Santanyana, G. "The Elements and Function of Poetry | Academy of American Poets." N.p., 13 Mar. 2001. Web. <https://www.poets.org/poetsorg/text/elements-and-function-poetry>
Santanyana explains the importance of form in poetry and the ‘building blocks’ of this element. Particularly, he notes that the whole is made by a collection of the pieces, the stanzas and lines in the poem, and that these building blocks should be alive for the poem to be alive. Poetry does not use numerical numbering, at least most of the times, but it carries a numerical measurement consciousness all through by the use of a uniform number of lines in each stanza and a careful arrangement of words.
According to Santanyana, a poet collects his experiences and imaginations, packages them into a timeless form of art and passes it over to readers. This makes poetry more philosophical than prose, because the poet gets the chance to discuss deep issues while retaining innocence in the eyes of the readers. Thematic issues have the touch of coloring by the poet, as he uses illusion by proxy to present his experiences and imaginations.
Zapruder, M. "Metaphor in Literature | Academy of American Poets." N.p., 20 Feb. 2004. Web. <https://www.poets.org/poetsorg/text/metaphor-literature>.
Zapruda raises the issue of metaphor and its use in normal conversations. He starts by quoting Robert Frost, that ‘unless you are home with a metaphor, you are never safe’. Using symbols to communicate our messages and ideas is a very old practice, utilized by philosophers since the ancient times. Being an integral part of poetry and creation of imagery in literature, metaphors need to be created very carefully to ensure consistency of the message it passes for a reader who is familiar with the surroundings as well as one who is not.
He challenges writers and poets to make sure that they balance the events of discovery with invention. While a metaphor is good for the going, the writer should be concerned with its etymology to know whether it is the first time it is being used. It should not surprise that a metaphor has already been used since, in its basic form, a metaphor is ‘a universal language’ that cuts across words and cultures.
Hirsch, E. "Repetition: A Poet's Glossary | Academy of American Poets." N.p., 25 Nov. 2014. Web. <https://www.poets.org/poetsorg/text/repetition-poets-glossary>.
In the article, Repetition: A Poet’s Glossary, Hirsch gives a review of repetition elements of poetry like assonance and consonance, and how they create expectations for the reader as well as pose a challenge as a potential source of frustration. Normally, balanced and careful use of repetition can help the reader of poetry understand the deep issues being discussed by the writer, but an obsession with assonance and consonance (for example), can temper with the quality of the poem.
He notes that, despite the frustrations that can be caused by repetition, especially alliteration, it is a basic element of poetry. Repetition helps kids to earn by singing lullabies that are practically a repetition of the same simple and familiar terms as well as songs that teach them such activities like washing hands or brushing teeth. In that respect, repetition gives poetry the omnipresence aspect that makes it to be enjoyed by a two year old kid as well as a professor of literature.
Gregg, L. "The Art of Finding | Academy of American Poets." N.p., 25 Oct. 2006. Web. <https://www.poets.org/poetsorg/text/art-finding>.
In this article, Linda launches an onslaught on packaging of poetry compared to the heart and soul of the poem. While appreciating the rich use of language like similes and metaphors, she compares it with love, and asks if pleasure is enough reason for love, and relates it to the musicality of poetry, asking if it is enough reason for loving or doing poetry. To her, the major aspect of poetry is the search for that light coming out of the poet’s mind.
The backdrop of Linda’s arguments is the pursuit of the deeper issues made fresh and new by poetry as opposed to enjoying the surface aroma. Particularly, she says that, in reading poetry, she starts from the inside moving towards the surface by trying to understand the poet’s thinking process and conviction, before looking at the vessels the poet uses to deliver his message. To her, rhythm, style and alliteration come after theme and issues raised by the poet.
O'Leary, P. "The Energies of Words - Poetry Foundation." N.p., 18 June 2008. Web. <http://www.poetryfoundation.org/features/articles/detail/69068>.
