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The mood of a piece of literature is the feeling or atmosphere created by the work, or, said slightly differently, how the work makes the reader feel. Mood is produced most effectively through the use of setting, theme, voice and tone, while tone is how the author feels about something.
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.
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.
The repetition of identical or similar sounds, usually accented vowel sounds and succeeding consonant sounds at the end of words, and often at the ends of lines of prose or poetry. [7] For example, in the following lines from a poem by A. E. Housman, the last words of both lines rhyme with each other. Loveliest of trees, the cherry now
[106] [107] This can be observed across contemporary published poetry in the West as an intensification within individual poets' oeuvres of "all kinds of style, subject, voice, register and form" [108] which replaces, in large measure, the more conventional or traditional search by authors for a singular definitive poetic voice.
The poem features images typical of the Petrarchan sonnet, yet they are more than the "threadbare Petrarchan conventionalities". [1] In critic Clay Hunt's view, the entire poem gives "a new twist to one of the most worn conventions of Elizabethan love poetry" by expanding "the lover–saint conceit to full and precise definition", a comparison that is "seriously meant". [2]
The sonnet was a popular form of poetry during the Romantic period: William Wordsworth wrote 523, John Keats 67, Samuel Taylor Coleridge 48, and Percy Bysshe Shelley 18. [1] But in the opinion of Lord Byron sonnets were “the most puling, petrifying, stupidly platonic compositions”, [ 2 ] at least as a vehicle for love poetry, and he wrote ...
Nature is a common theme in Romantic poetry, but in Keats' poem it demonstrates how essential and natural writing is to his being. [5] The shore and water that love and fame sink within represent an expanse of fears that sit before Keats, giving the natural world a darker theme in those lines.