ГБОУ Школа №460 имени дважды Героев Советского Союза А.А. Головачёва и С.Ф.Шутова

Проектная работа

по дисциплине «Английский язык»

на тему: «Роль поэтесс в американской поэзии»

Выполнила:

Ученица 11 класса «П»

Михайлова Надежда

Руководитель:

Учитель английского языка

Соломасова Д.В.

Москва 2018

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State School №460 named after twice Heroes of the Soviet Union

A.A. Golovachov and S.F. Shutov

Research Project

The role of the female poets in American poetry

Author:

Mikhailova Nadezhda,

Grade 11 “P”

Supervisor:

Solomasova D.V.,

English language teacher

Moscow 2018

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Contest

ContestIntroduction.............................................................................................................................5American poetesses...............................................................................................................61. Anne Bradstreet..............................................................................................................62. Emily Dickinson...............................................................................................................73. Ella Wheeler Wilcox........................................................................................................84. Anne Sexton....................................................................................................................95. Amy Lawrence Lowell...................................................................................................10The structure of American poetry.........................................................................................121. Stanzas.........................................................................................................................122. Forms............................................................................................................................123. Sound patterns..............................................................................................................134. Meaning and Poetry......................................................................................................17Tips on writing a poem.........................................................................................................19Conclusion............................................................................................................................21

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Введение Цель

Познакомиться с произведениями американских поэтесс в оригинале и написать стихотворение-подражание.

Задачи

1. Познакомиться с творчеством известных поэтесс Америки;2. Научиться писать стихотворения на английском;3. Проанализировать творчество конкретной поэтессы;4. Написать стихотворение-подражание конкретной поэтессы;5. Сделать вывод о роли поэтесс в Американской поэзии.

Актуальность

Большинство поэтов, которых мы изучаем в курсе школьной программы – мужчины. Но не менее важный вклад в поэзию сделали поэтессы. Мне захотелось выявить роль творчества поэтесс на примере Американской поэзии.

Продукт

Стихотворение в стиле одной из поэтесс (стихотворение-подражание).

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Introduction

AimTo study American poetry and to create a poem in a style of one poetess.

Tasks1. To read the poems of the most famous poetesses2. To learn how to write poems in English3. To analyze the poetry of one of the poetesses4. To write an imitation poem based on the poetry of one of the poetesses5. To make a conclusion about the role of the women poets in American poetry

RelevanceThe most of the poets we study at school are men. But we should not forget about the women poets. I decided to find out the importance of the women’s poetry in the case of American poetry.

ProductThe imitation poem in the style of one of the poetesses.

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American poetesses

1. Anne Bradstreet (1612-1672)

She was the first writer to be published in England's North American colonies. Anne was born in England, but in 1630 she had to immigrate to America with her parents and husband. She was a well-educated woman, knew several languages and was taught history and literature. Despite her poor health, she had eight children.

Much of Bradstreet's poetry is based on observation of the world around her, focusing heavily on domestic and religious themes. Bradstreet's work was deeply influenced by the poet Guillaume de Salluste Du Bartas, who was favored by 17th-century readers. Despite the traditional attitude toward women of the time, she clearly valued knowledge and intellect; she was a free thinker and some consider her an early feminist, however, Bradstreet's feminism does

not reflect heterodox, antinomian views. Bradstreet’s first book “The Tenth Muse Lately Sprung Up in

America” was published both in America and England. Anne Bradstreet wrote in a different format than other writers of

her time. This mainly is due to the fact that she wrote her feelings in a book not knowing someone would read them.

She died in 1672 of tuberculosis.

The peculiarity of the poetry: The using of sarcastic tone; The main theme is the role of women in the society; Poems are usually written in a hopeful and positive tone.

The list of the most famous poems: “To My Dear and Loving Husband”; “The Author to her Book”; “The Flesh and the Spirit”; “Upon the Burning of our House”; “For Deliverance from a Fever”.

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Picture 1, Anne Bradstreet

2. Emily Dickinson (1830-1886 )

One of the most remarkable poetesses of the USA was Emily Dickinson, who was the pioneer of her century.

