Sara Teasdale’s poem Spring in War-Time dramatizes the conflict between ever occurring natural forces and the new or accentuated unnatural forces brought on by World War I. Teasdale uses literary devices such as repetition, word choice, capitalization, and structure to convey this conflict. In Spring in War-Time, the natural occurrences that make up the world struggle to remain relevant. The first stanza presents the hope of spring in the distance, but in a war stricken world, it seems to be much further off than it actually is. The narrator is hopeful, saying, “I feel the spring far off, far off,” (1). The repetition of “far off” places extra emphasis on the fact that although spring is coming, it won’t be any time soon, specifically not until the force of warfare relents.
“Twice or thrice before she had suddenly packed Ethan’s valise and started off to Bettsbridge, or even Springfield, to seek the advice of some new doctor, and her husband had grown to dread these expeditions because of their cost” (pg. 33). The quote shows that Zeena needs impacts Ethan in a costly way. Ethan and Zeena are poor and Zeena 's trip to Bettsbridge only is drowning him in debt
A short poem similar to “Good Times” by Lucille Clifton normally would lack dimension and artistic value, however, through Clifton’s masterful writing and specific use of repetition, she elevates the poem to a noteworthy level, telling a complex story in a dense 18 lines. The short, repetitive poem lists an litany of momentary positives that juxtapose the more abundant times that are characterized by hardship. In focusing on “good times,” Clifton reveals the conflict between the present situation and previous memories. In “Good Times,” repetition is used in multiple ways to expose the complexity and depth of a single
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.
Romanticism emerged in the late eighteenth century in reaction to the rationalism of the Enlightenment. Wordsworth and other Romantics emphasized the vigor of everyday life, the importance of human emotions, and the enlightening power of nature. Romanticism also stressed the power of imagination, which encouraged freedom from standard conventions in art and sometimes provocatively reversed social conventions (Newworldencyclopedia.org, n.d.) He helped to unite the serenity of nature and the inner emotional world of men; poetry that reunited readers with true emotions and feelings. (Shmoop, 2008). He became England's poet laureate in 1843, a role he held until his death in 1850 (Kettler, n.d.) Originally inspired by the French Revolution and the social changes it brought, Wordsworth tried to create poetry of the people, in the language of the common man.
Rather than being representative of seventeenth century poetry, Marvell is symbolic of the culture change from medieval and Christian to secular and modern that occurred during that century. The subject matter of “A Dialogue between the Soul and Body” is an example of this evolution since it goes against what many poets wrote about in regards to God. This poem includes the use of metaphysical conceits common in the seventeenth century but is also a commentary on the nature of God’s control over bodies and souls being fallible (Poetry Foundation). Marvell expresses frustrations with God and questions God and his omniscience. While this poem does not align with traditional Christian values, it primarily addresses the form of
Modernist poems characteristically question the “self” as opposed to the “group”, and highlight the fragmentations of feelings and remoteness of the outside world to the speaker of the poem (“Modernist” 7). Although early modernist poetry were incredibly terse and compact, lengthier poems were introduced in the twentieth century and came to represent both modernist poetry and the modernist movement. Frost’s “After Apple Picking”, a poem that encapsulates all of these characteristic qualities of modernist poetry, is an exemplary representative of a poem written during the modern poetry
The subject matter of “A Dialogue between the Soul and Body” is an example of this evolution since it goes against what many poets wrote about in regards to God. This poem includes the use of metaphysical conceits common in the seventeenth century but is also a commentary on the nature of God’s control over bodies and souls being fallible (Poetry Foundation). Marvell expresses frustrations with God and questions God and his omniscience. While this poem does not align with traditional Christian values, it primarily addresses the form of standard seventeenth century poetry in a different way. Andrew Marvell’s “A Dialogue between the Soul and Body” contributes to the understanding of 17th century poetry by redefining the standard the conversational standard of poetry and opposing the standard that the normative voice is
Noble Peace Prize winner William Butler Yeats poetry was revolutionary to Ireland. He made his poems distinctly modern while also referencing the past and almost comparing and contrasting how society once was and what it is in the present day. I will be looking at the poems, ‘The Lake of Innisfree’ , ‘Easter, 1916’ and ‘Adam’s Curse’ to explore how Yeats lived in a time of national and international upheaval and how this is reflected in his poetry. Born in Dublin in 1865, Yeats has been described as the inheritor and founder of traditions. ‘The Lake Isle of Innisfree’ is a poem about the loving the country-side while actually being the city.
Preparation for war and the optimism and exuberance of youth ultimately leading to a predetermined end, death and discouragement, is the theme of the poem. The rhythm or meter is predominately Iambic Tetrameter with occasional Trochaic Tetrameter, a foot comprised of one stressed followed by an unstressed syllable. Almost every line of the piece is terminated with end rhyme with occasional oblique rhyme as in lines 16 & 17 “call & prodigal” and eye rhyme in lines 18 & 21 “wooed & neighborhood”. The poem has no set style; a Cinquain five line stanza, a Sestet six line stanza, three Couplets, a Quatrain four line stanza, a Couplet, two non-rhyming lines, a Tercet three line stanza, another Couplet, finished with another