1.
|
Stephen Dunning, Edward Lueders, and Hugh Smith,
Reflections on
a
Gift of Watermelon Pickle
(New York: Lothrop, Lee, and Shepard Co., 1966), p. 17.
|
2.
|
Louis Untermeyer,
Doorways to Poetry
(New York: Harcourt, Brace, and World, 1938), p. 54.
|
3.
|
Ibid
., p. 5.
|
4.
|
Ibid
., p. 5.
|
5.
|
Ibid
., pgs. 30Ð34. A more in-depth analysis of the major differences between poetry and prose can be found here.
|
6.
|
Dunning, et. al., p. 18.
|
7.
|
Untermeyer, p. 157.
|
8.
|
Ruthe T. Sheffey and Eugenia Collier, eds.,
Impressions in Asphalt
(New York: Charles Scribner’s Sons, 1969), p. 129.
|
9.
|
Untermeyer, p. 69.
|
10.
|
Ibid
., p. 73.
|
11.
|
“The Light Fantastic” from “L’Allegro” and “The Quiet-Hour” from “11Penseroso.” Robert C. Pooley, et. al., eds.,
England in Literature
(Chicago: Scott, Foresman, and Co., 1963), pp., 211Ð214.
|
12.
|
Babette Deutsch,
Poetry Handbook
(New York: Funk and Wagnalls Co., 1962), pp., 129Ð130.
|
13.
|
Untermeyer, pp. 75Ð80.
|
14.
|
Arna Bontemps,
Golden Slippers
(New York: Harper and Row, 1941), p. 133.
|
15.
|
Dalton H. McBee,
Writer’s Journal: Explorations
(New York: Harcourt, Brace, Janovich, Inc., 1972), p. 105.
|
16.
|
Untermeyer, pp . 18Ð19.
|
17.
|
Ibid
., p. 104.
|
18.
|
Barbara Dodds Stanford,
I
,
Too
,
Sing America
(Rochelle Park: Hayden Book Co., 1971), p. 104.
|
19.
|
Robert C. Pooley, p. 339.
|
20.
|
Kenncth Koch,
Wishes
,
Lies
,
and Dreams
(New York: Vintage Books, 1970), p. 105.
|
21.
|
Bontemps, p. 134.
|
22.
|
Untermeyer, pp. 121Ð122.
|
23.
|
Dunning, et. al., p. 39.
|
24.
|
Alan Lomax and Raoul Abdul, eds.,
300 Years of Black Poetry
(New York: Dodd, Mead, and Co., 1970), p. 225.
|
25.
|
Edna St. Vincent Millay,
Collected Lyrics
(New York: Harper and Row, 1939), p. 127.
|
26.
|
Untermeyer, p. 128.
|
27.
|
Ibid
., p. 129.
|
28.
|
Ibid
., p. 133.
|
29.
|
Dunning, et al., p. 15.
|