To compare one to a summer's day - the imagery itself requests visions of blooms, of sun and breezes. In Shakespeare's sonnet Shall I Compare Thee to a Summer's Day?, the gentle tone of the author saturates the piece through the use of comparison and symbolism. The effective application of careful diction and euphony creates a splendid, soothing sound, reminiscent of a lover's praise. It is through such a thoughtfully constructed piece that one is invited into a window of time where this affection is voiced. The light and loving tone of this poem is effectively communicated through Shakespeare's employed devices, recreating the subtle warmth and fire filtrated between lovers.
The very sounds of the piece create an image - in lines one and two, "Shall I compare thee to a summer's day?/ Thou art more lovely and more temperate," the soothing sounds contained in the lines create a peaceful euphora. This is carried on in the imagery conveyed in lines three and four; "Rough winds do shake the darling buds of May,/ And summer's lease hath all too short a date." The finite nature and temporary beauty of the season is conveyed smoothly, and contrasts well with the implied eternal beauty of his lover, making a strong statement - does he dare draw the connection between a lover and a season that comes and goes? Still, the euphony bolsters the light and loving imagery of a gentle and beautiful season, only adding to the affectionbate tone of the piece.
Thursday, 31 January 2013
Tuesday, 22 January 2013
Sonnets
The thumb is the best part of my whole hand;
We cannot pick things up without its help -
Just like we need two legs for us to stand,
And the ocean's ecosystem needs kelp,
Thumbs are good for sharing our opinions,
If a thumbs up oor a thumbs down is shown,
Good or bad is shared amongst one's minions,
Effecting if one's mob is shrunk or grown.
Thumbs are things we share with our primates,
The main difference is that they have hair.
They carry babies and have much-loved mates,
Once again, thumbs are things we share.
I am quite attached to my appendage.
Thumbs are good despite race, sex, class, and age!
The structure in this poem had a great effect on the content of the poem - while in free verse, one can really write whatever so long as it conveys an image and has the intent of poetry (however one defines it), in the sonnet structure one must pay attention to what is being penned down. I found myself planning out what I was going to write, as there was a map to be followed, in particular the iambic pentameter and rhyme scheme of the piece. This poem was meant to acknowledge the many uses and amount of appreciation of the fifth digit, and to give credit to its universality and defining difference between the opposable and non-opposable digited races. I found it easiest to begin with a broad-ish opener and to follow from there where both form and cntent would lead me.
We cannot pick things up without its help -
Just like we need two legs for us to stand,
And the ocean's ecosystem needs kelp,
Thumbs are good for sharing our opinions,
If a thumbs up oor a thumbs down is shown,
Good or bad is shared amongst one's minions,
Effecting if one's mob is shrunk or grown.
Thumbs are things we share with our primates,
The main difference is that they have hair.
They carry babies and have much-loved mates,
Once again, thumbs are things we share.
I am quite attached to my appendage.
Thumbs are good despite race, sex, class, and age!
The structure in this poem had a great effect on the content of the poem - while in free verse, one can really write whatever so long as it conveys an image and has the intent of poetry (however one defines it), in the sonnet structure one must pay attention to what is being penned down. I found myself planning out what I was going to write, as there was a map to be followed, in particular the iambic pentameter and rhyme scheme of the piece. This poem was meant to acknowledge the many uses and amount of appreciation of the fifth digit, and to give credit to its universality and defining difference between the opposable and non-opposable digited races. I found it easiest to begin with a broad-ish opener and to follow from there where both form and cntent would lead me.
Thursday, 17 January 2013
Form to Content
Haiku
Ponytails are fine.
The tying back of impulse
That would rather fly.
Limerick
"There once was a teacher named Rumbly
Who had a strange noise in her tumbly.
She had armpit hair,
And made sounds like a bear,
Her skin is very crumbly."
(A limerick I wrote in grade five. Ms. Rumbly is based on an actual teacher I had, Ms. Rumley, who I just so happened to despise. I got in a lot of trouble for writing this.)
Upon writing the two poems above, I found that the content and tone changed drastically depending on the form. The haiku seems to be much more understanding and accepting of varying content matters - one can write a haiku about anything; it accepts a wider variety of subjects than the limerick, which, mainly because of its rhyme scheme and cadence, demands a lighter subject. The tone changes as the form varies.
