Literature: An Introduction to Fiction, Poetry, and Drama/Includes 1995 Mla Guidlines

1915 Pages·2019·53.21 MB·English

by  Dana Gioia

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LITERATURE
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An Introduction to

Fiction, Poetry, and Drama

Sixth Edition
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X. J. Kennedy
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! Dana Gioia
Wesleyan University
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£ HarperCollinsCollegePublishers

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An Instructor’s Manual for Literature: An Introduction to Fiction, Poetry, and Drama,
Sixth Edition, is available through your local HarperCollins representative or by writing
to Literature Acquisitions Editor, HarperCollins College Division, 10 East 53rd Street,
New York, NY 10022.
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Acquisitions Editor: Lisa Moore
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Developmental Editor: Katharine H. Glynn
Project Editor: Diane Williams
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Cover Design: PC&.F
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For permission to use copyrighted material, grateful acknowledgment is made to the
copyright holders on pp. 1819-1830, which are hereby made part of this copyright page.
Literature: An Introduction to Fiction, Poetry, and Drama, Sixth Edition
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Copyright © 1995 by X. J. Kennedy and Dana Gioia
All rights reserved. Printed in the United States of America. No part of this book may be
used or reproduced in any manner whatsoever without written permission, except in the
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case of brief quotations embodied in critical articles and reviews. For information address
i HarperCollins College Publishers Inc., 10 East 53rd Street, New York, NY 10022.
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Library of Congress Cataloging-in-Publication Data
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: Literature: an introduction to fiction, poetry, and drama / [compiled
by] X.). Kennedy, Dana Gioia.—6th ed.
: • p. cm.
■' : Includes bibliographical references and indexes.
ISBN 0-673-52509-0(student edition)—ISBN 0-673-52281-4 (free copy edition)
:
1. Literature—Collections. 1. Kennedy, X. J. II. Gioia, Dana.
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t PN6014.L58 1995
808—dc20 94-9933
CIP
4 5 6 7 8 9 10 -DOC- 01 00 99 98 97
Topical Contents

CONTENTS ix
PREFACE xxxviii
Fiction i
1 Reading a Story 3
FABLE AND TALE 4
PLOT 9
THE SHORT STORY 11
2 Point of View 19
3 Character 67
4 Setting no
5 Tone and Style 154
IRONY 176
6 Theme 189
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7 Symbol 236
8 Evaluating a Story 261
9 Reading Long Stories and Novels 264
10 A Writer in Depth 347
11 Stories for Further Reading 392
12 Criticism: On Fiction 570
TOPICAL CONTENTS iii
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: Poetry 579
' 13 Reading a Poem 583
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LYRIC POETRY 588
NARRATIVE POETRY 590
] DRAMATIC POETRY 593
14 Listening to a Voice 597
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TONE 597
THE PERSON IN THE POEM 603
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■! IRONY 609
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15 Words 624
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LITERAL MEANING: WHAT A POEM SAYS FIRST 624
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THE VALUE OF A DICTIONARY 630
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WORD CHOICE AND WORD ORDER 635
I 16 Saying and Suggesting 650
!i 17 Imagery 660
ABOUT HAIKU 668
18 Figures of Speech 677
WHY SPEAK FIGURATIVELY? 677
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METAPHOR AND SIMILE 680
OTHER FIGURES 686
19 Song 697
SINGING AND SAYING 697
: BALLADS 705
20 Sound 714
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SOUND AS MEANING 714
' ALLITERATION AND ASSONANCE 719
I RIME 723
i READING AND HEARING POEMS ALOUD 731
21 Rhythm 735
STRESSES AND PAUSES 735
METER 744
22 Closed Form 755
FORMAL PATTERNS 756
iv TOPICAL CONTENTS
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THE SONNET 762
EPIGRAMS 766
OTHER FORMS 770
23 Open Form 775
VISUAL POETRY 787
SEEING THE LOGIC OF OPEN FORM 792
24 Symbol 796
25 Myth and Narrative 808
PERSONAL MYTH 813
MYTH AND POPULAR CULTURE 815
26 Poetry and Personal Identity 824
RACE AND ETHNICITY 829
GENDER 833
27 Alternatives 843
TRANSLATIONS 843
PARODY 849
28 Evaluating a Poem 853
TELLING GOOD FROM BAD 853
KNOWING EXCELLENCE 865
29 What is Poetry ? 881
30 Poems for Further Reading 885
31 Criticism: On Poetry 1023
32 Lives of the Poets 1035
Drama m

33 Reading a Play 1063
A PLAY IN ITS ELEMENTS 1065
TRAGEDY AND COMEDY 1081
34 The Theater of Sophocles 1102
ARISTOTLE’S CONCEPT OF TRAGEDY 1147
TOPICAL CONTENTS v
35 The TheaterofShakespeare 1150
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36 The Modern Theater 1255

