For example, in Doone’s poem, the author used words such as “weak” and “untrue” (989). Bradstreet also used this technique by using the word “love” (963). And finally, Frost’s word choice was cleverly utilized with using “desire” and “hate” (1009). These are also considered examples of figurative speech in that they use simile or metaphor in describing the subject (Charters 795). I feel by taking advantage of some of these techniques, I can make my essays more interesting for readers.
Earlier, we explored the proposal that poetry teaches with metaphor. Frost suggests that the writer-reader relationship to understanding poetry, works in a similar fashion to the poetry-metaphor process. To break this idea down further, here is the specific job of a writer according to Frost, “His intention is of course a particular mood that won’t be satisfied with anything less than its own fulfillment. But it is not yet a thought concerned with what becomes it” (Frost 788). This quote appears to say that the writer should make the most of their writing opportunity and then turn the final piece over to the reader to see, “if it will take the soft impeachment from a friend” (Frost 786).
At first glance, the poem seems a structured mass of words, simply constructed. However, a second look revels the poem's straightforward attempt to, ironically, reverse the roles of reader and speaker. Through its diction, it is a unique portrayal of a simple poem's reaching out to grab the reader's attention, eager to express that it is not merely a collection of words but intricately related to whoever peruses it. An attitude of regret is also apparent. The speakerexpresses concern in that he cannot control the reader's ... ... middle of paper ... ...poer to examine and scrutinize literature in general, this role-reversal may come as a surprise to her.
The pauses helps the reader understand what is happening in the poem, such as understanding how the narrator is feeling towards the diverge roads. This poetic craft element helps represents the true meaning of the question of “what a poem, a poem?” And with that the element of caesura is a perfect example of that. In conclusion the poem “The Road Not Taken” by Robert Frost has many poetic craft elements that helps the audience clarify that poem. With the question “What makes a poem, a poem?” Well the elements in Robert’s poems helps answer this question, the poetic elements helps us understand the overall meaning in the poem. Such as the contribution of Robert’s poem.
T.S. Eliot exposes the reflections and emotions of J. Alfred Prufrock in this poem about his Love Song. Eliot does this in such a manner that Prufrock himself would not be capable of expressing, due to his rationale of showing the reader Prufrock’s diffidence throughout the poem. The attention of the reader is drawn from the beginning by Eliot’s utilization of an epigraph, which is a short saying or quote placed at the beginning of a writing to imply a theme. Eliot’s method of an epigraph helps create an effective way for the readers to identify and notice Prufrock’s uncertainty and lack of confidence in the poem.
A Re-Hearing of Sir Gawain and the Green Knight As J.A. Burrow has recently reminded us, Middle English literature "requires the silent reader to resist, if he can, the tyranny of the eye and to hear. Certain of the writings ... make a further requirement. They treat the reader, not just as a hearer, but as an audience or group of hearers" (Medieval Writers 1). Sir Gawain and the Green Knight is such a poem, a literate composition designed for oral performance, bearing the imprint of a poet skilled at once in manipulating a text and using it to affect his audience in ways outside the scope of the oral poet.
The two lines which denote the idea given above are: “Yo sé un himno gigante y extraño/ que anuncia en la noche del alma una aurora” (p109) It must be taken into consideration that the original replicated version which Bécquer created did not include this poem as an opening prologue. Nevertheless, it works successfully as an introduction because of the close connection to the poet himself, the readers are able to visualise the powerful and great flow of poetry and its direct significance to Bécquer. From this one can understand that to some extend the essence of poetry lies within the poems. It cannot be directly given to the reader only suggested in the word choice and it is thanks to the first part of the poem collection that this can be found. To some extend it can be said the divine essence of life in embedded in poetry and its essence.
T.S. Eliot once said 'a large part of ay poet's "inspiration" must come from his reading and from his knowledge of history. ' As he is writing the poem, his voice is sounded in the voice of the poem. The voice projected through a poem is a solid message projected by poetic techniques, but the voice that is heard inside the readers head varies from reader to reader, depending on their background. There are some core things that alter the voice that Eliot's poetry projects: the nationality of the reader and whether or not they are familiar with the society Eliot is writing about, what religion, if any, they belong to, and how well read a reader is (Eliot makes many allusions in his poetry) will effect the voice that they hear from Eliot's work.
This simile claims that the speaker wants his readers to see the poem in a distinct way, such as picturing and enjoying the beauty of the imagery poetry can reveal. However, Collins indicates that he does not want the reader to observe the poem closely, but listen to what the poem says. In the last line of the first stanza, he states, “or press an ear against its hive” (4). This metaphor reveals an auditory imagery because he compares the poem to a beehive. In addition, alliteration is revealed by the repetitive ‘s’ sound in the words ‘press’, ‘against’ and ‘its’ because they carry a buzzing sound when they are pronounced.
In reference to the subtlety of language, Robert Frost once said, “Poetry is what gets lost in translation.” When Robert Frost said this statement, he was referring to the fact that it is seemingly impossible to carry over from one language into another the special qualities of a poem, such as its meter, syntax, rhythm, sound, connotations, etc. In many of the poems written by the Canadian poet and feminist Margaret Atwood, there are inherent “deeper meanings” that are hidden within the text, open to the reader to interpret as they wish. In fact, it is the poet’s use of literary techniques that create these layers of meanings. The two poems that I choose to analyze from Margaret Atwood’s Selected Poems II are “Night Poem” and “Postcard.”