Alexander Pope’s “An Essay on Criticism”: “Others for language all their care express, / And value books, as women men, for dress. / (Words are like leaves; and where they most abound, / Much fruit of sense beneath is rarely found.)”—the parenthetical corrects the prior claim; Emily Dickinson’s “I’m Nobody! Who are you?” revises identity: “Don’t tell! they’d advertise—you know!”; Robert Frost’s “The Road Not Taken” ends with epanorthotic correction: “I took the one less traveled by, / And that has made all the difference”—undercutting earlier ambiguity; Sylvia Plath’s “Ariel” shifts from “God’s lioness” to “the cauldron of morning,” correcting mythic ambition with dissolution; Frank Bidart’s “Ellen West” uses epanorthotic correction to revise self-perception; Claudia Rankine’s “Citizen” revises microaggressive statements through epanorthotic interruption.