Cry about it. This simple phrase can carry a lot of meaning. It might be used to taunt someone who is upset or to tell them that they should just accept a situation and deal with their emotions.

However, crying can also be a healthy and necessary response to difficult emotions. It can help us release stress and pent-up feelings, and it can also be a way to seek comfort and support from others.

Sometimes, we might try to hold back our tears in an effort to appear strong or in control. But this can actually make us feel worse in the long run. By allowing ourselves to cry when we need to, we can give ourselves the space and time to process our emotions and move forward.

So the next time someone tells you to "cry about it," don't be afraid to take them up on the offer. Let yourself feel your emotions, and don't be ashamed of showing your vulnerability. After all, crying is a natural and human response, and it can be a powerful tool for healing and growth.

The author's introduction to this book makes a significant point.

It states that the title might give the impression that it is a modern-day Gradus ad Parnassum, aiming to teach budding writers how to create decent verses. However, that is not the case.

Instead, it is intended to assist aspiring readers in enhancing their sensitivity to the rhythmical and formal qualities of poetry. This, in turn, will increase their pleasure and understanding as a proficient audience of a demanding art.

Actually, from my perspective, it is truly worthwhile to study for both those who aspire to be writers and those who are readers of poetry.

It is an engaging and perceptive short book that delves into some of the major aspects of poetry.

It offers valuable insights and perspectives that can enrich the experience of both writing and reading poetry.

Whether you are looking to improve your writing skills or simply gain a deeper appreciation for the art of poetry, this book has something to offer.

It is a must-read for anyone interested in the world of poetry.

Dank shit is a rather vulgar and unappealing term. It might refer to something that is unpleasant, smelly, or of poor quality.

However, using such language is not appropriate in most formal or polite conversations. We should strive to use more refined and respectful language to communicate our thoughts and ideas.

There are many other ways to describe something that is not to our liking without resorting to such crass expressions. For example, we could say "unpleasant odor," "low-quality item," or "undesirable situation."

By choosing our words carefully, we can convey our message more effectively and avoid offending others. It is important to remember that language has the power to influence how others perceive us and our ideas.

So, let's make an effort to use language that is both clear and respectful, and leave the dank shit behind.

Fussell's work in this book offers a comprehensive exploration of the effects of meter in both formal and free verse.

He aims to assist us in understanding how the poetry we repeatedly turn to influences us. He reminds us that the sentence is the foundation of prose, while the sentence and the line form the basis of poetry. He then explains how meter determines the length of the line, which is not arbitrary but related to the sounds of modern English, including word emphasis and the language's inherent possibilities.

Fussell neither dismisses free verse nor denigrates formal verse. Instead, he endeavors to understand both, exploring their workings, reasons for success, as well as their limitations and possibilities. Naturally, he spends more time on formal verse as free verse can be seen as one of the forms, perhaps the most casual. He sums up by stating that poetry is form, and permanent poetry is permanent form, where 'form' refers to the pattern that affects the reader and is recognized by them, regardless of how unconsciously or irrationally.

By this point in the book, he has conducted an in-depth investigation into the historical development of forms, informed not only by the knowledge of which poets succeeded one another but also by a broader understanding of history and the history of ideas. What he achieves is a clear picture of the state of English poetry around 1976, a state from which we may not have yet emerged.

He presents the challenge to contemporary poetry as a pair of unhappy alternatives: either devising new schemes of empirically meaningful repetition that reflect and transmit the color of contemporary experience or recovering schemes that have reflected past experience.

He also makes the refreshing and illuminating statement that most poetry in English ranges from mediocre to very bad, and most poets are technically incompetent, just like in many other professions.

Fussell's book imparts discernment and true criticism, and it is greatly to his credit that by the time we reach the penultimate chapter, we understand exactly why his statements about poetry hold true.

Overall, this book is a valuable addition to the study of poetry, offering insights that are not as basic or comprehensive as some other works but are full of the things we may not have learned in high school.

Every reader of English poetry truly requires this book, or one similar to it.

