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However, the references to light and darkness in the poem make it virtually certain that Milton's blindness was at least a secondary theme. The sonnet is in the Petrarchan form, with the rhyme scheme a b b a a b b a c d e c d e but adheres to the Miltonic conception of the form, with a greater usage of enjambment .
Poetic Diction is a style of writing in poetry which encompasses vocabulary, phrasing, and grammatical usage. Along with syntax, poetic diction functions in the setting the tone, mood, and atmosphere of a poem to convey the poet's intention.
Leonardo Bruni's translation of Aristotle's Poetics. Poetics is the study or theory of poetry, specifically the study or theory of device, structure, form, type, and effect with regards to poetry, [1] though usage of the term can also refer to literature broadly.
Normans (top) and Anglo-Saxons (bottom), as illustrated in Geschichte des Kostüms (1905) by Adolf Rosenberg and Eduard Heyck. The Norman yoke is a term denoting the oppressive aspects of feudalism in England, attributed to the impositions of William the Conqueror, the first Norman king of England, his retainers and their descendants.
A withers yoke is a yoke that fits just in front of the withers, or the shoulder blades, of the oxen. The yoke is held in position by straps, either alone or with a pair of wooden staves on either side of the ox's withers; the pull is however from the yoke itself, not from the staves.
Generally, the essay introduces three of Poe's theories regarding literature. The author recounts this idealized process by which he says he wrote his most famous poem, "The Raven", to illustrate the theory, which is in deliberate contrast to the "spontaneous creation" explanation put forth, for example, by Coleridge as an explanation for his poem Kubla Khan.
The symbolism used in a poem may not always be as overt as metaphor. Often the poet communicates emotionally by selecting words with particular connotations. For example, the word "sheen" in The Destruction of Sennacherib has stronger connotations of polishing, of human industry, than does the similar "shine".
The context of a genre determines how a symbol or image is to be interpreted. Frye outlines five different spheres in his schema: human, animal, vegetation, mineral, and water. The comedic human world is representative of wish-fulfillment and being community centred. In contrast, the tragic human world is of isolation, tyranny, and the fallen hero.