This disappointment could suggest that Larkin writes in a negative way, if he has even at the begging a different opinion than the majority has while expecting a lovestory or an intimate scene in setting of a bed, but definitely not a confusing, stressful scene as Larkin explores. While Larkin is saying “easiest…honest”, he is using the terminology of contrast. The suggestion of his as a negative writer is now proved. On top of it is confusing for the audience, who tries to get over the first stanza of the poem an impression of what you will be expecting and again Larkin disappoints them. It might also suggest that Larkin criticse the society for thinking in the boxes and expecting everytime the usual as thinking ‘talkinf in bed ought to be easiest’.
(The Board of Trustees of the University of Illinois, 1987) Her poetry presents multiplicity and simplicity, duality and unity, the sacred and the profane, in ways that insist on their similarities, even at times, their identity. In less abstract terms, Sexton made explicit the intimacy of forces persistently treated as opposites by the society she lived in. From some of her poems, there is one poem that made me impressed and wants to analyze more about it. The poem is 'Us'. In this poem there are some statements or words that make us wonder what was intended by the author.
The sentence “Makes gaps even two can pass abreast.” Is saying that they should put away their differences and walk side by side instead of having a wall in between them. People get along better if they have a boundary. The speaker thinks that the neighbor is very foolish for thinking that there needs to be a wall between them. He says that he is “Like an old-stone savage armed.” The speaker does not understand why the neighbor wants the wall. I think that the emotions between to two people create the gaps in the wall.
While he is not seen as a saint within the poem (he remarks in a sarcastic matter to Plath in the poem), he positions the reader to empathise with him, painting the image that he is the placid one in the relationship, and the one who encourages her to embark on her creative pursuits “Get that shoulder under your stanzas/ And we’ll be away.”. The repeated use of the pronoun “your” creates an accusatory tone, suggesting that they were living Plath’s life, rather than their life. The poem also hints that Plath’s father was a monster. He describes her father as a goblin that influenced and controlled the mind of Plath’s. He even goes one step further
It has been said that we often fail to recognize the significant moments in our lives while they are happening to us. We overlook these moments, dismissing them as simple events or rituals, only to discover their true worth after they have passed. In Robert Frost's "Mending Wall" the poet combines the literal with the metaphorical in order to present two contrasting views on the presence of a wall. Although one might say that the narrator understands, by the end of the poem, the necessity of this wall as it provides security and protection, it makes for "good neighbors", Frost is actually alluding to the idea that it is not the fence itself, but rather the ritual of mending this face that makes for “good neighbors.” Frost carefully crafts the form of the poem into a visible representation of his central theme. Written in blank verse, the poem flows from start to finish in a story unbroken by stanzas or rhyme.
The few words that have harsher consonants tend to be words with more negative connotations such as the word “tangled” as it refers to how everything surrounding this time became a mess and the world and those he knew had an outcome that should not have been. The mixture of techniques used in the poem to create musical language adds to the speaker’s mixture of feelings and allows us to feel his affliction and conflicting feelings. The syntax in this piece is what drives Glaser’s story. The poem is split into three sections. The
Reading T.S. poems at first is like reading a language that is not fluent to you. T.S. Eliot uses many different techniques for his poems to be read aloud to make no sense to then after further investigation being acquitted in to his world of the modernism era. Such techniques include personification, metaphors, epigraphs, sibilance, dramatic irony, imagery, simile and symbolism.
In this atypical poem, Thomas defines his unique relationship with Poetry. It is clear from the start that the poet has an innate passion for words, and he sees the poem as a means of expressing this. There are some defiant techniques which are used to demonstrate this, explained below. To begin with, the structure of the poem enhances Thomas’ view of the primacy of words. The line lengths are kept short, some singling out individual words.
Is there a formula to poetry? Can a person fit words into a certain form and create “art?” Some poets seem to think this, which causes distress for others who believe in true poetry and true art. In her poem, “Poetry,” Marianne Moore expresses her disdain for phony poetry that tries to fit into a set mold and suggests that there is better side to poetry, as long as it is raw and genuine. The poem scorns poetry that is too structured or tries to follow a certain style. Moore jumps right into a negative approach with the words “I too, dislike it; there are thing that are important beyond all this fiddle” (Moore 1-2).
This lower case letter makes an illusion as the number one, emphasizing loneliness. The "l"(line 1) of the first line can be read as the number one, and it also calls attention to the other “one” illusions throughout the poem: "ll" (line 5), "l" (line 8), and "one" (line 7). The number one highlights the larger shape of the poem, which comes close to looking like a vertical line. In having not only the form of the poem but the very letters in the poem refer to the number one, Cummings' poem "l(a" strengthens the lonely imagery within that shape. There are a lot of ways the form of a poem can change its meaning.