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Perrine's Sound and Sense: An Introduction to Poetry (9th Edition) Paperback – January 1, 1997

ISBN-13: 978-0155030282 ISBN-10: 0155030280 Edition: 9th

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Product Details

  • Paperback: 412 pages
  • Publisher: Harcourt College Pub; 9th edition (January 1, 1997)
  • Language: English
  • ISBN-10: 0155030280
  • ISBN-13: 978-0155030282
  • Product Dimensions: 8 x 5.5 x 0.7 inches
  • Shipping Weight: 14.4 ounces
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (17 customer reviews)
  • Amazon Best Sellers Rank: #122,956 in Books (See Top 100 in Books)

Editorial Reviews

Review

"The response was overwhelming from the students. They LOVE the depth and the feeling of poetry that Perrine has . . . [Perrine] oozes the deep love of poetry."

"An excellent anthology; eclectic and unpretentious, . . . Sound and Sense continues to outrank its competition!"

"The beauty of the Perrine text has always been that, along with crisp, clear definitions, it provides a wealth and variety of selections, classic and contemporary."

"This is the finest poetry textbook I've seen. The explanations are very clear to students, it is superbly organized and compact." --This text refers to an out of print or unavailable edition of this title.

About the Author

Thomas R. Arp received a B.A. in English from the University of Michigan (1954) and a Woodrow Wilson Fellowship to Stanford University. In 1955-1956, he produced educational television for the University of Michigan. He received an M.A. from Stanford University in 1960 and a Ph.D. from Stanford in 1962. He has taught at Bowdoin College, Princeton University, University of California at Berkeley, Hull University (England), and Southern Methodist University. Macmillan published his volume, THE FORM OF POETRY, in 1966, and he received a Fulbright lectureship at University of Bucharest (Romania) in 1969-1970. Arp joined Laurence Perrine in preparing revised editions of SOUND AND SENSE, STORY AND STRUCTURE, and LITERATURE: STRUCTURE, SOUND, AND SENSE beginning in 1982. He became sole author of the books in 1997, and was joined by Greg Johnson in 2002.

Greg Johnson received an M.A. in English from Southern Methodist University and a Ph.D. in English from Emory University. Dr. Johnson is the author of books of fiction, poetry, criticism, and biography, including the recent story collections, LAST ENCOUNTER WITH THE ENEMY (Johns Hopkins, 2004) and WOMEN I'VE KNOWN: NEW AND SELECTED STORIES (Ontario Review, 2007), the novel STICKY KISSES (Alyson Books, 2001), and two books on Joyce Carol Oates: INVISIBLE WRITER: A BIOGRAPHY OF JOYCE CAROL OATES (Plume, 1999), and JOYCE CAROL OATES: CONVERSATIONS 1970-2006 (Ontario Review, 2006). He joined the author team of PERRINE'S LITERATURE in 2002. --This text refers to an out of print or unavailable edition of this title.

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Customer Reviews

I had bought it used and it was pretty beat up, but I still read parts of it from time to time.
Lincoln Willard
My senior AP Literature and Composition class is using this book as a textbook, and I would have to say it is the best high school English book I've ever used.
Sean Feeney
I found this to be a very effect method of coming to an understanding of poetry and the various rules governing its creation.
Vincent E. Martin

Most Helpful Customer Reviews

55 of 56 people found the following review helpful By Michael Wischmeyer on June 9, 2000
Format: Paperback
I came across an early edition of Sound and Sense a few years ago. At first glance the slighty yellowed text appeared foreboding with chapters like denotation and connotation, imagery, figurative lanaguage, allusion, tone, rhythm and meter, sound and meaning, and so forth. I found it hard to imagine a less lifeless approach to poetry. However, the text did seem to contain a sizeable anthology as an appendix and poetry was abundant in every chapter. I reasoned that I could skip the poetic structure discussions and simply read the poetry.

But from the beginning I found Perrine's style and approach to be stimulating, rather than analytical. Throughout we are immersed in poetry, great poetry, familiar poetry, unfamiliar poetry. Perrine argues that poetry needs to be read and reread carefully for full understanding and appreciation. We need to learn to think about poetry with some seriousness, but not in a cold, calculating manner. We approach new poetry with our eyes and ears open, our senses alive.

Yes, as other reviewers point out, Sound and Sense is structured and does methodically explore poetic forms in some detail. But this is not a drawback. It is actually an aid to understanding. Perrine manages to achieve his instructional objective without diluting his central message: poetry is to be enjoyed. He never forgets that his subject is poetry, and not poetic form and structure.

