These notes serve against the author as they directly challenge. Even if the reader is a philosopher like Kierkegaard, or a learned and intellectual man like Conor Cruise O'Brien, these marginal notes are a challenge and threat for them, to explain more meanings and logical assumptions to the author. There is another meaning by these notes in margins, which is to argue and fight against the author and philosophers of the text. In the second stanza of the poem, Billy also provides a contrasting view to enhance the importance of margins and notes. He begins with considering these notes and comments as “offhand”, “dismissive” and “nonsense”, but he soon explained the importance of such notes for the reader.
The poem points to the paradox of naming: while naming is creative and powerful, it is also limiting. Once named, an object snaps into focus. But the name interferes as well: it comes between us and the object. We can think of the object now only through the name that has been attached to it. The opening line of the poem, “By naming them he made them,” connects “naming” with making (Page line 1).
In order to emphasise Larkin’s outlooks onto time and it’s passing, one can highlight the similarities and differences between Larkin and Abse’s poetry. In ‘Love Songs In Age’, Larkin illustrates the view that time and it’s passing merely leads to many disappointments. The enjambment he uses amongst all three stanzas, “and stood/relearning” in the first and second and “more/the glare” between the second and third; this implies the suggestion that love cannot stop the passing of time and the instances that happen within it, for example the death of the woman’s husband. During the first stanza, Larkin uses imagery to create a memoir of the music sheets that the woman has found, “one marked in circles”, “and coloured”, suggesting that the joy of life, love and happiness isn’t appreciated until age shows what one has missed during their youth. We can then imply from this suggestion that Larkin feels time is only appreciated during the older years of one’s life.
Response to “Counting the Mad” When reading the contemporary american poetry anthology I found myself becoming almost lost in one specific poet. Donald Justice, or more specifically, one of his poems,“Counting the Mad” was a poem that was both the most enjoyable work for me to read and at the same time, the most difficult for me to understand, at first. For myself this poem could be compared to a type of riddle due to its ever apparent ambiguity. At the same time, I believe that this poem takes a satirical perspective of mankind. Justice utilizes the sound similar to that of a nursery rhyme to engage his readers.
To what extent are there common threads in the poetry of at least two poets you have studied this year? Futility is an inevitable aspect of human nature. Throughout the creative elements of poetry, the poets Sylvia Plath and Wilfred Owen have extensively explored the central concept of futility through varying perspectives. By the utilisation of poetic techniques such as metaphors, symbolism, and irony, the effects of conformity, death, and loss of self-identity have been reflected upon by the poets. A society is a place where people should feel a sense of belonging, but a society exhibiting a lack of compassion is one that is sure to crumble.
Similar to how the pauses after each “We” created a resonating pause, the same can be said of the poem’s end. The writer leaves the reader with a harsh and startling attribute of the subject, which allows the sad line to echo in the reader’s mind. When read aloud, the last line sounds as if it is a premature ending to the poem, which mimics the premature ending to the lives of the young men in the gang. When reading through an anthology
The first verse of the poem states that he is two times a fool, a fool for loving, and a fool for admitting it, “I am two fools, I know, for loving, and for saying so in whining poetry.” (Donne, Lines 1-3) Donne follows to say that he would still not be wise, even if “she” (Donne, Line 5) returned his love. Donne releases his emotions by
The garbage men’s day ends where the young couple's begins. The poet compares the two pairs in detail, and then seems to ask - at the end of the poem - whether America really is a democracy. The poem's structure is fairly free. The poet doesn't use punctuation; instead, he begins a new line when he wants us to pause in our reading. This slows the poem down and gives us time to appreciate each idea.
“Boy at the Window” is the kind of poem that takes place on such days. Loneliness also leads to pity. Pity is the shameless result of such loneliness. In “Boy at the Window”, by Richard Wilbur, the author evaluates the poem through allusion, metaphor, speaker, tone, smile, end rhyme, imagery, and personification. Allusions are references to factors of a culture such as literature and history- that writers expect their readers to recognize.
“A Poison Tree” vs “The Most Vital Thing In Life” We’ll start by defining a poem, as a collection of words that express an emotion or idea, sometimes with a specific rhythm. The Perrine’s Literature structure, sound & sense define poetry, “Poetry as a kind of language that says more and says it more intensely than doe’s ordinary language.” When comes to evaluate a bad or good poetry, to Perrine a poem fails to achieve excellence if it is sentimental, excessively rhetorical and didactic in one hand; The other hand a poem is good when contributes to the achievement of the central purpose, what is it? “How fully has purpose been accomplished?” And “how important is this purpose?” In this case I judge the poem “The Most Vital Thing In Life” (TMVTL) as a bad poem and “A Poison Tree” (APT) poem as a good poem. Because first of all TMVTL is too didactic, which preach or teach, and lacks all the artistry and poetic devices of APT poem, TMVTL poem try to give us a moral and advice, how we can control our feelings and anger before we hurt the enemy. Also it contains excess word to express the meaning of the word.