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The only way of expressing emotion in the form of art is by finding an "objective correlative"; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.
A lack of punctuation may allow the poem to be interpreted as a "stream of consciousness" such as Maya Angelou’s I know why the caged bird sings. Question marks–In poetry, they are used to reflect a contemplative pause. Exclamation marks–Indicates surprise, joy, and other strong emotions the poet is trying to emphasise or convey.
Metaphors We Live By is a book by George Lakoff and Mark Johnson published in 1980. [ 1 ] [ 2 ] The book suggests metaphor is a tool that enables people to use what they know about their direct physical and social experiences to understand more abstract things like work, time, mental activity and feelings.
Digital poetry is a form of electronic literature, displaying a wide range of approaches to poetry, with a prominent and crucial use of computers. Digital poetry can be available in form of CD-ROM, DVD, as installations in art galleries, in certain cases also recorded as digital video or films, as digital holograms, on the World Wide Web or Internet, and as mobile phone apps.
Poems are simply presented here without "critical apparatus" directing the student. The poems are meant to be modern (although, in the third edition at least, the authors recognize that it's a stretch to include Gerard Manley Hopkins). With poets who are relatively recent and mostly still living, the works come from the same world as the student.
In linguistics, the conduit metaphor is a dominant class of figurative expressions used when discussing communication itself (metalanguage).It operates whenever people speak or write as if they "insert" their mental contents (feelings, meanings, thoughts, concepts, etc.) into "containers" (words, phrases, sentences, etc.) whose contents are then "extracted" by listeners and readers.
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. [16]
The book is organized around seven types of ambiguity that Empson finds in the poetry he discusses. The second edition (revised) was published by Chatto & Windus, London, 1947, and there was another revised edition in 1953. The first printing in America was by New Directions in 1947.