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| The Love Song of J. Alfred Prufock |
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TS Eliot - 1917
1st true 20th c. poet; person trying and failing; rhyme except for lines 3 &10, rhyme becomes less important throughout; he interupts himself; frequency of rhyme but still free verse; prufrock undercuts himself and expects the world not to go well; allusions to shakespeare: he is polonius; not distinguished; trying to initiate a relationship but fails; testing out the speach for the woman; been worried about rejection; imaginitive to see miracles in the world but still things the mermaids would never sing to him; refusal to engage in the world |
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Wallace Stevens-1931
putting something unnatural in the natural world; the world reorganizes around that; meaning of the world changes; you've created human understanding and effect on nature; imposes; how physical culture can change the way we understand the world |
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| i sing of Olaf glad and big |
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ee cummings - 1931
heroic diction; invocation of the muse (olaf); olaf is drafted to the army and dies in jail but senses his life was over before that; doesn't want to be drafted;bathos of him getting a swirly--elevated language to describe terrible event;reversal language to help fit rhythm; screws up grammar for sound; then moves to direct as opposed to heroic diction; BAULDERIZATION OF f.ing from fucking; president doesn't know what's happening; preponderatingly=on the balance of things. |
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| anyone lived in a pretty how town |
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ee cummings- 1940
about "anyone's" relationship with "no one"; non-descriptive words provide description; how is used as a sound effect; the use of seasons for passage of time; anyone takes a certain amount of pleasure in the world; everyone elses relationship isn't as complete; repression of memory"down they forgot"; different part of the season cycle for kids; time"now" and space "tree by leaf" are 2 constant themes; poem is about love but cummings uses language trickly and uses associations of words not just meaning |
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| In a Station of the Metro |
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Ezra Pound - 1916
Asian tree; depth of the human crush around one; being alone in the urban crowd and looking upon nature; just people but floating with ghost faces; language creates the world!; repetition of sounds changes effect; individual petals fall off; flash of beauty in darkness |
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Marianne Moore-(1921;1967)
in 2 poems she represents both sides of 20th century poetry; 1st which is giving more credit to language and the 2nd b/c she is questioning the validity of language; first is more 19th century style; poetry=raw experiences that are unexperienced; the 2nd makes the reader do some work |
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Dylan Thomas-1946
childhood is a special time of happiness; nostalgic; no child can have the same experience; time of grace and clear perceptions; transferred epithet using the horses 32ish--transfers whinnying from horses to the stable and you're not sure who has the power in the very alive world; green=spring and growth; gold=golden years, good, green turns to gold; (wheat); repetition of color; "forever fled"-1.)thomas or 2.) the farm is not literally there;whales is going through suburbanization and ppl moving away from farms; his experiecne is his own |
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Langston Hughes- 1951
protest poetry; conditions of a people whose dreams have been limited, put off, or lost in post-World War II Harlem;questions the social consequences of so many deferred dreams, hinting at the resentment and racial strife that eventually erupted with the Civil Rights movement of the 1950s and 1960sthat, when despair is epidemic, it may "explode" and cause broad social and political damage; italics for what he actually thinks; free verse break at the end of a thought; 2nd line modifies the question line; poetry easy to understand w/o sacrificing poetic elements |
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WH Aulden
protest poetry; "public writer"-obligation to comment on society; nightmarish dream society; rhyme scheme attempts to manufacture the structure w/in society; then sometimes the rhthem is tough to fine; DOGGERAL=rhming but not accomplished, it's a humourous effect;"unknown citizen" not just soldiers sacrificing identity it's the many different elements of society; fulcrum with the last 2 lines; distopian; "we"=ppl in power; satire vs protest |
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Connie Fife- 1992
romania's orphanages; no punctuation leads to unmediated emotions and resists controlling logic; only uses spaces for effect; memorializing of post-communist orphanages; anti-Nazism; anti-canadian racism; "savagery"refusing to be blamed; she wants someone to take responsiblity for the primitiveness in western culture; comes through as a flow of words |
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AJM Smith - 1936
relate it to atwood's "death by landscape"; the speaker is lonely and the duck?; tradition way to look at the country; Lonely many not be a bad thing; "beauty of dissonance"=not a place to be afraid but rather seek out; look @ canada as a wild place but b/c someone is looking at hte scene it is no longer as wild but more civilized; we are what we are b/c we come from a place of fear; we as a nation/culture are the landscare we are broken by the place |
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Earle Birney - 1973
bear being trained by men who don't want to do it; spacing=visual punctuation; "myth"=wilderness brought out and witnessed; myth vs reality; "fabulous" hills/fabel-everyone deserves to have a story about them; kind of training process; elements of faith and belief; galvanizing/hypocricy; compressed wayto get essence of bears life "four-footed in berries"; not that simple b/c there is this opposition for the trainers aren't villain;there is an invisible enemy; pun "Praying claws" |
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Dorothy Livesay-1953
Bronte, Dickenson, Carr; htey were solitary but could become true artists; not limited to gender; questins her own identiy; artist vs social expectations; |
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Sylvia Plath - 1965
