She achieves the magic of poetic glory simply by the force of ordinary colloquial speech. In her early poetry, we see Plath concentrating on the visual and descriptive form of poetry and she chooses her metaphors and images only to substantiate that. The literary evolutions of her work have a way of turning into moralising, because of her own fleeting references to the disorders of her life and that of others. Similarly noteworthy is the fact that as a poet, she tries neither to prescribe nor to escape an existing order, exacting no demand for reform. She has a vision of life’s imperfections.
Despite choosing the haiku over the free-verse poem, I still savored the spirit of Alice Walker's poem. The haiku is simple, yet completely changes the atmosphere in my mind without filling up space with excessive words. Being so short, the poem gives the reader the ability to form their own image in their own mind. I absolutely loved this haiku and its structure, so I believe it is absolutely worthy of being
Also in common with many of her poems, “Mrs Midas” is written retrospectively and is part of a tradition of the feminist revisionist writing of mythology and fairy tales. Duffy brilliantly trivialises the myth by transplanting it to a modern, middle class, suburban setting. The form and structure of “Mrs Midas” embodies the best features of Carol Ann Duffy’s poetry. “Mrs Midas” is a dramatic monologue, the fact that it is a dramatic monologue helps to make the poem more theatrical and histrionic. The poem is also written in free verse, this shows that the poem is not restricted by masculine ideas of order and structure, therefore emphasising the feminist revisionist element of the poem.
How has Carol Ann Duffy used juxtaposition and to what effect to create a specific tone? The poem ‘Valentine’ written by Carol Ann Duffy was written in a way that shows the constant contradictions between the aspects of love. Throughout the poem, the duality of love is compared to show both the negative and positive aspects of love. This has been done as the poet has been blunt and not hidden the bad or dangerous side but instead has contrasted the clichéd ideas of romance and love by highlighting the commonly looked over feature. This essay will focus on how the juxtaposition is created in the structures of lines, stanzas and imagery as well as the tones created.
Known for her confessional mode of writing, Kamla Das’s (1934-2009) poetry offers an aesthetic of resistance to the phallocentric codes and conventions. What sets her poetry apart from the other Indian women poets writing in English is the brutal honesty with which she handles the issue of women’s search for subjectivity and autonomy in the face of patriarchal prohibitions. Her choice of a free poetic mode instead of regular metrical form suits her tone of anger and protest resulting from the marginalization of women. However, while hitting out at the deeply entrenched patriarchal prejudices, she does not forget her own femininity. Das’s individuality lies in evolving a new language of protest.
hardship and fear vs. survival the way poet used certain words showed the concern for the points and pondering over them. So from all the concerns of the world it seem hopeless yet there is hope which can be seen in these quotes “ to see the rainbow at the end of the rain” with this quote there is a change in the poem, showing there is hope. Also shows the writer has hope as she grew up in most of the concerning points yet she made something of herself and wishes everybody else has hope to “ then I wish that everyone else had something to smile about. As the rain/water symbolises purification/ purifying and washing away all the concerns of this world bringing and bringing hope. So from all the poetic techniques and linguistics features Gcina Mhlophe brings her message across clearly wit
This signifies that the persona feels isolated and left without company, and minimal support. However, the faint sense of individuality and independence the line provides can be easily detected. Moreover, Clifton raises the ambiguous issue of race and gender, in her rhetoric “won’t you celebrate with me”, clearly raising a point that no reason is explanation enough. The inequality and injustice faced renders the perceived timid and apologetic tone seemingly sarcastic. This further enlightens the author’s perception of identity, as she believes that underneath each is simply human.
The poem Valentine by Carol Ann Duffy is essentially a critique of the clichéd symbols that has caused modern Valentine to become a diction of elegance and fragility. Duffy uses a symbolism of an onion to represent true love which to her is a form of love without the lack of honesty and imagination. This is the opposite of ‘cute card’ or ‘kissogram’. Nevertheless, the poet urges us to evaluate and explore uncanny viewpoints of the general conception of love. The structure of the poem had been remarkably manipulated to suit to poet style of writing by isolating key ideas in the form of one line verse stanzas.
The rhyming couplets are sometimes called "heroic" couplets, but our title character is anything but heroic. The rhymes also have a singsong quality that makes them seem childish. One of the most prominent formal characteristics of this work is the use of refrains. Prufrock’s continual return to the “women [who] come and go / Talking of Michelangelo” and his recurrent questionings (“how should I presume?”) and pessimistic appraisals (“That is not it, at all.”) help describe the consciousness of a neurotic individual. Prufrock 's obsessiveness is a sign of compulsiveness and isolation.
Images are similes and metaphors which the poet has always used either to communicate their meaning or to decorate their language. It is by the use of images that abstract ideas or emotional states can be conveyed accurately and clearly to the readers. Poetry without images tends to become dull and dry like dead wood. The word ‘image’ actually originates from Latin ‘imago’ or ‘imagins,’ which literally means ‘to imitate.’ It has been equated with ‘imitation.’ Caroline Spurgeon defines images as “the little word-picture used by a poet or prose writer to illustrate, illuminate