This is a great introduction for a complete newcomer to reading (and understanding/appreciating) poetry.

It does an excellent job of explaining the core elements that are necessary to start appreciating poetry at a deeper or more technical level.

The author uses numerous examples of "good" versus "bad" poetry and elaborates on what makes each one the way it is.

This not only helps the reader to better understand the concepts being discussed but also further drives home the explanations provided.

By presenting these examples in a clear and accessible way, the author makes it easier for the newcomer to grasp the essence of poetry and begin their journey of appreciation.

Overall, this is a very useful and engaging introduction to the world of poetry for those who are just starting out.

**Rhythm and Meter in Poetry**

In 1915, Ezra Pound firmly insisted that "Rhythm must have meaning." Meter, on the other hand, is what occurs when the natural rhythmical movements of colloquial speech are enhanced, organized, and regulated, leading to the emergence of a pattern, which implies repetition.

The purpose of meter is multi-faceted. It gives pleasure to the reader or listener, provides coherence to the poem, demonstrates the poet's skill, fits the poem into a tradition, qualifies it as poetry, and draws attention to the rhyming words.

Free verse, despite its name, adheres to its own more or less strict imperatives. Two of these are immediately evident to the ear and eye. The free-verse poem creates a texture without metrical regularity.

A poem has a better chance of achieving greater success and permanence the closer it gets to absolute economy and coherence of its constituent parts.

In the Petrarchan sonnet, the problem is often resolved by reasoned perception or a relatively expansive and formal mediative process. However, in the Shakespearean sonnet, since the resolution must occur within the confined space of a twenty-syllable couplet, the "solution" is more likely to be the result of wit, paradox, or even a quick stroke of sophistry, logical cleverness, or outright comedy.

Paul is a truly romantic soul who seems to have been born in the wrong decade.

He passionately presents a series of highly compelling arguments in favor of the use of rhyme in modern poetry. His love for the musicality and rhythm that rhyme brings to the written word is palpable.

However, Paul also shows a remarkable understanding of the movement away from rhyme in contemporary poetry. He recognizes that times have changed, and poets are exploring new forms and表达方式 to convey their thoughts and emotions.

Despite his own inclination towards rhyme, he respects the choices and experiments of modern poets. His perspective offers a refreshing and balanced view on the evolution of poetry.

This article provides a clear and concise read, allowing readers to gain insights into Paul's thoughts and the ongoing debate about rhyme in modern poetry.

On 23 June 2012, an interesting link was shared.

The link http://www.slate.com/articles/arts/th... led to an article that was likely related to some aspect of art or literature.

Perhaps it was about a particular author, Paul Fussell, as the title seems to suggest. The article might have explored his works, his impact on the field, or some other relevant topic.

Fast forward to 27 February 2019, and this link was part of what was described as "Culling Amazon wishlist".

It's not entirely clear what that means in this context, but it could imply that the person was going through their Amazon wishlist and perhaps considering which items to keep or remove.

The inclusion of this link from 2012 in the 2019 culling process adds an element of nostalgia or perhaps a reconsideration of past interests.

It makes one wonder what the significance of this link was to the person and how it fit into their overall collection of items on their Amazon wishlist.

This book offers a useful explanation of prosody. It doesn't go into overly lofty or complex theories, which makes it accessible for students. It also provides a decent source of examples that can help them understand the concepts better.

I found it quite helpful when I used it to assist my students in scanning poems. They were able to gain a better understanding of the rhythm and meter of the poems through the explanations and examples in the book.

However, it's important to note that the chapter on free verse in this book is not very good. It lacks depth and doesn't provide a comprehensive enough analysis of free verse.

Overall, despite the drawback of the free verse chapter, the book is still a valuable resource for teaching prosody and helping students improve their poetry scanning skills.

As a poet, I did take some notes while reading this. However, Fussell's attitude really disappointed me. His arrogance was palpable throughout the text, as if he was the only one who truly understood the subject.

Moreover, his verbose approach made it difficult to follow his train of thought. He seemed to be more interested in showing off his knowledge than in communicating his ideas clearly.

This kind of writing style is not only insulting to the reader but also counterproductive. It makes me wonder if Fussell really cares about sharing his insights with others or if he is just trying to prove himself.

In conclusion, while there may be some valuable points in Fussell's work, his arrogance and verbosity overshadow them. As a poet, I believe that simplicity and clarity are key in communicating ideas, and Fussell would do well to learn from this.

The text presents a significant amount of excellent material. However, it can be rather dense when one attempts to read through it.

This density might pose a challenge for some readers, as they may find it difficult to fully absorb and understand all the information presented.

