This idea is taken away in the second line when Pope says that trivial things are the cause this horrible event. The diction in the first two lines goes from being broad and powerful to being small and petty. While Pope uses objects and events to directly compare important and trivial things throughout the poem, he also takes advantage of the diction to indirectly show this comparison to the reader. While the first two lines of the poem provides a small summary of the mock epic itself, it also gives you an insight into how Pope’s carefully crafted diction is the underlying foundation of this mock epic. The first canto the main character Belinda is introduced.
The speaker The humour here seems to arise from the discrepancy between what the speaker says, the “I” of the poem, and what one would expect from such a man as Burns. The “I” of the poem is obviously not the poet himself, and it is not ambiguous as it is in other poems: this fact is clearly explained in the Argument preceding the poem itself. QUOTE. The fact that Robert Burns embodies Holy Willie, and speaks for him seems to give his arguments more power than a mere criticism of Willie’s attitude. In fact, the reader is very nearly in the position of a spy listening to Holy Willie’s prayer, i.e.
Thompson, and other "critics whose beliefs are centered in an optimistic monism," failed to "comprehend Frost's dualism," and often interpreted the bard's life and art through the lens of "abnormal psychology," resulting in "character assassination" and "severe misinterpretation of his work" (11). Stanlis wants to correct these alleged distortions. It is unlikely that his study will have a significant influence on biographical studies of Frost, which will continue to focus on actions and human relationships, but it will have a noteworthy impact on examinations of his poetry, which is the fundamental reason readers are interested in Frost. Over a long and accomplished career, Peter J. Stanlis has often worked at the intersection of literature, philosophy, and political philosophy, and this emphasis is evident in Robert Frost: The Poet as Philosopher, a study that explores Frost's relationship to developments in the sciences, the humanities, and politics from the age of Charles Darwin to the time of John F. Kennedy's presidency. Stanlis met Frost at the Bread Loaf Summer
The poem has no fixed metrical pattern and consists of inconsistent usage of end-rhyme, followed by mélange of literary devices. Imtiaz has used free verse for greater emphasis and to provoke the reader to reflect upon the situation. The subject of the poem is water: how it is a necessity and the scarcity of water in the area the poem is set in. Through the use of language in the poem, the readers are able to see that Dharker, in this poem, considers water very important and precious, and that humans will suffer without it. This idea is highlighted in the first line of the poem: “the skin cracks like a pod”.
Discuss ways in which Hardy presents personal relationships. Refer to the poetic methods and their effects in The Darkling Thrush and In Tenebris I. Hardy presents his personal relationships as doubtful, contradictory, self-piteous, hesitant and slightly hopeful despite the hopelessness in ‘The Darkling Thrush’ and ‘In Tenebris I’, however, all of these negative remarks are honest and humble and not pretentious making his works very truthful. His works are powerfully conveyed through the use of figurative language as well as evocative language. Hardy took a leap by making himself the subject of his own poem in ‘In Tenebris I’ by the use of ‘my’, ‘me’ and ‘I’ and it is further evident that he made himself his subject through the third person narration in ‘him’ and ‘his’, after receiving criticism particularly on his novel ‘Jude the Obscure’. His views on society was quite controversial as his views were different from theirs especially in forms of religion and moral ethics, and viewing the problem as a 21st century observer, Hardy’s views and thoughts were much advanced from those in his era, thoughts that were much better suited today, and this caused him much disapproval, not only among society but also his then wife Emma which very much puts him in a dark place.
Robert Browning attains a reputation for “oddness”, as the novelist Henry James termed it, for his difficult and obscure written poems. Browning’s poems are written in Dramatic Monologue. The nature of this monologue is almost as if you are ease dropping on a conversation between two people. According to Anderson et al. (2011:97) Dramatic Monologue is a device whereby the poet invents a character to provide the voice and opinion represented in the text.
Donne’s use of double meanings in the language of the poem result in a reading where two ideas come together in interpretation Donne, in “The Flea” uses erotic, as well as religious language in order to communicate his thoughts concerning the relationship between marriage and love making. Lines such as “Me it sucked first, and now it sucks thee”(3), used in opposition to “Our marriage bed and marriage temple is”(13) convey the complex theme Donne inserts in the poem. What is Donne’s purpose when using the conflicting language? Donne’s work is studied as such containing satire. If the reader views “The Flea” as completely satirical, one comes to an interpretation containing validity, however simple in nature.
Instead he uses a unique structure and pedestrian imagery to try to explain what he’s feeling. Although he should tell her everything he’s thinking about; when he’s at a reunion he thinks to himself of the possible outcomes of his confession; stopping him from doing it and making him wander off with his thoughts before making a move. Presuming that the speaker of the poem is the author himself, the reader might think that his feelings of isolation root from his childhood. To portray this, he uses abundant imagery, to help the reader view elements, the same way he does. Eliot, as writer was influenced by thinkers such as John Donne and F.H.
This is not to say that “A Mark on the Wall” is lacking in abstract themes, indeed the self-consciousness of the piece is what forms the abstraction of the theory in “Modern Fiction”. Furthermore, the story must be digested in a manner that is different from the way that one understands conventional ideas of plot, i.e. rising conflict, climax, denouement etc. Woolf’s writing lacks such conventional structures, yet the beauty of the work lies in the ebb and flow of the consciousness itself, which taken as a whole is able to “get at life”, which Woolf says a majority of modern fiction is incapable of doing. To start with, Woolf’s main contention with modern fiction is that it is “materialistic”, that modern writers “are concerned not with the spirit but with the body that they have disappointed us” (2150).
Ode on a grecian urn is a poem by John Keats that uses many sound devices to help drive the point of his poem. A few examples of alliteration are "Thou foster-child of silence and slow time, Sylvan historian, who canst thus express" which when in reference to the urn shows us that this object is timeless and still. As he continues with this thought "A flowery tale more sweetly than our rhyme" it really ties together that this urn, although silent and still, will share a story greater than any poetry. Another example of this is "Of marble men and maidens overwrought" which is in the last stanza of the poem. It portrays that the images on the urn lack warmth and feel cold, which he later refers to as "Cold Pastoral!"