Emily was born into a prominent family. She had two twins: a brother Austin and a sister Lavinia. Her paternal grandfather, Samuel Dickinson, was one of the founders of Amherst College and her father also worked in there. Dickinson spent seven years at the Academy, taking classes in English and classical literature, Latin, botany, geology, history, "mental philosophy," and arithmetic. Dickinson was a hard-working student and excellent scholar. The girl made many friends such as Abiah Root, Abby Wood, Jane Humphrey, and Susan Huntington Gilbert (who later married Emily's brother Austin).

Nevertheless, the deaths of her close friends had a big influence on her, so since 1844, she became very melancholic.

The big influence on Emily had also young attorney Benjamin Franklin Newton, who was a friend of a family. Afterward, poetess considered him as a teacher, preceptor, and master.

Books that affected Emily Dickinson’s poetry: The Bible; “Letters from New York” by Lydia Maria Child; “Kavanagh” by Henry Wadsworth Longfellow; “Jane Eyre” by Charlotte Brontë; Oeuvre of William Shakespeare

The most of her time she had been spending at home since 1855 till the end of the life with mother and a sister Lavinia.

Although Emily Dickinson wrote more than 1800 poems, only not more than 10 were published during her lifetime. Her sister Lavinia succeeded in the publication of a collection of sister’s poetry.

All poetry of Emily Dickinson can be divided into three periods: Pre-1861; 1861-1865 - The most creative period when was written 86 poems in 1861, 366

in 1862, 141 in 1863, and 174 in 1864; Post-1866.

The peculiarity of the poetry:• The main themes are: death and immortality, faith and doubt, the power of a God and the power of individuals;• frequently uses humor, puns, irony, and satire;• ubiquitous using of dashes;

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Picture 2, Emily Dickinson

• unconventional capitalization;• the rich musicality of poems, they sound like hymns;• Most of all uses tetrameter and trimeter;• The using of slant rhymes;• Mostly used the rhyme ABCB

The list of the most famous poems:• “I heard a fly buzz when I died…”• “I taste a liquor never brewed”• “Success is counted sweetest”• “Wild nights – Wild nights!”• “I felt a Funeral, in my brain”• “I’m nobody! Who are you?”• “Hope’ is the thing with features” • “A Bird, came down the Walk”• “Because I could not stop for Death”• “My Life had stood – a Loaded Gun”• “Tell all the truth but tell it slant”

3. Ella Wheeler Wilcox (1850-1919)She was an American journalist and a poet, following more sentimental and romantic style in her writings.The most recognizable line is: “Laugh and the world laughs with you; Weep, and you weep alone." (from "Solitude")Ella Wheeler was born in 1850 on a farm in Johnstown, Wisconsin, east of Janesville, the youngest of four children. Her family lost its wealth and moved north of Madison. During her childhood, she read a lot.

Books that may have influenced Ella Wheeler’s poetry: Oeuvre of William Shakespeare; “The Arabian Nights”;

“John Gilpin’s Ride” by William Cowper“Gulliver’s Travels” by Jonathan Swift

Around the age of 8, Wilcox turned to write poetry as an outlet. When she was 13 years old, her first poem was published. Wilcox became known as a poet in her own state by the time she graduated from high school.In 1884 she married Robert Wilcox. They had one child, who died shortly after birth. Then they both became interested in theosophy, new thought, and spiritualism. They promised each other to send an answer from the other side if any of them dies earlier. Robert died in 1916, and Ella was waiting for his word. She died of cancer in 1919.

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Picture 3, Ella Wheeler Wilcox

The list of the most famous poems:• “Solitude”• “Woman to Man”• “ 'Tis the Set of the Sail -- or -- One Ship Sails East”• “The World’s Need”• “The Undiscovered Country”• “Will”• “Which Are You?”• “Wishing” • “Life’s Harmonies” • “To Marry or Not to Marry? A Girl’s Reverie”

4. Anne Sexton (1928-1974)

She was an American poet, won the Pulitzer Prize for poetry in 1967 for her book “Live or Die”.Anne Sexton was born Anne Gray Harvey. She had two older sisters, Jane Elizabeth Jealous

and Blanche Dingley Taylor. In 1945 she enrolled at Rogers Hall boarding school, later spending a year at Garland School. In 1948 she married Alfred Muller Sexton II and they remained together until 1973. Anne had two children.Sexton suffered from post-partum depression, and after the birth of her first daughter she suffered her first breakdown and was admitted to a neuropsychiatric hospital. Other institutionalizations followed. Sexton struggled with depression for the remainder of her life. She

committed suicide at age 46.Her poetry details her long battle with depression, suicidal tendencies, and various intimate details from her private life, including relationships with her husband and. There are many autobiographical in her poetry.

