The Artistic Poe William Carlos Williams is a superb artist. Not only has he created a masterpiece of a poem, but he has also cultivated abstract and concrete images to paint a picture of his red wheelbarrow. Each word is a brushstroke to this "still life" poem. He has also taken elementary objects, such as a wheelbarrow and a chicken, and turned them into icons of industrialized civilizations. Without these indispensable components, society would not be as evolved as it is today. Williams uses an experimental structure in his free verse poem "The Red Wheelbarrow" and effectively demonstrates an array of figurative language. He also utilizes simplistic images to capture the essence of childhood, setting and technology. Through the use of figurative language, such as imagery and verbal music, Williams was able to convey a vivid, realistic perception of this wheelbarrow with unique spacing and pauses. The first image we encounter comes in line three with "a red wheel" (3). As the word "barrow" (4) is added to compound "wheel" (3), it becomes evident that it is a red wheelbarrow. This image has a familiarity about it in a way that I can somewhat imagine a setting now. The lucid wheelbarrow plants an intense image in the scene. "Glazed with rain/water" (5-6) transforms the red wheelbarrow to a new illusion with a whole different feel to it. The word "glazed" (5) evokes a painterly image. The ordinary wheelbarrow, now "glazed with rain" (5), is luminous and wet. "Beside the white/chickens" (7-8) is perhaps the most fascinating image of all. At first thought it seems irrelevant to this abstract "still life" poem, but then it becomes very influential to the setting of the wheelbarrow. Another figurative language device Williams i... ... middle of paper ... ...erlying theme is technology. We have become so advanced today, but we still rely on the most elementary components. A farm is dependent on wheelbarrows and most definitely chickens. This poem's simplistic ideas are refreshing and bring a new sense of easiness to life. From the abstract opening line to the concrete end, Williams barraged us with unique and unexpected images and pauses. He has proven his artistic attributes go beyond his writing abilities. "The Red Wheelbarrow" will forever be etched in my mind. William Carlos Williams is the "Picasso" of modern American poetry. Bibliography: Work Cited Williams, William Carlos. "The Red Wheelbarrow." The Norton Introduction to Literature. 7th ed. Eds. Jerome Beaty and J. Paul Hunter. New York: W.W. Norton and Company, Inc., 1998. 928.
When I read poetry, I often tend to look first at its meaning and second at how it is written, or its form. The mistake I make when I do this is in assuming that the two are separate, when, in fact, often the meaning of poetry is supported or even defined by its form. I will discuss two poems that embody this close connection between meaning and form in their central use of imagery and repetition. One is a tribute to Janis Joplin, written in 1983 by Alice Fulton, entitled “You Can’t Rhumboogie in a Ball and Chain.” The second is a section from Walt Whitman’s 1,336-line masterpiece, “Song of Myself,” first published in 1855. The imagery in each poem differs in purpose and effect, and the rhythms, though created through repetition in both poems, are quite different as well. As I reach the end of each poem, however, I am left with a powerful human presence lingering in the words. In Fulton’s poem, that presence is the live-hard-and-die-young Janis Joplin; in Whitman’s poem, the presence created is an aspect of the poet himself.
With every different scene, Soto makes it flow very well by introducing each place with detail and what is surrounding the characters at that moment. I think it was thought out well and every “W” question can be answered easily. The poetic devices that I found were simile, metaphor, and personification. The similes within the poem were “tiered like bleachers,” and “fog hanging like old coats.” The metaphors that I found were “That was so bright against / The gray of December / That, from some distance, / Someone might have thought / I was making a fire in my hands.” and “Light in her eyes, a smile...” The personification I found was “a few cars hissing past,” and “the lady’s eyes met mine.” His tone in this poem was nonchalant but at the same time passionate. I used two opposite words to describe his tone because he is nonchalant in telling it; it is about something that was so simple. Though the tone is also passionate because it’s a bigger memory that someone could have and cherish. Soto’s attitude was more of carefree and nostalgic. This poem shows Gary Soto’s different colors and that is represented from when he was acknowledged for his first collection of poems in 1976 for the United States Award of the International Poetry Forum. I think that is a great accomplishment considering his family and education situation. Him and his family were struggling to find work as he was growing up, so instead of focusing on his
... ... middle of paper ... ... Tennessee Williams: A Collection of Critical Essays.
At first glance the poem may appear to have no purpose other than the, describing the hash Australian outback, but the last two lines suggest some additional significance. The poet shows that this simple, pleasant memory and how it re-in-acts his childhood. The way in which the windmills squeaks and groans to bring water from the ground whereas during the period of rain they work in harmony, as the rain comes down.