I have since learned that Perrine's text is still in use today, nearly fifty years after publication of the first edition. (See recent 10th edition 0155073966, June 8, 2000.) How can that be? Few textbooks achieve ten printings, much less ten editions. Even the title change signifies respect; it is no longer simply Sound and Sense, it is "Perrine's Sound and Sense".

I highly recommend Perine's text to anyone willing to invest a little time and study to poetry. The return will be worthwhile. I give Sound and Sense five stars.
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20 of 20 people found the following review helpful By Brian C. Holly on November 1, 2005
Format: Paperback
I am currently using this book with 11th grade English students, and they have been truly caught up in it. We are actually having arguments in class over poetry!! I do find, however, that it is helpful to do the chapter on rhythm and meter much earlier than I would if I were following the chapters in order. My experience is that students have a difficult time hearing the rhythm of poetry and are generally unable to read aloud with any success. Jumping ahead early to the chapter on rhythm and meter and having the students tap out the meters and then mark the scansion produces a wonderful improvement in their ability to hear the poems and read them aloud. I would heartily recommend this book for use in grades 11 and 12, and for college freshman. It makes the study of poetry hugely enjoyable, as it should be but rarely is, for both student and teacher.
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13 of 14 people found the following review helpful By Sean Feeney on December 15, 2004
Format: Paperback
My senior AP Literature and Composition class is using this book as a textbook, and I would have to say it is the best high school English book I've ever used. The questions following each included piece really helps you to focus on what is important in the passage, and the introductions to each chapter are brief and to the point.
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12 of 14 people found the following review helpful By A Customer on February 22, 2003
Format: Paperback
I've been nibbling away at a 20 year old edition of this book for a few years in my spare time, and almost every bite has increased my abitity to appreciate poetry. I like the examples, most of them seem pretty old, Frost is about as modern as he gets, but thats ok with me. You might find this book a little annoying if it was required reading in a course, sometimes it asks more questions than it answers.
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16 of 20 people found the following review helpful By A Customer on July 10, 2003
Format: Paperback
My first exposure to Sound and Sense was in high school, and, at the time, I found the book so valuable a resource that I later purchased a copy. Post-college, my views have changed somewhat.
If the tone of the writing was not so condescending, this could be a great book. It defines most of the terms necessary to understand critical texts on poetry, including those analyses related to meter, style, and tone. I find the questions after each poem to be helpful and thought-provoking. That said, it is frustrating to me that the author presents ideas and arguments in absolutes (must, must not, never, always, etc.) and then asserts that the logic that MUST be applied to point A CANNOT be applied to point B (but maybe I have spent too many hours working with lawyers).
My suggestion would be to read the text with a grain of salt. Glean the terminology, answer the questions posed at the end of each poem, follow their suggestions of rereading and considering the many facets of poetry, and try to overlook the condescending manner in which the authors display their opinions as fact.
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5 of 5 people found the following review helpful By Vincent E. Martin on December 3, 2010
Format: Paperback Verified Purchase
Bottom-Line: I highly recommend "Perrine's Sound and Sense: An Introduction to Poetry" not only to aspiring and seasoned poets, but for readers of poetry as well.

I am a writer. I am a Poet; there I've said it (deep breath); I weaver of words, a spinner of tales, and to hear my wife tell it, a wordsmith. It took me a long time after I started writing poetry for me to finally claim the title as my own. I wrote poetry but I did not feel like a poet; I was not and am not classically trained in the arcane art of poetry. My degrees are in Leadership and Business Administration not Fine Arts. When I first started writing poetry I had no idea what an Iambic meter, Iambic Pentameter, or even a meter were when speaking of poetic creation. I wrote my poetry from the heart and soul not caring about the "rules" of writing poetry.

But then my wife suggested that I might want to actually study the mechanics of poetry in order to better understand the art-form. She suggested that I might want to pick up a copy of what is widely regarded as the definitive guide to writing and understanding poetry: "Perrine's Sound and Sense: An Introduction to Poetry" by Thomas R. Arp. I picked up the ninth edition of this seminal book.

"Perrine's Sound and Sense: An Introduction to Poetry" is a relatively thin volume considering the subject matter, checking in at 412 pages, and is divided into two sections: Part 1 The Elements of Poetry, and; Part 2 Poems for Further Reading.

"Perrine's Sound and Sense: An Introduction to Poetry" is not casual reading, it is at its core and test book meant to teach, to mentor the reader in the foundations of writing poetry.
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