In it’s most simple form personification is a poetic device where animals, plants or even inanimate objects, are given human qualities. I said simple because, in it’s basic form, if we imagine a rabbit hunting with a 4-10 shotgun that is personification, and that is a fairly simple idea.
In thumping thuds of far off drowsy drums
I hear the restless distant call of questions,
beckoning me closer to feel their boom
and beat within my body louder the taunt
I will not let my death bore my friends.
Our lives can do enough of that,
I met a hermit where a stream diverged,
passing the hours and the minutes of day
and honing his whit he stopped to stretch, and said—
On flaming ships in darkness,
the pitch-black of inflating blindness grows boundless on every-side,
of words, that were his, or his,
is often entombed
in the backlash
perfect pearl blue.
When among the trees will autumn come?
What multitude of words will I have lost
among the soft-dying of sweet summer poppies
Ever since the wolf was at the front door,
we’ve build our lives with bricks,
The heart is a hunter searching
before the dead of winter has melted;
The long and short of sounds within poetry, is that they can be used to slow or speed up the time within poetry. Long vowel sounds slow down a line of poetry, which can be used to make it sound more somber.
Born backwards, blue, and dead
I beat the dreaded embalmer
and returned to this life again,
Mother Teresa sent her message out
in the bent and broken bodies
writhing as fuel to fill her soul
Alliteration, assonance, and consonance The Raven – Edgar Allen Poe “Once upon a midnight dreary, while I pondered, weak and weary,Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping,As of some one gently rapping, rapping at my chamber door.“’Tis some visitor,” I muttered, “tappingContinue reading “Alliteration, Assonance, and Consonance”
Sounds are the basis of poetry, not the pursuit of some glorious combination of them, but sounds as just a reality. The fact that it is an inexplicable reality should make us want to learn about sounds, because not wanting to is like being a blindfolded painter. A blind painter would be more respected, than someone who has no desire to lift an ear to poetry fully conscious of its fleeting sounds.
The first thing about sound within a line of poetry, that either is or is not being carried over to the next line of poetry via end-stopping (punctuation or some other method) or enjambment (the way the line is broken and carried over to the next line), is that its most basic building block is that of the syllable.
Before beginning the second post on great poetry, I want to take the time to talk a little about myself. About ten years ago, slightly more, I made a conscious derision to stop writing, thinking, or doing anything to do with poetry. This was not because I did not want to write it,
I want to give some background to the power a poetry, in this case a sonnet, can contain with in it. First, we will have to break down what a sonnet is. A sonnet comes in one of four primary versions. Each of these contain a different rhyming structure, which I will later post a blog about, but all sonnets traditional will have 14 lines of what is called iambic pentameter.