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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.
Wagner-Martin praises the work's formal qualities but says that it is "wordy and convoluted", [2] has an "aura of starched neatness", [14] does not display any distinctive voice, and is typical of 1950s poems like those of Richard Eberhart, Louis Simpson, and Richard Wilbur.
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.
Old English literature has had some influence on modern literature, and notable poets have translated and incorporated Old English poetry. [92] Well-known early translations include Alfred, Lord Tennyson 's translation of The Battle of Brunanburh , William Morris 's translation of Beowulf , and Ezra Pound 's translation of The Seafarer .
This is further evidenced by the poems' structures. Keats experimentally combines two different types of lyrical poetry: the odal hymn and the lyric of questioning voice that responds to the odal hymn. This combination of structures is similar to that in "Ode on a Grecian Urn". In both poems, the dual form creates a dramatic element within the ...
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.
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 ...
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.