The most famous poems:• “45 Mercy Street”• “A Cruse Against Elegies”• “Again And Again And Again”• “Love Letter Written In A Burning Building”• “More Than Myself”• “The Fury Of Sunsets”• “Cinderella”• “Barefoot”• “Red roses”

5. Amy Lawrence Lowell (1874-1925)9

Picture 4, Anne Sexton

She posthumously won the Pulitzer Prize for Poetry in 1926.She was born in 1874 and had siblings: Percival Lowell, Abbott Lawrence Lowell, and Elizabeth Lowell Putnam. A school was a source of considerable despair for the young Amy Lowell. She considered herself to be developing "masculine" and "ugly" features and she was a social outcast. She never attended a college.In 1912, Lowell's first collection of poetry was published. Lowell was said to be lesbian, and in 1912 she and actress Ada Dwyer Russell were reputed to be lovers. Lowell died of a cerebral hemorrhage in 1925, at the age of 51.

The peculiarity of the poetry:

· Though she sometimes wrote sonnets, the most of her poems were written in “free verse” method;

· In many poems, Lowell dispenses with line breaks, so that the work looks like prose on the page. This technique she labeled "polyphonic prose";

· Throughout her working life, Lowell was a promoter of both contemporary and historical poets;

· Her book Fir-Flower Poets was a poetical re-working of literal translations of the works of ancient Chinese poets, notably Li Tai-po (A.D. 701-762);

· Her writing also included critical works on French literature.

6. Sara Teasdale (1884-1933)She was an American lyric poet.Teasdale was born on August 8, 1884. She had a poor health. From 1904 to 1907, Teasdale was a member of The Potters, led

by Lillie Rose Ernst, a group of female artists in their late teens and early twenties who published, from 1904 to 1907, The Potter's Wheel, a monthly artistic and literary magazine in St. Louis.

Her first collection of poems, Sonnets to Duse and Other Poems, was published in 1907. Teasdale's second collection, Helen of Troy and Other Poems, was published in 1911. Teasdale's third poetry collection, Rivers to the Sea, was published in 1915. It was and is a bestseller, being reprinted several times.

In 1918 she won a Pulitzer Prize for her 1917 poetry collection Love Songs. In 1933, she died by suicide, overdosing on sleeping pills.

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Picture 5, Amy Lawrence Lowell

Picture 6, Sara Teasdale

The best poems:

“I Shall Not Care” “May” “The Kiss” “Barter” “I Am Not Yours”

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The structure of American poetry

1. Stanzas

Stanzas are a series of lines grouped together and separated by an empty line from other stanzas. They are the equivalent of a paragraph in an essay. One way to identify a stanza is to count the number of lines.

Thus:

couplet (2 lines) tercet (3 lines) quatrain (4 lines) cinquain (5 lines) sestet (6 lines) (sometimes it's called a sexain) septet (7 lines) octave (8 lines) 

2. Forms

A poem may or may not have a specific number of lines, rhyme scheme and/or metrical pattern, but it can still be labeled according to its form or style.

Lyric PoetryIt is any poem with one speaker (not necessarily the poet) who expresses strong thoughts and feelings. Most poems, especially modern ones, are lyric poems. This is considered as the most personal form of poetry. It talks about the poet’s life: delights and desperation, rage and agony, love and lust, misfortune, transitions, and golden, utopian days.

Subtypes of lyric poetry:

Ode - is usually a lyric poem of moderate length, with a serious subject, an elevated style, and an elaborate stanza pattern.

