Investigation of the Mysterious Poetic Techniques of Body Clock Sikelianos uses very unique poetic techniques to connect with her reader and attract audiences of all types. Eleni Sikelianos is a female contemporary American poet, who seems to be very appalled about where the world is today. The references she makes often describe the world negatively, by calling it a hot or dead place, and by comparing it to a hellish state. Sikelianos doesn’t hold anything back, even if it may offend some. Instead, she tries to point out the flaws of the world and people’s dedication to time, along with helping guide her audiences to a free-minded state.
Both Dickinson and Ferrante may have been motivated in their anonymity by a desire for privacy. Much of Dickinson 's poetry represents an exploration of profound affective experiences, and she undoubtedly felt vulnerable in such a situation. For example, in her poem, "I Felt a Funeral, in my Brain," Dickinson explores the speaker 's mental turmoil and subsequent descent into madness, a truly private and frightening experience. If Dickinson 's poetry reflects her personal experience, to any extent, it is unsurprising that she would wish to share her poetry with only her most intimate acquaintances; in publishing her work, her deepest emotions would be put on display for the scrutiny of strangers. Ferrante likely had a similar motivation for adopting a pseudonym, particularly if Elena 's thoughts and feelings are indeed reflections of the author 's own childhood experiences.
Trethewey immediately uses imagery to set the scene inviting your senses to help illustrate the image she has already relayed. This helped depict a more in-depth image of her poem “elegy”. After reading this poem several times, to build understanding, and break down literary elements; I came to the conclusion that Trethewey emphasizes the struggle to find balance. The balance between metaphor and symbolism, increasing throughout the entire poem showing battle between connotation and detonation. The struggle in which she used to connotation to portray the bigger picture, but also balanced out by denotation to show the subliminal messages of the relationship shared between the narrator’s father and herself.
The poems that Sylvia Plath and Sir Philip Sidney present to the public eye leave one in complete awe because of the rich poetic sentiment they evoke in their poetry. In Sir Philip Sidney’s Renaissance poem, “Sonnet 31” he presents the subject of unrequited love through his love sick speaker. Likewise, Sylvia Plath in her modern poem, “Mad Girl’s Love Song” depicts a depressed and heartbroken woman incapable of distinguishing if her lover was real, which incorporates the poetic subjects of obsessive love and unrequited love. Although similar in poetic subject, the worldview in “Mad Girl 's Love Song” differs from the worldview held by the speaker in “Sonnet 31” because “Mad Girl 's Love Song” presented two worldviews one being ideal love and the other being unrequited love. Through the use of imagery, both Sylvia Plath and Sir Philip Sidney are able to convey a similar poetic subject, but the tones they set for their works delineate different worldviews on love.
Marvell” are both different than the other. However, they do take an opposing side in response to Marvell’s poem. For example, in “His Coy Mistress”, the speaker’s overall attitude is speaking up for herself and telling her lover how she wants to be more than someone to be used for his needs. You can see this as early as lines 1 and 2 where Finch writes, “Sir, I am not a bird of prey:/a Lady does not seize the day.” This comparison as herself, to a “bird of prey” shows how low Marvell ranks a woman compared to himself. However, in Finch’s work the mistress shows an openness to accepting Marvell’s love.
Everything she read about in books just created an image in her head of what she “needed”. All her whimsical decisions and extravagant spending delineated all the negative aspects of Romanticism. Romanticism was a foolish ideal that just made people unhappy and ungrateful. It focused too much on irrationality,
‘Plath perceives the domestic life as restrictive and a complete obliteration of her own self-worth’. Using ideas of feminist theory from the critical anthology to inform your argument, to what extent do you agree with this view? As a female poet subject to 1960’s patriarchy, Plath’s domestic and professional claustrophobia were inevitable. Married to the successful poet, Ted Hughes, she was incessantly reminded of the artistic restraints assigned to equally talented females. Plath’s poetry, looking particularly at her ‘Collected Poems’, illustrates the consequential disorientation and loss of identity caused by such patriarchal dominance, demonstrating sentiments of disgust as she is forced to adopt certain gender stereotypes in ‘Morning Song’ (1961).
The period 1971-80 was a period of economic depression, growing number of women poets emerged, approving new associations and gaps. Though what became known as feminist poetry was discharged by an academy as hysterically partisan, in openly tackling sexuality, and taboos like lesbianism, abortion and the physical and emotional abuse of women, feminism helped to change what British women wrote poetry about. On the other hand political and literary differences between radical and liberal formalist and experimentalist, proved as divisive among poets as in society at large; remaining silent about the social tensions of the moment. The major literary events in this period include the celebration of the First International Women’s Day with a march in London and Liverpool, death of Stevie Smith, Phoebe Hesketh was elected Fellow of the Royal Society of Literature. In 1972 PN Review was launched , Wendy Mulfoed found Street Editions,Kathleen Raine receives W.H.Smith Literary Award, Molly Holden and Joseph Smith wins Cholmondeley Award, Liz Lochhead wins Scottish Arts Council Award, Virago Press launched, and International Poetry Festival inaugurated .
The collective body of Sylvia Plath 's poetry demonstrates definitively her mastery of her craft. Plath has been criticized for her overtly autobiographical work and her suicidal pessimism, however, close study reveals that her poetry transcends categorization and has a voice uniquely her own. As Katha Pollit concluded in a 1982 Nation review, "by the time she came to write her last seventy or eighty poems, there was no other voice like hers on earth" (Wagner 1). In works such as "Lady Lazarus," "Daddy," and "Morning Song," Plath relates her own painfully experiences in the form of dramatic monologues using a persona who eventually triumphs over adversity by regaining the self that had been lost before the struggle of the poem. According to Plath, the narrator of "Lady Lazarus" has "the great and terrible gift of being reborn .
Lebo Mashile(2013) Lebo Mashile (2013) Performance Style “this my master’s language” Johan van Wyk, Pieter Conradie and Nik Constandaras (1988 : 669) With rhythm and rhetorical questions she plays around. Talking about current issues and stepping away using something irrelevant. With different tones she approaches you with getting the message across, her pitch is high when she wants to emphasize on a word or statement. Her body being the tool of her work she portrays every emotion while reciting her poetry and your eyes are glued to her, for her dress code is diverse and artistic. She owns the stage the viewer’s dwell under her presence, as she gives an experience of what she’s talking about.
Mrs. Atwood Created Green Policies for Ontario Canada. Mrs. Atwood was born Margaret Eleanor Atwood in Ottawa, Providence of Ontario, Canada on November 18, 1939. At the age of six Mrs. Atwood had written many morality plays, poems, comic books and had started a novel. When Mrs. Atwood spent half of each year in the wilderness of northern Ontario beside her father, who worked as an entomologist, until the age of eleven. At the age of sixteen Mrs. Atwood committed her life to writing.