Woolf 's " Donne After Three Centuries" is an appreciation piece. It is clear Woolf appreciates Donne 's work because he is not traditional. Donne writes prose, but not in a traditional, lyrical manner and Woolf notices this. Donne is also an intellectual writer, he does not write just of beauty or love. Donne writes of political issues, religion, and worldly problems while other writers would be terrified to do so.
An important aspect to realize is that Frost raised concerns over readers’ far-fetched assumptions in their understanding of his poetry. According to Frost, "The objective idea [was all he] ever cared about. Most of [his] ideas [occurred] in verse.... To be too subjective with what an artist has managed to mak... ... middle of paper ... ...hing” is possibly just a careful play with diction - a medium for infusing the complexity and abstruseness into his poetry that is required to provoke such contemplation and search for meaning. As concluded from analyzing three of Frost’s works for diction, it is difficult to stamp on the precise meaning and reason for the use of “something” in his poetry. Frost was highly unlikely to have used the word something in a mindful and deliberate fashion.
To keep the reader guessing and to hold the attention. Blurring these boundaries between Fiction and Non-Fiction has always been a great way for authors to make their points, yield their arguments, and to keep interest. If authors did not utilize this particular technique, most non-fiction accounts would become boring and uninteresting to a reader who did not want to learn about the particular. It is completely acceptable as long as the readers are told of the fictional aspect of the work. This is not one of the easiest techniques to use but if written correctly, creating a fictional account cannot be considered anything but excellent writing.
Another, more likely interpretation, is that of choices. Though Frost previously said that he was irritated by individuals “pressing it for more than it should be pressed for. It means enough without its being pressed…” (Cady) it can easily be argued that this poem is not as literal in meaning as a physical journey through the woods but one that is more symbolic in questioning the choice that the narrator makes. Frost is able to create indistinct meanings to this poem by syntax, rhythm, wordplay, and imagery. He follows a central theme for the majority of the poem and ends with a paradoxical phrase at the end that simply states “But I have promises to keep, And miles to go before I sleep” (Frost 191).
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. It is with this dynamic between text and audience in mind that I approach the process of "re-hearing" Sir Gawain. In doing so I hope to achieve some clarification of what Tolkien referred to as one of the "structural failures" of the poem the failure of Mary, Gawain's protectress, to receive any further acknowledgement after Gawain twice asks her help, during his journey and in the final temptation scene. Studies of structural repetition (Howard 1964, 430-33; Burrow 1966, 87-97) and numerological patterning (Hieatt 1968, 129-31; Eckhardt 1980, 141-55) demonstrate the Gawain-poet's ability to exploit the spatial and temporal control afforded by the technology of writing (Ong 1971, 23-27). As Kent Hieatt has shown, he consciously uses numerological patterns.
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 poem now addresses her directly, as if to say, "This is how it's going to be." A theme that prevails through this poem is the speaker's, or author's, realization of a specific concern. No matter what the author or speaker intends to generate through a work of literaturein general, it is up to the reder to truly decidee its meaning. 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.
By Jane Austen's time, the genre had a clear enough definition of itself that her narrators rarely occasioned to intrude like Fielding's. Her first novel, Northanger Abbey contains some intrusive passages, though, even as a novice, she was developing a far more subtle approach to commentary. Austen argues for the novel without lengthy interruption, but like Fielding, forgoes authenticity in the process. By exposing the author's process and methods, Northanger Abbey and Tom Jones both concede the inherent fictionality of their work, but more importantly, they ... ... middle of paper ... ...iece, with lengthy, persuasive essay-like chapters throughout the text. Austen compresses her commentary and the narrator does not dominate the discussion.
And it should also include a theme that remains clear and focused; to reach out to a reader without being encumbered. However this is not the case with To Kill a Mockingbird. To Kill a Mockingbird has faults with its characters, plot, and overall theme. The introduction of both the characters and their histories are flawed. The novel hastily presents a great number of characters within a short amount of written space; causing the reader trouble when trying to differentiate between them.
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."
The authors do acknowledge that there is no ultimate authority who deems which words must be used over others, but their matter-of-fact tone and occasional jabs at writers who misuse certain words seem to forecast misfortunes for those who do not follow a recommended word usage. Williams is less concerned about such strict guidelines because "not all of us will agree on what counts as correct" (170). He attributes some rules to folklore, some to special formality, and a lot to personal choice. However, he acknowledges that precision may be ne... ... middle of paper ... ...ingway was a renowned author said to have a distinct style: short sentences and paragraphs that used simple vocabulary. He also tended to avoid putting commas in places where many writers and language experts - Strunk and White, for example - would deem them necessary.