Purposeful Questioning in Poetry: Guidelines for the Classroom

Abstract

Pound, ABC of Reading (New York: New Directions, 1934), p. 36. 3 See Elizabeth Sewell, The Structure of Poetry (London: Routledge and Kegan Paul, 1951), pp. 18-29. 4 For additional comments on this topic, see Rulon Wells, Nominal and Verbal in Linguistics and Literary edited by Donald C. Freeman (New York: Holt, Rinehart and Winston, 1970), pp. 297-308. s See Richard Ohmann, Generative Grammar and Literary Style, in Linguistics and Literary pp. 258-278. 6 For a more detailed discussion of cohesion and foregrounding, see Geoffrey Leech, This Bread I Break-Language and Interpretation, in Linguistics and Literary pp. 119-128. 7 An interesting discussion of phonological structure is given by Dell Hymes, Phonological Aspects of Style, in Style in Language, edited by Thomas A. Sebeok (Cambridge: MIT Press, 1960), pp. 109-132. 8 See Roger Fowler, 'Prose Rhythm' and Meter, in Linguistics and Literary pp. 347-365. 9 See Wilhelm Worringer, Abstraction and Empathy, trans. by Michael Bullock (Cleveland: World Publishing, 1967). While Worringer's argument is not universally accepted, it provides a single point of view for studying the development of imagery in German lyric. 10 The following description of the classroom analysis of Reiselied includes only the general topics, not the details of the analysis. The order in which the topics occur will vary from poem to poem; it is, however, advisable to withhold comments on imagery until the end.