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In Old Saxon poetry, Old English poetry, and Middle English poetry, the term fit(t) (Old English: fitt, Middle English fit(t)(e), fyt(t)(e), Old Saxon *fittia) was used to denote a section (or canto) of a long narrative poem, and the term (spelled both as fitt and fit) is still used in modern scholarship to refer to these [1] (though in Old and Middle English the term seems actually to have ...
Argentine writer Julio Cortázar used cut ups in his 1963 novel Hopscotch. In 1969, poets Howard W. Bergerson and J. A. Lindon developed a cut-up technique known as vocabularyclept poetry, in which a poem is formed by taking all the words of an existing poem and rearranging them, often preserving the metre and stanza lengths. [6] [7] [8]
Clean cardboard (i.e., cardboard that has not been subject to chemical coatings) "is usually worth recovering, although often the difference between the value it realizes and the cost of recovery is marginal". [11] Cardboard can be recycled for industrial or domestic use. For example, cardboard may be composted or shredded for animal bedding. [12]
At twilight nature becomes a wonderfully suggestive effect, and is not without loveliness, though perhaps its chief use is to illustrate quotations from the poets. Come! We have talked long enough." Michel Faber adapted the first line of Tennyson's poem for his novel set in Victorian London, The Crimson Petal and the White, published in 2002.
Concrete poetry relates more to the visual than to the verbal arts although there is a considerable overlap in the kind of product to which it refers. Historically, however, concrete poetry has developed from a long tradition of shaped or patterned poems in which the words are arranged in such a way as to depict their subject.
Poetic contractions are contractions of words found in poetry but not commonly used in everyday modern English. Also known as elision or syncope , these contractions are usually used to lower the number of syllables in a particular word in order to adhere to the meter of a composition. [ 1 ]
The words poem and poetry derive from the Greek poiēma (to make) and poieo (to create). One might think of a poem as, in the words of William Carlos Williams, [2] a "machine made of words." [3] A reader analyzing a poem is akin to a mechanic taking apart a machine in order to figure out how it works. There are many different reasons to analyze ...
In the Republic, Book X, Plato discusses forms by using real things, such as a bed, for example, and calls each way a bed has been made a "bedness". He commences with the original form of a bed, one of a variety of ways a bed may have been constructed by a craftsman and compares that form with an ideal form of a bed, of a perfect archetype or image in the form of which beds ought to be made ...