Points out similarities between the events and characters of Tennyson's "Maud" and Shakespeare's "Hamlet." Identifies traits which "Maud" shares with Spasmodic poetry. Argues that Tennyson consciously employed these similarities to expose the deficiencies of the Spasmodic school. (DMM)

This paper explores the view that poetry is a cognitive activity whose object of knowing is our affective life. It is argued that the devices used in poetry, being modifications of ordinary language, determine the sorts of things knowable. Three devices are discussed in detail: imagery, heightened language, and ambiguity. (Author/SJL)

Describes a readers theatre approach to poetry in the classroom that involves all students. A readers theatre script of Earl Birney's poem "David" is appended. (HTH)

A college English professor turned children's poet discusses his approach to teaching poetry to children, which begins by recognizing the child as a person with an intellect. (AEA)

Argues that asking students to write in concrete images about specific events and places serves to emphasize the importance of writing from detailed personal experiences. (RL)

Describes a project in writing poetry and learning English in Ghana with belief that poetry can stimulate imaginative and personal expression. Results show grammatical errors begin to disappear as students become more involved in mode although lexical choices remain a problem for students throughout their pre-university careers. (Author/BK)

Discusses the publications of W. E. B. Du Bois and lists them in the following categories: books, books containing short stories, poems, short fiction, and dramas. (GT)

Outlines an approach used in teaching poetry as a craft, in which poems about small town life were read and discussed to help students discover and write down their responses to their own town. (GT)

Twenty-four students (9 to 13 years old) were questioned about the metaphoric content of poetry, paintings, and dance. Interviews dealing with poetry were briefer and less animated than those dealing with paintings, suggesting that improving the capacity to understand metaphor in reading materials is a desirable goal. (CL)

Shows that the task of the poet-teacher is to teach students not only how to write poetry but also how to read and appreciate poetry. Notes that the poetry workshop should stimulate critical capacity and taste by reconnecting study and thought to the personal. (RL)

Highlights four items from the ERIC database in which teacher/directors describe high school theater and classroom productions of Masters'"Spoon River Anthology," Shakespeare, three Black theater dramatizations, and mime. Each offers creative suggestions for imitation. (JMF)

Suggests 21 ways that Mother Goose rhymes may be used to enliven lessons in all elementary subject areas. (SJL)

Presents a selection of October resources for the elementary grades: a calendar of notable events; a Christopher Columbus game; and a story, a playlet, a song, some poems, and an art activity for Halloween. (SJL)

Presents an art history class that incorporates writing (primarily poetry) to complement the study of art as expression. (HTH)

Presents five approaches to the teaching of poetry that instill the fear of poetry in students. Suggests poetry be presented as a complex combination of elements, none of which is the be-all and end-all of its importance or meaning. (HOD)