T. S Eliot has rightly pointed out that passionate thinking is the chief mark of metaphysical poetry. The most striking feature in Donne’s poetry is that every lyric arises of some emotional situation and the emotion is not merely expressed but it is also analyzed. “The Sun Rising” and “The Canonization” show the hasty beginning without any prediction or background. Thus the poet
“Poetry is ordinary language raised to the Nth power. Poetry is bonded with ideas, nerved and blooded with emotions, all held together by the delicate, tough skin of words,”(Paul Engle). Poetry covers all spectrums of life, whether it encompasses morality, love, death, or finding ones true self. When reading poetry one may stumble across pure brilliance, words so powerful they have the ability challenge the mind. Emily Dickinson and Walt Whitman have that such gift, and are nothing short of illustrious.
We are both nothing and everything – provisional, shifting, molten” (The Practice of Poetry 67). I, the Divine is a metanarrative commentary about the difficult procedure of recounting, retelling, and recordings one’s autobiographical narrative. Alameddine’s narrative framing in I, the Divine does not limit itself to specific genre, perspective, or character. He creates a fictional, nonlinear story line that picks up and leaves off at different points in the protagonist’s life, Sarah, and he complicates the reader’s expectation of straight forward and traditionally written style by moving through genres of memoir, novel, and epistolary. Alameddine in I, the Divine explores the connection between autobiographical voice and the narrative structure of a fictional autobiography presented as a series of first chapters which is written mostly in English and sometimes in French.
“Ars Poetica”, written by Archibald MacLeish, is a Modernist poem that, through careful sensory images, provides guidelines and clear examples of the true form of poetry, and in effect, the poem reveals how life should be lived. “Ars Poetica” is a beacon poem of the Imagist era, yet, at the same time, breaks many Modernist traditions. Similes are utilized throughout the poem to provide examples of how a poem should be brought into existence and evoke instantaneous feelings. “Ars Poetica” breaks the cardinal sin of Imagist poetry, “wordiness”, when it uses repetition to bring across, surprisingly, the core idea of Imagism. This ingenious contrast and contradiction within the poem, presented through imagery, is yet another angle used by MacLeish
Equally important is the use of everyday language; there is no overly grandiose language that enables one to look up every other word to be able to enjoy the piece. In fact, the only word that a person may not be familiar with in modern times is “maidenhead” which according to the Oxford English Dictionary means “The state or condition of being a virgin, virginity…” (OED). The second poem by Donne that feature some of his talent is “A Valediction: Forbidding Mourning”. The poem is about true love, a stark contrast to the previous one mentioned. Here Donne explores the feeling of love rather than acting on it, comparing love to a compass (the kind used in mapmaking) with each person as a leg; they are individuals connected by the same feeling.
The poem seems to present quite plainly a tragic, northern Irish scene. While some reviewers criticised Heaney for being an apologist and mythologiser, Morrison suggested that Heaney would never reduce political situations to false simple clarity, and never thought his role should be as a political spokesman. The author "has written poems directly about the Troubles as well as elegies for friends and acquaintances who have died in them; he has tried to discover a historical framework in which to interpret the current unrest; and he has taken on the mantle of public spokesman, someone looked to for comment and guidance," (Morrison 32). "Yet he has also shown signs of deeply resenting this role, defending the right of poets to be private and apolitical, and questioning the extent to which poetry, however 'committed,' can
It shall come as no surprise, then, that most of his stories and poems are gloomy and macabre. His characters never seem to work or socialize, instead, they chose to stay in the dark preferring their own company. Poe deliberately created intriguing and strange settings. As a matter of fact, he believes that strangeness in a vital ingredient of beauty. He has produced many works that are still popular.
First, there is an interlude with what is commonly referred to as a hymn, or poem, to wisdom that is the first of three segments claiming that wisdom and understanding are to be found in no earthly place but in YHWH alone. The next, and the primary focus of this work, is a speech from Elihu and finally words from YHWH himself on the matter before the work ties together, almost, all of the loose ends of the work. The strangest of these post-dialogue sections between Job and his friends though is that of Elihu. In no other part of the work is he mentioned or alluded to. His presence his never introduced and very little qualifying information is given about him when he bursts, in a literary sense, onto the scene in chapter 32 before being displaced as abruptly by YHWH in chapter 38.
The approach is concerned with specificity and autonomy of language of poetry. The framework for analysis of literary language is provided by it. It lays stress on functional roles of literary devices. The contributors of this group with their individual identity do not follow any unified doctrine but in one way or the other they base their analysis on the principle that literature has an element of observation and requires literary theory. They regard the artist as a constructor- a proletarian producer of crafted items.