Henrik Philips And William Carlos Williams

Throughout the fragmented poem, Sappho expresses how someone else’s degrading words affect her and how she handles that pain. She is quick to judge and takes action after being put down. With the descriptions of her pain in movements, she tells a story of what caused her pain.

Written in the form of a Shakespearean sonnet, one could hardly mistake it for anything so pleasant. Sonnets being traditionally used for beautiful, appealing topics, already there is contradiction between

A sonnet is a poem of fourteen lines that rhyme in a particular pattern. William Shakespeare’s sonnets were the only non-dramatic poetry that he wrote. Shakespeare used sonnets within some of his plays, but his sonnets are best known as a series of one hundred and fifty-four poems. The series of one hundred and fifty-four poems tell a story about a young aristocrat and a mysterious mistress. Many people have analyzed and contemplated about the significance of these “lovers”. After analysis of the content of both the “young man” sonnets and the “dark lady sonnets”, it is clear that the poet, Shakespeare, has a great love for the young man and only lusts after his mistress.

Befitting of the overall tone, the sonnet commences with uncertainty, plainly illustrated with the language of the speaker’s initial statement: “I’m not sure how to hold my face when I dance” (1), for he arranges his words to portray a feeling of vacillation. Immediately following this reflective proclamation, the speaker poses three questions, all of which allude to the contemplative tone apparent in the text. While these inquiries regard the subject of dance, the speaker also intends for them to be metaphors for the uncertainty he, as a black man, has for his place in society. His questions are rapid-fire, almost probing the audience for answers that are seemingly nonexistent. As a result of the rapidity, there is an absence of breaks for these questions to be answered, evincing the speaker’s belief that they, in fact, have no answers. These first four sentences are crucial in the sonnet’s development, as they kindle ruminations for both the speaker and the audience.

In the poem “Unholy sonnet 5,” Mark Jarman shows us a philosophical reflection about what is worth to do in this life based on a repetition of some patters during the poem. The structure of this poem make it a Petrarchan sonnet. This kind of sonnet is composed by two arguments, the first consist on two octaves with a rhyme ABBA and ABBA. Denoting repetition of the words have, hive, mean and men; highlighting these as significant to found sense to the first argument of the sonnet. In a deeper reading of the poem, this first argument is centered in questioning que purpose and meaning of life for human beings, coinciding with the pattern of rhymes and sounds. Following this structure of a Petrarchan sonnet, the second argument is composed by a sestet. This means that the sonnet has a rhyme CDECDE, denoting repetition of the words joy, death and forget; highlighting these as significant to found sense to the second argument of the sonnet. Also, the second argument of the poem centered on a practical analysis of what is worth to do in life (enjoying) before the death, coinciding with the pattern of rhymes and sounds.

Sappho’s poem, entitled Fragment 16, is of the lyrical style instead of the epic style we are used to in Homer’s Iliad. The lyrical style of poetry got its name because it was usually accompanied by a lyre while it was recited. It also was used to express more emotion rather than telling a story. This form of poetry seems to be more artistic rather than the story telling of epic poetry of the time. In this poem we are able to use the comparison of different imagery to understand a common theme within the poem itself. The reason for the interesting title of the poem is because most of Sappho’s poetry is now only found in fragmented forms. Most of Sappho’s writing is from 600 B.C.E.

The overt and easy emotional character of men and women is possibly one of the reasons many find this poem so enduringly human. Whatever our weaknesses and failings as humans men and women both are deeply moved by thoughts of home; memories of old love; lost friends; lost youth; and death. Men weep -- Odysseus prodigiously throughout the poem -- the poem is drenched in tears (squeeze text)-- and laughter too. The emotional overtones here are easy and free -- it's an attractive and I think healthy world in that regard.  there are contemporary understandings of human nature that view the capacity for easy emotional discharge as a key to thinking well, thinking rationally. Our intellectual capacities can be stopped up, occluded by, unfinished emotional work. A good cry, a good laugh, a good scream, is just what the doctor ordered. Retentive individuals, cultures, genders, tend to act differently -- irrationally in some areas.

