In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama - comedy, tragedy, and the satyr play - as well as lyric poetry and epic poetry). They are similar in the fact that they are all imitations but different in the three ways that Aristotle describes: 1. Differences in music rhythm, harmony, meter and melody. 2. Difference of goodness in the characters. 3. Difference in how the narrative is presented: telling a story or acting it out. In examining its "first principles," Aristotle finds two: 1) imitation and 2) genres and other concepts by which that of truth is applied/revealed in the poesis. His analysis of tragedy constitutes the core of the discussion. Although Aristotle's Poetics is universally acknowledged in the Western critical tradition, "almost every detail about his seminal work has aroused divergent opinions."

El Zarape Press presents its first collection of poetry by the eclectic Daniel García Ordaz, The Poet Mariachi, "the voice of the Rio Grande Valley" (Texas), an emerging voice in Latino and Hispanic American poetry.You Know What I'm Sayin'? is a celebration of the common experience of language and culture transfiguring time and place and juxtaposing the politics of urban hip-hop America with the lyricism of rural deep South Texas, a retelling of ancient history sung by a contemporary Chicano voice.With an introduction by Fulbright Scholar Dr. Debbie Cole, a linguistic anthropologist.Mainly English; some bilingual (English/Spanish) pieces. This book is being taught at university and high school campuses across the U.S., especially by linguistics professors and those seeking diverse new voices to connect with young Hispanic, Latino, Chicano readers.The first half of the book is very American-experience based; the second half has a more Mexican American experience flavor to it. The middle of the book has a monologue and a "Play On Words" that's meant to be enjoyed read though may be acted out: it's about preconceived notions and about how we hear and perceive communication.

Drama Child: Falling in Rhyme is the 2nd book in Author Heather L. Fleming's three part poetry series. Sample Poem from Falling in Rhyme titled, My Kinda Poetry I'm a-- lying on the couch at night, soft light, warm blanket-- kinda poetry. Tears in bed, the stuff I should of said-- kinda poetry. I'm a soft tug, breathless whisper, hug your heart-- kinda poetry. Lyrically twisted, worded flo-etry, honest soul, in love and unloved-- kinda poetry. H.L.F.

Beginning with Stevens's Three Travelers Watch a Sunrise (1916) as a dynamic introduction to the modernist transformation of poetry into performance, the collection also includes Millay's biting anti-war satire, Aria da Capo (1920) and H.D.'s Hippolytus Temporizes (1927), loosely adapted from the Euripides play. Both plays demonstrate the Greek poets' enduring legacy in modern poetic drama --

"Smoking. Pauline Hopkins on alchemy and the undead. Frances E.W. Harper on woman's political future. Sui Sin Far on cross-dressing. Emma Lazarus and Angelina Weld Grimké on lesbian longing. Julia Ward Howe on intersexuality. Charlotte Perkins Gilman on euthanasia. Emma Goldman against the tyranny of marriage. Ida B. Wells against lynching. Anna Julia Cooper on Black American womanho. Frances Willard on riding a bicycle. This anthology is perhaps the first of its kind: a full-length collection of radical writings by American women of the 19th and early 20th century, with all major genres represented-fiction, poetry, drama, memoir, essays, and oratory-and voices of color prioritized. Many of these writings have never been anthologized before; some have never even been reprinted before. Stabel and Turpin endeavor to counterbalance widely canonized voices with a greater proportion of writings by less-anthologized Black feminists, Native feminists, and Asian American feminists, many of whom were writing for their lives and the lives of their families and communities, often at the risk of being harassed, slandered, disenfranchised, or lynched. Readers will find the original version of what was later edited into Sojourner Truth's "Ain't I a Woman?" speech, Julia A. J. Foote's account of her fight to be able to preach in the A.M.E. Church despite being a woman, and Julia Ward Howe's sensitive treatment of intersex life in America. They will also encounter new and surprising facets of the authors they know and love. For example, Emily Dickinson's most overtly erotic poems, those usually passed over in favor of other verses that misleadingly suggest a celibacy or disinterest in sex on Dickinson's part; and Kate Chopin's "An Egyptian Cigarette," her first-person fictional account of smoking pot-originally published in Vogue. Readers will enjoy excerpts from Pauline Hopkins's Of One Blood, a novel of alchemy and the undead, as well as from Amelia E. Johnson's Clarence and Corinne, a traditional love story. Simply writing such works was a radical freedom that these women had to carve out for themselves, in an era when many of them were legally considered property, none could vote, and reading and writing were often seen as privileges only for the free and wealthy. Radicals is ultimately intended to undo silences and prioritize unheard, underrepresented, powerful works of literature-from a period whose later historians often relegated women's writings to the periphery of American culture. One and all, these were women of genius and audacity, and, as Adah Isaacs Menken writes of such radicals, "this very audacity is divine""--

At the beginning of the 21st century, there is still no generally accepted comprehensive definition of the lyric or differentiated modern toolkit for its analysis. The reception of poetry is largely characterised either by an empathetic identification of critics with the lyric persona or by exclusive interest in formal patterning. The present volume seeks to remedy this deficit. All the contributors ‘theorise’ the lyric to overcome the impasse of an impressionistic and narrowly formalistic critical debate on the genre. Their papers focus on a variety of different questions: the problem of establishing a framework for definition and classification; the search for dynamic and potent critical approaches; investigations of poetry's cultural performance and its fundamental relevance for the construction of group cohesion. The essays collected in this volume offer a consciously polyphonic range of theories and interpretations, suggesting to the reader a variety of theoretical frameworks and practical illustrations of how a discussion of poetry may be firmly grounded in modern literary theory.

During the Golden Age, poetry and drama entered into a dynamic intertextual and intergeneric exchange. The Comedia appropriated the different poetic currents prevalent during the Renaissance and also often enacted the controversies surrounding poetic language. Of particular interest is the influence of gongorismo on the comedia. Luis de Góngora himself experimented with dramatic form in his two little-known plays, Las firmezas de Isabela and El doctor Carlino. In his quest for effective dramatic language, Lope de Vega dramatized Gongorine language through both parody and respectful imitation. Calderón de la Barca, whose plays represent the culmination of Góngora's influence on Golden Age theater, transformed gongorismo into a rich, performative code that functions simultaneously as poetic discourse and dramatic convention.