Walt Whitman’s Song of Myself and Alice Fulton’s You Can’t Rhumboogie in a Ball and Chain When I read poetry, I often tend to look first at its meaning and second at how it is written, or its form. The mistake I make when I do this is in assuming that the two are separate, when, in fact, often the meaning of poetry is supported or even defined by its form. I will discuss two poems that embody this close connection between meaning and form in their central use of imagery and repetition. One is a tribute to Janis Joplin, written in 1983 by Alice Fulton, entitled “You Can’t Rhumboogie in a Ball and Chain.” The second is a section from Walt Whitman’s 1,336-line masterpiece, “Song of Myself,” first published in 1855. The imagery in each poem differs in purpose and effect, and the rhythms, though created through repetition in both poems, are quite different as well. As I reach the end of each poem, however, I am left with a powerful human presence lingering in the words. In Fulton’s poem, that presence is the live-hard-and-die-young Janis Joplin; in Whitman’s poem, the presence created is an aspect of the poet himself. Alice Fulton’s modern sestina “You Can’t Rhumboogie in a Ball and Chain” finds unity in the repetition of similar images throughout the closed form poem. These images hold together to create a unique and disturbing picture of the young rock icon Janis Joplin. Addressed directly to Joplin, the poem strictly follows the sestina form: six six-line stanzas, followed by a three-line “envoy.” The distinct feature of the sestina is that the same six words conclude the lines of every stanza, simply changing order according to a set pattern from one stanza to the next. I imagine that to write a sestina, the poet... ... middle of paper ... ...he poem around a single figure: Fulton puts Joplin at the center of her poem, while Whitman’s poetic world is drawn around and even within himself. Both capture raw details of human life and misery in their imagery. Both use repetition to define an irregular but recognizable rhythm. Yet the two poems beat out their rhythms in distinct and utterly different measures, leaving me with two powerful figures, created by the poems’ forms, which have their own purpose and form in the larger world beyond poetry. Works Cited Fulton, Alice. “You Can’t Rhumboogie in a Ball and Chain.” Approaching Poetry: Perspectives and Responses. Ed. Peter Schakel and Jack Ridl. New York: St. Martin’s Press, 1997. 128-29. Whitman, Walt. “Song of Myself.” 1855 ed. Walt Whitman’s “Song of Myself.” Edwin Haviland Miller. Iowa City: University of Iowa Press, 1989. 9-11.
Whitman, Walt. "Song of Myself." The Norton Anthology of American Literature.. Gen. ed. Nina Baym. 8th ed. Vol. C. New York: Norton, 2012. 24-67. Print.
The life cycle of a monarch revolves around the Butterfly weed plant. First the monarch lays its egg on the leaf of the plant. Once the Caterpillar is born it eats the leaf for nutrition. The Monarch caterpillar is striped black and yellow. As it grows and becomes ready to become a chrysalis by forming a cocoon it uses the plant again. The caterpillar forms its cocoon on the Butterfly Weed. By the time the caterpillar is ready to become a chrysalis it has grown to be about 45 millimeters in length. The chrysalis is pale green and spotted with gold. It becomes more transparent as the butterfly gets ready to break free. The adult Monarch has a wingspan of about 4 inches. The m...
Michael Gray’s analysis of Dylan’s lyrics being a contrast between hackneyed expressions and “beautifully done” are exemplified in the song “Just Like a Woman.” Dylan’s lyrics “she aches just like a woman but she breaks just like a little girl” is given the harsh description of “maudlin platitude” and deemed to be a “non-statement.” If Dylan’s lyrics cannot uphold against meaningful music of the same category, how can they be expected to stand against literature written for a different field. John Lennon had his own critiques of Dylan’s works, calling out how the abstract nature of his lyrics, having loose definition, never achieved an actual point. Lennon’s definition of “poetry” referred to “stick[ing] a few images together” and “thread[ing] them” in order to create something meaningful. It once again boils down to the fact that Dylan’s music that was written and intended to be received as a live performance. The acknowledgement that “…you have to hear Dylan doing it” is a recognition of his composition’s failure to come across as a normal literary work. It’s all part of a “good game.” This in itself should disqualify Dylan as a possible candidate for the Nobel Prize.
