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Other poems in the series received praise, with George Watson, in 1966, claiming that To William Wordsworth "is the last pure example that Coleridge's poetry affords of the conversation poem [...] the poem is extravagant in its very being." [80] Also, Holmes describes The Eolian Harp as a "beautiful Conversation Poem". [81]
Dramatic monologue is a type of poetry written in the form of a speech of an individual character. M.H. Abrams notes the following three features of the dramatic monologue as it applies to poetry: The single person, who is patently not the poet, utters the speech that makes up the whole of the poem, in a specific situation at a critical moment
A conversation poem is a genre in English poetry growing out of the close co-operation between Samuel Taylor Coleridge and William Wordsworth in the late 1790s. The name is applied particularly to the group of poems by Coleridge known as the Conversation poems and covers others like them by Wordsworth, these poems being defined as addressing someone very close to the poet in "an informal but ...
Dialogue is usually identified by the use of quotation marks and a dialogue tag, such as 'she said'. [5] "This breakfast is making me sick," George said. 'George said' is the dialogue tag, [6] which is also known as an identifier, an attributive, [7] a speaker attribution, [8] a speech attribution, [9] a dialogue tag, and a tag line. [10]
Also apophthegm. A terse, pithy saying, akin to a proverb, maxim, or aphorism. aposiopesis A rhetorical device in which speech is broken off abruptly and the sentence is left unfinished. apostrophe A figure of speech in which a speaker breaks off from addressing the audience (e.g., in a play) and directs speech to a third party such as an opposing litigant or some other individual, sometimes ...
A Dialogue Between the Resolvèd Soul and Created Pleasure; On a Drop of Dew; The Coronet; Eyes and Tears; Bermudas; Clorinda and Damon; Two Songs at the Marriage of the Lord Fauconberg and the Lady Mary Cromwell; A Dialogue Between the Soul and Body; The Nymph Complaining for the Death of Her Fawn; Young Love; To His Coy Mistress; The ...
The German philosopher and classicist Karl-Martin Dietz emphasises the original meaning of dialogue (from Greek dia-logos, i.e. 'two words'), which goes back to Heraclitus: "The logos [...] answers to the question of the world as a whole and how everything in it is connected. Logos is the one principle at work, that gives order to the manifold ...
It is not a connected narrative; though the "I" of the poems is in two cases named as Terence (VIII, LXII), the "Shropshire Lad" of the title, he is not to be identified with Housman himself. Not all the poems are in the same voice and there are various kinds of dialogue between the speaker and others, including conversations beyond the grave.