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According to Andrew Escobedo, "literary personification marshalls inanimate things, such as passions, abstract ideas, and rivers, and makes them perform actions in the landscape of the narrative." [28] He dates "the rise and fall of its [personification's] literary popularity" to "roughly, between the fifth and seventeenth centuries". [29]
The personification of death changes from one of pleasantry to one of ambiguity and morbidity: "Or rather—He passed Us— / The Dews drew quivering and chill—" (13–14). The imagery changes from its original nostalgic form of children playing and setting suns to Death's real concern of taking the speaker to the afterlife.
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John A. Rea wrote about the poem's "alliterative symmetry", citing as examples the second line's "hardest – hue – hold" and the seventh's "dawn – down – day"; he also points out how the "stressed vowel nuclei also contribute strongly to the structure of the poem" since the back round diphthongs bind the lines of the poem's first ...
The turn in poetry has gone by many names. In "The Poem in Countermotion", the final chapter of How Does a Poem Mean?, John Ciardi speaks thus of the "fulcrum" in relation to the non-sonnet poem "O western wind" (O Western Wind/when wilt thou blow/The small rain down can rain//Christ! my love were in my arms/and I in my bed again): 'The first two lines are a cry of anguish to the western wind ...
In the first place, a text is either a novel, a drama, a poem, or some other "form" of literature. However, this term can also refer to the length of lines, stanzas, or cantos in poems, as well as sentences, paragraphs, or chapters in prose. Furthermore, such visible structures as dialogue versus narration are also considered part of formal ...
The poem is one of Li's shi poems, structured as a single quatrain in five-character regulated verse with a simple AABA rhyme scheme (at least in its original Middle Chinese dialect as well as the majority of contemporary Chinese dialects). It is short and direct in accordance with the guidelines for shi poetry, and cannot be conceived as ...
Critic Charles R. Anderson, in Emily Dickinson's Poetry: Stairway of Surprise, claimed it was Dickinson's "finest poem on despair." [ 15 ] Similarly, Inder Nath Kher, in The Landscape of Absence: Emily Dickinson’s Poetry , lauds it as one of Emily Dickinson's best poems and a well-balanced expression of absence and presence.