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Poetic Diction is a style of writing in poetry which encompasses vocabulary, phrasing, and grammatical usage. Along with syntax, poetic diction functions in the setting the tone, mood, and atmosphere of a poem to convey the poet's intention. Poetic devices shape a poem and its meanings.
To be a 'school' a group of poets must share a common style or a common ethos. A commonality of form is not in itself sufficient to define a school; for example, Edward Lear, George du Maurier and Ogden Nash do not form a school simply because they all wrote limericks. There are many different 'schools' of poetry.
In the fixed-tone pattern type of verse, poems were written according to preexisting models known as "tunes". This was the case with the ci and the qu : an individual poem was written so that its tone pattern (and line lengths) were the same as one of the model types, the poetic variation was in the change in the particular wording of the lyrics.
Poetry analysis is the process of investigating the form of a poem, content, structural semiotics, and history in an informed way, with the aim of heightening one's own and others' understanding and appreciation of the work.
Examples: "Barbara Allen" and "John Henry" Literary ballad: poems adapting the conventions of folk ballads, beginning in the Renaissance. Examples: “La Belle Dame sans Merci” by John Keats and “Annabel Lee” by Edgar Allan Poe. Epic (or epos): an extended narrative poem, typically expressing heroic themes.
For example, novels with a horror theme can have previously calm, uninvolved individuals coming upon an extreme situation, such as violence involving the supernatural, growing more and more passionate in a way that turns the entire writing increasingly emotional. Official and technical documentation tends to employ a formal tone throughout the ...
According to the Princeton Encyclopedia of Poetry and Poetics, the word amplification is one of the "special" topics used in epideictic poetry or ceremonial discourse, usually for praise, but it has been used to refer to both the expansion and the diminution of an idea or an argument. [19]
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 ...