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Imagination in romantic poetry
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“I, too, dislike it: There are things that are important beyond all this fiddle.” Poetry has been around for a long time. As the years go by poetry adapts to the time period. However, the authors have different views. Majority of them will read and enjoy all types of poem, but they have their own opinions. The new, has to be truly unique to the author and to the time period. Shakespeare still had plays that we study, but it is hard to comprehend the message behind the words. Worlds change and the literature's change with the trends. The important question is how it should change. During each time period there are people that publish their opinions, but different people have different ideas. Within Poetry and Of Modern Poetry shows the similarities and differences between the two authors, Wallace Stevens and Marianne Moore through three ways: is of the mind, it has to be genuine and it has to be unique to the people writing it.
Stevens talks about how it has to be of the mind or it have to be living and changing. Poetry will never be one thing. It is about seeing the world around them and putting the vision into words. The words are meant to describe and analyze the world. “It is reassuring to write about poetry that can dissolve the many doubts of our modern world. When the soul wonders if this planet is worth the trouble, poetry can fine tune nature's music.” (Zapata) Stevens talks about how the world is always changing and poetry has to change with it. Poetry is based off the world and the experiences people face in the world. Fitting its surroundings and the people is what makes a poem modern and something people can relate to. Poems that can be related to are the poems that people will remember. Relatable poems are the th...
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... take about it being unique to the time. Either way poems have to adapt and become original in all that people end up doing.
Works Cited
Arnold, Mathew. The Study of Poetry. N.p.: n.p., 1995. Print. Describes all the good things that come from poetry.
Osborn, Andres. "Habits of Thought, Inhabitings of Possibility: An Interview with John Koether." Southwest Review (2007): n. pag. Print. Talks about the poetry and the writer Wallace Stevens,
Rye, Jane. "The Maiden Aunt of Modernism." Spectator 7 Dec. 2013: n. pag. Print. All about what Moore does and how she writes.
Sehgal, Parul. "Less Is Moore." Artforum International 20.3 (2013): n. pag. Print. Discusses Moore and how she wrote.
Zapata, Miguel-Angel. "The Long Alley: Reading American Poetry in Colorado Springs." America and the Spanish-Speaking World (1997): n. pag. Print. Describes Wallace Stevens.
Strand, Mark and Evan Boland. The Making of a Poem: A Norton Anthology of Poetic Forms. New
Jarrell, Randall. ?Fifty Years of American Poetry.? The Third Book of Criticism. NY: Farrar, Straus & Giroux, 1969.
Stevens, Wallace. "Sunday Morning." The Columbia Anthology of American Poetry. Editor: Jay Parini. Columbia University Press, 1995. 330-331.
Four years after the publication of the first edition of Faulkner's Absalom, Absalom!, Wallace Stevens described a modern aesthetic form which necessarily acted against its own status as a (fixed) form1. "What will [temporarily] suffice" in "Modern Poetry" would replace, as the mind's object, what is--or, perhaps more faithfully to the modernist vision, what used to be. The poem of the motion of the mind in time would replace the poem of permanent meaning.
In today’s modern view, poetry has become more than just paragraphs that rhyme at the end of each sentence. If the reader has an open mind and the ability to read in between the lines, they discover more than they have bargained for. Some poems might have stories of suffering or abuse, while others contain happy times and great joy. Regardless of what the poems contains, all poems display an expression. That very moment when the writer begins his mental journey with that pen and paper is where all feelings are let out. As poetry is continues to be written, the reader begins to see patterns within each poem. On the other hand, poems have nothing at all in common with one another. A good example of this is in two poems by a famous writer by the name of Langston Hughes. A well-known writer that still gets credit today for pomes like “ Theme for English B” and “Let American be American Again.”
Meinke, Peter. “Untitled” Poetry: An Introduction. Ed. Michael Meyer. 6th ed. Boston: Bedford/ St. Martin’s 2010. 89. Print
Poetry is a versatile avenue from which waves or ripples can be made potentially. A writer of poetry has the ability to make their readers feel a while wide array of emotions and situations synonymous with the human condition. I, at first, was completely turned off to the idea of poetry at first because all I was exposed to early on by way of poetry were bland professions of love or lust or seemingly simple poems I was forced to process down to a fine word paste. Edgar Allan Poe was interesting, but it was a tad bit dry to me. But, after reading poems the Harlem Renaissance gave me a bit of hope for poetry. To me, the poetry written during that time period has a certain allure to it. They have serious depth and meaning that I, myself and empathize
Ferguson, Margaret W., Salter, Mary J., and Stallworthy, Jon. The Norton Anthology of Poetry. fifth ed. N.p.: W.W. Norton, 2005. 2120-2121. 2 Print.
Ramazani, Jahan, Richard Ellmann, and Robert O'Clair. "Marianne Moore." The Northern Anthology Of Modern and Contemporary. ed. New York: W.W. Norton & Company, 2003. . Print.
Bradstreet, Anne. "The Author to her Book." An Introduction to Poetry. Ed. X. J. Kennedy and Dana Gioia. 13th ed. New York: Longman, 2010. 21. Print.
In the early 20th century, many writers such as T.S. Eliot (Thomas Stearns Eliot) and Langston Hughes wrote what scholars of today consider, modern poetry. Writers in that time period had their own ideas of what modern poetry should be and many of them claimed that they wrote modern work. According to T.S. Eliot’s essay, “From Tradition”, modern poetry must consist of a “tradition[al] matter of much wider significance . . . if [one] want[s] it [he] must obtain it by great labour . . . no poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists’ (550). In another term, tradition only comes within the artist or the art itself; therefore, it should be universally monumental to the past. And, Langston Hughes argues that African-Americans should embrace and appreciate their own artistic virtues; he wishes to break away from the Euro-centric tradition and in hopes of creating a new blueprint for the African-American-Negro.
In his preface of the Kokinshū poet Ki no Tsurayaki wrote that poetry conveyed the “true heart” of people. And because poetry declares the true heart of people, poetry in the minds of the poets of the past believed that it also moved the hearts of the gods. It can be seen that in the ancient past that poetry had a great importance to the people of the time or at least to the poets of the past. In this paper I will describe two of some of the most important works in Japanese poetry the anthologies of the Man’yōshū and the Kokinshū. Both equally important as said by some scholars of Japanese literature, and both works contributing greatly to the culture of those who live in the land of the rising sun.
Allen, Donald, ed. The New American Poetry 1945-1960. Berkely, CA.: U. of California P., 1999.
Henry Wadsworth Longfellow, Emily Dickinson, and Walt Whitman all use different varieties of themes, mood, structure and literary devices throughout their poetry. Poetry uses aesthetic and rhythmic qualities of language. Poetry has been around for years, even back in the early 1900’s.
Southard, Sherry. "Whitman and Language: Great Beginnings for Great American Poetry." Mount Olive Review 4 (Spring 1990): 45-54.