Furthermore, poetry which is based on emotions (whether negative or positive) is what makes it successful in evoking a more personal response from the reader.
Nonetheless, poetry plays an extensive role in new and old Japanese society—some of the earliest written texts and the most important were poem anthologies....
Sophisticated language The Fire Sermon - an in-depth look at modernist poetry Humanity relies on its life lessons and morals to carry itself through time.
This strikes me as a generous statement, for it allows poems an existence ultimatelytautological. On the other hand, Freud, who suggests a connection between daydreams andpoems -- but does not elaborate -- and who addresses himself to the fantasies of the"less pretentious writers of romances, novels and stories," making their worksinto protracted forms of wish fulfillment, seems most intent on establishing the priorityof mental states. But the purpose of the poem is not disclosure or storytelling or thetelling of a daydream; nor is a poem a symptom. A poem is itself and is the act by whichit is born. It is self-referential and is not necessarily preceded by any known order,except that of other poems.
If poems often do not refer to any known experience, to nothing that will characterizetheir being, and thus cannot be understood so much as absorbed, how can considerations ofcraft be applied when they are justified on the grounds that they enhance communication?This is perhaps one of the reasons why most discussions of craft fall short of dealingwith the essentials of poetry. Perhaps the poem is ultimately a metaphor for somethingunknown, its working-out a means of recovery. It may be that the retention of the absentorigin is what is necessary for the continued life of the poem as inexhaustible artifact.(Though words may represent things or actions, in combination they may represent somethingelse -- the unspoken, hitherto-unknown unity of which the poem is the example.)Furthermore, we might say that the degree to which a poem is explained or paraphrased isprecisely the degree to which it ceases being a poem. If nothing is left of the poem, ithas become the paraphrase of itself, and readers will experience the paraphrase in placeof the poem. It is for this reason that poems must exist not only in language but beyondit.
In "Sonnet 46" of his works about the blond young man, William Shakespeare presents a unique view on the classic debate about physical lust versus emotional love. The poet struggles to decide if his feelings are based upon superficial desire and infatuation, represented by the "eye" (1), or true love independent of the physical world, symbolized by the "heart" (1). With a deft movement from violent imagery in the first two lines to the civilized language of law, Shakespeare dismisses the commonly accepted view of a battle between the eye and the heart. The diction of warfare denotes two very separate alien sides clashing in destructive confrontation. Shakespeare advances quickly away from such wording, setting his debate in the civilized context of a courtroom. While the parties engaged in a lawsuit are competing, they are not seeking the destruction of their opposition. A common bond exists between the two sides of a legal case, the bond of society. They are parts of the same whole, or they would not be bound by the laws of that whole. The same holds for the eye and the heart, as well as their metaphysical counterparts, lust and spiritual bonding. The eye and the heart are but organs that make up the body. Physical desire and emotional attraction are just aspects of the overlying concept of love. This is Shakespeare's final point: both physicality and emotional attachment combine to form the powerful force humans know as love.
The opening quatrain of "Sonnet 46" sets up the conflict of infatuation versus true love, acknowledging the classic view of a battle between opposing forces, but swiftly moving beyond such a black and white portrayal of the issue. The first line of the poem seems to say that Shakespeare, like many others, sees infatuation and spiritual attraction as hostile, warring parties. He even chooses to modify "war" (1) with the word "mortal" (1), signifying a conflict to the death with no possibility for reconciliation or pacification. But in the next line he contradicts himself. Though the poet continues to utilize martial imagery such as "conquest" (2), his choice of verbs subtly changes the meaning. "[D]ivide" (2) suggests that both parties in the conflict will receive some portion of the prize, an unlikely occurrence if the eye and heart are truly in "mortal war" (1). Shakespeare underscores this change in direction by substituting a trochee for the standard iamb as the initial foot of the line. Already, the poet is shifting focus away from the idea of warfare and onto the image of a courtroom.
The second quatrain completes that movement and establishes equality between the two sides. Words of violence are conspicuously absent from this point on in the poem, replaced by legal vocabulary, such as "plead" (5), "deny" (7), and "lies" (8). No longer bitter enemies, the eye and the heart become the plaintiff and the "defendant" (7) in a civil dispute over the possession of Shakespeare's love. The diction in this section of the poem also serves to contradict the traditional negative connotations of infatuation. Physical attraction is often portrayed as course or unclean, but Shakespeare disagrees. He describes eyes, the tangible representation of lust, as "crystal" (6), an adjective that implies colorless beauty and perfect purity. Crystals are used in folklore to divine the future, to perceive the truth, and, by using this word to modify eyes, Shakespeare implies that physical attraction stands on equal footing with true love. The meter echoes this equality. Lines 5-6, and 7-8, which present the arguments of the heart and eye respectively, are identical sets of rhymed, un-variated iambic pentameter, separated only by an initial trochee in line 7 which underscores the clear distinction between the heart's contention and that of the eye.