In the essay ‘The Energies of Words’, O’Leary runs a historical note on the rise of objectivism and the impact it had in poetry in 1930’s. While objectivism is largely associated with Ayn Rand, especially with the publication of her explosive novel, Atlas Shrugged, it emerges that there was a crop of poets that was agitating for the use of energy in words. Louis Zukofsky, while recommending a young writer to Henry Monroe for the Poetry magazine, noted that it was very difficult to find the energy of words in those days, and he had practically been combing everywhere for poetry talent.
O’Leary highlights the importance of using poetry elements to create strong feelings and emotions in readers. Energy in words elicits reaction from readers on the importance of the agenda raised by a poem and why it should be discussed with keenness. The rise of objectivist poets brought forward a modern approach of poetry, which, ironically, was not objectivist. It is a story of something emerging as an antidote of a desired result.
Hazelton, R. "Why Write in Form? - Poetry Foundation." N.p., 10 May 2015. Web. <http://www.poetryfoundation.org/resources/learning/articles/detail/89288>.
Rebecca Hazelton, a winner of the Ohio University Press Journal award on Poetry, tries to construct a discussion on the importance to master form in doing poetry. In a time that form is diminishing, and when many poets prefer to be modern and dynamic in style, she argues that mastery of the traditional forms of poetry can help the modern poet deal with some basic creation challenges. She is concerned that, by avoiding form, modern poets lag behind their predecessors by failing to match the standards set in traditional poets.
While some camps of poetry might find this retrogressive, it is a strong argument of the need to reconcile past achievements with current challenges. It makes sense for new artists to understand the traditional forms before they cut their way into new ways of doing poetry. Rebecca makes a strong case point for the continuation of ‘the Shakespeare’ legacy in modern creation.
Bolina, J. "Color Coded - Poetry Foundation." N.p., 11 May 2016. Web. <http://www.poetryfoundation.org/features/articles/detail/89399>.
Bolina discusses ‘the interplay between impression and knowledge’ in the context of America’s presidential candidate, Donald Trump. One of key things in poetry is the understanding of the complexities beneath the surface meaning of the poem, before making judgments. To a poet, the grand assumption that something is ‘what it looks like’ can lead to great mistakes and overlooking of underlying specifics.
Told in the poetic sense, the misunderstanding of symbolism, or the break between deeper meaning and surface meaning can be a dangerous source of misconceptions. The way Trump sums people as Mexicans, or African-Americans, it is endangering to a poet because it shows how people make judgments without taking a keen understanding. As she says, messages can be hidden in color and making assumptions from appearance can be misleading.
Works Cited
Bolina, J. "Color Coded - Poetry Foundation." N.p., 11 May 2016. Web. <http://www.poetryfoundation.org/features/articles/detail/89399>.
Gregg, L. "The Art of Finding | Academy of American Poets." N.p., 25 Oct. 2006. Web. <https://www.poets.org/poetsorg/text/art-finding>.
Hazelton, R. "Why Write in Form? - Poetry Foundation." N.p., 10 May 2015. Web. <http://www.poetryfoundation.org/resources/learning/articles/detail/89288>.
Hirsch, E. "Repetition: A Poet's Glossary | Academy of American Poets." N.p., 25 Nov. 2014. Web. <https://www.poets.org/poetsorg/text/repetition-poets-glossary>.
O'Leary, P. "The Energies of Words - Poetry Foundation." N.p., 18 June 2008. Web. <http://www.poetryfoundation.org/features/articles/detail/69068>.
Santanyana, G. "The Elements and Function of Poetry | Academy of American Poets." N.p., 13 Mar. 2001. Web. <https://www.poets.org/poetsorg/text/elements-and-function-poetry>.
Zapruder, M. "Metaphor in Literature | Academy of American Poets." N.p., 20 Feb. 2004. Web. <https://www.poets.org/poetsorg/text/metaphor-literature>.
