Twentieth-century American poet Wallace Stevens has been a great challenge for the many critics that studied his work. Stevens is not an easy poet to understand and his poems are complex and tangled. Stevens’ poetry can be referred to as “meta poetry” since it involves an investigation into its own rules, its potential uses, how it works, what it does and what it is capable of. His poems are often aware of their own existence and discuss the idea of poetry as well as the process of writing poetry. In his book Wallace Stevens’ Supreme Fiction: a New Romanticism, Joseph Carroll closely studies Stevens’ poetry and prose in relation to Romanticism.
Eliot attempts to do two things in this essay: he first redefines “tradition” by emphasizing the importance of history to writing and understanding poetry, and he then argues that poetry should be essentially “impersonal,” that is separate and distinct from the personality of its writer. Eliot’s idea of tradition is complex and unusual, involving something he describes as “the historical sense” which is a perception of “the pastness of the past” but also of its “presence.” For Eliot, past works of art form an order or “tradition”; however, that order is always being altered by a new work which modifies the “tradition” to make room for itself. This view, in which “the past should be altered by the present as much as the present is directed by the past,” requires that a poet be familiar with almost all
The fact that opposites are used to characterize the same word makes the image that is created much more vague and inexplicable. Therefore, the stylistic device of contrasts resembles the meaning of the poem, which is the inconsistency and diverseness of love. The anaphora 'more ' (l. 2, 3, 4) enhances the perplexity even further, as it is a tool used to frequently change the topic. This makes the Lyrical I seem incapable of finding the right words to
William Wordsworth once declared “poetry is the spontaneous overflow of powerful feelings” (151) in his “Preface to Lyrical Ballads.” When reading this assertion, one might think Wordsworth believes that poetry is made simply by writing down one’s feelings, void of any processing or reflection. However, Wordsworth recognizes that writing poetry requires a combination of intellectual processes, namely recollection and contemplation, by adding that “[poetry] takes its origin from emotion recollected in tranquility: the emotion is contemplated till […] successful composition […] begins” (151). In this paper, I borrow and expand on Wordsworth’s ideas about poetry to examine how William Maxwell’s short story “Love” results from Maxwell’s secondary
The Sloth The author of the Sloth is Theodore Roethke. The title shows that the whole poem will be based on the sloth and how it lives. In this poem the author uses figurative language such as personification, imagery and metaphors as well as sound devices like rhyme schemes, repetition and alliteration to emphasize and explain what the sloth does in the poem and how it lives. The author Roethke is basically annoyed of how things are slow in this world and he is trying to tell us that he wants the world to go a little faster or to move a little faster, by the world I mean the people that either live in this world or near him. First, the speaker starts by saying that the sloth is so slow that there isn’t any animal that can compete with the slowness of the sloth, but the speaker isn’t just speaking about the slowness of his movement, he is also talking about the slowness of thought.
From the context of this poem it can be inferred that there is an influence of Yeats and the theory she is besetting is similar to the obscure philosophy of history which Yeats proposed. “She says in her critical book Ever Changing Shape that: “While he eschewed all accepted orthodoxy,” she explains, “Yeats created by means of his verse, a philosophy which, for him, explained the meaning of human existence” (Jennings, ECS 116). The subjects of Jennings’s delicate criticism could also extend to include the “closed symbolic systems” which Eagleton says Yeats, Eliot, Pound , Lawrence, and Joyce were developing to provide “exhaustive models for the control and explanation of historical reality. “Song for a Birth or Death” in an orderly way fills in the outlines of this kind of model and in the final lines of the poem, points to the suggestions of its acceptance. The four stanzas depict the fears the myth making tendency of human beings and their liking to use this myths to explain and justify the lust, fear and violence they experience.
John Dryden is an interesting person to create the epic poem Absalom and Achitophel. What makes this poem stand out and what made it cause an outrage in the audience of readers is that fact that Dryden not only used the parable of Absalom, but changed it as he saw fit so that it worked better with the events surrounding Charles II, the Duke of Monmouth (Monmouth), the Earl of Shaftesbury, and the Popish Plot. Many of Dryden’s works are continuations, or at least connected to other works Absalom and Achitophel was definitively different in that it could stand alone, and was not the continuation or conclusion to any of his prior works . King Charles II, asked for Dryden to use the parable. Dryden was seen as an author that moved with the chaotic times, and used his satire to evoke passions about the turmoil within England and religion.
This paper aspires at evaluating not only the skill of the pen of Nayyirah Waheed but as well as the hidden spirit inside every individual which is exceptionally brought to forum through her verses. Nayyirah Waheed’s collection of poems entitled Salt projects how man wrongly projects their personality in front of others. In “Masculine” she says “there have been so many times// I have seen a man wanting to weep”. But they try to hide their feelings. They just try to make a pose that they are strong minded and cannot easily be moved by humaneness.
Empson said that: „The machinations of ambiguity are among the very roots of poetry”(Surdulescu, Stefanescu, 30). The ambiguous intellectual attitude deconstructs both the heroic commitement to a cause in tragedy and the didactic confinement to a class in comedy; its unstable allegiance permits Keats’s exemplary poet (the „camelion poet”, more of an ideal projection than a description of Keats actual practice) to derive equal delight conceiving a lago or an Imogen. This perplexing situation is achieved through a histrionic strategy of „showing how”, rather than „telling about it” (Stefanescu, 173 ). It is true that Keats wished to make progress in philosophy: one reason for this was that he believed that an epic poet must be a philosopher. Apart from the passages in his letters where he talks of his philosophical