Perhaps the content could be presented in a more organized and less compact manner to enhance readability.

For example, using headings and subheadings to break up the text, or adding more white space between paragraphs.

This would make it easier for readers to navigate through the material and focus on the key points.

Despite the density, the good material within the text is valuable and worth exploring further.

With a little effort to improve the presentation, it could reach a wider audience and have a greater impact.

Wait......why did this make me actually appreciate poetry? Like I love reading it, but now I really understand the intricacies of it. It's truly remarkable how this newfound understanding has deepened my connection with poetry. Before, I would simply enjoy the words on the surface, but now I can see the hidden meanings, the巧妙的 wordplay, and the emotions that the poet is trying to convey.

It's as if a whole new world has opened up to me. I find myself analyzing each line, trying to uncover the layers of significance. I realize that poetry is not just about beautiful words, but it's a form of art that can touch our souls and make us see the world in a different light.

This new appreciation has also made me more eager to explore different poets and their works. I want to learn from their techniques and see how they use language to create such powerful and moving pieces. I'm excited to continue this journey of discovery and see where it takes me.

Fussell is a must-read for any poet.

He is known for his arrogance, but there is a certain charm and value to it. His works are filled with unique perspectives and profound insights into the art of poetry.

Despite his brashness, Fussell's ideas and interpretations can challenge and inspire poets to think differently about their craft.

His writing style is engaging and thought-provoking, making it a pleasure to explore his works.

Whether you agree or disagree with his views, there is no denying the impact that Fussell has had on the world of poetry.

So, if you are a poet looking for new inspiration and a fresh take on the art form, be sure to check out Fussell's works.

You may just find that his arrogance is what makes him so worth reading.

Fussell demonstrates a remarkable command over basic forms, particularly within the realm of formal (that is, metrical and/or rhymed) verse. If you are ignorant about this subject, he is more than willing to educate you.

However, in my opinion, there are two major issues. The less significant one is an overabundance of examples, which often seem to be flogging a dead horse. We understand, Paul, that's enough.

The more substantial problem is Fussell's blatant aversion to free verse. Granted, he allocates a certain amount of time to it, but it comes across as if it is out of a sense of obligation, and as if he truly has no idea what he is discussing.

Overall, while Fussell has his strengths in the area of formal verse, his treatment of free verse leaves much to be desired.

It should neither surprise nor distress us that most poetry in English ranges from the mediocre to the very bad and that most poets are technically incompetent.

Just like most waiters, physicians, carpenters, lawyers, gardeners, and teachers, not all poets possess the necessary skills.

The genuinely successful poems to which we return again and again are but a tiny selection from the vast and almost measureless rubbish heap of the centuries.

A mastery of technique is rare enough in any art.

But in poetry, it demands not only a superb taste in the ever-shifting symbolic system of the connotations of language and an instinct for the aesthetic significance of abstract forms and patterns, but also a deep and abiding understanding of the rhythmic psychology and even physiology of readers in general.

Technical mastery is not so common a gift that it appears inevitably in every generation.

Fussell's book is aimed primarily at the would-be-educated reader of poems.

His view is that the trained eye can gather up more appreciation, more rapture, more enjoyment from a given poem if it is educated as to poetic history, meter, and form.

This is a view which I certainly share, and I have never agreed with Keat's assessment that to "unweave a rainbow" is somehow tantamount to destroying its majesty.

Speaking very generally, knowledge in any aesthetic field can enhance our sense of appreciation.

Poems are (or should be) intensely dense things: each element placed with economy, with significance.

If the poet has done his or her job well, then the reader can expect a great deal of pleasure from unweaving the poem.

If the poem doesn't yield much, it either wasn't written well or is being read by a rube.

Fussell's book breaks down the English tradition's major metrical and formal elements, providing stunning (and plentiful) examples of how each choice the poet makes affects the necessary coherence of the final product.

This is a highly engaging and well-written survey.

I decided to pick up this book with the intention of enhancing my understanding of poetic techniques. Fussell's organized discussion on meter and form truly meets the mark. His writing style is clear and not overly complex, and he incorporates numerous interesting examples. However, it should be noted that the majority of these illustrations are drawn from the works of white male poets.

Fussell is not hesitant to present his opinions or display his wit. I found his analyses to be quite intriguing, albeit not always entirely convincing. Given that this book was published in the 1960s, some of its content may seem a bit outdated in today's scholarly discussions. Nevertheless, I firmly believe that it still has a great deal to offer. For example, the concepts of metrical variation and poetic density will surely remain with me as I encounter more poetry in the future.

Overall, this book provides valuable insights and serves as a useful resource for those interested in exploring the world of poetry.