Teaching Poetic Form as Deep Language Learning with Robert Frost’s “Nothing Gold Can Stay”

Abstract: In this essay, I present a pedagogical method for using description (rather than explanation) to highlight basic poetic concepts such as allusion, genre, meter/scansion (rhythm), rhyme, stanza, diction, and tone. If the interdisciplinary strategy that I discuss is reasonably adapted, it can have a positive impact on students ranging from secondary school to graduate studies. To demonstrate how formal features work in poetry, this approach uses a brief poem—Robert Frost’s “Nothing Gold Can Stay”—rather than excerpts from longer works. This focus can lead students to feel excitement rather than misgiving when they begin to read a poem. My strategy’s emphasis on description also stresses the idea that a poem’s unified surface form (including its links to other works of literature) communicates its reason for being.

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Publication Details

Journal
˜The œCEA critic/CEA critic
Published
2025-03-01
DOI
https://doi.org/10.1353/cea.2025.a954080
Primary Topic
Poetry Analysis and Criticism
Type
article
Field-Weighted Citation Impact
0.00
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article

Teaching Poetic Form as Deep Language Learning with Robert Frost’s “Nothing Gold Can Stay”

P. H. Schmidt
˜The œCEA critic/CEA critic
Poetry Analysis and Criticism
article

Teaching Poetic Form as Deep Language Learning with Robert Frost’s “Nothing Gold Can Stay”

P. H. Schmidt
article en

Abstract

Abstract: In this essay, I present a pedagogical method for using description (rather than explanation) to highlight basic poetic concepts such as allusion, genre, meter/scansion (rhythm), rhyme, stanza, diction, and tone. If the interdisciplinary strategy that I discuss is reasonably adapted, it can have a positive impact on students ranging from secondary school to graduate studies. To demonstrate how formal features work in poetry, this approach uses a brief poem—Robert Frost’s “Nothing Gold Can Stay”—rather than excerpts from longer works. This focus can lead students to feel excitement rather than misgiving when they begin to read a poem. My strategy’s emphasis on description also stresses the idea that a poem’s unified surface form (including its links to other works of literature) communicates its reason for being.

˜The œCEA critic/CEA criticVol. 87(1)
Openalex Percentile: Top 95%
Poetry Analysis and Criticism
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