These images, cyclical in their nature, repeat throughout the poem. The repetition of these images displays the theme of time. The other message in Cummings' poem is related to the passage of... ... middle of paper ... ...very different meanings. Cummings' uses his poem to explore time and the stages of life, while Dickinson's poem addresses her disdain toward her contemporary poets. The similarity between the two texts is due to the rhetorical ambiguity.
Have you ever read a mystery story and or listen to your favorite song and thought that they are completely different? Well here is a little dose of reality check, they are not so different. Books and music are both a style of writing. They both tell their own story whether its fictional or based on a real experience. Same can also be said about poetry, “Poetry is, in certain vitals ways, distinct from other forms of writing” (847).
Two poems that use these approaches well are “Echo”, by Christina Rosetti, and, “The Weary Blues”, by Langston Hughes. Each of these writers have their own style when using these concepts, and their differences help make each of their poems unique. The first technique that each of these poems include is rhyme. When you think of poetry, rhyming usually pops into your head, but not all poetry contains the same type of rhyming.
Although many characteristics in the Romantics period, Victorian age, and the Modernist period were very different the three pieces of poetry I have pointed out all have phenomenal authors who follow the essay T.S Elliot wrote without ever reading it. This proves that Elliot is correct in that a great writer must detach his personality and use his preceding poets as a guide to writing poetry. All three poems I have highlighted use the struggles of nature versus society, even though each poem comes from a different period of time. Thus highlighting the fact that each period of time changed so significantly writers began detaching their personality and simply writing emotions of the time, while highlighting the only beauty they could find, nature.
In reference to the subtlety of language, Robert Frost once said, “Poetry is what gets lost in translation.” When Robert Frost said this statement, he was referring to the fact that it is seemingly impossible to carry over from one language into another the special qualities of a poem, such as its meter, syntax, rhythm, sound, connotations, etc. In many of the poems written by the Canadian poet and feminist Margaret Atwood, there are inherent “deeper meanings” that are hidden within the text, open to the reader to interpret as they wish. In fact, it is the poet’s use of literary techniques that create these layers of meanings. The two poems that I choose to analyze from Margaret Atwood’s Selected Poems II are “Night Poem” and “Postcard.”
The poem reads, “I wouldn 't either, but / what would I not / do, what prevention, what...”. The subject talked about in these three lines is not thoroughly explained in the lines given, as the poem continues it discusses different subjects that are also spread out through several lines, with no one line being about one subject. The meaning of what Creeley is trying to describe can only be found by reading several lines of the poem because of the way he structured his poems. In the article "Love and Frangibility: An Appreciation of Robert Creeley", Heather Mchugh EXPLAINS, “ First of all, he 's often miscast as a rebel against poetic forms, foot soldier in the resistance against prosodic refinement... I believe that Robert Creeley 's abstemious formality nourishes a luxury of readings”.
‘I Wandered Lonely as a Cloud’ and ‘The Preservation of Flowers’: two notable poems, two very different styles of writing. This essay will look at their contrasts and similarities, from relevant formal aspects, to the deeper meanings hidden between the lines. We will look at both writers use of: rhyme scheme, sound patterning, word choice, figurative language and punctuation. The essay will also touch a little on the backgrounds of the writers: themselves, and their inspiration, with the intention of gaining a greater understanding of both texts. The structure and form of both poems is evidently dissimilar.
There are many ways in which one can convey themselves. Marianne Moore uses her speaker's “dislike”(Line 1) of poetry to bring forth the idea that society has dictated how poetry must follow a certain strict and rigid formation. Poetry has always been written with a basic formula in mind. The poem should rhyme, it should have rhythm, there's a required need to have a certain number of symbols in each line. Moore strays from this (idea) by saying “I,too,dislike” (Line1).
This solidifies that all poetry has the same goal of rousing the reader, however there are many different approaches of how to reach that goal. To demonstrate there are three well known authors: Marianne Moore, Archibald MacLeish, and Wallace Stevens. There writing styles being: Stevens who reflects the influence of symbolist literary movement, MacLeish follows the Modernist (experimental), and Moore writes like a Modernist but focuses more on animals and nature. Stevens’ style plunges into the imagination and brings out a new way to look at something, such as any self-respecting Symbolist would. Symbolism first occurred in the late nineteenth century; they believed that emotions are difficult to communicate because people perceive the world is very personal ways.
Another element that may arise from these spatial relationships is a temporal aspect that all poetry employs, but which becomes uniquely meaningful in the context of the concrete poetry of the twentieth century. Without these relationships concrete poems may appear as crude distortions of words on a page, with no significant sense or meaning to communicate. Therefore, the temporal/spatial relationships between poetic elements become necessary tools which the reader needs in order to fully understand the linguistically driven meaning behind many concrete poems. Traditional poetry does make ... ... middle of paper ... ...7 April 2009 < http://www.ubu.com/papers/draper.html>. Garnier, Ilse and Pierre Garnier.