A healing of the mind can happen and the song of a bird is the catalyst. This melancholy is carried over into the second stanza and the poet speaks of wanting to "leave the worl... ... middle of paper ... ...eats lacks resolution; his poem is slightly disturbing. While the reader can discern seeds of happiness in Keats' poem, it never fully develops. Both poets though convey a sense of being one with the bird. In effect the birds become anthropomorphic.
Moreover, it is an extended metaphor, transforming hope in to a bird, “With feathers that perches in the soul and sings the tune without the words.” (Dickinson, 653) The word hope sings when time gets tough, it is used as a positive connotative phrase. Throughout Dickinson’s poem the term hope is shown to be in a human soul. She communicates this theme by using metaphors and personifications. Dickinson uses the word feathers several times in her poem, she metaphorically compares it with the feeling of hope. When one thinks of feathers, softness and humbleness are the first feelings that come to mind.
As Dennis Gabor wrote, “Poetry is plucking at the heartstrings, and making music with them.” Poetry makes all people feel differently. According to www.poets.org, “Upon Emily Dickinson’s death, her family discovered 40 hand bound volumes of nearly 1800 of her poems, or fascicles as they are sometimes called.” Dickinson’s poems are very deep and sometimes intense; at the same time they are inspiring. The themes of her most famous poem, “Hope is the thing with feathers” includes how hope will always be there for people, watching over everyone. It will never ask anything of anyone, no matter how much they ask of it; there is always a light at the end of a dark tunnel. Although these are the main themes, poetry can be anything the
Ars Poetica, written by Archibald MacLeish, depicts the significance of a poem’s use of imagery in order to convey the author’s intended meaning. “A poem should be wordless, as the flight of birds” (MacLeish 558 l.7-8). A flock of birds does not take much thought to comprehend, rather the sight explains the event itself. This beautiful metaphor presents a suggestion for poets by displaying its effectiveness first hand. Likewise, the poems in “cluster 3” follow the same criterion.
“’Hope’ is the thing with feathers-“ by Emily Dickinson, “The Road Not Taken” by Robert Frost, and “Perhaps the World Ends Here” by Joy Harjo, are all poems that use symbols to represent their intended meaning. Each poem also uses literary devices to add some spice and interest to the poem. Symbols and literary devices are both used to represent the themes present in each poem. The biographical information of each author strongly influences the style in which they write and the themes of their poems. Many poets use symbols to create illusions and to give the reader an object to make the concept easier to understand.
Patience and meditation help a reader when deciphering her poetry. It is difficult to read; nevertheless, the deeper meaning the poet is trying to convey will be clarified when a reader takes the time to dissect the poem. Let’s start with the title of the poem. Notice the number “764” besides the title. She never titled her poetry; she only numbered her poems.
The lack of prescribed meter allows Pound to bring out the rawness of the emotions of the wife, drawing the reader directly into her loneliness without having to overcome the barrier of an overly structured presentation. In the midst of longer sentences, the two short ones with one-syllable words draw significant attention to the emotional impact that the nature has on the speaker. When writing about the changing season, the falling leaves and the paired butterflies, the speaker remarks, “They hurt me. I grow older” (Pound). These short sentences capture the attention of the reader as the poem reaches its climax in which the wife acknowledges her deep sorrow for the long absence of her husband.
The what is poetically indifferent: it is the how that counts. Matter, subject, content, substance, determines nothing; there is no subject with which poetry cannot deal: the form, the treatment, is everything”. Hardy’s use of structural and Literary Techniques is prominent in playing the factor of enhancing the subject matter of the poem. The use of form is a drive in enhancing the subject matter. The form of this poem is called a lyric.
The fact that the medium of the message is poetry can only serve to draw attention to the connections between both poets to the subjects of which both ladies write. In the case of P.K Page, we are lead to note the lightly comic references to the fussiness of the bird, running across the sands, ‘finical, awkward’. Bishop’s tone here suggests that she is only too familiar with these personality traits as she stands aware and knowing of her own character. In the case of Margaret’s Avison recognition of, contact with and submission to the powe... ... middle of paper ... ...which reminds her of God and His ability to create, in her last stanza Page also meddles that occasionally and unexpectedly man is faced with God’s creation: A painted fish like a work of art across his sight reminds him of something he doesn’t know that he has been seeking his whole long life— something that may not even exist! Poor bird, indeed!
Angelou’s poem is encompassed in a metaphor of mental, emotional and spiritual transcendence. [“leaps on the back of the wind…bars of rage…thinks of another breeze”]. I believe the subject of the poem, a bird, is synonymous with a gender-neutral use of the pronoun his. The speaker uses "his" throughout the writing. The comparison and contrast of mental states are presented in the personification of a “Free bird” and a “Caged bird.” The author’s use of free verse is provisioned to present a descriptive analysis of two mental paths, without the limitation or need to follow a regular scheme.