Imagery is one characteristic for which Ezra Pound's poetry is known. Through poems about trees, human beings, dogs, separation, the ancient gods, and society, Pound utilizes imagery to successfully convey his messages. Pound's poems are precise and clear, speaking volume with very little words. Pound also deviated from most traditional forms of rhyme and meter to further enhance the meaning of the poem. This paper will examine imagery, tone, mood, and rhyme, and meter as they are utilized in "A Girl," "The Tree," "The Garden," "The Garret," "Taking Leave of a Friend," "Meditatio," "In the Old Age of the Soul," "Ezra on the Strike," and "The Return." With these poems, we will gain insight into Pound's unique ability to craft meaningful poetry with few words.
In "A Girl," the poet explores the beauty and exhilaration of the through a large, towering tree that is something as simple as a child to him. This comparison allows him to set a serious tone and mood of reverence. Here the poet is using one form of life to describe, or enhance, another. The tree does not grow up and out but rather it "ascended my arms" (2) and "has grown in my breast-/Downward" (A Girl 3-4). The tree is also a part of him as "The branches grow out of me, like arms" (5). Here we see how the poet has allowed his experience of the tree to merge with his own existence. He also realizes that his experience is unique to him and is "folly to the world" (10). With this last stanza, the poet is able to appreciate his experience and relate it to something as innocent as the life of a little girl. Here we see how his use of imagery blends the earthly with the human on an exquisite level.
In "The Tree," we are struck the poet's ability to create vivid images with his poetry as well as set a mystical mood and tone. According to Hugh Witmeyer, "describes the kind of metaphoric experience'" (Witmeyer qtd. In Curley 22) that is a "very vivid and undeniable adventure'" (22) in which a man turns into a tree. As the poet ponders this experience, he knows "the truth of things unseen before" (The Tree 2). He recounts the journey of "Daphne and the laurel bough" (3). His knowledge of this "god-feasting couple"(4) opens the poet's eyes to a new kind of reality because he has seen them through the metaphorical eyes of a tree. And it is this experience that forces him to realize "many a new thing understood/That was rank folly to my head before" (11-2). Here we see the same type of epiphany that we discover in "A Girl" in that the poet becomes aware of something that he would have never know had he not taken the time to experience something outside of himself.
In "The Garden," we see how the poet uses imagery and tone in a unique way. The woman he sees is like a "skein of loose silk blown against a wall" (The Garden 1) and she is "dying piece-meal/of a sort of emotional anemia" (3-4). We also read, "And round about there is a rabble/Of the filthy, sturdy, unkillable infants of the very poor." (5-6). Here, the poet paints an image of poverty, yet immediately following these lines he states that these people "shall inherit the earth" (7). Here we see how the poet is looking beyond the surface of things to see what is underneath the dirt and grime. The poet believes the girl's "boredom is exquisite and excessive" (9). In her, he also sees that she desires someone to speak to her and "is almost afraid that I/will commit that indiscretion" (11-2). Here the poet is setting the tone of urgency and desire not only through the woman but also the poet because of his interest in her. Another poem that expresses unique imagery is "The Return," in which we are bombarded with images of the gods as the poet sees...
She is also described as "magic in her nearness" (7) and "soft as spring wind" (10), and white as the birches bark. The poet does not waste any time getting to physical aspect of his love - or the imperfect aspect of it. This is the source of poet's conflict - his wants her but he does not want to stain her. His human desire is in conflict with
Although "Midsummer" is a shot work, in keeping with more of the original modernistic style of poetry writing, it is no less poignant in the message it conveys. Conclusion In many ways, DH Lawrence is a visionary that offers the reader imagery and creativity that engulfs the reader into the world in which he creates with his words. As with Walcott, it was not necessary for Lawrence to achieve cadence in
The poet is in turmoil and he turns from his love in order to prevent tarnishing or "spoil" (Pound 2) her because she is surrounded by a "new lightness" (3). This poem reflects upon the importance of experience. Like the poets mentioned before, this poet wants us to consider every aspect of our actions. We should not only think of what we want to do but also how that
The historiography also refers to the selection and synthesis Old Testament materials. The most complete list include Genesis, Exodus, Numbers, Leviticus, Deuteronomy, Joshua, Ruth, Judges, 1-2 Kings, 1-2 Samuel, 1-2 Chronicles, Esther and Ezra-Nehemiah. Major characteristics of historiography in the Old Testament are as follows: Historiography is a general term for Old Testament historical texts; It illustrates Israeli's national development and life; The Old Testament literature is ethological because it seeks to render
Architecture It is interesting to learn that Mid-Century modern is really an architectural, interior and creation purpose procedure that normally defines mid-20th century expansions in modern blueprint, architecture, and urban expansion from approximately 1933 to 1965. The period, occupied as a style descriptor even during the mid-1950s, was reiterated in 1983 by author Cara Greenberg in the name of her manuscript, Mid-Century Modern: Furniture of the 1950s, which celebrating the style
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