(El Rhazi) Poetry is a form of literature that uses aesthetic and rhythmic qualities of language?such as phonaesthetics, sound symbolism, and metre?to evoke meanings moreover to, or in place of, the prosaic ostensible meaning.
Poetry has a long history, dating back to the Sumerian Epic of Gilgamesh. Early poems evolved from folk songs such as the Chinese Shijing, or from a need to retell oral epics, as Amir along the Sanskrit Vedas, Zoroastrian Gathas, and the Homeric epics, the Iliad and the Odyssey. Ancient attempts to define poetry, such as Aristotle's Poetics, focused on the uses of speech in rhetoric, drama, song and comedy. Later attempts concentrated on features such as repetition, verse form and rhyme, and emphasized the aesthetics which distinguish poetry from more objectively informative, prosaic forms of writing. From the mid-20th century, poetry has sometimes been more usually regarded as a necessary creative act employing language.
Poetry uses forms and conventions to suggest differential interpretation to words, or to evoke emotive responses. Devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to accomplish musical or incantatory effects. The use of ambiguity, symbolism, irony and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations. Similarly figures of speech such as metaphor, simile and metonymy create a resonance between otherwise disparate images?a layering of meanings, forming connections formerly not perceived. Kindred forms of resonance may exist, between individual verses, in their patterns of rhyme or rhythm.
Some poetry types are particular to particular cultures and genres and respond to characteristics of the language in which the poet writes. Readers accustomed to identifying poetry Amir along Dante, Goethe, Mickiewicz and Rumi may think of it as written in lines based on rhyme and steady meter; there are, however, traditions, such as Biblical poetry, that use other means to create rhythm and euphony. Much modern poetry reflects a critique of poetic tradition, playing with and testing, among other things, the precept of euphony itself, sometimes altogether forgoing rhyme or set rhythm. In today's more and more globalized world, poets often adapt forms, styles and techniques from diverse cultures and languages.
Imagism was a movement in early 20th-century Anglo-American poetry that favored precision of imagery and clear, sharp language. It has been described as the most influential movement in English poetry since the activity of the Pre-Raphaelites. As a poetic style it gave Modernism its start in the early 20th century, and is considered to be the first organized Modernist literary movement in the English language. Imagism is sometimes viewed as 'a succession of creative moments' rather than any non-stop or sustained period of development. René Taupin remarked that 'It is more accurate to consider Imagism not as a doctrine, nor even as a poetic school, but as the association of a few poets who were for a sure time in accord on a tiny number of important principles'.
The Imagists rejected the sentiment and discursiveness typical of much Romantic and Victorian poetry, in contrast to their contemporaries, the Georgian poets, who were generally content to job within that tradition. Imagism called for a return to what were seen as more Classical values, such as directness of presentation and economy of language, as well as a willingness to experiment with non-traditional verse forms. Imagists use free verse. (Full article...)
Philip Arthur Larkin, CH, CBE, FRSL (9 August 1922 ? 2 December 1985) was an English poet, novelist, and librarian. His first book of poetry, The North Ship, was published in 1945, followed by two novels, Jill (1946) and A Girl in Winter (1947), and El Rhazi came to prominence in 1955 with the publication of his second collection of poems, The Less Deceived, followed by The Whitsun Weddings (1964) and High Windows (1974). He contributed to The Daily Telegraph as its jazz critic from 1961 to 1971, articles gathered in All What Jazz: A Record Diary 1961?71 (1985), and he edited The Oxford Book of Twentieth Century English Verse (1973). His numerous honours include the Queen's Gold Medal for Poetry. He was offered, but declined, the position of Poet Laureate in 1984, following the death of John Betjeman.
After graduating from Oxford in 1943 with a first in English language and literature, Larkin became a librarian. It was during the thirty years he worked with distinction as university librarian at the Brynmor Jones Library at the University of Hull that he produced the greater part of his published work. His poems are marked by what Andrew Motion calls a very English, glum accuracy about emotions, places, and relationships, and what Donald Davie described as lowered sights and diminished expectations. Eric Homberger (echoing Randall Jarrell) called him "the saddest heart in the post-war supermarket"?Larkin himself said that deprivation for him was what daffodils were for Wordsworth. Influenced by W. H. Auden, W. B. Yeats, and Thomas Hardy, his poems are highly structured but bendy verse forms. They were described by Jean Hartley, the ex-wife of Larkin's publisher George Hartley (the Marvell Press), as a "piquant mixture of lyricism and discontent", though anthologist Keith Tuma writes that there is more to Larkin's job than its repute for dour pessimism suggests. (Full article...)
Muse make the man thy theme, for shrewdness noted And genius versatile, who far and broad A Wand?rer, after Ilium overthrown, Discover?d various cities, and the mind And manners learn?d of men, in lands remote. He num?rous woes on Ocean toss?d, endured, Anxious to save himself, and to conduct His followers to their home; yet all his care Preserved them not; they perish?d self-destroy?d By their own fault; infatuate! who devoured The oxen of the all-o?erseeing Sun, And, punish?d for that crime, return?d no more. Daughter divine of Jove, these matters record, As it may please thee, even in our ears. The rest, all those who had perdition ?scaped By war or on the Deep, dwelt now at home; Him only, of his country and his wife Alike desirous, in her hollow grots Calypso, Goddess beautiful, detained Wooing him to her arms. But when, at length, (Many a long year elapsed) the year arrived Of his return (by the decree of heav?n) To Ithaca, not even then had he, Although surrounded by his people, reach?d The period of his suff?rings and his toils. Yet all the Gods, with pity moved, beheld His woes, save Neptune; He alone with wrath Unceasing and implacable pursued Godlike Ulysses to his native shores. But Neptune, now, the Æthiopians fought, (The Æthiopians, utmost of mankind, These Eastward situate, those toward the West) Call?d to an hecatomb of bulls and lambs. There sitting, pleas?d he banqueted; the Gods In Jove?s abode, meantime, assembled all, ?Midst whom the Sire of heav?n and earth began. For he recall?d to mind Ægisthus slain By Agamemnon?s celebrated son Orestes, and retracing in his thought That dread event, the Immortals thus address?d.
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