It is a common word because it is descriptive of that wonder we have when we read truly good verse. It is a common word because after we feel it once (in that poetry), we know it again in other forms. Not all of those forms rhyme. The poetry is not the line placement, it is what the line placement helps express. It is simply a more effective (and more technically difficult) thing to accomplish when placed in meter.
With the nature of language barriers, it proves close to impossible to transpose a poem accurately into another language while maintaining the intended meaning of the author. However, comparing and contrasting different translations allows scholars to look deeper into a piece of literature and to more accurately surmise the initial concepts of the original author.
Although a fairly common term, its relatively frequent use alongside Frost’s usually vivid and descriptive imagery make it a characteristic of his works worth exploring. Upon evaluation, it becomes evident that Frost’s most potent reason for the use of the word “something” is to infuse an element of doubt or uncertainty into his poetry. It is perhaps an instilled ambiguity that Frost describes as distinctive of good poetry – often found in his better works with a “tantalizing vagueness”. Before drawing conclusions though, it is wise to explore all avenues of possible meaning with regard to Robert Frost’s use of the word “something”. An important aspect to realize is that Frost raised concerns over readers’ far-fetched assumptions in their understanding of his poetry.
A good deal of language proficiency and cultural understanding of the translator do not always help, if the context of the literary piece or the author’s conscious use of language and style(s) are not taken into consideration, or the translator happens to ignore them unintentionally. It may lead to a shift in the interpretation of the new creation and even ruin the original intended meaning(s). This is because even though literature is called to be open-ended as far as its multiplicity of interpretation is concerned, the author has a definite
Applications of a Connectionist Model of Poetic Meter to Problems in Generative Metrics Meter is one of the most distinctive formal features of English verse. Yet theoretical approaches to metrical analysis have proved problematical for a number of reasons. Traditional metrics, based upon scansion systems derived from Latin forms, is strong and flexible in its ability to describe individual units of a line, but fails to describe well the dynamics of the line as a whole and the lexical and syntactic structures which underlie that line. Moreover, traditional metrics does not address the general issue of metricality: most lines of poetry show some variation from metrical norms through the substitution of irregular units (such as a trochee opening an iambic line). When do such variations, which are permissible in individual units, render the line as a whole unmetrical?
Though he is often guilty of padding Ovid’s language with excessive “filler words”, his diction is rarely too complicated or lofty. On the other hand, Before we look into a few translations of Ovid’s Metamorphoses and assess the extent of their failure, there are a few things we should note about the nature of Ovid and this particular work: Ovid’s Metamorphoses is a narrative poem, considered Ovid’s magnum opus--or best work. The poem is generally believed to meet the criteria for an epic, and is sometimes referred to as a mock-epic or an anti-epic because of the topics it treats and Ovid’s tendency toward comedy. Like the Iliad and the Odyssey, Ovid’s Metamorphoses are written in dactylic hexameter (which is the standard meter for epic classical poetry sometimes referred to as “heroic hexameter”, and, when observed strictly, sounds something like dum-dee-dee-dum-dum). Dactylic hexameter is Greek in origin and is often slightly warped to fit the structure of the Latin language, as Latin generally has
Far easier than finding inferior works from this cornucopia of verse would be to snatch and guard his more elaborate, brilliant works such as sonnet XVIII. These lucky few need very little explanation for they speak for themselves. Scholarly glosses, profound explanations, and critic's interpretations - needed in the more ambiguous sonnets - are not only unneeded in these sonnets but sometimes unwanted. It is an insult to the intellect of the reader for a scholar to be as presumptuous with these jewels of verse to think that it needs someone asserting meaning ex cathedra. They have their distinguished place because, after slow and careful reading, one may bask in meaning and beauty, contemplating the sonnets bearing on his life.
However, using definition theory to find the meaning of a word can present knowledge issues. This is because although the definition may seem correct, there are often borderline cases and counter-examples that can be thought of. The main problem with finding the meaning of a word through dictionary definitions is that the definition is given through the use of other words This leaves us trapped in an endless circle of words, with the same knowledge issues .The definitions between different dictionaries can also differ, which again presents another knowledge issue that definitions can be subjective. My personal opinion of definition theory is that although it is beneficial in that it provides an established statement, the knowledge issues that it presents are substantial enough that it cannot be replied upon exclusively as a way of understanding a word. In regards to The Arts, I have found the issue of defining what art is, and what it is not.
The best of the writers recognise this as an inescapably problematic situation, and seek to use the contradiction as a source of creative energy. One of the commonest ways of exploring this is the attempt to bring traditional oral story telling features into the written literary format. This can be done through the inclusion of aural effects such as repetition, or through the inclusion of traditional characters. One of the problems which Western critics and readers face when confronted by Native literature is that there is a danger when it comes to the application of Western norms of interpretation and evaluation. Native texts can often work in unfamiliar ways and serve unfamiliar purposes.
In literary translation, the reproduction of the "other" of language and culture in the source language text and the resulting challenge to the purpose and expression constitute the realization that translation has the creative nature of literature and art. Due to the existence of the "Western" culture A lot of differences, so the use of unfamiliar translation is more extensive.In my opinion, the defamiliar translation not only preserves the cultural contents and features of the source language as much as possible, but also can not be too obscure and difficult to comprehend. In combination with the characteristics of the language, the translator can make the translation inspire readers' reading interest. Not only enjoy the exotic culture, but