Implicature andImpliculture in storytelling During centuries people used to depend on the concept of telling a story to express themselves, give others a moral or justentertain souls. The history of storytelling is full of great and veteran writers who gave a great attention to the style of telling or writing a story in order to cope with age and its requirements. The art of storytelling is entirely affective on people 's behaviors and attitudes in any nation. Narratorscan tell a story in different types such as short stories, plays, poems or novels. Good stories that teach people important lessons never die because they continueaffecting people 's actions along decades.
There as been countless interpretations of “The Love Song of J. Alfred Prufrock”, it seems as if everyone sees it as something else. How is this possible? T. S. Eliot was a brilliant writer, and he wrote this peom in a way that would be hard to understand and interpret. Eliot wanted the people reading it to come up with their own way of descerning what it ment. Many may argue, that their view of the poem is correct, but Eliot would have to disagree.
Seamus Heaney once referred to the purpose of art as a way to shake us out of our habitual perception of things by making the banal, the everyday unfamiliar. It’s my philosophy that a book or a poem is a beautifully crafted piece of literary art that can be interpreted to ones own accord. Literature is a portrait of its author. To me this is where the true beauty behind literature lies, in ones ability to express themselves through words. English literature and language has been a subject that has gripped me, particularly in recent years.
The abstract under analysis is “The Road Not Taken”, a poem by Robert Frost. Since the author aims to portray a character pursuing an active life strategy and seeking for complete awareness of his fate as well as long contemplation and, finally, taking responsibility for his actions, no matter if they are right or wrong, we are to apply transitivity theory to show how this decision is taken and what factors influence the character’s choice and personality. First and foremost, since transitivity is concerned with ideological function of the language, this analysis is aimed at exploring how various stylistic means reflect the main ideological cornerstones conveyed by the author and the manner in which a character is developed. Hence, we are to
In Sonnet 55 and 18, Shakespeare demonstrates a serious and confident attitude that poem is the ultimate means to immortalize a young man’s life and/or beauty. By comparing words and other elements in the face of different challenges, poems, he contended, is the only eternal way in the immortalization of the young man. In Sonnet 55, the immortalization of the young man can only be achieved by words which can endure time factors and destruction from other forces. In the first quatrain, the poet proves that the poem is stiffer than any physical, historical structures and power in battle with time. ‘Marble’ (a kind of toughest, solidest construction component), ‘glided monuments’ (historical memorials in churches) and ‘princes’ (rulers and power) are
The poems such as “The Domination Of Black”, “The Emperor of Icecream”, “Peter Quince at the Clavier” and “Study of the Pears” discuss the mixture of reality and the imagination. For him, “Poetry is the spirit as the poem is the body” and to study and to understand the fiction world is the function of the poet. This is why his creations can be considered as the life long experience of a man who always regarded poetry a real and enduring vitality. As once he remarked, “to me, poetry is not a literary activity, it is a vital activity”. And he practiced this vital activity throughout his career in a bid to elaborate the theory of reality and imagination and their balance and interaction upon each
Maria Stan Assist. Lect. Dragoș Manea 19th Century American Literature 20th January 2016 PINE-TREES CRUSTED WITH SNOW AND THE EYE OF THE BLACKBIRD – THE OBSESSION OF FRACTALS IN WALLACE STEVENS’ POETRY Poetry is the supreme fiction, Madame, says Stevens in one of his early poems. The importance of imagination and its way of how it can manipulate the world as we know it (both physically and spiritually) has been both a main theme of poetry and a stylistic and structural way of writing since the British Romantics have pointed it, making possible for this spirit to survive and to call the British Romantic poets as a vital (McLane et. al, 264) and a source of energizing force in later twentieth and twenty-first-century poetry (idem).
With Auden the language and impedimenta of his own time were absorbed into his poetry at a deeper level, as it were, than was the case with any other poet of the thirties. The modern symbols and analogies do not shine out of his poems like great, glowing jewels; on the contrary, they seem an integral part of his poems. There appears to be no discrepancy and no barrier between his poems and the world in which he lives. Thus he can write a sonnet, like the one from which the opening lines are quoted: A shilling life will give you all the facts: How father beat him, how he ran away, What were the struggles with his youth, what acts Made him the greatest figure of his day: Of how he fought , fished, hunted, worked all night, Though giddy, climbed new mountains; named a sea: Some of the last researchers even write Love made him weep his pints like you and me. (Auden 44 ) In this poem there is an immense sense of psychology and psychiatry which was shared by some of the best of the thirties poets but which had its most dominating influence on the thought and poetry of Auden.
Style and Influence His manner of presentation and vigor are characteristically. His style has dignity, simplicity, concreteness and a racy humour and irony. It is an illumination piece of literary criticism, as well as a new piece of creative literature. He was the first to make current trends in European art theory available in England and in the English language. The indebtedness of all successive critics to Sidney s work is, indeed, great.