This poem differs from your traditional love poem because the speaker challenges his feelings. He is essentially questioning love’s worth because of the other emotions it brings with it. The used literary devices show how the author believes love is a complex emotion. The poem was written in 2011, but it constantly refers to the past by using allusion. This can be symbolic of how the speaker most likely
It has an iambic metre and the rhyme scheme is a cross rhyme throughout the poem. The first stanza offers a good insight into the theme of the poem. It is built up on statements which contradict each other. '[Thick] ' (l. 1) and '[thin] (l. 2), for example, are attributes used to illustrate love in comparison to forgetfulness. However, as they form a contrast, they do not enlighten, but disorient the reader even more.
The title; ‘Valentine’ sets up expectations in the reader about the type of poem they are about to encounter. The poem begins rather romantically but the tone gradually becomes more sinister as the imagery begins to suggest violence and pain. Although, the main theme is love and relationships, but this poem is written without the use of the traditional, clichéd displays of love and candidly attempts to offer a truthful and honest account of their feelings. If you notice, the first line itself; “Not a red rose or a satin heart”, instantly diminishes the clichés of Valentine’s Day and destroys the expectations set up by the title as it ia an usual way to start a so-called romantic poem. Katie: There is a lot of imagery based on an onion.
Ambiguity in John Keats poems Applied to the poems To Autumn and La Belle Dame Sans Merci The following essay treats the problem of ambiguity in John Keats poems To Autumn and La Belle Dame Sans Merci. Ambiguity is treated by the structuralism school and is presented as an intrinsic, inalienable character of any self-focused message, briefly a corollary feature of poetry. Not only the message itself but also its addresser and addressee become ambiguous. Besides the author and the reader, there is the ‘I’ of the lyrical hero or of the fictitious storyteller and the ‘you’ or ‘thou’ of the alleged addressee of dramatic monologues, supplications and epistles. Empson said that: „The machinations of ambiguity are among the very roots of poetry”(Surdulescu, Stefanescu, 30).
In Astrophil and Stella, the force of despair is illustrated more palpable than the force of love, or in this text’s case, unreciprocated love. It is despair rather than love that is the main driving force behind the poet’s imagination and what fuels his poetic memory. When “[a poetic] image situates itself in the centre of [his] imagining being. It retains [him]; it engages [him]. It infuses [him] with being.
Throughout the poem Erin depicts poetry as well put together and thought out. However what the point of the line is truly depicting is the exact opposite. Erin uses the word poetry to contradict the idea of her message, that people are not perfect. With this comparison the reader takes away a message of hope. The idea that noone is perfect no matter how hard they try.
It has been defined by Friedrich Schegel in his book, Kritische Schriften, as “That is romantic which depicts emotional matter in imaginative form.” It has been defined as “Romantic poetry springs from our agony and our despair” by Charles Nodier. Romanticism can be described as “Classic art portrays the finite; romantic art also suggests the infinite” by Heinrich Heino. Victor Hugo, in his Preface to Hernani, describes romanticism in the terms “Romanticism, so often ill-defined is only liberalism in literature” (O’Cinneide). Thus, it is apparent that romanticism proves difficult to define. Romantic writers and poets emphasize many different themes in their works of poetry.
Human beings often are caught in the dilemma between considering all the dynamics of love to understand what it is. We cannot live without love. However, love can be irrational and emotional, yet can also be rational and analytical. Emily Dickinson wrote the poem, “‘Why do I love’ You, Sir?” to convey the intuitive nature of being in love. She uses nature and has a distinct style to express her knowledge of love.
In the poems ‘The Garden of Love’ by William Blake and ‘To His Coy Mistress’ by Andrew Marvell, both poets present barriers to love differently through the use of various poetic techniques denoting language and structure. Blake criticises institutionalised religion, not only emphasising its unnaturalness but also utilising the concept to frame it as a barrier to pure, unadulterated love. Marvell however, presents a barrier to love as the more structured construct of time through the juxtapositioning of the speaker’s longing desires and the imminent reality of the burdens of time. In ‘The Garden of Love’, the speaker displays his disdain to institutionalised religion as he believes in it hinders the exploration and advancement of love. In referring
The first simplest lines of “In my craft or sullen art” begin with the introduction of the phrase “craft or sullen art”, where the conjunction “or” implies the identity of “craft” and “art”, indicating a distinction between them, but implying a connection. By describing his art as “sullen”, the words that come to mind are: lonely, solitary, insociable, and unique, which imply that the poet’s work is lonely and austere as he describes, and since this is a poem and the audience is unsociable, in their eyes this poem may seem crabbed. Despite the audience’s indifference, the