A Kaleidoscope of Poetry “Painting is silent poetry, and poetry is painting that speaks” said Plutarch. Poetry is the only form of literature that truly allows people to explore the essential themes of life, seeing them in a new light, in a way that is free of the constraints of conventional writing. A few words poetically and meticulously arranged can place you in the mind of another. They can make darkness sound enticing and bring attention to things that have remained unnoticed to the common eye. The controversial, sophisticated, flamboyant poet Oscar Wilde once stated “I have grown tired of the articulate utterances of men and things.
This is shown in all his novels, plays, movies and criticism. According to one of his contemporaries’ critic, Wallace Fowlie: “It is impossible to speak of any single one without reference to the others” (Fowlie, 1954:87). However, as a critic W.Fowlie observed that poetry to Cocteau was an “immemorial rite” (Guenther, 2004:23). Cocteau, himself has called poetry as `the secular mystery` and he compared the poets to alchemists and astrologers who have their fetishes and miraculous `tricks`. (Levitt,1993:368) The ` ultimate mystery` of his poets was achieved by his poem `self-sufficiency` (Fowlie,1954:85).
There is the use of subjectivity of dramatic persona. However, the poet doesn’t personalize himself ,he wears a mask of a dramatic character and that’s what can be called depersonalization. It is an Anti-Lyric poem as the poet doesn’t express his dramatic persona .He also uses stream of consciousness which is like an internal monologue . Browning’s “ My Last Duchess “ , reflects the new poetry .It’s considered as a New poetry through the use of Dramatic Monologue. He didn’t invent the dramatic monologue as it was used before in “to his coy mistress” but he brought the form a new level of complexity .
Lear has learned, too late, two lears (lessons): the difference of human nature and the disparity between appearance and reality. He has not learned the lear that natural justice is not equivalent to human justice. But he has learned the Shakespearean lear (doctrine) that nature is above art. In fact, in many other plays as well as in Lear, Shakespeare provides a humanist vision of nature: placing the primary, unfallen nature of innocence above the secondary, fallen nature of experience, opposing human art or nurture to divine art or nature, and making his comedies or tragedies and histories or romances according as man’s good natures or bad natures prevail in the fallen world. Meanwhile, we find this humanist vision of nature allows for the Neoclassic principles of moderation and of morality and yet recognizes the Romantic principles of change and of contrariety.
The Crossroads of Life Robert Frost wrote a poetic masterpiece in the form of The Road Not Taken. Some of the main aspects that intrigue people about this poem are the many interpretations that can be taken of the poem and the use of layered meanings. This poem has put Robert Frost down in history as an amazing poet. This poem uses literary devices to deliver a deeply cryptic message and a life lesson that Frost has implied. The first line in the poem is “Two roads diverged in a yellow wood.” On the surface this is a relatively basic sentence.
Emily Dickenson is notorious for her exceedingly extraordinary style of poetry. Unlike many of her contemporaries, she did not concentrate on conventional punctuation or word meanings, but rather focused on the school of thought known as deconstructionism. It is the natural progression from structuralism, where the writer takes a piece out of all historical, social, and political contexts in order to further examine the true meaning of a piece. Deconstruction is the paring down of the written word to its simplest form, consisting of just lines on the page and leaving the meaning open to the reader’s interpretation. This ideology of writing is an attempt to establish a secure or ultimate meaning of a text.
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
How far did you identify different ‘speaking voices’ in the poems which you studied? How was the speaking voice created and what were its qualities in at least three poems you have studied? “Sentences are not different enough to hold the attention unless they are dramatic. No ingenuity of varying structure will do. All that can save them is the speaking tone of voice somehow entangled in the words and fastened to the page for the ear of imagination.” Robert Frost, a renowned poet, stresses that the speaking voice of the poem is more important than the words itself and the poetry of Pablo Neruda could not agree more.