Elegy - is a lyric poem that mourns the dead. It has no set metric or stanzaic pattern, but it usually begins by reminiscing about the dead person, then laments the reason for the death, and then resolves the grief by concluding that death leads to immortality. It often uses "apostrophe" as a literary technique. It can have a fairly formal style, and sound similar to an ode.

Sonnet - is a lyric poem consisting of 14 lines and, in the English version, is usually written in iambic pentameter. There are two basic kinds of sonnets: the Italian (or Petrarchan) sonnet and the Shakespearean (or Elizabethan/English) sonnet. The Petrarchan sonnet consists of an octave (eight lines) and a sestet (six lines). The Shakespearean sonnet consists of three quatrains (four lines each) and a concluding couplet (two lines). The Petrarchan sonnet tends to divide the thought into two parts (argument and conclusion); the Shakespearean, into four (the final couplet is the summary).

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Dramatic Monologue - it takes place as a theatrical monologue: the poet is delivering lines as a character, a fictional identity, or a persona.

Haiku - has an unrhymed verse form having three lines (a tercet) and usually 5,7,5 syllables, respectively.

Narrative poem

It is a poem that tells a story; its structure resembles the plot line of a story.

Subtypes of narrative poem:

Ballad - is a narrative poem that has a musical rhythm and can be sung. A ballad is usually organized into quatrains or cinquains, has a simple rhythm structure, and tells the tales of ordinary people.

Epic - is a long narrative poem in elevated style recounting the deeds of a legendary or historical hero, written in deliberately ceremonial style.

Limerick - has a very structured poem, usually humorous & composed of five lines (a cinquain), in an aabba rhyming pattern; beat must be anapestic (weak, weak, strong) with 3 feet in lines 1, 2, & 5 and 2 feet in lines 3 & 4.

Descriptive Poem

It is a poem that describes the world that surrounds the speaker. It uses elaborate imagery and adjectives. While emotional, it is more "outward-focused" than lyric poetry, which is more personal and introspective. 

3. Sound patterns

RHYME Rhyme is the repetition of similar sounds. In poetry, the most common kind of rhyme is the end rhyme, which occurs at the end of two or more lines. It is usually identified with lower case letters, and a new letter is used to identify each new end sound. 

Internal rhyme occurs in the middle of a line, as in these lines from Remember that most modern poems do not have rhyme.

ABABABAB is a classic, often-used rhyme scheme with interlocking rhymes. It’s sometimes called alternate rhyme.

To write in the ABAB rhyme scheme:

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Rhyme line 1 with line 3 Rhyme line 2 with line 4

This ABAB rhyme scheme is built into the famous poetic form called the Shakespearean sonnet.

XAXAThis scheme’s a little unpredictable, because it has two lines that don’t rhyme with anything. This allows the writer a little more creative freedom. The two non-rhymed lines allow you to focus on what you really mean to say in your lyric.To write in the XAXA rhyme scheme:

Rhyme line 2 with line 4 Make sure that lines 1 and 3 do not rhyme with each other or with any other line

AABBThis scheme divides a section of four lines into two rhymed couplets, each of which sounds kind of complete in itself.

AAAAAlso known as monorhyme this rhyme scheme can be tough to pull off convincingly. To relieve the monotony of rhyming every line with every other line in the section, you might try making some of the lines much shorter than the others—varying line length will make it sound less predictable.

AXAA and AAXAThese two rhyme schemes share enough in common. One of the lines in each of these schemes is left hanging. This allows the writer a bit of freedom to use those words that are difficult or impossible to rhyme, and freedom to use words selected entirely for their meaning and their connotations instead of just their rhyming properties. Each of these schemes contains a bit of tension.

AAXA is found in the Persian poetic form called the ruba’i.

ABBAA rhyming pair sandwiched inside of another rhyming pair. This scheme’s also known as enclosed rhyme.The AABA rhyme scheme is found in the poetic form called the Petrarchan sonnet.

AXXAAXXA allows the writer even more creative freedom. The two middle lines are unpredictable; they don’t rhyme with each other or any other line in the stanza.