TRAGICOMEDY AND THE ABSURD 1315
37 Evaluatinga Play 1324

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38 Playsfor Further Reading 1327

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i 39 New Voices in American Drama 1598
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40 Criticism: On Drama 1715

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; Supplement: Writing 1733
I. Writingabout Literature 1735

1
BEGINNING 1735
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DISCOVERING AND PLANNING 1737
\ DRAFTING AND REVISING 1739
THE FORM OF YOUR FINISHED PAPER 1742
i DOCUMENTING YOUR SOURCES 1743
i t 2. Writing about a Story 1747
EXPLICATING 1747
ANALYZING 1750
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COMPARING AND CONTRASTING 1756
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! SUGGESTIONS FOR WRITING 1757
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3. Writingabout a Poem 1761

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I EXPLICATING 1762
ANALYZING 1767
COMPARING AND CONTRASTING 1770
HOW TO QUOTE A POEM 1773
BEFORE YOU BEGIN 1775
SUGGESTIONS FOR WRITING 1776
vi TOPICAL CONTENTS
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4. Writing about a Play 1780
METHODS 1780
WRITING A CARD REPORT 1782
REVIEWING A PLAY 1785
SUGGESTIONS FOR WRITING 1787
5. Critical Approaches to Literature 1790
FORMALIST CRITICISM 1791
BIOGRAPHICAL CRITICISM 1795
HISTORICAL CRITICISM 1798
GENDER CRITICISM 1802
PSYCHOLOGICAL CRITICISM 1804
SOCIOLOGICAL CRITICISM 1807
MYTHOLOGICAL CRITICISM 1809
READER-RESPONSE CRITICISM 1811
DECONSTRUCTIONIST CRITICISM 1815
ACKNOWLEDGMENTS 1819
INDEX TO FIRST LINES OF POETRY 1831
INDEX TO AUTHORS AND TITLES 1839
INDEX TO TERMS INSIDE BACK COVER
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TOPICAL CONTENTS vii
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Contents
PREFACE xxxviii
Fiction
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] Reading a Story 3

FABLE AND TALE 4
W. Somerset Maugham, THE APPOINTMENT IN SAMARRA 4
A servant tries to gallop away from Death in this brief sardonic fable retold
in memorable form by a popular storyteller.
Jakob and Wilhelm Qrimm, GODFATHER DEATH 6
Neither God nor the Devil came to the christening. In this stark folk tale, a
young man receives magical powers with a string attached.
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Chuang Tzu, INDEPENDENCE 8
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: The Prince ofCh’u asks the phibsopher Chuang Tzu to become his advisor
and gets a surprising reply.
PLOT 9
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THE SHORT STORY 11
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John Updike, A & P 12
In walk three girls in nothing but bathing suits, and Sammy finds himself no
bnger an aproned checkout clerk, but an armored knight.
SUGGESTIONS FOR WRITING 18
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2 Point ofView 19

William Faulkner, A ROSE FOR EMILY 25
Proud, imperious Emily Grierson defied the town from the fortress of her
mansion. Who could have guessed the secret that by within?
Katherine Mansfield, MlSS BRILL 33
Sundays had bng brought joy to solitary Miss Brill, until one fateful day
when she happened to share a bench with two bvers in the park.
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CONTENTS ix
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James Baldwin, SONNY’S Blues 37
Two brothers in Harlem see life differently. The older brother is a sensible
family man, but Sonny wants to be a jazz musician.
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Edgar Allan Poe, THE TELLTALE HEART 61
The smoldering eye at last extinguished, a murderer finds that, despite all his
attempts at a cover-up, his victim will be heard.
SUGGESTIONS FOR WRITING 65
3 Character 67

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Katherine Anne Porter, THE JILTING OF GRANNY WeATHERALL 70
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For sixty years Ellen Weatherall has fought back the memory of that terrible
day, but now once more the priest waits in the house.
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John Cheever, THE FlVE'FORTY'ElGHT 78
: After their brief affair, Blake fired his secretary. He never expected she
would seek revenge.
Alice Walker, EVERYDAY USE 90
When successful Dee visits from the city, she has changed her name. Her
mother and sister notice that other things have changed, too.
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! Isaac Bashevis Singer, GlMPEL THE FOOL (TRANSLATED BY SAUL
i Bellow) 98
G impel the baker was the most gullible man in. creation, and the villagers
knew it. Did he believe a cow laid brass eggs? Did he believe his children
were his own?
SUGGESTIONS FOR WRITING 109
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Kate Chopin, THE STORM 113
i Even with her husband away, Calixta feels happily, securely married. Why
then should she not shelter an old admirer from the rain?
Jack London, TO BUILD A FIRE 117
Seventy-five degrees below zero. Alone except for one mistrustful wolf dog
a man finds himself battling a relentless force.
T. Coraghessan Boyle, GREASY Lake 129
Murky and strewn with beer cans, the lake appears a wasteland. On its
shore three “dangerous characters" learn a lesson one grim night.
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