Editing Poetry analysis (section)

==Approaches==

===Schools of poetry===
{{Unreferenced section|date=April 2016}}
{{main|List of poetry groups and movements}}

There are many different 'schools' of poetry: oral, classical, romantic, modernist, etc. and they each vary in their use of the elements described above.

Schools of poetry may be self-identified by the poets that form them (such as [[Imagism]]<ref>{{Cite web |last=Poets |first=Academy of American |title=A Brief Guide to Imagism |url=https://poets.org/text/brief-guide-imagism |access-date=2024-03-26 |website=Poets.org |language=en}}</ref>) or defined by critics who see unifying characteristics of a body of work by more than one poet (for example [[Movement (literature)|The Movement]]). To be a 'school' a group of poets must share a common style or a common ethos. A commonality of form is not in itself sufficient to define a school; for example, [[Edward Lear]], [[George du Maurier]] and [[Ogden Nash]] do not form a school simply because they all wrote limericks.<ref>{{Cite web |title=Poetry Groups |url=https://www.poetryexplorer.net/poetry-groups/ |access-date=2024-02-25 |website=Poetry Explorer |language=en-US}}</ref>

===Schools of criticism===
{{Unreferenced section|date=April 2016}}
Poetry analysis is almost as old as poetry itself, with distinguished practitioners going back to figures such as [[Plato]]. At various times and places, groups of like-minded readers and scholars have developed, shared, and promoted specific approaches to poetry analysis.

The '''[[New Criticism]]''' dominated [[England|English]] and [[United States|American]] [[literary criticism]] from the 1920s to the early 1960s.<ref>{{Cite web |title=New Criticism {{!}} Literary Theory, Textual Analysis & Poetry {{!}} Britannica |url=https://www.britannica.com/art/New-Criticism |access-date=2024-03-26 |website=www.britannica.com |language=en}}</ref> The New Critical approach insists on the value of [[close reading]] and rejects extra-textual sources. The New Critics also rejected the idea that the work of a critic or analyst is to determine an author's intended meaning (a view formalized by [[W.K. Wimsatt]] and [[Monroe Beardsley]] as the [[intentional fallacy]]). The New Critics prized [[ambiguity]], and tended to favor works that lend themselves to multiple interpretations.<ref>{{Cite web |last=Foundation |first=Poetry |date=2024-02-25 |title=New Criticism |url=https://www.poetryfoundation.org/learn/glossary-terms/new-criticism |access-date=2024-02-25 |website=Poetry Foundation |language=en}}</ref>

'''[[Reader-response criticism]]''' developed in Germany and the United States as a reaction to New Criticism. It emphasises the reader's role in the development of meaning.<ref>{{Cite web |title=Reader-Response Criticism {{!}} Introduction to Literature |url=https://courses.lumenlearning.com/suny-introliterature/chapter/reader-response-criticism-suggested-replacement/ |access-date=2024-02-25 |website=courses.lumenlearning.com}}</ref>

'''[[Reception theory]]''' is a development of reader-response criticism that considers the public response to a literary work and suggests that this can inform analysis of cultural ideology at the time of the response.<ref>{{Cite web |title=Reception Theory {{!}} Encyclopedia.com |url=https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/reception-theory |access-date=2024-02-25 |website=www.encyclopedia.com}}</ref>

===Reading poetry aloud===
All poetry was originally oral, it was sung or chanted; poetic form as we know it is an abstraction therefrom when writing replaced memory as a way of preserving poetic utterances, but the ghost of oral poetry never vanishes.<ref>Hollander, John ''Rymes Reason – A Gude to English Verse'', Yale University Press,  New Haven 1981 {{ISBN|978-0-300-04307-5}}</ref>
Poems may be read silently to oneself, or may be read aloud solo or to other people. Although reading aloud to oneself raises eyebrows in many circles, few people find it surprising in the case of poetry.

In fact, many poems reveal themselves fully only when they are read aloud. The characteristics of such poems include (but are not limited to) a strong narrative, regular poetic meter, simple content and simple form. At the same time, many poems that read well aloud have none of the characteristics exhibited by T. S. Eliot's "Journey of the Magi", for example. Poems that read aloud well include:

*"The Frog", by [[Jean Dao]]
*"One Art", by [[Elizabeth Bishop]]
*"[[The Tyger]]", by [[William Blake]]
*"Meeting at Night", by [[Robert Browning]]
*"[[She Walks in Beauty]]", by [[George Gordon Byron, 6th Baron Byron|Byron]]
*"The Song of the Western Men", by [[Robert Stephen Hawker]]
*"November in England", by [[Thomas Hood]]
*"Dream Variations", by [[Langston Hughes]]
*"[[The Ingoldsby Legends|The Jackdaw of Rheims]]", by [[Thomas Ingoldsby]]
*"To put one brick upon another", by [[Philip Larkin]]
*"Paul Revere's Ride", by [[Henry Wadsworth Longfellow]]
*"Adventures of Isabel", by [[Ogden Nash]]
*"Nothing but Death", by [[Pablo Neruda]] translated by [[Robert Bly]]
*"A Small Elegy", by [[Jirí Orten]] translated by [[Lynn Coffin]]
*"[[Ozymandias]]", by [[Percy Bysshe Shelley]]
*"[[The Cat in the Hat]]", by [[Dr. Seuss]]
*"Sea Surface Full of Clouds", by [[Wallace Stevens]]
*"Silver", by [[Walter de la Mare]]
*"How to Tell a Story", by [[Robert Penn Warren]]
*"On Westminster Bridge", by [[William Wordsworth]]