We can see how correctly and suitably they are scattered throughout the poem. As to the diction in the poem, the poet uses strong words such as killed, swept, fell, broken, blood, blade, and murder. This selection of words directly affects the syntax and the general aura in the poem. Finally, we notice that all the letters are written in small letters and not even the first letters after full stops or the subject pronoun “I” is capitalized in the poem. As far as the poetic line is concerned, I am going to align some
A Dangerous Symbol In his extremely short story, “The Paring Knife,” Michael Oppenheimer utilizes symbolism masterfully. In literature, authors typically use objects with which the readers are familiar in order to assist in plot development or to convey a key theme. They accomplish this by arranging the language so that the focus is continually shifted to the object throughout the selection. The reader is able to grasp new meaning because of either universal familiarity with the object or an immediate understanding of what the object represents within the context of the story. If an object is viewed by most or all readers in the same manner, the author is making use of conventional symbolism.
Whereas in our love now, the language used is very colloquial and also quite formal. Although the poet writes about common sorts of things, the language is complex. The poet uses words like prevails. As in the last poem, an intellectual person would have no troubles understanding the language or the situation, a less vocally diverse person would perhaps struggle a little bit. The structures of the poems differ quite a lot.
For the most part Emily sticks with iambic meter throughout her poem. The meter is interrupted in the last stanza when she draws attention to the word “Stop.” She starts the line off with this word and because of its need to be emphasized or stressed the meter is forced to change. The indirect rhyme that Emily uses is very easily seen in the first two stanzas. In stanza one the word “miles” and “tanks” both end in the same consonant sound. The same goes for “up” and “step.” Stanza 2 follows this as well having “mountains” and “roads” serve as an indirect rhyme.
Hughes uses more literal meanings for his work, every word can be used as its literal meaning and the poem makes sense. When analyzing the voice and tone used in these poems, these too are totally different. While Angelou’s poem is very sarcastic in tone; Hughes’ poem seems more monotone and storytelling. Angelou seems to be trying to prove a point and show
The poems in this section have to do with “Ars Poetica.” This means The Art of Poetry in Latin. The poets of this collection of poems are actually using poetry to answer the questions of what poetry is, how it should be written, and how it should be read. There is one poem specifically that I felt agreed with my views of poetry and that is Billy Collins’ “Introduction of Poetry.” In this poem, I feel like he is trying to say that people try too hard and over-analyze poems. They sometimes try to force a meaning into a poem because they think that there has to be a reason that poem was written and it has to have some kind of deeper meaning of an issue going on in the world. I think that the end of the poem really points this out with the words “torture of confession out of it” and “they begin beating it with a hose to find out what it really means.” I think that Collins is trying to tell people that they should just read poetry and enjoy it.
In “We Real Cool,” Gwendolyn Brooks utilizes a series of internal rhymes in her fairly short and simple poem. The rhyming structure consists of: AA BB CC DD, however, she decides to end each line with “We” rather than the rhymes’ end words. This breaks up the flow of the poem and places more emphasis on each “We” as the line break causes a run-on pause. Instead of “We real cool./ We left school./” the writer fragments the natural flow of each phrase by writing the lines as “We real cool. We/ Left school.” I assume by setting up the poem’s structure in this way, the writer intended to isolate each “We,” allowing the pronoun to resonate a little longer in the reader’s mind or speech.
Critical Response to Since Feeling is First In his poem Since Feeling is First, Cummings throws out all punctuation, grammar and conventions and writes in a very unusual way in order to emphasise the importance of logic versus emotion. Cummings feels a very strong connection to emotion and his beliefs are laid out within the poem as he expresses that the power of love and emotion is worth the greater attention. The poem is addressed to a lady that is left as an unknown source, Cummings feelings a very strong connection emotionally to this particular lady and states that “his blood approves.” This statement shows that Cummings is making a particular connection to the fact that there is no logic being used but rather the decision that if your emotions approve that is all that is needed. In the quote “Kisses are a better fate than wisdom,” Cummings suggests that although wisdom will generally guide decisions, when the heart is followed a road is travelled on that may be one of happiness and joy. Cummings repeatedly informs the lady that in order to really experience life one but not notice all the other things and just concentrate on the feelings within.
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
Nevertheless, this is the precisely the beauty of this anthology. The stories provide fresh and novel perspectives on common relationships found in all of the readers’ lives. Carver leaves every story slightly “up in the air”, in a way that is very thought-provoking. I found myself needing to put down the book several times and think about questions that had arisen, which was unexpected. His simplistic and to-the-point nature of writing allows the reader to focus truly on the important skeleton of the stories, avoiding wordiness and unnecessary details that are typical of some classic stories.