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A metaphor is a comparison that does not use the words "like" or "as". Metaphors can span over multiple sentences. Example: "That boy is like a machine." is a simile but "That boy is a machine!" is a metaphor.
Prose poetry is written as prose, without the line breaks associated with poetry. However, it makes use of poetic devices such as fragmentation, compression, repetition, rhyme, [1] metaphor, and figures of speech. [2] Prose can still express the lyricism and emotion of poetry, and can also explore many different themes.
Prose: a prose composition that is not broken into verse lines, instead expressing other traits such as symbols, metaphors, and figures of speech. Rondel (or roundel): a poem of 11 to 14 lines consisting of 2 rhymes and the repetition of the first 2 lines in the middle of the poem and at its end.
As a characteristic of speech and writing, metaphors can serve the poetic imagination. This allows Sylvia Plath, in her poem "Cut", to compare the blood issuing from her cut thumb to the running of a million soldiers, "redcoats, every one"; and enabling Robert Frost, in "The Road Not Taken", to compare a life to a journey. [29] [30] [31]
The couple metaphor-metonymy had a prominent role in the renewal of the field of rhetoric in the 1960s. In his 1956 essay, "The Metaphoric and Metonymic Poles", Roman Jakobson describes the couple as representing the possibilities of linguistic selection (metaphor) and combination (metonymy); Jakobson's work became important for such French ...
Woolf expanded the scope to include the art of poetry, literature, and in particular letter writing. In her view letter writing as an art "has only just come into existence". In Woolf's view poetry demands both facility in introspection, as well as a deep understanding of the human species.
All poetry was originally oral, it was sung or chanted; poetic form as we know it is an abstraction therefrom when writing replaced memory as a way of preserving poetic utterances, but the ghost of oral poetry never vanishes. [28] Poems may be read silently to oneself, or may be read aloud solo or to other people.
The poem employs alliteration, anaphora, simile, satire, and internal rhyme but no regular end rhyme scheme. However, lines 1 and 2 and lines 6 and 8 end with masculine rhymes. Dickinson incorporates the pronouns you, we, us, your into the poem, and in doing so, draws the reader into the piece. The poem suggests anonymity is preferable to fame.