In this poem called “Creatures” by the author Billy Collins there are three examples of figurative language helps convey the meaning that the author Billy Collins is conveying. The three examples of figurative language that the author Billy Collins uses are a metaphor, enjambment, and imagery. These three examples of figurative language help illustrate Billy Collins” theme in this poem called “Creatures” that he is writing because these three examples of figurative language help emphasize the theme of the poem. These three examples help emphasize this poem called “Creatures” meaning because it makes the theme of this poem have a deeper meaning. The theme of the author Billy Collins poem called “Creatures” is that the reader has to imagine
With this image, the speaker expresses that she wants the readers to experience the literary work. The narrator wants the readers to imagine a water buffalo working hard, then imagining people who work just as hard as the water buffalo. The poet uses this stanza to conveys her messages, ideas and thoughts through. Next, the speaker uses a rhetorical device, metaphor, which is found in stanza two line one: “I love people who harness themselves, an ox to a heavy cart,” (8). The speaker uses metaphor describing people who work hard, to an ox working hard. With this metaphor, it enhances images described by the speaker by making them more creative and interesting. It also makes the story sounds poetic without writing the story in verses. The last r...
is similar to the feelings in her heart. In the same way that there is
...s’ poems, his purpose remains to identify with the thing, not just to describe it, and to allow it a way to express itself. In Young Sycamore William uses free verse lines to mimic the real curves and sways of a tree. In doing this, Gray states that it was Williams’ goal is to allow the reader to in essence become like the tree. By creating this effect upon the reader, Williams is able to show how beautiful a regular tree can be if it is looked at in a new way (Gray).
This poem is divided into six stanzas with four lines each. The poem opens with “When the black snake flashed on the morning road” (1-2). The narrator uses “when” to signify the beginning of the story and introduces the snake as the main character. Labeling the snake as “black” gives it a dark and sinister appeal. The word “flashed” is used to demonstrate how fast the snake moved, and how quickly this event occurred. “Morning” is applied to the time of day that this event occurred. The narrator sees the snake quickly flash across the road. This sets up the scene in our minds. The “truck could not swerve” (3) implies that this was an accidental death. The poet uses “truck” to suggest a big vehicle that is unable to make quick moves or sudden stops. The narrator sees the snake flash across the road, into the path of a big truck that is unable to stop or swerve. “Death, that is how it happens” (4). The word “death” is italicized, emphasizing its importance. The p...
Looking closely at Williams’s reactionary poem to The Waste Land, Spring and All, we can question whether or not he followed the expectations he anticipated of Modernist work: the attempts to construct new art in the midst of a world undergoing sweeping changes. A version of Spring and All without the sections of prose that were interspersed with the poems was first published in 1923; a year after The Waste Land first appeared. In titles alone, we can see the opposing ideals peeking through, The Waste Land, a poem embedded with imagery of “breeding /. out of the dead land,” a proposal of life moving forward in the wake of immense death that came with World War One, against the direct presentation of the title Spring and All, which seemingly appears as the solution, the key to rebirth (Ramazani 474).... ... middle of paper ... ...
Griffin, Alice. "Understanding Tennessee Williams". University of South Carolina Press; Reprint edition. February 28, 2011.
From the beginning of William Carlos Williams’ poem “The Red Wheelbarrow” the reader is captured by the statement “so much depends” (Williams line 1). As this short work continues the reader is seeing a graceful image that Williams creates. The mind’s eye can envision a painting that is tranquil, yet has the quiet activity of a rural farm home. With this in mind, what exactly is the author sharing with the reader? The poem communicates charmingly the dependence a man has for a vital piece of equipment.
The point was that Williams is trying to imagine an autonomous work of art that has a deep thinking to it, that is in some sense violence or personified, and this sexual desire to make the tragic something living, introduces to the world of the tragic the problem of death. Tennessee William explores a conflict through between desire and death. There ...
Alfred Tennyson gifted the Victorian Era, and the literary world with two iconic poems. The author explored the themes of personal development and culture clash in one of his most famous poems, “Ulysses”. Tennyson also discovered and analyzed the themes of love and death through his renowned and eminent poem, “Tears Idle, Tears”. The poet was born in Somersby, Lincolnshire in 1809 in the East Lindy district of England. Tennyson experienced numerous amounts of difficulties in his childhood and growing adolescent phases that spilled into his adult life. These trials and tribulations became a foundation and source of inspiration for Tennyson, who used them as a stimulus and catalyst to aide his literary progress and ideas. Two of the most prominent poems that Tennyson wrote were “Ulysses “and “Tears Idle, Tears”. These poems defined the peak of his literary endeavor and symbolized the struggles that Tennyson had experienced in his life. Throughout time readers have been able to distinguish a direct correlation between his life journey and the poems he crafted.
With time poems may have lost their voice, but not their importance. Up to this day, poetry is still one of the greatest forms of artistic expression; Poems speak to emotions and capture feelings. There is no right format of a poem, but yet a world of possibilities. Instead being unchangeable poems are innately open to interpretation; they should be spoken out loud in order to be “heard”, convey truth and cause impact. The Love Song of J. Alfred Prufrock by T.S. Eliot is an extremely meaningful poem; it is one of Elliot’s best-known works and without a doubt a masterpiece (Hillis). T.S. Eliot introduces the poem with a quote from Dante's Inferno (XXVII.61-66), and with that sparks our curiosity. He then makes statements and questions that perhaps everyone has done, or will do at some point in life (Li-Cheng, pp. 10-17). The poem is a legitimate work of the modernist movement, the language used is contemporary; the verses are free and the rhythm flows naturally.