I originally set out to write a limerick about cancer or sex to see if I could write a limerick about something that needs to be taken in a more serious context, but the sing-song cadence of it made that virtually impossible/ disrespectful.
The length demanded by both haikus and limericks makes it so that the content must be precise. The form must accent and compliment the content, because the poems are so short, there is no room for air if the full impact of the piece is to be conveyed and accepted by readers.
Rhyme scheme, cadence, placement of lines on a page (demonstrated well by the renowned poet e.e. cummings), length, and other things that convey form all have an impact on the content of a poem based on how efficiently and accurately it is to be conveyed to readers, how well the author can tailor his writing to fit the demands of a set form (or lack thereof), and the tone that is to be set by a pre-supposed rhyme scheme, cadence. etc.
Ponytails are fine.
The tying back of impulse
That would rather fly.
Limerick
"There once was a teacher named Rumbly
Who had a strange noise in her tumbly.
She had armpit hair,
And made sounds like a bear,
Her skin is very crumbly."
(A limerick I wrote in grade five. Ms. Rumbly is based on an actual teacher I had, Ms. Rumley, who I just so happened to despise. I got in a lot of trouble for writing this.)
Upon writing the two poems above, I found that the content and tone changed drastically depending on the form. The haiku seems to be much more understanding and accepting of varying content matters - one can write a haiku about anything; it accepts a wider variety of subjects than the limerick, which, mainly because of its rhyme scheme and cadence, demands a lighter subject. The tone changes as the form varies.
I originally set out to write a limerick about cancer or sex to see if I could write a limerick about something that needs to be taken in a more serious context, but the sing-song cadence of it made that virtually impossible/ disrespectful.
The length demanded by both haikus and limericks makes it so that the content must be precise. The form must accent and compliment the content, because the poems are so short, there is no room for air if the full impact of the piece is to be conveyed and accepted by readers.
Rhyme scheme, cadence, placement of lines on a page (demonstrated well by the renowned poet e.e. cummings), length, and other things that convey form all have an impact on the content of a poem based on how efficiently and accurately it is to be conveyed to readers, how well the author can tailor his writing to fit the demands of a set form (or lack thereof), and the tone that is to be set by a pre-supposed rhyme scheme, cadence. etc.
Thursday, 10 January 2013
Amelia Curran, 'Mistress' Poetic Analysis
(Please see lyrics and youtube link in post below).
Perhaps one of the most puncturing devices implemented by Curran throughout her work is the employment of repetition. This can be seen through lines 4-5;
"You don't act much like you need it, you don't look much like you care.
And will you need me in the summer, will you need me in the spring?"
This can also be seen in the repetition of the first and last lines of the song,
"Hello, its me, the Mistress."
Curran's rhyme scheme of AA BB is also effective - the sounds in the song, a mishmash of constantants and vowels, seem almost condensed, seen clearly in stanza four, most notably in the first two lines;
"And then you praise me for my inspiration, asked me for an explanation
Followed up with hesitation, fit my primal expectation.
I don't care but I don't mind, you can call me anytime
You can holler through the fortress, kick me out on line."
Not only is there a repetition of sound, but the closeness of the words creates a rhythym that the music only adds to, yet it is very present with solely the diction and vocabulary.
Internal rhyme is also present, which also adds to this effect, seen in line 20, "I confess to my distress, yeah I get crazier each year."
Curran's references to well-known phrases, characters or objects such as the seven deadly sins, Judas and his women, the Bible Belt and the Devil set a certain tone for the piece as they refernce things that evoke a certain universal feeling amongst readers. Each is associated with a certain emotional trigger, and her refernces - especially to the Devil and demons, suggests very accurately that the narrator is struggling.
Curran's implementation of familiar or 'slang' phrases such as "give it here," or inversion of the well-known on the outside looking in to "on the outside looking out," seen in line 9, also paint a portrait of the narrator and her lonely strife.
Perhaps my favourite line is the question posed at the end of the song, "Is it better to be grounded? Is it better to be free?" This juxtaposition and repetition is highly effective in conveying the inner turmoil beheld to our narrator, and finishes off nicely a powerful piece rich with poetic devices and classic poetic form.
