Laura Aguilera Prof. Jonathon Appels English 102-26 4/21/14 Poetry and drama have their distinctive qualities. They both use figurative language to get their points across, but one is meant to be acted out while the other is not. No matter how they are compared and contrasted, they will always have one thing that will link them together. Poetry and drama share the characteristic of a theme. Although their genres are different, Federico Garcia Lorca’s poems and Suzan Lori Parks’ plays both convey a message at the end of their work. In Parks’ 14th play, “Father Comes Home From the Wars (Part 1)”, she describes a man who had been gone at war for so long that his wife never suspected his return. The wife, also known as “Mother”, claims that there should have been notification of his homecoming. The husband replies, “Maybe you didn’t open the letter. I don’t blame you. It could have been bad news. I see yr unopened envelopes piled up. I don’t blame you. I don’t blame you at all.” Throughout the dialogue, they both create a mental image of the same scenario that would have happened if she had been told that he was coming back. He mentions that in his scenario everyone would have welcomed him home with open arms. Unfortunately, the alcohol served would act as truth serum, and they would all call him a murderer or government pawn (Parks 42). In that play, there may be various themes. Two of them can be time or honesty. His wife must have concluded that he was gone forever and waiting was a waste. Patience can only jump so high until gravity gets the best of it. The honesty concept could be found where she vaguely talks about everyone’s dishonest reaction that would lead to the revelation of their genuine thoughts at t... ... middle of paper ... ...s a fundamental part about art. Suzan Lori Parks is perceived is a hard worker when it comes to using her talent. There are no days off for her. While teaching and going on her book tour, she wrote a play a day. Making time for all of that must have been hectic, but she did it. Even though not all of the plays’ ideas flowed, any accomplishment that takes a whole year deserve recognition (1). Lorca’s poetry is seen as dull and flat when translated into English, but when the original poem and the translation are side by side, they still manage to be captivating. The incorporation of musical knowledge was a nice touch on his work. Because he was also a playwright, some of his plays were found in his poetry as well. Readers can find repetition of nature-based imagery. He is constantly compared to Burns because of his realism, while he always admired Whitman (1).
In conclusion, `La Tierra de Alvargonzález' highlights many recurrent themes which can be seen throughout the collection of `Campos de Castilla', such as the interaction of the landscape, not only with the narrator, but also the characters within the story which is told in this poem. This poem can also be compared to the `romances viejos' in its constant references to the Old Testament.
Castillo refers to all words in poems as gold. Every word must be picked and placed with all the care in the world. Along with her imagery and choice of words, metaphors, poetry form, and flow are essential to creating the two featured poems. After many reads of both “Seduced by Natassja Kinski” and “El Chicle” I have been able to visually interpret the worlds created in both poems. “El Chicle” is all about imagery, however, “Seduced by Natassja Kinski” also contains valuable imagery.
Soto’s “Black Hair” is a perfect example of a poem that is effective through close analysis of certain concrete images which hold the key to the foundation of the poem and its underlying themes. In this poem, the universal themes of family and culture are hidden under the figure of Hector Moreno, the image of the narrator’s hair, as well as the extended baseball metaphor about culture. Although the title may seem ordinary at first glance, the challenge that the poem presents through its connection of concrete images and themes is very intriguing, and the themes are made clear through the effective use of certain poetic elements.
Pellegrini, Ann. “The Plays of Paula Vogel.” A Companion to Twentieth-Century American Drama. Ed. David Krasner. Malden, MA: Blackwell, 2005. 473-84.
As Edgar Allan Poe once stated, “I would define, in brief the poetry of words as the rhythmical creation of beauty.” The two poems, “Birthday,” and “The Secret Life of Books” use different diction, theme, and perspective to give them a unique identity. Each author uses different literary devices to portray a different meaning.
In conclusion, Alcala’s poem takes a different approach with her poem in describing an affair. She uses the thought process of a woman as she experiences an affair. As a result, Alcala is propelled to use to figures of speech, persona and images in order to guide her reader to the main point of her poem of cautious uncertainty. The author utilizes persona in order to describe the characters intentions and emotions, which also establish the tone of the poem as tentative and vigilant throughout the progress of their affair. Moreover, the author also utilizes figures of speech, such as metaphors in order to draw a brief comparison between two countries and the couple. Most importantly, Alcala appeals to the five senses in imagery in order to engage her readers with depth into a very subtle and also nostalgic poem.
... in society. The extent of Lorca's tragedy acts out the denial to their freedom. Lorca does a good job of portraying a serious theme such as patriachical society and does this, in the one way he does best i.e. his plays. He writes these plays during the Spanish civil war as he is aware of the issues that are of threat in that century.
