Maximalism is basically a response to minimalism, in simple terms it states that “more is more” as compared to minimalism, in which the motto is “less is more”. Maximalism in terms of literature refers to the excess of deviation, reference, and elaboration of detail occupy a large section of the story. Basically it can be anything from providing excessive material to adding it for an ostentatious effect. David Foster Wallace has used this post modernism device several times, including in his short story Death is not the end. In this story the excess of detail is quite evident as this 4 page story only consists of 3 sentences, with all the details connected through a series of comma.
Most of the time there are topics that can have multiple means, because well, people interpret things in many different ways. So having poems with biblical illusions would be nothing new; in fact it has been around for centuries. The only thing is you shouldn’t be quick to think that each poem that uses biblical illusion would be about the same things. Each poem could clearly mention the bible but at the same time have almost nothing in common because there are so many ways to interpret it, or even manipulate the stories to tell a different one. If you take and look at three very famous, well written poems you will be able to see that even though all use biblical illusions to tell their stories, they almost have nothing in common.
Edward Estlin Cummings is one of the most famous American poets of the 20th century. He uses words to “point to a reality outside themselves” and on the contrary claims “the only reality is language itself” . He is well known for his disregard of traditional poetic expression, and tendency to invent words. The poem Love is more thicker than forget has 16 lines, which are separated into 4 stanzas. It has an iambic metre and the rhyme scheme is a cross rhyme throughout the poem.
Without fail, Frost uses a rather unusual use of timing that represents not only the feeling of the poem, but also reflects the narrator’s character himself. Assonance first creates the rhythm to this poem through many repetitions such as; line 1 the “O” in “roads’ and “yellow”, line 3 the “A” in “and” and “traveler”, line 4 the “O” sound is repeated again in “looked” and “could” (Frost, 1916). Through the use of stylistic devices “The Road Not Taken” is finely crafted to emulate a musical masterpiece full of harmony, tension, and resolve. The poem is composed in four-five line stanzas with two end lines inside each stanza (abaab). According to Frost, "There are only two meters "strict and loose iambic" (www.frostfriends.org/meter.hml).
Villanelles are a type of fixed verse poetry with a strict and demanding structure. It is a six stanza poem, the first five stanzas containing three lines, a tercet (Michno, 2000). The concluding stanza, contains four lines, also called a quatrain. The first and third lines of the first tercet are repeated in the last lines of the remaining stanzas. The quatrain at the end of the poem contains both lines repeated.
The selections of the Man'yōshū that we had read generally were extremely pleased and hopeful, talking about the tastefulness of the land in a decent measure of the poems. This varies incredibly from the Kokinshū, which appears to be exceptionally grave and even pessimistic. A large portion of the poems in this gathering are about love, and all the more particularly, losing love. Commentators isolate the verse of the Man'yōshū into three noteworthy topical classifications: miscellaneous (zōka), individual trades or love poetry (sōmonka), and elegies (Banka). Among these, the broad subject of love, confounded and improved by misfortune and detachment, contain the major topical segment of the entire gathering (The Ancient Period, p-71).
The entire poem is iambic. The first three lines of each stanza are pentameters. Then the fourth line changes to dimeter. which allows the reader to shift from point to point. By changing the meter Parker showed the reader that everything was the same until the end.
"Imitação da água" was published on João Cabral de Melo Neto's last book, Quaderna (in 1960). The poem was chosen because João Cabral is very careful with his words, using many stylistic techniques to make his verses as expressive as possible. The analysis will contain general aspects that can be found even in Brazilian poems. It has 8 stanzas of 4 verses, and it's already possible to note Cabral's obsession with the number four, that appears frequently, not only in the number of verses, but also in the stanzas that possess the multiplication of the number. Moreover, the poem also contains 7 poetic syllables in each verse.
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.
When it comes to symbolism in literature，it usually refers to a European literary and artistic movement of the late 19th and early 20th centuries , which chiefly originated in France , Russia, and Belgium, and was deeply influenced by the great works of Edgar Allen Poe. As in most literary rebellions, the new literature rose out of a desire to renovate the literary theories of a previous age. Symbolism as a new and extraordinary literary writing tactic came naturally into the world of literature, since this literary and artistic movement grew out of the general crisis in bourgeois humanitarian culture. Not like the realist principles of the artistic image in the works of the Parnassians and naturalists in the novels of the latter half of the 19th century, symbolists rebelled against what people called the "realism" and insisted that truth could only be represented in an indirect manner, which means that the meanings should be expressed by literary language through Symbols. And in such aspects, the literary meaning can be divided into the surface meaning and the deep meaning.
Short stories are a beautiful thing, mainly due to the fact that anybody can read them. You don’t have that anxiety of opening a new novel with uncertainty that you’ll finish the entire piece, and the satisfaction you feel when you reach the end is better than ever. Not having time to finish a novel once you’ve started it is extremely discouraging, and can make you want to give up reading all together. However, with short stories you will always feel that feeling of accomplishment once you’ve gotten lost in the characters and experienced something new. You may love it so much that it acts as an incentive to pick up another story to read.
Now Ponyboy has to deal with more than his over-responsible brother, Darry. After reading this book, one idea stood out to me the most. I believe that the best theme for The Outsiders is that communication is better than violence because it solves nothing, there 's no reason to do it, and it always has negative consequences. First of all, violence rarely solves any conflicts. On page 117 in the book, Randy the Soc states, "I 'd fight if I thought it 'd do any good."
Where as the authors can not forget the past, but she is allowed to do what she wants and can forget the bad times. This relates to the theme of the poem because the theme is do you, so if that is what she needs to do then she can go ahead and shed the memories/weight away. This is only one of multiple metaphors the authors use to illustrate the theme of the poem. Another example of a metaphor used in the poem is found in stanza 10 line 1, “You, my love, are allowed to speak in kisses”. This is a metaphor, because one cannot actually speak in kisses, so it is saying that she can show love to others around her.