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A touchstone can be a short passage from recognized masters' works used in assessing the relative merit of poetry and literature. This sense of the term was coined by Matthew Arnold in his essay "The Study of Poetry", where he gives Hamlet's dying words to Horatio as an example of a touchstone. [5]
The poem's longevity reinforces the naturalistic austerity of its depiction of death. One interpretive viewpoint asks whether Stevens is writing about any death, or rather, as Longenbach asserts, the death of the soldier—"and not an ambiguously 'fictive' soldier but Eugène Lemercier [the young French painter killed in 1915 whose letters were collected as Lettres d'un soldat and read by ...
A writer learning the craft of poetry might use the tools of poetry analysis to expand and strengthen their own mastery. [4] A reader might use the tools and techniques of poetry analysis in order to discern all that the work has to offer, and thereby gain a fuller, more rewarding appreciation of the poem. [ 5 ]
One of the main focal points of cognitive literary analysis is conceptual metaphor, an idea pioneered and popularized by the works of Lakoff, as a tool for examining texts. Rather than regarding metaphors as ornamental figures of speech, cognitive poetics examines how the conceptual bases of such metaphors interact with the text as a whole.
The poem uses the journey into the unknown as a metaphor for death, with the ship itself representing the human soul and the loved ones in the quay, the friends and family of the departed. [2] The poem was written in the context of the deep and enduring love that Yahya Kemal felt for tr:Celile Hikmet, artist and mother of poet Nazim Hikmet. [7]
Poems are not simply "messages" expressed in flowery language. The language is crucial in determining the message; form is content. Thus to try to abstract the meaning of a poem from the language in which that meaning is rooted, the paradoxical language of metaphor, is to disregard the internal structure of the poem that gives it its meaning.
Death is a gentleman who is riding in the horse carriage that picks up the speaker in the poem and takes the speaker on her journey to the afterlife. According to Thomas H. Johnson's variorum edition of 1955 the number of this poem is "712". The poet's persona speaks about Death and Afterlife, the peace that comes along with it without haste.
The Graveyard School is an indefinite literary grouping that binds together a wide variety of authors; what makes a poem a "graveyard" poem remains open to critical dispute. At its narrowest, the term "Graveyard School" refers to four poems: Thomas Gray's " Elegy Written in a Country Churchyard ", Thomas Parnell's "Night-Piece on Death", Robert ...