad course on poetry which I took as a grad student in theology, linguistics, and rhetoric. Though the students were all twenty years younger, they were very hospitable, and I wrote some interesting poems during that time.

  14. 4 out of 5

    Angelina

    Really good introduction to poetic meter and form. Fussell is a little bit long-winded at times, but he has some really good points to make and he succeeds in making them.

  15. 5 out of 5

    Joel Zartman

    Fussell explains in this book the effects achieved with meter both with forms and with free verse. He wants to help us understand how the poetry that we return to works upon us. The sentence, he reminds us, forms the basis of prose; the sentence and the line form the basis of poetry, and he explains how meter is the way the line’s length is determined. This determination is not arbitrary, but has to do with how modern English sounds—how our words are emphasized and the possibilities the language Fussell explains in this book the effects achieved with meter both with forms and with free verse. He wants to help us understand how the poetry that we return to works upon us. The sentence, he reminds us, forms the basis of prose; the sentence and the line form the basis of poetry, and he explains how meter is the way the line’s length is determined. This determination is not arbitrary, but has to do with how modern English sounds—how our words are emphasized and the possibilities the language itself provides. What he does is very sensible and very clear. Fussell neither dismisses free verse nor denigrates formal verse. What he does is understand. He understands how both work, why both work and then explores some of the limitations and possibilities of each. Obviously he spends more time explaining formal verse because free verse is, in a way, one of the forms—perhaps the most casual of them. He sums up: “Poetry is form, and permanent poetry is permanent form. And by ‘form’ here we mean that pattern which works on the reader and is recognized by him, no matter how unconsciously or irrationally to constitute a significant abstract repetitive frame.” He has made, by this point in the book, an investigation of the historical development of forms which is informed by more than just the bare knowledge of which poet succeeds each other. It is also informed by a broader understanding of history and the history of ideas. What he achieves (besides heightening the attentive reader’s capacity to read and appreciate English poetry) is a clear picture of the state of our poetry around 1976; and it is a state from which I do not think it can be said we have yet emerged, if we ever shall. But it is interesting for dealing with the contemporary milieu. Here is how he puts it: "The challenge to contemporary poetry would seem to be a pair of unhappy alternatives; either to contrive new schemes of empirically meaningful repetition that reflect and—more importantly—transmit the color of contemporary experience; or to recover schemes that have reflected the experience of the past. To do the first would be to imply that contemporary experience has a pattern, a point that most post-Christian thinkers would deny. To do the second would be to suggest that the past can be recaptured, to suggest the intolerable fractures and dislocations of modern history have not really occurred at all, or, what is worse, to suggest that they may have occurred but that poetry should act as if they have not." That paragraph is one of the more culminating conclusions he draws. These are things one has read in other places, but he puts it in terms which cannot just be shrugged off. He has led the reader to the point at which the observation soaks in thoroughly by explaining in this case, for example, how forms have been patterns of experience in our language and during our civilization. Here is another refreshing and illuminating (both about Fussell and about the world; and yes, I do seem to be overindulging in quotation, but the guy knows how to word things) statement: "It should neither surprise nor distress us that most poetry in English ranges from the mediocre to the very bad and that most poets are technically incompetent. So are most waiters, physicians, carpenters, layers, gardeners and teachers. The genuinely successful poems to which we return again and again constitute a tiny selection from the vast and almost measureless rubbish heap of the centuries." It is greatly to the credit of Fussell that by the time you read that sentence at the beginning of the penultimate chapter you understand exactly why what he is saying about poetry is so. He has imparted discernment, in this book: true criticism. And we need it. Emily Dickinson’s experience, so intelligently put, the stanzas divided by the logic of effect and cause distinguished (as Fussell points out) needs to be ours. It Dropped So Low in My Regard It dropped so low — in my Regard – I heard it hit the Ground – And go to pieces on the Stones At bottom of my Mind – Yet blamed the Fate that flung it — less Than I denounced Myself, For entertaining Plated Wares Upon My Silver Shelf – I think this book is better than Understanding Poetry. Not as thorough, not as big, never so basic or full of all the stuff you already got in High School. Just full of all the stuff you didn’t.

