236INDEXRogers, Pattiann, 22; “Teaching a Sea
Turtle Suddenly Given the Power of
Language, I Begin by Saying” by,
168–69
Romantic period, 1, 4; allegories in, 47–48;
animal rights and, 200n28; birds in, 93;
individual animal poetry and, 129;
species poem in, 90, 93
“Sailing to Byzantium” (Yeats), 63
Salisbury, Joyce, 28
Savage Mind, The (Levi-Strauss), 172
Scigaj, Leonard, 8
“Sea-Elephant, The” (Williams), 112–13
Self-consciousness: Coetzee on, 17; in
“Rime of the Ancient Mariner,” 58
self-knowledge, 17–18
Sexism, 20
Sexual desire, 39, 212n4; sexual allegory in
“Song of Myself,” 61; in “The Sheep
Child,” 170
Shackelford, Aaron, 107
Shadow of Sirius, The (Merwin), 153
“Sheep Child, The” (Dickey): as myth, 171;
sexual desire in, 170
Shelley, Percy Bysshe, 21, 129
Shepard, Paul, 54
“Shrike” (Hughes), 114
Shukin, Nicole, 5
Simic, Charles: “Animal Acts” by, 186–87;
“Bestiary for the Fingers of My Right
Hand” by, 186–87; “Crows” by, 188–89;
“Strictly Buccolic” by, 187
Skinner, Jonathan, 105
“A Slumber Did My Spirit Seal”
(Wordsworth), 150–51
Smart, Christopher, 125–26, 209n 12
“Song of Myself ” (Whitman), 60;
individual animal poetry and, 131–32;
quasi-sexual union in, 132; sexual
allegory in, 61
“Sparrow, The” (Williams), 142; absurd
and profound in, 145;
anthropomorphism and, 143–45; poetic
truth in, 143
Speaking animals, 52, 133; animal
slaughter poems and, 82, 165–67;
anthropomorphism and, 167; “Bats’
Ultrasound” and, 163–64; Benjamin
and, 162; children’s literature and,
159–60; comedy and, 160; “The Cows
on Killing Day” and, 82, 165–66; in
fables, 32; instability and, 161–62;
“Lyrebird” and, 164–65;
“Melanchthon” and, 160–62, 212n10;
Moore and, 159–60; in “Out of the
Cradle Endlessly Rocking,” 161; “Pigs”
and, 165–66; predation and, 168;
“Raven, Sotto Voce” and, 165;
“Turning” and, 167–68
Species: biologists on, 84; culture and, 86,
91; environmentalism compared to
animal rights for, 86; Genesis and
naming of, 85; hierarchy and, 85;
member recognition for, 118. See also
Taxonomy
Species poem: animal and environmental
causes and, 117; animals categorizing
animals and, 84; bird poems in
romantic period, 93; birdsong and,
93–99; “The Blackcap” as, 100–2;
characteristics and, 87; “The Cuckoo
Song” as, 87–89, 112–13; cultural
knowledge and, 91; essence of the
species in, 22–23, 83; “The Flight of
Birds” as, 103–4; “The Green Linnet”
as, 99–100; “The Hedgehog” as, 83, 118;
Hughes and, 113–16; human threat in,
102–3; “The Jerboa” as, 108–10; “The
Lamb” as, 91; of Moore, 107–8;
motivations for, 117; “The Nightingale”
as, 93–96, 98; “The Nightingale’s Nest”
as, 100, 101, 102–3, 195; observation and,
86; “Ode to a Nightingale” as, 95,
96–98, 129; otherness in, 89; “The
Pangolin” as, 110–12; in romantic