RHYTHM AND METERMeter: the systematic regularity in rhythm; this systematic rhythm (or sound pattern) is usually identified by examining the type of "foot" and the number of feet.

Poetic Foot: The traditional line of metered poetry contains a number of rhythmical units, which are called feet. The feet in a line are distinguished as a recurring pattern of two or three syllables.

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The pattern, or foot, is designated according to the number of syllables contained, and the relationship in each foot between the strong and weak syllables.

Thus:

__ = a stressed (or strong, or LOUD) syllableU = an unstressed (or weak, or quiet) syllable In other words, any line of poetry with a systematic rhythm has a certain number of feet, and each foot has two or three syllables with a constant beat pattern .

a.     Iamb (Iambic) - weak syllable followed by strong syllable.

b.     Trochee (Trochaic): strong syllable followed by a weak syllable.

c.     Anapest (Anapestic): two weak syllables followed by a strong syllable.

 

d.     Dactyl (Dactylic): a strong syllable followed by two weak syllables.

DD

 

e.     Spondee (Spondaic): two strong syllables (not common as lines, but appears as a foot). A spondee usually appears at the end of a line. 

The Number of Feet: The second part of meter is the number of feet contained in a line.

Thus:one foot=monometertwo feet=dimeterthree feet=trimeterfour feet=tetrameterfive feet=pentametersix feet=hexameter (when hexameter is in iambic rhythm, it is called an alexandrine)

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Poems with an identifiable meter are therefore identified by the type of feet (e.g. iambic) and the number of feet in a line (e.g. pentameter). 

Irregularity: 

Many metered poems in English avoid perfectly regular rhythm because it is monotonous. Irregularities in rhythm add interest and emphasis to the lines. In this line:

 

The first foot substitutes a trochee for an iamb. Thus, the basic iambic pentameter is varied with the opening trochee.

Blank Verse: Any poetry that does have a set metrical pattern (usually iambic pentameter), but does not have rhyme, is blank verse. Shakespeare frequently used unrhymed iambic pentameter in his plays; his works are an early example of blank verse.

Free Verse: Most modern poetry no longer follows strict rules of meter or rhyme, especially throughout an entire poem. Free verse, has no rules about meter or rhyme whatsoever! [In other words, blank verse has rhythm, but no rhyme, while free verse has neither rhythm nor rhyme.] Modern poets do like to throw in the occasional line or phrase of metered poetry, particularly if they’re trying to create a certain effect. Free verse can also apply to a lack of a formal verse structure.

WORD SOUNDS Another type of sound play is the emphasis on individual sounds and words:

Alliteration: the repetition of initial sounds on the same line or stanza - Big bad Bob bounced bravely.

Assonance: the repetition of vowel sounds (anywhere in the middle or end of a line or stanza) - Tilting at windmills

Consonance: the repetition of consonant sounds (anywhere in the middle or end of a line or stanza) - And all the air a solemn stillness holds. (T. Gray)

Onomatopoeia: words that sound like that which they describe - Boom! Crash! Pow! Quack! Moo!Caress...

Repetition: the repetition of entire lines or phrases to emphasize key thematic ideas.

Parallel Stucture: a form of repetition where the order of verbs and nouns is repeated; it may involve exact words, but it more importantly repeats sentence structure - "I came, I saw, I conquered".

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4. Meaning and Poetry

Poetry is not always about hidden or indirect meanings (sometimes called meaning play). Nevertheless, if often is a major part of poetry.

CONCRETENESS and PARTICULARITY

In general, poetry deals with particular things in concrete language, since our emotions most readily respond to these things. From the poem's particular situation, the reader may then generalize; the generalities arise by implication from the particular. In other words, a poem is most often concrete and particular; the "message," if there is any, is general and abstract; it's implied by the images.

Such terms as connotation, simile, metaphor, allegory, and symbol are aspects of this comparison. Such expressions are generally called figurative or metaphorical language.

 

DENOTATION AND CONNOTATION

Word meanings are not only restricted to dictionary meanings. The full meaning of a word includes both the dictionary definition and the special meanings and associations a word takes in a given phrase or expression. For example, a tiger is a carnivorous animal of the cat family. This is the literal or denotative meaning. But we have certain associations with the word: sinuous movement, jungle violence, and aggression. These are the suggestive, figurative or connotative meanings.

