The poem, “Po’ Boy Blues” uses rhyme in the fourth and sixth lines of each stanza.
Kath makes the poem very personal by the use of words like I and we for example, she begins the poem by saying, “Look up, my people”. This makes it feel more tailored for whomever the poem is directed to. The poem also has a rhyming pattern of ‘not rhyme line’, B, B, C. Also, there is intertextual referencing to the ‘Dream Time’.
However, the poem has fluidity despite its apparent scarcity of rhyme. After examining the alteration of syllables in each line, a pattern is revealed in this poem concerning darkness. The first nine lines alternate between 8 and 6 syllables. These lines are concerned, as any narrative is, with exposition. These lines set up darkness as an internal conflict to come. The conflict intensifies in lines 10 and 11 as we are bombarded by an explosion of 8 syllables in each line. These lines present the conflict within one's own mind at its most desperate. After this climax, the syllables in the last nine lines resolve the conflict presented. In these lines, Dickinson presents us with an archetypal figure that is faced with a conflict: the “bravest” hero. These lines present the resolution in lines that alternate between 6 and 7 syllables. Just as the syllables decrease, the falling action presents us with a final insight. This insight discusses how darkness is an insurmountable entity that, like the hero, we must face to continue “straight” through “Life” (line 20).
Both poems use structural elements in order to portray a certain effect on the reader and to make them feel certain emotions just based on the way the poems are structured. In ‘Sister Maude’ the enjambment between each of the lines emphasises the jealousy of ‘Maude’ herself and the continuation of the jealousy she undergoes for her sisters lover. The Rhyme scheme could also symbolise the continuation of the poem as the
The poem suddenly becomes much darker in the last stanza and a Billy Collins explains how teachers, students or general readers of poetry ‘torture’ a poem by being what he believes is cruelly analytical. He says, “all they want to do is tie the poem to a chair with rope and torture a confession out of it”. Here, the poem is being personified yet again and this brings about an almost human connection between the reader and the poem. This use of personification is effective as it makes the
Prompt: Write a unified essay in which you relate the imagery of the last stanza to the speaker’s view of himself earlier in the poem and to his view of how others see poets.
These two seemingly opposite tones and moods existing in one poem simultaneously resemble the ambiguity in the speaker that he reveals when he describes his condition very ambiguously. For instance, in the first line, he portrays himself as a “dead man”(1), but in the line immediately after, the dead man is moaning, which is biologically impossible. The unclear subject raises the issue of who the speaker is, if he should not be able to comment on himself because he is already dead. When the speaker uses the same pronouns, “he” and “him” from both the first person and the third person perspectives to refer to himself, this becomes even more puzzling; the readers are no longer sure of who the speaker is and who the subject of the poem is. One possible cause of these uncertainties is the discrepancy between the speaker’s real self and his public self; one that resembles who he
She also presents a slight rhythm to the reading that allows for smooth reading. In keeping with her open form, there is no set scheme to the rhyme pattern. However, there is a single ending sound constantly repeated without a set pattern throughout the work. She also connects pairs of lines at random just for the sake of making connections to make that particular stanza flow. At the same time, she chose blatantly not to rhyme in certain parts to catch the reader’s attention.
The absence of meaning in both Carroll and Lear’s poems is significant, even though it may seem like the opposite. When reading these poems for the first time, the reader may be
The article offers a unique view into Hughes’s poetry, revealing another side of Hughes’s expertise as a poet. Although she does spend a great deal of time on the discussion of the importance of Hughes’s diction to the rhythms he wanted to infuse into the aforementioned five pieces, Dickinson does more than the traditional literary analysis in order to explain Hughes’s talents as a writer. With special attention given to the five of his lesser-known works, she gives the reader an opportunity to hear the music within the lines of many pieces.
The poem begins with two lines which are repeated throughout the poem which convey what the narrator is thinking, they represent the voice in
The form of ‘God’s Grandeur’ is an Italian sonnet, but with some alteration. Even though Hopkins does not use sprung rhythm here, he varies his sonnet structure from the traditional iambic pentameter. Typically, a sonnet contains 3 quatrains (4 lines) and a couplet (2 lines); the Italian sonnet is characterized by having 1 octave (8 lines) and 1 sestet (6 lines). In ‘God’s Grandeur’ a similar pattern is followed, however, Hopkins presents a technique he often employs in other works as well, that of using the octet to present a personal or a sensory experience and the octet in order to provide some reflection on the topic (Gardner 221).
Poetry is often meant to be smooth, flowing, pleasing to the ear and the mind. To achieve this effect, many poets use different poetic techniques to help convey the meanings of their poetry. In the sonnet, 'Yet Do I Marvel' written by Countee Cullen, many different features of poetry is used. In this essay, I will discuss the relationship between the meanings and the theme Cullen tries to convey in his sonnet and the techniques of metaphors, both religious and non-religious, allusions to Greek mythology, different rhyme schemes and repetition that he uses.
“I Am” is a poem that was written by John Clare during the 1840s. Clare’s rustic poetry had brought him considerable fame and wealth, which enabled him to escape the meagre life he had experienced up until that time. After some years, his rural style of poetry was no longer in fashion, and his poetry met with little success. Psychological pressures resulting from the need to make money to feed his family, the struggles to adapt his poetry to the changing times and his inability to reconcile his rural neighbourhood with urban London which his fame had acquainted him with, took its toll on his sanity, and led to spells in two different asylums. The poem revolves around circumstances surrounding Clare at the time, and his entire life.
This piece has several “mini” themes given to almost each stanza, emphasizing reminiscing, grief, and isolation. Appearing to be from the point of view of a man (apparently the writer himself) profoundly grieving the departure of a lover who has passed on. He starts by calling for quiet from the ordinary objects of life; the phones, the clocks, the pianos, drums, and creatures close-by. He doesn't simply need calm, but be that as it may; he needs his misfortune well known and projected. Its tone is significantly more dismal than earlier versions, and the themes more all inclusive, despite the fact that it talks about a person. There is almost an entire stanza demonstrating a bunch of analogies that express what the speaker intended to his lover. The style in the piece readers typically perceive it as a dirge, or a mourning for the dead. It has four stanzas of four lines each with lines in