  16. 4 out of 5

    Leisha Wharfield

    "What is wanted is the closest possible approximation of absolute density. For the texture of a poem must be dense: when old-fashioned critics assert that in a poem every vein must be rifted with ore, that is what, in their quaint way, they mean." Urban density is what our exalted elders decided upon for Eugene: establishment of an urban growth boundary to salvage the farmlands, wetlands, wild places beyond. But the Amazon headwaters fall within the urban growth boundary, so now--how to save them "What is wanted is the closest possible approximation of absolute density. For the texture of a poem must be dense: when old-fashioned critics assert that in a poem every vein must be rifted with ore, that is what, in their quaint way, they mean." Urban density is what our exalted elders decided upon for Eugene: establishment of an urban growth boundary to salvage the farmlands, wetlands, wild places beyond. But the Amazon headwaters fall within the urban growth boundary, so now--how to save them? Capitalists encroach upon the wild mystery, demanding their pound of flesh, catch of fish, corrupting industry. Maybe a hospital, a prison, a place for human beings to work or live, make enough money to buy the next thing, already obsolete, long ago planned that way, to deflect radicalism arising naturally from working-class leisure. Lane County Commissioners budget in herbicides to kill weeds rodent houses, insect nests feed reptiles, raptors, and their flighted, leathery cousins--bats. I saw three eagles at the headwaters lately: two mature, one juvenile, gliding above the slough where herons rest lazily, visiting Canada geese assemble, mallards splash down noisily. I think of Central Park, a place carved out of concrete misery . . . there must be space for wildness in the density. Is it given by Fussell, or neglected? Does he nod to nature in his caveat: "the closest possible approximation?" Let's give him that. "the texture of a poem must be dense." Perhaps poetry is a weaving. Allow this weaving to be a dense one, multi-layered, warming. But suppose a semi-permeable membrane is wanted, substance that allows breath like a tea towel resting on rising bread or employed to filter coffee. I may not enjoy as much my unleavened bread with coffee-stained water as I love my wine, must racked time and time through holy cheesecloth, erasing bitterness from the flow of rich juice. Take, and drink. This is my blood dense as water, 'cause that's what I'm made of. Mostly water, but also a fragrant summer breeze, making my breath after it flows over spiked leaves of flowering mimosa--how fine and insubstantial their brilliant petals, like strokes from my pen. In fact it's so hot this summer, I prefer my clothing linen-light, loose-weaved, so coastal wind softly meets the sweat of my skin. Why density? Why this, only this dogma, with no other way to be? If I strip in my yard, my breasts and belly sway gently; invisible particles bind my body, draw soft boundaries as they careen through empty spaces--space makes me, yet Fussell commands I make artful density. Hard cheese, not Swiss or a spreadable brie. Only one sharp flavor may please his critical palate. PRAISE GOD I'm still a redneck, nobody woman. I'll spread triple-cream Camembert on my flat crackers, sip champagne full of fun, empty bubbles, & give you the finger while I surrender to frothy, indulgent excess. "old-fashioned critics . . . quaint." Kinda like old-school chauvinism that praises only male poets and invokes a male reader? Mattie Peterson expends all her energy on rhyme, Emily belongs solidly (having been refined), Tess Gallagher for her opening, and Marianne Moore, the novelty who may demonstrate her superficial, feminine syllablism just to entertain jaded males--so far, these are my women, shyly inviting masculine criticism. So glad I'm here to amuse you, really. Can't think of anything else but that you might want and use me.

  17. 5 out of 5

    stephanie roberts

    During the course of a recent poetry workshop, I read a recommendation, for this book, that called it the best guide on metered verse and poetic form, of its kind. Previous to starting this book, I'd been wading through a book on syntax in poetry (which I continue to–sad to say) that I find almost incomprehensible because of an over-reliance on academic jargon at such a density that I feel almost as though it is written in a foreign language. There is no worry here about such nonsense or that an During the course of a recent poetry workshop, I read a recommendation, for this book, that called it the best guide on metered verse and poetic form, of its kind. Previous to starting this book, I'd been wading through a book on syntax in poetry (which I continue to–sad to say) that I find almost incomprehensible because of an over-reliance on academic jargon at such a density that I feel almost as though it is written in a foreign language. There is no worry here about such nonsense or that an in-depth examination of meter will scramble your facilities. There are few things as delightful for the intellectually inclined as reading a book or sitting through a lecture by a writer or speaker that is absolutely in love and devoted to their subject–in this case–poetry. Early on the author makes this most comforting assertion: The goal of what we are doing is enjoyment: an excessive refinement of terms and categories may impress others but it will probably not help us very much to appreciate English poetic rhythms. Paul Fussell's book proves true to these words and I did find this clear, concise, and engaging read did greatly increase my understanding and appreciation for English poetic meter and form. What makes this book plenty enjoyable is rather than just explaining what poetic meter is he very clearly illustrates, by many examples, how meter can be manipulated with care and thoughtfulness to give the work of the poem greater emotional impact, foot by foot, line break by line break, stanza by stanza. Using classic and modern examples, he builds a strong case with dazzling examples as Oscar Wilde getting it wrong while William Carlos Williams gets it right. He gave me a very fresh understanding of how the physical structure of a poem can be of equal importance as the music of the work. And the grumpy way he is upset over sloppiness of poetic form, i found adorable, but i have hardly ever met a curmudgeon I didn't like almost instantly. I laughed out loud for a solid five minutes from this delightful bit of bewilderment, in his chapter on English stanzas: A few of the "Beat" poets have essayed interesting critical justifications of their technical usages, although not all of their critical remarks go as far as Ginsberg commenting on the the formal shape of Howl: "A lot of these forms developed out of an extreme rhapsodic wail I once heard in a madhouse." Perhaps a more useful observation is Robert Duncan's ascription... Good lordy, how can you not love that? While it is an academic subject that will probably not interest people that do not write poetry, Paul Fussell is a truly engaging writer, who is fair in his quickness to praise a well crafted modern poem in free verse as the form and rhyme of a shakespearian sonnet, but make no mistake, he prefers his sonnets and rhyme hands down, and believes something important is lost disregarding traditional form and meter as foundational and relevant to what poetry does. I've never met a poet that believed that meter'd poetry was passé and to be shunned, even as free verse dominates the contemporary poetic landscape. But I understand they are out there. After reading this book, I can see the validity for his case that meter'd verse, well executed, has an inherent elegance that clings to the soul. When I can pick up a second copy of this book I will. I think it is that well done.

