By Alan Benjamin
For daylight hours, forever, here's a energetic advent to the fun of poetry. those lively verses will make childrens are looking to snicker, replicate, and dream. Karen Lee Schmidt's whimsical illustrations are the precise supplement to this selection of witty and clever poems to develop on. complete colour.
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Additional resources for A Nickel Buys a Rhyme
For it to be that there must have been the greatest freedom of the material to move about in it and to establish relations in it regardless of time and space, previous relation, and everything but affinity. ” To be sure, it is hard to see how things follow in these sentences – hard to see what the “consequence” is. ” But then, does the logic reveal or get revealed? After all, the logic Frost speaks of is available only in retrospect, and the poem is what makes the revelation. Frost moves uncertainly, it would appear, from a feature of the poem – its logic – to the poem itself.
The difficulty lies in knowing who or what is doing the telling. The poet serves at the poem’s pleasure. Let the poem itself speak for the poet, because the poet cannot tell us much about purposes of which he was initially unaware. He “kicks himself ” to his own destinations, his own fulfillments. The ends of the poem are in fact its beginnings: what the poet knew but didn’t know he knew. “Don’t run after ideas,” says Emerson. “Out of your own self should come your theme; and only thus can your genius be your friend.
2 My second, related point is that the common and useful pedagogical adaptations of Frost’s ideas about speaking tones in poetry are also reductions and distortions that work curiously less well in relation to Frost’s own poetry than to some other poetry, and that the very skill of reading with an ear for tone has all along compelled the best readers of Frost to run up against this problem. The bolder speculative probing into what exactly we hear in Frost’s poetry is one great merit of Poirier’s work, and it is no discredit to his individual strength of mind to say that this probing owes some of its energy to critical pressure on the concepts of speakers and speech that were in ascendancy when he published The Work of Knowing in 1977, even if they had, to a degree, declined when he issued the second edition in 1990.
A Nickel Buys a Rhyme by Alan Benjamin