The third quatrain builds suspense, as the poet's internal trial nears conclusion. Having established equality between lust and true love, Shakespeare moves on to introduce the fulcrum that adjudicates the balance between the two--the mind. Continuing with his legal imagery, the poet builds a "quest of thoughts" (10) to try the case and "determine [. . .]" (11) the "verdict" (11). He throws in a curious twist, informing his readers that the members of the jury are all "tenants to the heart" (10). In doing so, Shakespeare once again calls to mind the classic view of the heart's pure love versus the tainted infatuation of the eye. Despite the apparent bias of the mind toward the heart, the poet does not now share that bias. He once again describes the eyes with diction of purity and cleanliness, naming them "clear" (12). The conflict between eye and heart is manifesting itself in the conflicting message of the third quatrain. Leading his readers into the terminal couplet, the author builds tension by utilizing alternating spondaic and pyrrhic feet in line 12. This produces an effect of slowness followed by celerity, almost like a human consumed by indecision, reaching a solution and then falling back into doubt.
Such a build-up leads readers to expect a dramatic conclusion, a declaration of victory in favor of either true love or infatuation; but Shakespeare provides only a simple, anti-climactic division between the two. The couplet seems to blend in with the rest of the poem, having almost no metrical variation and a recycled rhyme scheme. Usually the final couplet of a Shakespearean sonnet presents an ironic turning point, and therefore often begins with an initial trochee in line 13 to sign-post that reversal. This couplet is different. Because Shakespeare is proving that physicality and emotional attachment are simply parts of the same whole, he strives not for reversal in the couplet, but for harmony. Therefore, he begins line 13 with an iambic foot, "As thus" (13), allowing the third quatrain to flow directly into couplet. The poet also repeats the rhyme of "part" (13) and "heart" (14) from lines 12 and 10 of the third quatrain, tying the couplet even closer to the body of the poem. Shakespeare presents a common sense solution to the problem, declaring the entire conflict to be almost irrelevant. Lust is based on external aesthetic appeal, so the poet bestows the "outward part" (13) of the poem's young object upon the eye. True love draws its strength from an internal bonding of spirits, and therefore Shakespeare deeds the "inward love" (14) to the heart. And these two halves together form love.
ELIZABETH FARNSWORTH: I'm very interested in your ideas about how apoem works. You've said, "A poem releases itself, secretes itself slowly, sometimesalmost poisonously, into the mind of the reader." How do you think poetry does that?
The poem could be interpreted two ways; one way is that the poem depicts a group of military recruits receiving a lecture from their head officer on guns and how to use them.
Here are the high-scoring essays for our assignment two. Per announcement in class, these uploads are not following the format as faithfully. I just wanted to get you the info without having to worry about getting everything lined up to MLA standards. Note also that I am providing these examples for the sophistication of the explication, the students' knowledge of technical aspects and detail of analysis; the essays, however, may still contain other weaknesses.
It is useful to follow some standard conventions when writing about poetry. First, when you analyze a poem, it is best to use present tense rather than past tense for your verbs. Second, you will want to make use of numerous quotations from the poem and explain their meaning and their significance to your argument. After all, if you do not quote the poem itself when you are making an argument about it, you damage your credibility. If your teacher asks for outside criticism of the poem as well, you should also cite points made by other critics that are relevant to your argument. A third point to remember is that there are various citation formats for citing both the material you get from the poems themselves and the information you get from other critical sources. The most common citation format for writing about poetry is the .
For some of us, the less said about the way we do things the better. And I for one amnot even sure that I have a recognizable way of doing things, or if I did that I couldtalk about it. I do not have a secret method of writing, nor do I have a set of do's anddon'ts. Each poem demands that I treat it differently from the rest, come to terms withit, seek out its own best beginning and ending. And yet I would be kidding myself if Ibelieved that nothing continuous existed in the transactions between myself and my poems.I suppose this is what we mean by craft: those transactions that become so continuous wenot only associate ourselves with them but allow them to represent the means by which wemake art. But since they rarely declare themselves in procedural terms, how do we talkabout them? To a large extent, these transactions I have chosen to call craft are the soleproperty of the individual poet and cannot be transferred to or adopted by others. Onereason for this is that they are largely unknown at the time of writing and are discoveredafterwards, if at all.
This quote directly links to the choice of the author’s title because “Two Hands” not only sets the theme of the poem but it is also built upon the idea of how two hands can look so similar and yet have such variance in their roles....