The untrained reader can instinctively grasp the fundamental elements of the art form, yet the more intricate aspects will evade them. This is precisely where Fussell steps in. He will enhance your attention, regardless of whether you believe you need it or not.

However, one should not blindly accept everything he says. Although he is outstanding when it comes to traditional poetry, he is less helpful when it comes to modern poetry and "free verse" as it increasingly deviates from convention. Fussell is completely at ease with Yeats and even Eliot, but in order to make sense of Whitman, he has to break those long, irregular lines into iambic pentameter, somewhat losing the essence in the process. He cannot distinguish between Olson and Ginsberg. Blues form and jazz prosody are simply overlooked without any comment. Nevertheless, his emphasis on the inherent rhythm of the English language and its significance for poetry is absolutely essential.

During the course of a recent poetry workshop, I came across a recommendation for this book. It was lauded as the best guide on metered verse and poetic form of its kind. Before delving into this book, I had been struggling through a book on syntax in poetry. Sadly, it was almost incomprehensible due to its over-reliance on academic jargon at an extremely high density, making it seem as if it were written in a foreign language.

However, with this book, there is no such worry. There is no nonsense or fear that an in-depth examination of meter will scramble your faculties. For those inclined intellectually, few things are as delightful as reading a book or listening to a lecture by a writer or speaker who is truly in love with and devoted to their subject, which in this case is poetry. Early on, the author makes a most comforting assertion: "The goal of what we are doing is enjoyment: an excessive refinement of terms and categories may impress others but it will probably not help us very much to appreciate English poetic rhythms."

Paul Fussell's book lives up to these words. I found this clear, concise, and engaging read to greatly enhance my understanding and appreciation of English poetic meter and form. What makes this book so enjoyable is that rather than simply explaining what poetic meter is, he vividly illustrates, through numerous examples, how meter can be carefully and thoughtfully manipulated to give a poem greater emotional impact, foot by foot, line break by line break, stanza by stanza. Using both classic and modern examples, he builds a strong case with dazzling illustrations, such as showing how Oscar Wilde got it wrong while William Carlos Williams got it right. He gave me a fresh perspective on how the physical structure of a poem can be just as important as its musicality. And I found his grumpy stance on the sloppiness of poetic form adorable. I have hardly ever met a curmudgeon I didn't like almost immediately. I even laughed out loud for a solid five minutes at this delightful bit of bewilderment in his chapter on English stanzas: "A few of the 'Beat' poets have essayed interesting critical justifications of their technical usages, although not all of their critical remarks go as far as Ginsberg commenting on the the formal shape of Howl: 'A lot of these forms developed out of an extreme rhapsodic wail I once heard in a madhouse.' Perhaps a more useful observation is Robert Duncan's ascription..."

Good lordy, how can you not love that? While it is an academic subject that may not interest those who do not write poetry, Paul Fussell is a truly engaging writer. He is fair in his quickness to praise a well-crafted modern poem in free verse as well as the form and rhyme of a Shakespearean sonnet. But make no mistake, he clearly prefers his sonnets and rhyme. He believes that something important is lost when traditional form and meter are disregarded as foundational and relevant to what poetry does. I've never met a poet who thought that metered poetry was passé and should be shunned, even as free verse dominates the contemporary poetic landscape. But I know they exist. After reading this book, I can see the validity of his argument that well-executed metered verse has an inherent elegance that clings to the soul. When I can get my hands on a second copy of this book, I will. I think it is that well-written.

There is no better introduction to poetry than experiencing it firsthand. Poetry has the power to touch our hearts, stir our emotions, and open our minds to new perspectives. It is a form of art that uses words to create vivid images, express deep feelings, and convey profound ideas.

When we read poetry, we are invited into a world of beauty and imagination. We can explore different cultures, times, and places through the eyes of the poet. We can also discover our own inner selves and gain a deeper understanding of our emotions and experiences.

Poetry can be enjoyed by people of all ages and backgrounds. It can be read aloud, shared with friends, or simply savored in solitude. Whether you are a beginner or an experienced reader, there is always something new and exciting to discover in the world of poetry. So, why not pick up a book of poetry today and start your own journey of exploration?