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).
Possession entails the poet composes their poems by losing all senses, yet poetry is a combination of senses, for the poet, in short, experiences the basics of life differently than someone who is not a poet. A passionate poet, instead of a possessed poet, doesn’t lose his or her senses but rather uses them to create poetry. Conversely, passion, or even being in the state of what Plato would consider to be irrational, is what consequently makes humankind fully human. The ontology of humans come from many different avenues of influence, but their state of being comes from the quest of insight. The act of coming to truth must be done from the basis of a humans own life.
More than a thing, it is a transference of energy between poles. Poetry’s task is to mitigate but to mitigate by way of accelerant: it too becomes primary in range from rivaling the world to near exclusion and or/ creation of it, to a humble transparency that adds nothing but clarity. Behind every question and thought in uncertainty we can still hold on to some meaning through poetry. What passes for answers? Poetry is what passes for answers.
T.S. Eliot once said “Poetry is not turning loose of emotion, but an escape from emotion; it is not the expression of personality. But, of course, only those who have personality and emotions know what it means to want to escape from these things.” The thing that makes poetry so meaningful is the fact that it involves all of life, every worry, every aspiration, and every feeling. If something has some immense significance to a person’s existence, then it has an immense significance in poetry as well. Modern poetry is significant to everyday life because it dares us to break free from the safe strategies of a discreet mind, enabling us to honor the unknown, both in us and in the world.
Again and again in the realm of poetry there lies the possible nabilty for the reader to grasp whatever message the speaker has put forth. Ashbury's "Paradoxes and Oxymorons" demonstrates this theme by saying "The poem is you" - that is, to each his won interpretation. The reader must interpret for herself what a poem's purpose truly is, regardless of the speaker's intentions.
“One function of the poet at any time is to discover by his own thought and feeling what seems to him to be poetry at that time” (The necessary vii). What Stevens is suggesting here is that a poet must find a particular voice among other voices –other poets– and that his voice will be significant only if it intends to be a contribution to the theory of poetry, in the sense that they “are disclosures of poetry, not disclosures of definitions of poetry” (Ibid). Precisely, the poetry of Wallace Stevens and John Ashbery are disclosures of poetry regarding imagination, for they deal with the capacity of the mind to transform external reality. Both poets take the reader through beautifully pictured strange landscapes and, by allowing the reader to experience, dialogically, what is pictured in the poem; both poets make clear that the reader is a fundamental part of it. “In Tradition and the Individual Talent”, T.S.
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.
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. Poetry is brought to life by the authors ability to use words in combinations that allow readers to create their own story. A poem is a moment captured by the poet and written tactfully without any limitations. Nevertheless, the poet writes the poem with the clear conviction of pulling the reader into its grip and taking them through a journey of inexplicable experiences. The vitality of the poem comes from the reader, if a poem is able to surprise and jolt those who read it then it has successfully come to life; something about that poem was able clasp the complex mind of a reader.
It could have been that in the prologue he included his personal thoughts on the spirit of poetry and what his role as an artist means to him. However, the order which his friends created did in fact add a poem which works as both; a poem and a personal introduction from the poet himself. From the opening which is the poem I, one can realise that the poet was struggling to find a sufficient tools and words in language to portray it; on one hand, the poetic nature and the baseline of this enormous hymn. On the other hand, something that would fulfil the romanticism movement yet, appear new to the public. 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.
This piece primarily focuses upon redefining the definition, importance, and role of tradition in the literary world, as well as explicating the relationship between storytelling history and the storyteller. Eliot posits that, though originality and novelty are often praised, no work of art functions independently of all of the art that precedes it. He suggests that, rather than distinguishing literary mastery by identifying what is “new” and what is “old”, critics and creators alike should adopt his Impersonal Theory of poetry. This theory suggests that a refined poet can depersonalize themselves from their work in such a way as to construct it with a critical eye, simultaneously portraying significant emotion and arousing complex feelings