Eliot greatly attracted the modernist movement, which was poetry written in the reaction of Victorian poetry. His first poem, The Love Song of J. Alfred Prufrock, was known as one of the most famous pieces of the Modernist movement. In his poetry, Eliot combines themes such as aridity, sexuality, and living death. He uses techniques such as narration, historical, literary, and mythic allusions. Using themes and techniques from his earlier work, Eliot publishes The Wasteland.
Bibliography: 1) Heidegger, Martin, and David Farrell. Krell. Basic Writings: Martin Heidegger. London: Routledge, 2010. 2) Cahn, Steven M., and Aaron Meskin.
What was life, and what was death? The modernist author reflected this change, and confronted these questions with enthusiasm. Together modernist artists became the representative voice of the people. This voice transcended all forms of art, but was most successful in the written word. Through the experimentation of language and form, the modernist author managed to convey the meaninglessness felt by many, and created a light in the darkness of an uncertain world.
29 Jan. 2014. Sisario, Peter. “A Study of the Allusions in Bradbury’s Fahrenheit 451.” English Journal 59.2 (1970): 201-205. RPT. In Contemporary Literary Criticism.
I will also argue how the revised version of “I wandered lonely as a cloud” is an improvement compared to the original version in terms of Romantic poetry and should therefore be the authoritative version. The British Romantic period (1798-1832) is a time that many professionals, from Aidan Day in “Romanticism” to Jerome McGann in “Rethinking Romanticism” have spent their time studying and writing about. The main argument is how to define Roman... ... middle of paper ... ...oem as a Romantic poem in the revised version. Mary E. Burton describes Wordsworth’s view of nature as “incomprehensibly ecstatic” and he was strongly influenced by living in the Romantic period and was inspired by this time’s style of writing and subjects of writing (300). His peers’ work influenced the changes he made in the poem.
In developing an insightful central theme, Percy Shelley avails of two potent literary tools, imagery and irony, to jolt readers with a striking epiphany. Imagery for one, navigates the audience to what is truly emphasized in the poem: literary art as opposed to physical, plastic art. It also serves to characterize a key figure in the poem—Ozymandias—whom is ascribed as having cold, arrogant, and pretentious qualities. The speaker juxtaposes the words inscribed on the pedestal with the image of dilapidated monuments and the bare boundless sands which surround it. When these two vivid descriptions contrast, the visual imagery, through this juxtaposition, actually buttresses situational irony.
The Beauty of Dulce et Decorum est Owen's terrific use of diction brings the poem Dulce et Decorum Est to life. Vivid imagery is prevalent all throughout the poem. His tone is of depression, lack of hope and of course sadness and it reveals his message without writing pages of verse. He accomplishes his message very quickly in the poem, and makes the reader feel like they are actually experiencing what the narrator is going through. Through vivid imagery and compelling metaphors, the poem gives the reader the exact feeling the author wanted.
Poetry, like any other piece of literature, is written to express certain emotion,feeling or idea as desired by the author. Without a defined format, poems come in all sorts of variations, each with it’s own sound,smell, and taste. The most successful poems masterfully give readers the Ah Ha! experience and invoke in them incomprehensible emotions that render them vulnerable to the poets message. William Shakespeare’ s Sonnet 18 and Sylvia Plath’s Metaphors adequately contain imagery,lineation,and tone to shape the meaning and allow the rest to the readers perception.However, no matter how elegant the poem may be structured the poem is nothing without the readers interpretation.
MCINTYRE, D. and BUSSE, B. (eds.) (2010) Language and Style. Basingstoke: Palgrave Macmillan. NORGAARD, N. (2009) The Semiotics of Typography in Literary Texts.