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Auditory imagery pertains to sounds, noises, music, or the sense of hearing. (This kind of imagery may come in the form of onomatopoeia). Olfactory imagery pertains to odors, aromas, scents, or the sense of smell. Gustatory imagery pertains to flavors or the sense of taste. Tactile imagery pertains to physical textures or the sense of touch.
Euphony–A series of musically pleasant sounds that give the poem a melodious quality, conveying a sense of harmony to the reader. Onomatopoeia–It is used in poetry to create aural effects that mimic the visual image described. A combination of words may be used to create an onomatopoetic effect.
The expatriate American poet Ezra Pound in 1913; Pound collected poems from eleven poets in his first anthology of Imagist poetry, Des Imagistes, published in 1914.. Imagism was a movement in early-20th-century poetry that favored precision of imagery and clear, sharp language.
Phanopoeia or phanopeia is defined as "a casting of images upon the visual imagination," [1] throwing the object (fixed or moving) on to the visual imagination. In the first publication of these three types, Pound refers to phanopoeia as "imagism."
Synesthesia can occur between nearly any two senses or perceptual modes, and at least one synesthete, Solomon Shereshevsky, experienced synesthesia that linked all five senses. [17] Types of synesthesia are indicated by using the notation x → y , where x is the "inducer" or trigger experience, and y is the "concurrent" or additional experience.
His poetry explores deaf identity, defies the expectations of the majority (hearing) culture and aims at its empowerment, with a rich use of images and humour. For example, in his poem "Five senses" the visual beauty and expressive potential of sign language are employed to convey pride in the signed language and deaf identity.
Men of science often recognized poets as "imaginative," viewing imagination as the mental faculty that specifically permitted poetry writing. [23] This association, they suggested, lies in the capacity of imagination for image-making and image-forming, which results in a sense of "visualizing" with "the inner eye." [17] [24]
The poem's reliance on the process of sleeping is common to Keats's poems, and "Ode to a Nightingale" shares many of the same themes as Keats' Sleep and Poetry and Eve of St. Agnes. This further separates the image of the nightingale's song from its closest comparative image, the urn as represented in "Ode on a Grecian Urn".