Perhaps one of the most puncturing devices implemented by Curran throughout her work is the employment of repetition. This can be seen through lines 4-5;
"You don't act much like you need it, you don't look much like you care.
And will you need me in the summer, will you need me in the spring?"
This can also be seen in the repetition of the first and last lines of the song,
"Hello, its me, the Mistress."
Curran's rhyme scheme of AA BB is also effective - the sounds in the song, a mishmash of constantants and vowels, seem almost condensed, seen clearly in stanza four, most notably in the first two lines;
"And then you praise me for my inspiration, asked me for an explanation
Followed up with hesitation, fit my primal expectation.
I don't care but I don't mind, you can call me anytime
You can holler through the fortress, kick me out on line."
Not only is there a repetition of sound, but the closeness of the words creates a rhythym that the music only adds to, yet it is very present with solely the diction and vocabulary.
Internal rhyme is also present, which also adds to this effect, seen in line 20, "I confess to my distress, yeah I get crazier each year."
Curran's references to well-known phrases, characters or objects such as the seven deadly sins, Judas and his women, the Bible Belt and the Devil set a certain tone for the piece as they refernce things that evoke a certain universal feeling amongst readers. Each is associated with a certain emotional trigger, and her refernces - especially to the Devil and demons, suggests very accurately that the narrator is struggling.
Curran's implementation of familiar or 'slang' phrases such as "give it here," or inversion of the well-known on the outside looking in to "on the outside looking out," seen in line 9, also paint a portrait of the narrator and her lonely strife.
Perhaps my favourite line is the question posed at the end of the song, "Is it better to be grounded? Is it better to be free?" This juxtaposition and repetition is highly effective in conveying the inner turmoil beheld to our narrator, and finishes off nicely a powerful piece rich with poetic devices and classic poetic form.
Amelia Curran, "Mistress"
Hello, it's me the mistress, is there anybody home?
'Cause, the last place I should be is, sittin' here all alone
All I ask for is forgiveness, if you've got some, give it here
You don't act much like you need it, you don't look much like you care
And will you need me in the summer, will you need me in the spring?
I believe my life is ending, I don't know where to begin
I've got a page in my back pocket, of the seven deadly sins
And it's draggin' me around, among the needles and the pins
And I don't need to take a breather, I'm on the outside lookin' out
Yeah I don't need to see your papers, 'cause I know what you're about
You had me by the Bible, and you had me by the belt
And you had me from the instant my cold love began to melt
And then you praise me for my inspiration, asked me for an explanation
Followed up with hesitation, fit my primal expectation
I don't care but I don't mind, you can call me anytime
You can holler through the fortress, kick me out on line
I don't expect it from the grief that gathers in my head
I like suspended disbelief, I like to spend the day in bed
I like to spend the nights in Heaven, hangin' with the dead
With Judas and his women, and the voices in my head
I've got my eyes upon the mirror, got my hands up in the air
I confess to my distress, yeah I get crazier each year
And I'd change it if I could, you know that I like to say that I would
But there's a war between the parts of me, the evil and the good
And you try and stop me I'm on fire, although it doesn't look that way
You know I used to be a liar and the livin' set me straight
But I don't come with no disclaimer, I'm like everybody else
We keep our demons on the burner and our morals on the shelf
And nobody asks for my opinion just because you don't want to hear it
I swear I'm only human wishing I could disappear
You must think it's an illusion, that I like to live in fear
Of a probable solution, why the Devil put me here
And now no judgment court will kill me, just makes me close my eyes
And I sink into the slumber, to the prison of my mind
Where I'd love to introduce you if you found a way inside
You could sell me retribution, and totally demystify 'em
'Til I wonder how I got here, until I don't know who to be
Is it better to be grounded, is it better to be free
Am I better off without you, am I happier alone
Hello it's me the mistress, could you please pick up the phone
http://www.youtube.com/watch?v=vMw9hte8IHs
'Cause, the last place I should be is, sittin' here all alone
All I ask for is forgiveness, if you've got some, give it here
You don't act much like you need it, you don't look much like you care
And will you need me in the summer, will you need me in the spring?
