Naming of Parts, by Henry Reed

1149 Words Jul 9th, 2018 5 Pages
The Elaborate Use of Poetry Devices In “Naming of Parts”

While one way of thought is factual, more literal, another is more reflective and abstract. In Henry Reed’s “Naming of Parts”, Reed uses both approaches to thinking with his speakers, and this allows his poem to include different points of view and tones. The two speakers are evident in different lines of “Naming of Parts”, and when they merge, they have a different meaning than both alone. Other poetry devices are used to convey the different speakers’ voices, and to also make the poem flow better and sound more harmonious. “Naming of Parts” has a more literal and commanding voice seen in all lines but 5, a more
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In the first stanza, the first speaker states events that happened, but the second speaker has more visuals and gives a sense that the gardens are the same. The first speaker in the second stanza is naming different swivels and is explaining the selection of swivel, while the second speaker is naming a single object, and is describing rather than explaining. In the third stanza, the first speaker is praising the right idea, while using negatives for the bad idea, and the second speaker is describing the qualities of the blossoms by using imagery. The fourth stanza has the first speaker explaining the movement of the bolt using technical terms, while the second speaker is explaining the movement of bees in more descriptive verbs. In the last stanza, the former speaker is using pauses in speech to show differences in the ideas from the different stanzas, but the latter speaker written in a better flowing line, showing the relations between the three ideas of silence, gardens, and bees moving back and forth. While the two speakers use different diction and imagery, they also use different rhythms and sound devices. The two speakers use different rhythms and sound devices. The numbers of syllables are uneven, and there is little rhyme. The two speakers use dactylic feet. The onomatopoeia can be found in line 5 (glistens, sound of wet coral). In the first stanza, assonance can be heard in line 1, (today, naming,
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