The use of many different devices such as sound, repetition, and metaphors, all help to develop the theme of the poem. Perhaps the best way for the reader to uncover the meaning of the poem at hand is to have a glance into the world of the poet. Emily Dickinson lived alone (emotionally) in a world she filled with her poetry and letters. Dickinson rejected her upbringing and religious background which, in turn, acted to sever her ties with the other people in her society. Much of her poetry served her as a type of therapy in which she could record and sort her thoughts and feelings.
The new historicists, whatever their differences and however defined, want us to see that even the most unlike poems are caught in a web of historical conditions, relationships, and influences. " Such an introspective framework ultimately contributes to a wide variety of conceptualizations in literary analysis; such as Marxism, Feminist criticism, and post-structuralism. This attempt to contextualize literary works in a historical manner is also supplemental to more conventional types of literary analysis such as deconstructionism. New historicism, however, tends to be representative of a postmodern project which inevitably leads scholars to question the application of historical concepts as an ideological tool in literary analysis. The attempt to establish a connection between a literary text and historical event is often reflective of the paradigms characteristic to the practice of writing history.
Dickinson's use of common objects and emotions was due to her un-social and hostile background, which created a twisted soul inside of Dickinson that was represented in much of her poetry. The methods of Dickinson created a new form of poetry, raw and undiscovered, which made her poetry more significant and realistic than an average poem. The unconventional breaking of the traditional grammar styles provided a new type of poem to the American audience. The presence of dashes throughout her poems requires active engagement from the reader. A reader cannot simply read the poem, a reader must think while reading the poem.
We have read acts of truths, as much as we have written them. Natasha Trethewey uses her confusion and hurt that she experienced as pieces for an artwork that has yet to be painted. By writing Native Guard, Trethawey recreates herself like a disjointed collage. Using gut-wrenching poetry as her medium, she uses her words to represent a self portrait of her struggles, giving the reader a chance to realize Trethewey’s emotions during a time in which she had a difficulty realizing them for herself, thus helping the audience project who they believe Trethewey to be. Before showing herself to the reader offhandedly, Trethewey uses her own complex emotions to establish intimacy with the audience, as if you experience her emotions as raw as she writes them.
Each book has its own unique approach to the problem of establishing clear communication in print. Strunk and White’s method of attack is from the angle of the writer. The rules outlined in the book focus on the writer’s image of what he is communicating. The rules are designed to help the writer sort through her own thoughts on paper, and extract the essence of what is being communicated. The theory seems to be that clearer writing begets clearer thinking.
Many writers have tried to study the postcolonial world, but much remains to be said and documented. It is necessary to study how cultural discourses function in a society and how they alter and redefine the vital concepts of nation, state, patriotism and family. A threadbare study of everyday life is needed to shed light on the hidden network of power and cultural discourses. As a postcolonial writer, Sara Suleri takes up the challenge and weaves a moving tale of a family and a nation. It is necessary to define her achievements and her contribution to the postcolonial theory and fiction.
The world that it will one day enter is a cold and critical one, and few will understand the true meaning and depth of the poem’s soul like it’s parent does. Anne Bradstreet beautifully demonstrates the intimate relationship that exists between an artist and her work in the poem The Author to Her Book. In the poem she directly addresses the book that was published without her consent, referring to it as her child, kidnapped and exploited in a world of criticism. By exposing the her work to the world, she feels that her own inadequacies are revealed as well, thus creating an internal struggle between pride and shame. This paper will take a detailed look at the poem line by line, and draw out the deeper meanings that Bradstreet injected in regard to the book The Tenth Muse Lately Sprung Up in America, her illegitimate brainchild.
Amy Lowell said "She was the mistress of suggestion....and to a lesser degree, irony" The ruses and riddles in her poems came from her; and as such she too was a riddle. The riddle was important to Emily Dickinson for several reasons. She wished to reason with her own feelings despite her contradictory beliefs - she wished to be one who "distils amazing sense / from ordinary meanings (#448)". For her, life, nature and faith were all riddles in themselves. None of these three come with all the answers, although clues are given - her poems both deal with and mirror this phenomenon.
To her poetry must be something that can be somewhat easily understood because people do not admire what they cannot understand. People must be true poets to write genuine poetry. These poems have many points where they are alike and they also have many points where they are different. Ars Poetica by Archibald MacLeish and Poetry by Marianna Moore are similar because they are poems that describe how poetry should be written, they are different because of their form and they do not convey the same ideas. Poetry is something ... ... middle of paper ... ...shall, Megan.
"Chapter 22." Private Demons: The Life of Shirley Jackson. New York: Fawcett Columbine, 1988. 260-261. Print.