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Analyze paper on adrienne rich
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Much of Adrienne Rich’s poetry is applauded for its rhythm and form, which helps emphasize the meaning of each poem. The freely placed lines and unique structure do not break up the poem, instead they bring power and significance to the unique features of her individual poems, stressing the meaning of the poem to the reader. Concretely, her poems have much imagery, and, also, most of the time, lack comment or conclusion to the emotions and purpose of her work. The structure, form, and rhythm of Rich’s poetry work together flawlessly to help portray the meaning of the poem, separate from just the images themselves. We can see Rich’s conscious effort to use form to portray meaning in many of her poems, but more specifically in Planetarium, Power, and For an Occupant.
As flawless and dynamic as Rich’s poetry seems to be on paper, the struggle of finding a balance between what is chemically formulated and what is actually linear freedom is constantly the focus in her work. In other works, specifically in her 1993 published book What Is Found There, Rich describes this “poetic power” and how she uses power to allow freeness in her lines. “Poetic forms – meters, rhyming patterns, the shaping of poems into symmetrical blocks of lines called couplets or stanzas – have existed since poetry was an oral activity. Such forms can easily become format, of course, where the dynamics of experience and power are forced into a fit pattern to which they have no organic relationship… But a closed form like the sestina, the sonnet, the villanelle remains inert formula or format unless the “triggering subject”… acts on imagination to make the form evolve, become responsive, or works almost in resistance to its form. It’s a struggle not to let the for...
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...otions, important themes, and the soft-spoken, but evident meanings of each poem. Rich was ‘trying to drive a tradition up against the wall’, ‘looking for a way out of a lifetime’s consolations’, gritting her teeth and asking where she should go.
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Cooper, Jane R. Reading Adrienne Rich. Ann Arbor: The University of Michigan Press, 1984. Print.
Rich, Adrienne. That Is Found There. New York and London: W.W. Norton, 2003, 1993.
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Rich, Adrienne. Arts of the Possible. New York: W.W. Norton, 2001. Print.
Rich, Adrienne. The Fact of a Doorframe: Poems Selected and New, 1950-1984. New
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Stephen, Burt. No Scene Could Be Worse. 3rd ed. Vol. 24. London: London Review of,
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and that we should help those less fortunate than ourselves. In this I essay I have shown how successful the poet was in making me share this view by using his thoughtful and intense language, word-choice and imagery techniques.
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Strand, Mark and Evan Boland. The Making of a Poem: A Norton Anthology of Poetic Forms. New
It is a way to crucially engage oneself in setting the stage for new interventions and connections. She also emphasized that she personally viewed poetry as the embodiment of one’s personal experiences, and she challenged what the white, European males have imbued in society, as she declared, “I speak here of poetry as the revelation or distillation of experience, not the sterile word play that, too often, the white fathers distorted the word poetry to mean — in order to cover their desperate wish for imagination without insight.”
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The purpose of this essay is to analyze and compare and contrast the two paired poems “My Last Duchess” by Robert Browning and “My Ex-Husband” by Gabriel Spera to find the similarities presented within the pairs. Despite the monumental time difference between “My Last Duchess” and “My Ex-Husband”, throughout both poems you will see that somebody is wronged by someone they thought was a respectable person and this all comes about by viewing a painting on the wall or picture on a shelf.
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"Characteristics of Modern Poetry - Poetry - Questions & Answers." ENotes - Literature Study Guides, Lesson Plans, and More. Web. 09 Jan. 2012. .
Aesthetic form in modern poetry, then, is based on a space-logic that demands a complete reorientation in the reader's attitude toward language. Since the primary reference of any word-group is to something inside the poem itself, language in modern poetry is really reflexive. The meaning-relationship is completed only by the simultaneous perception in space of word-groups that have no comprehensible relation to each other when read consecutively in time. Instead of the instinctive and immediate reference of words and word-groups to the objects or events they symbolize and the construction of meaning from the sequence of these references, modern poetry asks its readers to suspend the process of individual reference temporarily until the entire pattern of internal references can be apprehended as a unity.
One of Emily Dickinson’s greatest skills is taking the familiar and making it unfamiliar. In this sense, she reshapes how her readers view her subjects and the meaning that they have in the world. She also has the ability to assign a word to abstractness, making her poems seemingly vague and unclear on the surface. Her poems are so carefully crafted that each word can be dissected and the reader is able to uncover intense meanings and images. Often focusing on more gothic themes, Dickinson shows an appreciation for the natural world in a handful of poems. Although Dickinson’s poem #1489 seems disoriented, it produces a parallelism of experience between the speaker and the audience that encompasses the abstractness and unexpectedness of an event.
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Wordsworth shows the possibility of finding freedom within his poem by choosing to write within the Italian sonnet’s rules. What makes an Italian sonnet unique is the division and pattern of its rhyme scheme. It is usually structured in an ABBA, ABBA, CDE, CDE pattern, and broken into two main parts, the octave (the first eight lines) and the sestet (the final six). The meter of “Nuns” can be labeled as iambic pentameter, yet along with the meter, the poem differs from the norm in two more ways. The first difference is in the rhyme scheme. In a typical Italian sonnet, the sestet follows a CDE, CDE pattern, in “Nuns” however, it follows the pattern CDD, CCD. It’s minute, but adds emphases to the 13th line, which contains the poem’s second anomaly. All the poem’s lines have an ...
Ellmann, Richard and Robert O’Clair. Modern Poems. New York: W.W. Norton and Company, Inc., 1989.
Both Snyder and Stone make use of strong concrete images in their poems. In “The Bath” Snyder appeals to almost all of the senses by talking about the “crackle of waterdrops” and “the scent of cedar” and his wife entering the sauna, “letting in cool air.” In “Simplicity” Stone’s intense use of adjectives and figurative language creates strong images in the reader’s mind. She describes her surroundings as “wrinkled skin on a cup of boiled milk” an describes “the water’s muscular flow.”