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The poem's literary allusions include references to Herman Melville's Moby Dick, William Shakespeare's The Tempest, and T. S. Eliot's The Waste Land. [3] Jon Rosenblatt draws a connection to the modernist poet Wallace Stevens 's work about imagination, as reflected in Plath's lines "The imagination / shuts down its fabled summer house", [ 3 ...
Poet Ray Deshpande of the Poetry Foundation notes that while Johnson was "adept across genres, writing plays and searing war reportage in addition to fiction, one finds a distinctive voice in his four short books of poems." [8] Among the poets influenced by Johnson are Bianca Stone, Matt Hart, and Lucie Brock-Broido.
English Renaissance poetry after the Elizabethan poetry can be seen as belonging to one of three strains; the Metaphysical poets, the Cavalier poets and the school of Spenser. However, the boundaries between these three groups are not always clear and an individual poet could write in more than one manner.
Rather, the thematic similarity of the poem to The Wife's Lament, also found in the Exeter Book, has caused most modern scholars to place it, along with the Wife's Lament, solidly within the genre of the Frauenlied, or woman's song and, more broadly, in that of the Old English elegy. These two poems are also used as examples of the female voice ...
France also saw a revival of the lyric voice during the 19th century. [23] The lyric became the dominant mode of French poetry during this period. [23]: 15 For Walter Benjamin, Charles Baudelaire was the last example of lyric poetry "successful on a mass scale" in Europe. [24]
Capote had a distinctive voice that played a part on in his larger-than-life personality. Jack Mitchell - Getty Images To master Capote's tone, Hollander worked with famed dialect coach Jerome Butler.
The lyrical subject, lyrical speaker or lyrical I is the voice or person in charge of narrating the words of a poem or other lyrical work. [1] The lyrical subject is a conventional literary figure, historically associated with the author, although it is not necessarily the author who speaks for themselves in the subject.
The Dionysian ("the still small voice") is of conscious, subjective fact. It "does not call upon the poet to reason, only to see that "it were better not to be". The Socratic voice, whose "optimistic arguments are all objective", "utilizes a full assortment of rationales ranging from scientific faith in progress to Platonic ideas of immortality.