Little Poems

Informationen zum Autor MICHAEL HENNESSY is professor emeritus of English at Texas State University. He has read, studied, taught, and written about poetry for more than forty years. He lives in Chicago. Klappentext For any poetry lover--and anyone short on reading time-- Little Poems offers a generous supply of verses that surprise, amuse, move, and delight. Leseprobe FOREWORD Most of us experience literature for the first time in the form of a little poem. Long before we've tasted our first solid food, we've heard a soothing lullaby spoken or sung by a parent, and before we can walk, we have already begun to accumulate a storehouse of nursery rhymes. The sounds and rhythms of those little poems are embedded in memory, and we pass them down to the next next generation. But little poems range far beyond the nursery. Nearly all poets in all ages have written them. Even John Milton, author of the epic-length Paradise Lost, wrote a poem ten lines long. Milton's contemporary Robert Herrick, on the other hand, created many little poems, making them his signature genre. The same holds true for poets across time: those who favored longer forms occasionally wrote brief songs. And othersancient Greek epigram writers, Japanese haiku poets, and modern writers like William Carlos Williams, Langston Hughes, and Dorothy Parkeroften favored brevity. What exactly qualifies as a little poem? There is no consensus, but the Italian word sonetto, source of the English word sonnet, means little song, suggesting that fourteen lines may be a rule of thumb. But in this book, even a sonnet would be long. All the poems I have includedalmost 300 of them, by 175 different authorsare under fourteen lines. Most range from two lines to twelve. A few have thirteen linesjust shy of a sonnet. Poets have been writing such poems for thousands of years, starting in the ancient world and continuing to the present day. The earliest work in this book is by the Greek poet Sappho, who lived in the seventh century BCE; the most recent is by poets still active in the 2020s, such as Carol Ann Duffy, Danez Smith, and Ocean Vuong. What do little poems have in common besides their brevity? Probably not a great dealexcept for their astonishing variety. Many are highly accessible on first reading, almost tweet-like. Others invite contemplation: they call us back to re-read and ponder their lines. Despite their brevity, however, little poems can do most of what longer poems can do: tell a story; paint a picture; evoke an emotion; argue a point; make us laugh or cry. They can be serious or sarcastic, somber or silly, disturbing or comforting. And like all poems, they invite us to see the world with new eyes and to hear it with new ears. The poems in this book do all those things. And their chronological arrangement highlights their diversity in surprising ways. The first section, for example, includes a mournful poem by first-century BCE Chinese Emperor Wu-ti about the death of his beloved mistress. But this poem stands in close proximity to two others by the Roman poet Martial making fun of people with bad hairpieces. Other sections likewise include juxtapositions that I hope will broaden conceptions of what poetry is and what it can do. In the second section, works by Chaucer and Shakespeare inhabit the same space as the earliest written English version of the well-known children's mnemonic Thirty Days Has November. And at the end of the section, readers will find a Thomas Dekker poem that Paul McCartney adapted 370 years later for the Beatles song Golden Slumbers. The next section, too, contains many serious poems by such major seventeenth- and eighteenth-century figures as Basho, Goethe, and Blake, but the section also offers lighter fare: Mother Goose nursery rhymes, a sharp-tongued political epigram by John Wilcox, and two verses for fruit...

Klappentext

For any poetry lover--and anyone short on reading time-- Little Poems offers a generous supply of verses that surprise, amuse, move, and delight.

Zusammenfassung
**From Sappho and Li Bai to Sandra Cisneros and Ocean Vuong: a pocket-sized treasury of tiny, jewel-like poems from around the world and through the ages

"A lovely pocket-sized volume.... I read it cover to cover, speeding through the centuries." —Elisa Gabbert, The New York Times Book Review**

Short poems have been popular for centuries, from the famous fragments of Sappho in ancient Greece to the traditional haiku of Japan, from the Imagist poems of Ezra Pound and H. D. to the witty couplets of Dorothy Parker and Ogden Nash, from lyrical gems by Shakespeare and Rumi to modern classics by W. H. Auden and Margaret Atwood. This collection brings together brief poems—defined as fewer than fourteen lines—from a wide range of poetic traditions. Together they make for enjoyable reading and easy memorizing and provide a wealth of appropriate lines ready-made to copy into a card or an email.

For any poetry lover—and anyone short on reading time—Little Poems offers a generous supply of verses that surprise, amuse, move, and delight.

Everyman's Library pursues the highest production standards, printing on acid-free cream-colored paper, with full-cloth cases with two-color foil stamping, decorative endpapers, silk ribbon markers, European-style half-round spines, and a full-color illustrated jacket.

Leseprobe
FOREWORD

Most of us experience literature for the first time in the form of a little poem. Long before we ve tasted our first solid food, we ve heard a soothing lullaby spoken or sung by a parent, and before we can walk, we have already begun to accumulate a storehouse of nursery rhymes. The sounds and rhythms of those little poems are embedded in memory, and we pass them down to the next next generation.

But little poems range far beyond the nursery. Nearly all poets in all ages have written them. Even John Milton, author of the epic-length Paradise Lost, wrote a poem ten lines long. Milton s contemporary Robert Herrick, on the other hand, created many little poems, making them his signature genre. The same holds true for poets across time: those who favored longer forms occasionally wrote brief songs. And others ancient Greek epigram writers, Japanese haiku poets, and modern writers like William Carlos Williams, Langston Hughes, and Dorothy Parker often favored brevity.

What exactly qualifies as a little poem ? There is no consensus, but the Italian word sonetto, source of the English word sonnet, means little song, suggesting that fourteen lines may be a rule of thumb. But in this book, even a sonnet would be long. All the poems I have included almost 300 of them, by 175 different authors are under fourteen lines. Most range from two lines to twelve. A few have thirteen lines just shy of a sonnet. Poets have been writing such poems for thousands of years, starting in the ancient world and continuing to the present day. The earliest work in this book is by the Greek poet Sappho, who lived in the seventh century BCE; the most recent is by poets still active in the 2020s, such as Carol Ann Duffy, Danez Smith, and Ocean Vuong.

What do little poems have in common besides their brevity? Probably not a great deal except for their astonishing variety. Many are highly accessible on first reading, almost tweet-like. Others invite contemplation: they call us back to re-read and ponder their lines. Despite their brevity, however, little poems can do most of what longer poems can do: tell a story; paint a picture; evoke an emotion; argue a point; make us laugh or cry. They can be serious or sarcastic, somber or silly, disturbing or comforting. And like all poems, they invite us to see the world with new eyes and to hear it with new ears.

The poems in this book do all those things. And their chronological arrangement highlights their diversity in surprising ways. The first sectio…