In her poem entitled “The Poet with His Face in His Hands,” Mary Oliver utilizes the voice of her work’s speaker to dismiss and belittle those poets who focus on their own misery in their writings. Although the poem models itself a scolding, Oliver wrote the work as a poem with the purpose of delivering an argument against the usage of depressing, personal subject matters for poetry. Oliver’s intention is to dissuade her fellow poets from promoting misery and personal mistakes in their works, and she accomplishes this task through her speaker’s diction and tone, the imagery, setting, and mood created within the content of the poem itself, and the incorporation of such persuasive structures as enjambment and juxtaposition to bolster the poem’s
When a health care professional identifies symptoms of pancreatitis, specific questions are asked about the person’s symptoms, lifestyle and habits, and medical and surgical history. These types of questions will help to rule out some conditions and make the correct diagnosis. In most cases, however, laboratory tests are needed. The tests will determine the function of several body systems including pancreas, liver and kidney functions, signs of infections, blood cell counts, and blood sugar, electrolyte levels and calcium level. Results of the blood tests may be inadequate if the pancreas is still making digestive enzymes and
Whitman establishes a direct connection between the lyrical and the reader to get to each one of us. The power that the poem has and having Whitman writing it, rests on the ability of the author to separate himself amongst thousands, almost as a wonderful schizophrenia which allows you to view the world from certain points of view and understand it better than anyone.
The very first two stanzas employ the use of imagery. Both help develop the scene of the reader eating a meal before sunset, thinking of a childhood memory. The way in which this is written makes it seem as if “you” (the reader) are in a dreamy state of mind. This dreamy state of mind turns into what can be described as nostalgia (ironic due to the poem’s topic). These memories of a hearty “meal” at a “declining day” allow the reader to grow comfortable with the piece. It can fool the audience to think this to be a safe and happy poem, but just as the Sestina (in form) is a game, it seems the writer is playing it with us.
In “Song of Myself” Whitman attempts to speak on behalf of the entire American population. He tries to pull the reader into a world of many possibilities. Whitman makes a point of informing the reader that the “I” is not him, but everyone. The “self” is the reader, whoever the reader may be. The first few sections invite the reader in and encourage them to think for themselves, “You shall listen to all sides and filter them for your self” (Whitman 2211). Whitman wants people to throw off societal conventions and think for themselves about the issues at hand.
It is a way to crucially engage oneself in setting the stage for new interventions and connections. She also emphasized that she personally viewed poetry as the embodiment of one’s personal experiences, and she challenged what the white, European males have imbued in society, as she declared, “I speak here of poetry as the revelation or distillation of experience, not the sterile word play that, too often, the white fathers distorted the word poetry to mean — in order to cover their desperate wish for imagination without insight.”
(A critique of Walt Whitman’s themes and ideas in Song of Myself 6, 46, 47)
Whitman, Walt. "Song of Myself." The Columbia Anthology of American Poetry. Editor: Jay Parini. Columbia University Press, 1995. 186-193.
Vendler, Helen. "The Poem as Life, The Poems as Arranged Life." Poems, Poets, Poetry: An Introduction and Anthology. Third Edition ed. Boston: Bedford/St. Martin's, 2009. 18,68. Print.
In “On the Beach at Night Alone,” Walt Whitman develops the idea that everyone has a connection with everything else, including nature. Whitman uses a variety of writing techniques to get his point across. First, the repetition and parallel structure that his poems contain reinforce the connection between everything in nature. The usage of “All” 11 times emphasizes the inclusion of everything in the universe. The sentence structure remains the same throughout the poem, without any drastic change; however, the length of the lines in the poem vary. In addition, Whitman’s’ extravagance with his words further illustrates his idea of the Over-Soul. For example, “A vast similitude interlocks all” (4) shows his verbose nature. Whitman does not do directly to the point, but gives every little detail. Most importantly, Whitman’s’ use of catalogues stands as the most recognizable Whitman characteristic that illustrates his beliefs. These long lists that he uses set the mood of the poem. “All spheres, grown, ungrown, small, large, suns, moons, planets,” (5) shows the idea that everything is connected in nature. Similarly, “All nations, colors, barbarisms, civilizations languages.” (10) furthermore emphasize Whitman’s belief in the Over-Soul.
Whitman uses great craft in this poem to make the reader ponder so many different meanings of one simple object. Something like grass is so common that we don’t even realize that it really is everywhere around us. This poem is very meaningful because of its originality and the images and ideas really stick with the reader b...
Walt Whitman used free verse in “Song of Myself” in order to connect with the common man and his American readers. In this first person narrative, Whitman deconstructs the “self” into many different sections that all are a part of the celebration of the individual. Some of the topics he breaks the “self” into are self- identity, and human exploration (including the human body and sexuality). In the poem, Whitman uses a speaker to exclaim that for individuals to grow they must discover themselves spiritually, physically, and mentally. The speaker in the poem