confessional poetry; committed suicide; can't be ruled anymore;feet=abused; needs to understand her fauther properly before she can speak to him; she characterizes herself as the jewish ppl and her father as germany; individulal terrors; rhymes associating w/ nursery rhymes of father and daughter; sarcastic "woman adores a fascist.." assertion or translating his actions into a moral code; must construct an image of her father for her to reject him; "and i said i do i do" equating Hughes to her father maybe reference to beginning; disconnection and shut off voices in her head; poem takes time building up; so sweet sounding; he dies when she's ten; the ending a lot of anger remains in the lines |
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Marge Piercy - 1971
norhing neutral in gender; girl from birth; traidtional "toys" but grown up training; an entire life being sold to the girl; one hand it's magical but also transforming into that grownup; very matter of fact disassociation; name calling repeated; no! she thinks she knows what other ppl see; collective media; worn out mentality; "fanbelt"= masculine image; when dreams come true "consummation" or the sexual act after marriage |
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Ted Hughes - 1959
trying to focus on anathropocentrcism (only humans); break down the binary b/w human and animal; wants to give you the spirit of the animal; 1st person POV of the hawk; dramatic monologue' sense of pereception/totality/capability to kill; optic mastery from top of tree; transcendent; he's the pinacle of creation; tension b/w sophistry and direct actoin; paradox of internal savagery; hawk symbolizes indepenedence/nationalism/power; military industrial complex!; natural rights |
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| Black Rook in Rainy Weather |
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Sylvia Plath - 1960
human animal binary; plath adds elements of divinity; hunched not same gradniose mastery as hughes; the domestic space is as revelatory as nature; miracles that flicker in and out of perceptions |
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Theodore Roethke - 1948
abusive or nostalgic?; father was a gardener and he died when theo was 12; danger and risk but not necessarily bad |
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| The Day the Audience Walked Out on Me, and Why (May 8th, 1970, Goucher College, Maryland) |
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Denise Levertov - 1971
reference to each poem and relation; foregrounding the story; beatnik/counter culture "rap"; protests became smaller after kent state; a lot of young men @ war and the feminist movement in action; brackets give words more impact and give poem some peace |
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| A Refusal to Mourn the Death, by Fire, of a Child in London |
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Dylan Thomas- 1946
wants to give a sense of perception in his poem; a.) poem's heavy effect is not specific or b.) it's a direct expression; progress story toward light; darkness=theme; not going to mourn; not a story of innocens and youth, it's specific to one child; attempted elegy at end; his tone makes it personal even if he wanted to sound general; refusal to mourn is a contradiction and paradox; once you die you go to eternal life or maybe once you've experiecne one death ther is maybe no other that imacts you so much "After the first death, there is no other". |
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Alden Nowlen - 1961
urban population larger than 1950s; paretns want their kids to have better lives; almost a formal poem; consistant line length; alternate rhyme scheme; quatrains; sense of rhythem and stresses but not consistant; culture being imposed on Pryor; not happy at the bank; irony of the freedom trap; happy lives don't work out in the city and wants to go back ot the country; warren proyr is silen, sreious and you; "bear"=nota full person; anonymity to city/he's a function |
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| Death of a Young Son by Drowning |
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Margaret Atwood
inspired by the journals of Susanna Moodie an 1830ssettler who wrote about "roughing it"; PERSONA; river like a flood of words; sesne of Canada; comma splice going against convention; plunging with white space; the boy is raw material; anthropormphized (human characteristics); pressure of world contiue on and new life with "spring"; precesion but no precision in why they're glistening; ending is APHORISM: to show posession, conquering and mastery, by burying her son in the country she is now tied to it;***notice visual effects and shifts in sentence structure |
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Elizabeth Bishop-1976
5 tercets and a quatrain; villanelle form-repetitive lines; everything has inherenct potentiality for loss; unisersalizing loss; move from general to specfic; tension b/c master and disaster; specific and tangible in 3rd stanza; loss of her poetic voice and givnin up her mastery; univesral losses |
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| A Supermarket in California |
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Allen Ginsberg - 1956
sets himself in the past in order to judge the present time; aware of his own tradition and poetic lineage; similar techniques as Whitman; early critic of consumer culture; gay writers included; not just foolish; something about the california stores b/c b4 food could be transported a long way; private thoughts in a public space!! |
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| I Have Not Lingered In European Monasteries |
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Leonard Cohen - 1965
deeply affected by his father's death; renunciation of worldly life/peity/celebacy; literary traditions; linger=hesitancy to move on; embodiment and eroticism; mind/body dualism and will |
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| Travelling Through the Dark |
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William Stafford - 1962
nature vs culture; life vs death; direct conversation; deer; concrete reflection on what killed the deer when descibing the car; goes to the physical to explain the metaphysical; the "group" = deer, fawn and man; "her" means that it's no longer "they", it becomes a cultural decision for the fawn doesn't have free status |
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| Many Have Written Poems About Blackberries |
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