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.
Frost describes this process eloquently, “Education by poetry is education by metaphor” (Frost 719). According to Frost, in order for this parallel to operate successfully, a poetic metaphor takes on two parts: the author’s will and the reader’s evolution. Talking first about the author’s will, the writer must consider the strength and weakness of a poetic comparison and ultimately decides how far to push the imaginary boundaries of that analogy. On completion of those steps, the final wording of the piece should express life itself and also urge the reader to think philosophically about the text. Next, the second part concerns the audience’s evolution after reading the text.
This slow rhythm adds a layer of complexity by demonstra... ... middle of paper ... ...ll related to the choices that the speaker must make. The structure, imagery, tension and ambiguity all add to the complexity and unification of the poem. Each add layers of thoughts and new information to the poem and signal to the reader that it is more than what one might originally have thought. The reader must take time to peel back each layer in order to truly begin to understand the poem. “The Road Not Taken” purposefully makes the reader decide which road the speaker took and where that road took him; it forces the reader to think critically.
It also implies an emotional separation growing from the beginning of their parting. For the speaker says, “Pale grew thy cheek ... ... middle of paper ... ...ht than an actual rhythm. The use of abrupt sentences and fragments gives the poem a generally choppy and even sound which is another way of letting the readers read the fast paced internal dialogue. The poem relies heavily on the associative meaning of a word in addition to the literal meaning; For instance, words such as dismantled meaning negative, robotic and the word; invention meaning feeling artificial, novel; and pity meaning how the speaker has given up. Therefore the tone for this poem is helplessness, tragedy, anger, hurt, sorrow, sadness, etc.
Tony Hoagland’s poetry is well known for his take on life and his poems have been chosen for the Brittingham Prize of Poetry. In “Fear of Narrative and the Skittery Poem of our Moment” by Tony Hoagland, Hoagland talks about how narrative is out and skittery is in. Meaning that structured and systematic poems are not the norm of our day and age but that fractured and chaotic poems are. Hoagland says, “Our age lacks the structure of a story. Or perhaps it would be closer to say that narrative implies progress and completion.” And with this he is stating that we aren’t capable of writing a structured poem so that’s why we result to writing skittery poems.
This will aim to show that the poem is best suited without the footnote and that its presence deters from a more meaningful reading. Before that, however, I will examine the techniques of both the footnote and the poem in helping one work towards meaning. The language a poet uses in a poem is what separates it from any other type of writing. We notice right away by the rhyme, the metaphors, the similes, the alliterations and the metric patterns that we are reading a poem, a piece of art. We recognize that what sits in front of us is a portrait of a time, a place, a person, or an event that may or may not exist in our world and that to enjoy this literature we do not need to know for certain what the details mean; it is up to interpretation.
At the core of these critiques, both radical and from within traditional lyrical ideals, is a conviction that poetry foregrounding subjective experience has not been sufficiently attentive to both the demands and the possibilities afforded by the public world everywhere impinging on the choices poets make and the audiences available to them. So I want to explore those demands and possibilities--first by working out a feasible understanding of how poets can engage that public world... ... middle of paper ... ... must be able to envision this new self not pitiable by the other self he probably might have been. That self after all has all the armor of romantic despair at his disposable. The new self has only these hypotheticals, which the last stanza must show can in fact suffice for the speaker's needs. Making that demonstration risks even more bathos and more nostalgia than the old self cultivated.
The second line the author writes “ while trying not to notice the effort/ of moving against gravity of habit,/A force that usually pulls you down,” Porritt desires the narrators to challenge the orthodox way of reading, and not doublethink or challenge the unorthodox way of exploring a poems. The author then states how easy it to read this poem in an unorthodox war Porritt writes “Line by line, to the bottom of the page/But now you’re going the other way/ past the second story”. The author recognizes the narrator just read this with ease, “/to the top of penultimate line” as if the poem is pyramid that once you read all the words at the top their only one point. Porritt then ... ... middle of paper ... ...o.k. if your go the other way because the narrator is still some how going up, and growing.
Poetry like so many other things in life is complicated and easily misunderstood, similar to the poem entitled “Poetry” by Marianne Moore. Through her unique way of writing Moore uses literary devices imagery and personification to make the readers question why it is she has come to “dislike”(line 1) poetry. In particular, her word choice leaves a lot of room to wonder exactly why she has chosen to write it this way. A main theme that is represented in this poem is conformity and whether or not it is something to be followed. There are many ways in which one can convey themselves.
He carries this message throughout the poem by juxtaposing images of the abstract and the concrete--images of emotion and images of English grammar. The abstract na... ... middle of paper ... ...g thicket because he believes the path of the straight and narrow limits the possibilities of experience. Through the unconventionality of his poetic structures, Cummings urges his readers to question order and tradition. He wants his readers to realize that reason and rationality are always secondary to emotion, that emotional experience is a free-flowing force that should not be constrained. Cummings's poetry suggests that in order to get at the true essence of something, one must look past the commonsensical definition, and not be limited by "the syntax of things."