Poets and authors alike evoke emotion and pictures from one single word. The imagery and thoughts put into the readers’ heads by these different writers are the base of one’s creativity and imagination while reading the author’s work of art. William Shakespeare is one of the most well-known poets of all time that is able to elicit these emotions from the reader to allow the reader to fully understand what Shakespeare is trying to accomplish with his poems. Shakespeare keeps his audience entertained with a whopping 154 sonnets, each having a different meaning and imagery associated with it. Sonnet 18, “[Shall I Compare Thee to a Summer’s Day]”, and Sonnet 55, “[Not Marble, nor the Gilded Monuments]”, are both one of Shakespeare’s most famous works. Shakespeare uses these sonnets to explore the powerful relationship between humanity, art, and time.

The nature of the metaphors with which the lyrical subject of the sonnet presents the nature of our world are grim and

Petrarch’s Sonnet 1 of Rime Sparse initially appears to be a stream-of-consciousness and from-the-heart proclamation of his suffering and distress as a result of an unrequited love. However, upon further inspection it is clear that this emotion is intentionally incorporated into the poem in order to further Petrarch’s poetic career and demonstrate his poetic prowess. On the other hand, Gaspara Stampa boldly plays off of Petrarch’s Sonnet 1 in her Sonnet 1 of Rime, not only improve her poetic career and notoriety, but also to elevate her social status. Although certainly a tribute to Petrarch’s Sonnet 1, Stampa’s Sonnet 1 contains several important distinctions, which create vibrant contrasts between the two sonnets that denote the mechanisms with which each poet seeks or demonstrates poetic respect and prominence. Both Petrarch and Stampa call to the reader in the first line; however, Petrarch mentions that his rhymes are “scattered” to convince the reader that his Sonnet is unadulterated and from the heart, whereas Stampa’s are troubled and so sublime that they will cause her to become famous. Further, Petrarch implements the idea of a temporal disparity between his past laments and the present time so that he can apply some distance and detachment between himself and the “scattered” rhymes of “his first youthful error” (Petrarch 2). Stampa, instead, fails to mention a separation from her laments as a way of presenting their ongoing and present nature. In addition to

Fragment 191 and fragment 193 both also fit into the category of melic monody, although they do not fulfill the criteria as strongly as do Sappho’s works. They are undeniably emotional poems about thoughts and feelings, but the intensity found in Sappho’s work is reduced in that of Archilochus by his more sweeping illustration of his experience with sense-robbing love.

Though vanity tends to manifest as the outward expression of narcissism, Eugene O’Neill and Tennessee Williams employ this quality to reveal more tragic truths regarding the inner lives of their characters. For Mary and Tyrone, vanity virtually plays as a denial tactic in preventing cognitive dissonance. Mary cannot accept that her family stares at her with judgment, waiting for her to once again descend into the morphine-induced psychoticism they have come to expect, so she directs the attention towards her appearance (asking about her hair and/or gesturing towards it). However, Tyrone’s vanity is more achievement/action oriented; harboring on his professionalism in having “never missed a performance,” he relies on his past success to

As opposed to the majority of Shakespeare’s sonnets in the series that are addressed to an unnamed young man, sonnet 60 deals largely with the relentless approach of time and its war against humanity rather than love. In this sonnet, the breaking of the poetic form expected of a sonnet is utilized to not only enhance the specific localized metaphors in the poem, but the overall thematic content as well. By taking the traditional iambic pentameter and presenting moments of disruption, this poem draws attention to the dramatization of Time’s march against humanity, and also to the ability of the writer of this poem who appears in the final couplet. In this paper, I intend to look specifically at the utilization of trochaic feet in order to examine the ways in which the manipulation of metrical devices can create meaning.

     The sonnet, being one of the most traditional and recognized forms of poetry, has been used and altered in many time periods by writers to convey different messages to the audience. The strict constraints of the form have often been used to parallel the subject in the poem. Many times, the first three quatrains introduce the subject and build on one another, showing progression in the poem. The final couplet brings closure to the poem by bringing the main ideas together. On other occasions, the couplet makes a statement of irony or refutes the main idea with a counter statement. It leaves the reader with a last impression of what the author is trying to say.

The lyric poem was written in the form of an English or Shakespearean sonnet, which can be characterized, according to Strand (2001, p. 55), by having fourteen lines, an iambic pentameter meter (five feet with an unstressed and a stressed syllable) and the following rhyme scheme: ababcdcdefefgg. Moreover, the poem is divided in three quatrains and a final couplet. In a way of observing its formal aspects that were just mentioned, let us take a look at “When I have Fears That I May Cease to Be”: