The rest of the couplet is then devoted to a simile with which the chosen attribute is compared. MacLeish believes that a poem should be easily comprehended by the senses and the mind (be “palpable”) and so each simile is used as a means of conveying a concrete sensory image. In order to fully appreciate what the poet means by “palpable”, “mute”, “dumb”, “silent” and “wordless”, the reader is asked to imagine these traits as they would relate to “globed fruit… old medallions to the thumb…sleeve-worn stone…[and] the flight of birds”. In this way the poet compares the metaphysical qualities of the ideal poem to visible realities that can be experienced in the physical world. By using these uncomplicated images, MacLeish makes it easier for the reader to gain an understanding of the
Characterize attitude using solid tone vocabulary. Look for Speaker's attitude toward self, other characters, and the subject, Attitudes of characters other than the speaker; Poet's attitude toward speaker, other characters, subject, and finally toward the reader. V. SHIFTS Note shifts in speaker, attitudes Look for: Occasion of poem (time and place) Key words (yet, but) Punctuation (dashes, periods, colon, etc.) Stanza divisions Changes in line and/or stanza length Irony (sometimes irony hides shifts) Effect of structure on meaning VI. TITLE Examine the title again, this time on an interpretive level.
With reference to holy books, example; the Bible, Quran, and others,there are rules to live by written in words. These rules would be utterly useless without persons in the belief to follow in actions or, more so, to carry out the religious act. Les Murray in his poem, “ Poetry and Religion”, is trying to make readers aware of the relationship between poetry and religion. He uses different scenarios to make it clear to readers, which the literary device, personification is used a number of times. A great similarity in poetry and religion is the repetition of love, ‘ Full religion is the large poem
A group of writers, who appeared in the early part of the seventeenth century, were the followers of John Donne and known as Metaphysical poets. John Donne, the founder of the Metaphysical School of poetry and the most independent of Elizabethan poets, revolted against the easy and fluent style, stock imagery and pastoral conventions of the followers of Spenser. He aimed at reality of thought and vividness of expression. Sensation, emotion and thought were interfused in the poetry of Metaphysical poets. If Aristotle, the father of criticism, described poetry as an imitative art, metaphysical poets would lose their right to be called as poets, for they cannot be said to have imitated anything, they neither copied nature, nor life, neither painted the forms of matter, nor represented the operations of intellect.
Not only does “The Paradox”, use personification for characteristics, but also for actions. This is demonstrated in the last quatrant, “I’ll guide thy footsteps and lead thee” and many more areas in the poem. Another common literary element in poetry is the use of metaphors, a figure of speech where a subject is described in resemblance to an unrelated object or thing, without the use of comparative words. Metaphors tend to give poems a deeper meaning or a hidden message, and it also allows the readers a chance to explore beneath the surface,
These comparisons add a sense of non-linearity and complexity to the poem. Because of these metaphors, the reader can eventually assess the presence of the duality of good and evil that this poem’s world continues to exaggerate. Rhythm The rhythmic flow of the poem follows the sonnet in form as well as rhythm. It is organized and presented in iambic pentameter, where “iambic” describes the type of feet used while “pentameter” describes the meter of the feet. The “iamb” refers to the poem’s pattern of one short unstressed syllable followed by a longer stressed syllable, while “pentameter” refers to the amount of syllables
Abstract: This paper aims to clarify the dramatic elements in Donne’s poetry. The introduction tackles the uniqueness of this subject and how it is exclusive to the metaphysical poetry in general and to Donne’s in particular. Then the body of the paper is divided into three main parts; each part tackles one dramatic element in Donne’s poetry. These parts are the abrupt openings, the simple diction, and the argumentation. The first body paragraph illuminates the abrupt openings through three main devices: the imperative style, the interrogative style, and the striking images at the beginnings of Donne’s poetry.
His goal is to create poetry that does not require an in-depth analysis to be understood by his readers. Wordsworth’s guiding principle to writing poetry is that the words should hold straightforward meanings that are related to elements in nature and maintain central, comprehensible thoughts. Wordsworth criticizes his poetic predecessors and their unnecessarily verbose writing styles when he says that “They who have been accustomed to the gaudiness and
A DIFFERENT HISTORY Analysis: Imagery is a collective term for the verbal pictures, metaphors, similes, symbols, and descriptions that occur in a poem. A poet uses imagery to communicate vividly. - In using imagery, the poet often compares something less known or something that cannot easily be expressed, to another thing or experience better known to us. When you are writing about imagery in your critical analysis of a poem, it is not enough to say what is being compared to what. You need to explore the image, explaining how and why this comparison may be effective.
William Wordsworth's preface to the second edition of Lyrical Ballads" is a major expression of the spirit of English Romanticism. This present essay simply shifts emphasis from the relationship between poem and reader to that between poet and poem. He is deep interested in speaking to the reader by the moral effect of his work. Nevertheless, he defines the poem primarily in term of its author's creative activity. He approaches the idea of poem after discussing the idea of poet.