Abstract
HIGH school poetry classes these days are full of guitars, rock albums, stereo amplifiers, and strobe lights, all tools of an effort on the part of English teachers to get inside the students' realm of experience. We teachers sense, probably with accuracy, that the beat of today's music is indeed a beat of poetry, and that gaining a real understanding of the rhythm and language of Laura Nyro or Paul Simon is one step closer to grasping an appreciation of Theodore Roethke or James Dickey. It is possible, however, that this rush to bring rock singers into the classroom is overdone. Surely, many of the classroom idols -Simon and Garfunkel, the Beatles, Donovan-being primarily songsters rather than poets, really serve more to entertain and bridge the student-teacher gap than to become examples of good poetry. Even a few who profess to be poet first-singer second, such as Rod McKuen, often end up with so many stated emotions that there is little room
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