Poetry 3 :
Sound and Sense
True ease in writing comes from art, not chance,
As those move easiest who have learned to dance.
'Tis not enough no harshness gives offense,
The sound must seem an echo to the sense:
Soft is the strain when Zephyr gently blows,
And the smooth stream in smoother numbers flows;
But when loud surges lash the sounding shore,
The hoarse, rough verse should like the torrent roar;
When Ajax strives some rock's vast weight to throw,
The line too labors, and the words move slow;
Not so, when swift Camilla scours the plain,
Flies o'er the unbending corn, and skims along the main.
Hear how Timotheus' varied lays surprise,
And bid alternate passions fall and rise!
Metaphor
A metaphor is a figure of speech that identifies something as being the same as some unrelated thing for rhetorical effect, thus highlighting the similarities between the two. While a simile compares two items, a metaphor may compare or directly equate them, and so does not necessarily apply any distancing words of comparison, such as "like" or "as". A metaphor is a type of analogy and is closely related to other rhetorical figures of speech which achieve their effects via association, comparison or resemblance - including allegory, hyperbole, and simile.
That time of year thou mayst in me behold (Sonnet 73) By William Shakespeare
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang.
In me thou see’st the twilight of such day
As after sunset fadeth in the west;
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.
In me thou see’st the glowing of such fire,
That on the ashes of his youth doth lie,
As the deathbed whereon it must expire,
Consumed with that which it was nourished by.
This thou perceiv’st, which makes thy love more strong,
To love that well which thou must leave ere long.
Personification (Anthropomorphism)
Anthropomorphism, or personification, is attribution of human form or other characteristics to anything other than a human being. Examples include depicting deities with human form, creating fictional non-human animal characters with human physical traits, and ascribing human emotions or motives to forces of nature, such as hurricanes or tropical cyclones.
Because I could not stop for Death By Emily Dickinson
Because I could not stop for Death
He kindly stopped for me
The Carriage held but just Ourselves
And Immortality.
We slowly drove
He knew no haste
And I had put away
My labor and my leisure too,
For His Civility
We passed the School, where Children strove
At Recess
in the Ring
We passed the Fields of Gazing Grain
We passed the Setting Sun
Or rather
He passed us
The Dews drew quivering and chill
For only Gossamer, my Gown
My Tippet
only Tulle
We paused before a House that seemed
A Swelling of the Ground
The Roof was scarcely visible
The Cornice
in the Ground
Since then
‘tis Centuries
and yet
Feels shorter than the Day
I first surmised the Horses’ Heads
Were toward Eternity
Simile
A simile is a figure of speech that directly compares two things through the explicit use of connecting words (such as like, as, so, than, or various verbs such as resemble). Although similes and metaphors are sometimes considered as interchangeable, similes acknowledge the imperfections and limitations of the comparative relationship to a greater extent than metaphors. Metaphors are subtler and therefore rhetorically stronger in that metaphors equate two things rather than simply compare them. Similes also hedge/protect the author against outrageous, incomplete, or unfair comparison. Generally, metaphor is the stronger and more encompassing of the two forms of rhetorical analogies. Similies are mainly used in forms of poetry that are comparing an inanimate and a living object. There are also terms that have a similies and personification in them, which is often used for humorous purposes and for comparing (what a similie is).
Analogy
Analogy is a cognitive process of transferring information or meaning from a particular subject (the analogue or source) to another particular subject (the target), or a linguistic expression corresponding to such a process. In a narrower sense, analogy is an inference or an argument from one particular to another particular, as opposed to deduction, induction, and abduction, where at least one of the premises or the conclusion is general. The word analogy can also refer to the relation between the source and the target themselves, which is often, though not necessarily, a similarity, as in the biological notion of analogy.
A Red, Red Rose BY ROBERT BURNS
O my Luve is like a red, red rose
That’s newly sprung in June;
O my Luve is like the melody
That’s sweetly played in tune.
So fair art thou, my bonnie lass,
So deep in luve am I;
And I will luve thee still, my dear,
Till a’ the seas gang dry.
Till a’ the seas gang dry, my dear,
And the rocks melt wi’ the sun;
I will love thee still, my dear,
While the sands o’ life shall run.
And fare thee weel, my only luve!
And fare thee weel awhile!
And I will come again, my luve,
Though it were ten thousand mile.
The Raven BY EDGAR ALLAN POE
"The Raven" is a narrative poem by American writer Edgar Allan Poe. First published in January 1845, the poem is often noted for its musicality, stylized language, and supernatural atmosphere. It tells of a talking raven's mysterious visit to a distraught lover, tracing the man's slow fall into madness. The lover, often identified as being a student, is lamenting the loss of his love, Lenore. Sitting on a bust of Pallas, the raven seems to further instigate his distress with its constant repetition of the word "Nevermore". The poem makes use of a number of folk and classical references.
A narrow fellow in the grass BY EMILY DICKINSON
A narrow fellow in the grass
Occasionally rides;
You may have met him—did you not
His notice sudden is,
The grass divides as with a comb,
A spotted shaft is seen,
And then it closes at your feet,
And opens further on.
He likes a boggy acre,
A floor too cool for corn,
But when a boy and barefoot,
I more than once at noon
Have passed, I thought, a whiplash,
Unbraiding in the sun,
When stooping to secure it,
It wrinkled and was gone.
Several of nature’s people
I know, and they know me;
I feel for them a transport
Of cordiality.
But never met this fellow,
Attended or alone,
Without a tighter breathing,
And zero at the bone.
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