  18. 5 out of 5

    Mike

    Fussell has a good grip on basic forms, especially within the world of formal (i.e. metrical and/or rhymed) verse, and if you don't know about the subject, he'll educate you. That said, there are two main problems, to my mind. The lesser one is a glut of examples, which tend to beat a dead horse -- we get it, Paul, enough already. The greater problem is Fussell's obvious distaste for free verse. Sure, he devotes a bit of time to it, but it reads as if it's out of obligation, and as if he really Fussell has a good grip on basic forms, especially within the world of formal (i.e. metrical and/or rhymed) verse, and if you don't know about the subject, he'll educate you. That said, there are two main problems, to my mind. The lesser one is a glut of examples, which tend to beat a dead horse -- we get it, Paul, enough already. The greater problem is Fussell's obvious distaste for free verse. Sure, he devotes a bit of time to it, but it reads as if it's out of obligation, and as if he really doesn't know what he's talking about.

  19. 4 out of 5

    j

    a treasure forever. a bit fussy at times, and clearly there's a reason fussell is a theorist and a historian and not an actual critic, as his insights into poetry can often be touchingly facile. however, for anyone looking to write, or read, poetry, it contains a wealth of information in a fairly easy to digest format. rare for prosodic theory!

  20. 5 out of 5

    Pippa

    This book was my first teacher in the world of prosody. I thought it was all very clearly explained, and was the only book like it as far as I could discover. Of course Stephen Fry has now written 'The Ode less Travelled' but the two books, although overlapping at times, do complement each other and I recommend reading both.

  21. 4 out of 5

    Sherry Chandler

    I found this book, which was first published in 1966 I think, pretty conservative, not to say stodgy. Not an easy read, but I did discover some valuable ways to look at formal poetry. I hope I will be able to internalize them.

  22. 4 out of 5

    Michael Gossett

    This book gives me a language to put to several of my natural poetry-reading instincts and heightened my sensitivity to sound. Going through something like this separates poetry scholars from poetry enjoyers--a good thing for an MFA to read, learn, and practice.

  23. 5 out of 5

    J.R.

    Paul is a romantic born in the wrong decade. He presents some compelling arguments for the use of rhyme in modern poetry but understand the movement away from it. A clear and concise read.

  24. 5 out of 5

    Michelle

    the tone of this book is annoying at times, but it totally helped me learn how to write in meter.

  25. 4 out of 5

    Heather Gibbons

    Indispensable. Wish I could find a reasonably priced copy of this-- it's out of print, and the library made me give it back.

  26. 4 out of 5

    Kendall McKenzie

    As a poet, I did take some notes while reading this, but Fussell's arrogance and verbose approach to the subject was simply insulting.

  27. 5 out of 5

    Clarence Cromwell

    This is the book that helped me to understand metric verse. It will make you a properly functioning poet.

  28. 4 out of 5

    Maureen

    I like this reference book on Poetry. I referred to it frequently.

  29. 4 out of 5

    Nikki

    There is no better introduction to poetry.

  30. 4 out of 5

    Maggie

    Clear, in-depth look at formal components of meter and form. Especially helpful if you can ignore sexist and sometimes rude commentary.

Add a review

Your email address will not be published. Required fields are marked *

Loading...
We use cookies to give you the best online experience. By using our website you agree to our use of cookies in accordance with our cookie policy.