I believe my life is ending, I don't know where to begin
I've got a page in my back pocket, of the seven deadly sins
And it's draggin' me around, among the needles and the pins
And I don't need to take a breather, I'm on the outside lookin' out
Yeah I don't need to see your papers, 'cause I know what you're about
You had me by the Bible, and you had me by the belt
And you had me from the instant my cold love began to melt
And then you praise me for my inspiration, asked me for an explanation
Followed up with hesitation, fit my primal expectation
I don't care but I don't mind, you can call me anytime
You can holler through the fortress, kick me out on line
I don't expect it from the grief that gathers in my head
I like suspended disbelief, I like to spend the day in bed
I like to spend the nights in Heaven, hangin' with the dead
With Judas and his women, and the voices in my head
I've got my eyes upon the mirror, got my hands up in the air
I confess to my distress, yeah I get crazier each year
And I'd change it if I could, you know that I like to say that I would
But there's a war between the parts of me, the evil and the good
And you try and stop me I'm on fire, although it doesn't look that way
You know I used to be a liar and the livin' set me straight
But I don't come with no disclaimer, I'm like everybody else
We keep our demons on the burner and our morals on the shelf
And nobody asks for my opinion just because you don't want to hear it
I swear I'm only human wishing I could disappear
You must think it's an illusion, that I like to live in fear
Of a probable solution, why the Devil put me here
And now no judgment court will kill me, just makes me close my eyes
And I sink into the slumber, to the prison of my mind
Where I'd love to introduce you if you found a way inside
You could sell me retribution, and totally demystify 'em
'Til I wonder how I got here, until I don't know who to be
Is it better to be grounded, is it better to be free
Am I better off without you, am I happier alone
Hello it's me the mistress, could you please pick up the phone
http://www.youtube.com/watch?v=vMw9hte8IHs
Wednesday, 9 January 2013
Formalism, McMahan and Atwood.
Upon reading McMahan's Critical Approaches for Interpreting Literature, I found Formalism to be special in that it considers the piece of writing alone, rather than in a specific context or in consideration of context, similar to seeing a person for them true selves rather than by gender, sexuality, peer groups, family or any other context. It is this disrobement of surrounding factors that is so rare in today's society, and so charming when it is found in a means of interpreting literature.
The 'close reading' mothod of formally analyzing a work is beneficial because it ensures that all techniques, methods, languages, and so on are fully recognized in the way in which they contribute to the piece, free of historical, cultural, social or economic shadows.
As for the poem in the text, I chose to analyze Margaret Atwood's Death of a Young Son by Drowning. Atwood's imagery is stunningly powerful, as seen in lines 7-9,
"His feet slid on the bank,
the currents took him;
he swirled with ice and trees in the swollen water"
This painful piece seems to recount the death of a boy during birth. Metaphors and similes used to empower the memory of this moment in time, in line 17, "he was hung in the river like a heart."
The tone can be interpreted as filled with grief - the mother in this particular story leaves the reader with powerful symbolism in remembrance of the deceased, "I planted him in this country/ like a flag."
It is tempting to look into Atwood's life and see what would have caused such pain and sucha story to spring forth - perhaps the author has lost a son through childbirth herself? However, Formal analyzing demands that only the text be looked at. It is in this regard that I shall leave the story here, and for what it is.
The 'close reading' mothod of formally analyzing a work is beneficial because it ensures that all techniques, methods, languages, and so on are fully recognized in the way in which they contribute to the piece, free of historical, cultural, social or economic shadows.
As for the poem in the text, I chose to analyze Margaret Atwood's Death of a Young Son by Drowning. Atwood's imagery is stunningly powerful, as seen in lines 7-9,
"His feet slid on the bank,
the currents took him;
he swirled with ice and trees in the swollen water"
This painful piece seems to recount the death of a boy during birth. Metaphors and similes used to empower the memory of this moment in time, in line 17, "he was hung in the river like a heart."
The tone can be interpreted as filled with grief - the mother in this particular story leaves the reader with powerful symbolism in remembrance of the deceased, "I planted him in this country/ like a flag."
It is tempting to look into Atwood's life and see what would have caused such pain and sucha story to spring forth - perhaps the author has lost a son through childbirth herself? However, Formal analyzing demands that only the text be looked at. It is in this regard that I shall leave the story here, and for what it is.
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