The Elaborate Use of Poetry Devices In “Naming of Parts” While one way of thought is factual, more literal, another is more reflective and abstract. In Henry Reed’s “Naming of Parts”, Reed uses both approaches to thinking with his speakers, and this allows his poem to include different points of view and tones. The two speakers are evident in different lines of “Naming of Parts”, and when they merge, they have a different meaning than both alone. Other poetry devices are used to convey the different speakers’ voices, and to also make the poem flow better and sound more harmonious. “Naming of Parts” has a more literal and commanding voice seen in all lines but 5, a more thoughtful and abstract voice seen only in line 5, convergence which allows more interpretations of the each speakers’ lines, diction and imagery which contrasts the two speakers, and rhythmic and sound devices unify the poem as a whole. The first of the two voices, a more factual, instructive voice, is generally seen lines 1, 2, 3, 4, and 6 of each stanza of "Naming of Parts". In the first stanza, the instructive speaker is telling of the chore accomplished yesterday, and of the goals of tomorrow. The following stanza the speaker is in explaining the differences between the swivels. The speaker, in the third stanza, is telling the audience how to use a safety feature, and warning the audience not to use their fingers. In the fourth stanza, the speaker is explaining the mechanism of the bolt, emphasizing its back and forth motion. The speaker, in the fifth stanza, is relating the bolt back to the previous stanzas with the repetition of ideas. The first of the two voices contrasts with the ... ... middle of paper ... ...oeia adds to the imagery of the speaker, and the dactylic feet helps to put emphasis on certain words. The use of poetry devices helps to highlight the different voices in “Naming of Parts”. The literal diction of the first speaker versus the abstract imagery of the second helps to indicate the personalities of the two speakers. The two speaker have different tones, which create different implications, and when they converge, their contrasts help create new interpretations of both speakers. The rhythmic and sound devices that Henry Reed uses in his poem help to unify both speakers and their lines into one whole poem. Although these one of these two speakers takes a literal approach to life, and the other speaker sees life in abstract ideas, in the end, they still are joined by the same concepts used in the poem. Works Cited "Naming of Parts", Henry Reed
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.
...t is arguable that the birds fight is also a metaphor, implying the fight exists not only between birds but also in the father’s mind. Finally, the last part confirms the transformation of the parents, from a life-weary attitude to a “moving on” one by contrasting the gloomy and harmonious letter. In addition, readers should consider this changed attitude as a preference of the poet. Within the poem, we would be able to the repetitions of word with same notion. Take the first part of the poem as example, words like death, illness
over the course of the poem. Analyzing these two elements helps to reveal Kay’s theme; valuing
Similar techniques that the poets use includes; imagery, repetition and metaphors. Both poets use metaphor in the poem to compare something. For example in the third stanza of ‘When we Two Parted’ it says “they name thee before me / a knell to mine ear” which is comparing the sound of a ringing bell to his lovers name. In ‘I’ll Open the Window’ metaphor is used for the speaker to describe herself as an animal, as seen in the last stanza “I am an animal.” Both poets use types of sounds to show how they feel about their situations. Lord Byron uses alliteration in the second stanza “I hear thy name spoken / and share in its shame” where the “sh” sound in share and shame is emphasised. This helps to show that sharing his name is something he would rather not do, hence the “shhh” sound. Similarly, Swirszczynska uses onomatopoeia in stanza two of her poem “the clatter of your shoes” to show that she wants to hear the clatter of his shoes when he is leaving, as she cannot wait for him to leave. Lord Byron and Anna Swirszczynska both use the tone of feeling alone in their poems, but in ‘When we Two Parted’ the aloneness hurts the speaker, where in ‘I’ll Open the Window’ the speaker wants to be alone to start a fresh new
Figurative Language in used throughout poems so the reader can develop a further understanding of the text. In “The Journey” the author uses rhythm and metaphors throughout the poem. “...as you left their voices behind, the stars began to burn through the sheets of the clouds..”(25-27). The author compares the star burning to finding your voice. Rhythm also develops the theme of the poem because throughout the story rhythm is presented as happy showing growing up and changing for the better is necessary and cheerful. In “The Laughing Heart” the author uses imagery and metaphors to develop the theme throughout the book. “There is a light somewhere. It may not be much light but it beats the darkness”(5-7). Always find the good out of everything, even it
...ings that can be seen in the use of word painting in the first stanza on the words “flight and falling” and “to carry a man up into the sun.” While the similarities between the pieces are fleeting both are able to take advantage of imitative polyphony and word painting to tell the same story in very unique and different ways.
At the beginning of the poem, the speaker starts by telling the reader the place, time and activity he is doing, stating that he saw something that he will always remember. His description of his view is explained through simile for example “Ripe apples were caught like red fish in the nets of their branches” (Updike), captivating the reader’s attention
Strand, Mark and Evan Boland. The Making of a Poem: A Norton Anthology of Poetic Forms. New
“Today we have naming of parts”. In the poem “Naming of parts” written by Henry Reed, the author uses subtle text to get his message across. The poem could be interpreted two ways; one way is that the poem depicts a group of military recruits receiving a lecture from their head officer on guns and how to use them. Another interpretation of this poem could be about love making, and what young men should be doing with their parts. In the spring they should be learning what to do; and enjoy them selves. Young men have a vital role in this poem, through learning about guns and the birds and the bees, this is helped by the many interruptions that help realize this idea.
Sound Devices help convey the poet’s message by appealing to the reader’s ears and dr...
Henley establishes the sense of suffering that the speaker is experiencing through the use of multiple literary devices. By beginning the poem with images of darkness and despair, Henley sets the tone for
Another way that Trethewey brings this poem together is through the use of
..., the content and form has self-deconstructed, resulting in a meaningless reduction/manifestation of repetition. The primary focus of the poem on the death and memory of a man has been sacrificed, leaving only the skeletal membrane of any sort of focus in the poem. The “Dirge” which initially was meant to reflect on the life of the individual has been completely abstracted. The “Dirge” the reader is left with at the end of the poem is one meant for anyone and no one. Just as the internal contradictions in Kenneth Fearing’s poem have eliminated the substantial significance of each isolated concern, the reader is left without not only a resolution, but any particular tangible meaning at all. The form and content of this poem have quite effectively established a powerful modernist statement, ironically contingent on the absence and not the presence of meaning in life.
William Blake is a poet most noted for the engravings that accompany his works of poetry. These engravings included with the poems help to depict the meaning of the poems. However, at times the engravings he includes with his poem can lead to complications for the interpreter of the poem. There are a multitude of variations of the same engraving that accompany a poem, all of them originals; some of these engravings compliment the poem, while others complicate the poem. One example of this occurrence, where one engraving may compliment the poem and the other complicates it, is in William Blake’s work “The Ecchoing Green” which can be found in Blake’s Songs of Innocence. The important thing to recognize is that regardless of whether the poem is further complicated or simplified because of the image, the poem and its accompanying image are still evoking thought, and discussion from the reader.
"The point of view which I am struggling to attack is perhaps related to the metaphysical theory of the substantial unity of the soul: for my meaning is, that the poet has, not a personality' to express, but a particular medium, which is only a medium and not a personality, in which impressions and experiences combine in peculiar and unexpected ways."