Valle-Inclán and Lorca have both been very influential and important figures of the twentieth century Spanish theatre. During their time, the theatre was mainly made up of bourgeois theatregoers who did not enjoy thought provoking plays, but preferred a theatre that was conventional and contemporary. Both Valle and Lorca departed from convention and showed freedom in their style of writing, therefore earning their reputation of dramatists of utmost importance, respect and originality, who not only brought new trends to the Spanish theatre, but also embodied the signs of change and hope for the Spanish stage.
...s poems publication. In `A un olmo seco', we discover references to the cemetery of Leonor's grave, and the beauty of new shoots set against the decay of the `olmo's' trunk, which evokes Machado's young wifr in her terminal condition. `A un olmo seco' is highlights the central theme of landscape and countryside, and through the physical description, Machado remembers his personal experience in Soria. The river Duero acts as a leitmotif for the cemetery where his wife was buried. In `Caminos' as Machado develops the theme of his displacement in Baeza, his mood is finally attributed to the loss of his wife. Landscape can be linked with inner emotional landscape. The landscape in this poem is ominous, violent and inflexible: "hendido por el rayo." Therefore, landscape acts as a way of revealing inner emotion and Spanish National character throughout the collection.
on: April 10th 1864. He was born in 1809 and died at the age of 83 in
The criticism relies on two assumptions. One, that rhetoric creates reality, and two, that convergence occurs. With regards to rhetoric creating reality we are to assume that the symbolic forms that are created from the rhetoric are not imitations but organs of reality. This is because it is through their agency that anything becomes real. We assume to that convergence occurs because symbols not only create reality for individuals but that individual’s meanings can combine to create a shared reality for participants. The shared reality then provides a basis for the community of participants to discuss their common experiences and to achieve a mutual understanding. The consequence of this is that the individuals develop the same attitudes and emotions to the personae of the drama. Within this criticism the audience is seen as the most critical part because the sharing of the message is seen as being so significant.
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.
Poets often use techniques such as tone, imagery, themes, and poem structure to create a more complex view of their stance on the subject. These features can make the poem more interesting to the reader and helps to develop their story. The use of imagery in a poem can take the reader on a journey filled with sensory images that help the reader to connect with the subjects of the poems. The tone of the poem determines the mood and feelings that the reader will experience. The theme of a poem holds the true meaning and point of the poem and is explained using the above literary techniques. While “Mirror” by Sylvia Plath and “Piano” by D.H. Lawrence both contain imagery and tone to convey the poets’ common theme of the longing for the past to revive itself, the poets use different poem structures that further convey their overall message.
Theater is a natural outlet for our desire to hear and tell stories, and in some ways it is even more primal and powerful than the written word. At its worst, theater will merely bore; while at its best it will not only entertain but move and shape its audience. Two such genres of theater, or drama, have consistently achieved this effect. Tragedy, represented by the weeping actors’ mask, usually features the title character’s fall from greatness to ruin, guided by the gods or fate. Oedipus Rex, written by Sophocles, is the epitome of classic Tragedy, as defined by Aristotle (96-101). Here, Oedipus falls from kingship to blindness and exile. Drama’s other great genre, Comedy, is represented by the laughing actors’ mask. In Comedy the action is usually propelled by a problem or crisis of some sorts, but unlike tragedy it usually ends well. Lysistrata, written by Aristophanes, is a perfect example of classic Comedy. The farcical story line follows the title character, who rallies the women of Greece to withhold sex from their mates all in the good cause of ending war. At first glance these two genres would seem to have nothing in common with each other. Comedy entails laughter and good feelings while the audience will leave a Tragedy in tears. But the best of Comedy and the best of Tragedy will produce the same affect: catharsis. Catharsis is the purgation and purifying of the emotions, specifically fear or pity. (“Catharsis”) The plays that manage to produce catharsis in their audience are the ones that we return to time and time again. Although catharsis is one of the main objectives of Greek Tragedy (Jacobus 34), Comedy done well will shape and move its audience in the same way. These two classic genres use characters that are co...
A tragedy is defined as beginning with a problem that affects everyone, i.e. the whole town or all the characters involved, the tragic hero must solve this problem and this results in his banishment or death [run-on sentence]. A comedy is defined as also beginning with a problem, but one of less significant importance. The characters try to solve the problem and the story ends with all the characters uniting in either a marriage of a party. Although these two genres are seen as being complete opposites of each other, through further analysis one can gather that though they are different certain similarities can also be seen.