 

 FIGURATIVE/CONNOTATIVE DEVICES

1. Simile is the rhetorical term used to designate the most elementary form of resemblances: most similes are introduced by "like" or "as." These comparisons are usually between dissimilar situations or objects that have something in common, such as "My love is like a red, red rose."

2. A metaphor leaves out "like" or "as" and implies a direct comparison between objects or situations. "All flesh is grass."

3. Synecdoche is a form of metaphor, which in mentioning an important (and attached) part signifies the whole (e.g. "hands" for labour).

4. Metonymy is similar to synecdoche; it's a form of metaphor allowing an object closely associated (but unattached) with a object or situation to stand for the thing itself (e.g. the crown or throne for a king or the bench for the judicial system).

5. A symbol is like a simile or metaphor with the first term left out. "My love is like a red, red rose" is a simile. If, through persistent identification of the rose with the beloved

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woman, we may come to associate the rose with her and her particular virtues. At this point, the rose would become a symbol.

6. Allegory can be defined as a one to one correspondence between a series of abstract ideas and a series of images or pictures presented in the form of a story or a narrative. For example, George Orwell's Animal Farm is an extended allegory that represents the Russian Revolution through a fable of a farm and its rebellious animals.

7. Personification occurs when you treat abstractions or inanimate objects as human, that is, giving them human attributes, powers, or feelings (e.g., "nature wept" or "the wind whispered many truths to me").

8. Irony takes many forms. Most basically, irony is a figure of speech in which actual intent is expressed through words that carry the opposite meaning.

o Paradox: usually a literal contradiction of terms or situationso Situational Irony: an unmailed lettero Dramatic Irony: audience has more information or greater perspective than the

characterso Verbal Irony: saying one thing but meaning another

Overstatement (hyperbole) Understatement (meiosis) Sarcasm

Irony may be a positive or negative force. It is most valuable as a mode of perception that assists the poet to see around and behind opposed attitudes, and to see the often conflicting interpretations that come from our examination of life. 

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Tips on writing a poem

If you just getting started writing poems, this tips will help you.

Know your purpose: Why are you writing a poem and what do you want it to say? Pick a subject: You do not have to pick a stereotypical topic such as nature, animals, love,

or something dark, like death or fear. Poems can be written about any topic under the sun. Choose a pattern: You might choose to use free verse or rhyming couplets. The more you

write in one form, the more naturally your prose will fall into that mold. Avoid clichés: Clichés are sayings that have been overused, like "busy as a bee," or "blind

as a bat." Use imagery: Use concrete words that appeal to the senses. Abstract words will not offer the

reader a firm picture of what you're trying to say. Use similes and metaphors: Similes compare two things and usually use the word "like" or

"as." Metaphors do the same, but without using "like" or "as." Things being compared in a metaphor have at least one thing in common but are different in many other ways.

There are some other useful advices:

1. Refrain from using adjectives and adverbsUse solid, concrete verbs and nouns instead. Don’t tell readers the woman is beautiful. Tell them her hair touches your skin like raindrops, her eyes bring you to another dimension, and her voice arrives on your lips like a lullaby. Thus, show them what beauty is.

2. Use your sensesWelcome them by forming questions as you write:

What can you see from the mountain?

What fragrance does his perfume remind you of?

How do tears taste?

How loud was it?

Who in the neighborhood must have heard the baby’s crying?

How does the fabric feel like?

3. Listen to your rhythm (Or have someone listen to it.)To apply rhythm, you need utter the lines, speak them up and read them inside as well. If something is out of tune, if there is an excess syllable, if a line does not fit the rest of the poem, change them.Or ask someone to read it for you or read it to a friend. Be open to criticism, to suggestions or feedback.

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4.  Writing poetry is going to hurtIn two ways. First, you have to revise, revise, revise until you finally get it. Until all the lines are aligned, all metaphors are in their proper places, and all the words that carry your feelings are intact. Until you read what you have imagined your poetry would be. Until you find your voice and your heart in the poem. Second, it is going to hurt because finding the theme, the words, and the discipline to compose a poetry should come from your deepest feelings and imaginings. So do not be afraid to experiment, to take risk, and to learn because that’s how poems work. They need courageous souls.

5.Get some inspirationAside from applying different literary devices, you can read the pieces of the world’s most unforgettable poets. Look up Sylvia Plath, Walt Whitman, Ernest Hemingway, Shakespeare, Pabl Neruda, Emily Dickinson, T.S. Eliot, Langston Hughes, Amy Lowell, and Marianne Moore.

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Conclusion

During my work I have read poems of Anne Bradstreet, Emily Dickinson, Ella Wheeler Wilcox, Anne Sexton, Amy Lawrence Lowell, and Sara Teasdale. Each of them has her own style of writing which gave their poems fame.All poetesses I read about had their own problems, which they could share only by writing. Some of them could not reach success during their life, like Emily Dickinson. Nevertheless, Ella Wheeler Wilcox, Sara Teasdale and Amy Lawrence Lowell were quite popular during their lifetime.Moreover, I studied the structure of poetry. I know different forms of poems, rhymes, and rhythms.In addition to this, I found some useful advices for the beginning writers which are given above.

So, the main thing I understood that women contributed to development of poetry, not only American, but all over the world. That means that without female poetesses our poetry would not be as great as it is now.

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ЗаключениеВ процессе работы я познакомилась с творчеством таких американских поэтесс, как Энн Брэдстрит, Эмили Дикинсон, Элла Уиллер Уилкокс, Энн Секстон, Эми Лоуренс Лоуэлл и Сара Тисдейл. У каждой из этих поэтесс был свой особенный стиль, который я изучила. Все эти поэтессы писали о своих проблемах. Некоторым из них, например Эмили Дикинсон, не удалось добиться признания в течение жизни. Однако Элла Уилкокс, Сара Тисдейл и Эми Лоуэлл были довольно популярны в свое время. Также мне удалось узнать, что классическая американская поэзия содержит в себе такие базовые понятия, как вид стихотворения, рифма, ритм. Особое значение в американской поэзии уделяется смыслу, поэтому сейчас многие современные поэты пишут в свободном стиле, то есть без рифмы и ритма.Я нашла полезные советы для начинающих поэтов и выделила самые важные из них. И самое главное, что я смогла понять, работая над этим проектом, что без поэтесс поэзия бы не могла раскрыть все аспекты человеческого сознания и показать мир женскими глазами. Поэтессы вносят более чувственную нотку во все творчество в целом. Поэтому их роль в американской поэзии, да и в поэзии в целом неоценима.

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Bibliography:

1) ThoughtCo. [Электронный ресурс] - https :// www . thoughtco . com / 2) Poetry Foundation [Электронный ресурс] - https://www.poetryfoundation.org/ 3) Poets.org [Электронный ресурс] - https :// www . poets . org / 4) The sound of startled grass, Valentine Cunningham –

https://www.theguardian.com/music/2002/oct/19/classicalmusicandopera.poetry5) The 10 Best Emily Dickinson Poems, Nuala O'Connor –

https://www.publishersweekly.com/pw/by-topic/industry-news/tip-sheet/article/67591-the-10-best-emily-dickinson-poems.html

6) Tips on Writing Poems –http://grammar.yourdictionary.com/grammar-rules-and-tips/tips-on-writing-poems.html

7) How to Write a Poem and Wake Up the World –https://www.freelancewriting.com/creative-writing/how-to-write-a-poem/

8) Elements of Poetry – https://learn.lexiconic.net/elementsofpoetry.htm

9) https://nicholastozier.com/have-you-mastered-all-six-of-these-basic-rhyme- schemes/

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Приложение

My life is gone – but No One ElseIs seemed to be upset – I knew That all eternity – And the Eternity knew That –

I go – but No One Else can seeMy steps and all my shameI carry in my pocket – Because my Body’s in the Grave –

And when the snow is covering All Fields of Emptiness –I’ll come to Thee, You’ll follow Me – But I shall lose your hand –

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