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The turn in poetry has gone by many names. In "The Poem in Countermotion", the final chapter of How Does a Poem Mean?, John Ciardi speaks thus of the "fulcrum" in relation to the non-sonnet poem "O western wind" (O Western Wind/when wilt thou blow/The small rain down can rain//Christ! my love were in my arms/and I in my bed again): 'The first two lines are a cry of anguish to the western wind ...
The poem consists of four quatrains in abab iambic pentameter. [4] A series of symbols, clouds, wind harps, describe the permanence in impermanence. The themes of transformation and metamorphosis and the transitory and ephemeral nature of human life and the works of mankind were also addressed in "Ozymandias" (1818) and "The Cloud" (1820). [5]
More recently, John Stubley has made use of the term as part of the Centre for Social Poetry. [6] Stubley expands the idea to include what Owen Barfield describes as poetic “effect” [7] – which distinguishes between the poetic form of words on a piece of paper, and the poetic effect of a “felt change of consciousness”. [8]
The metamorphoses themselves are often located metatextually within the poem, through grammatical or narratorial transformations. At other times, transformations are developed into humour or absurdity, such that, slowly, "the reader realizes he is being had", [ 29 ] or the very nature of transformation is questioned or subverted.
What Work Is is a collection of poetry by Philip Levine that explores subjects characteristic of his work, including physical labor, class identity, family relationships, and personal loss. Much of the book is shaped by concerns for blue collar workers as well as national political events.
Edna St. Vincent Millay (February 22, 1892 – October 19, 1950) was an American lyrical poet and playwright. Millay was a renowned social figure and noted feminist in New York City during the Roaring Twenties and beyond.
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The change can be clearly seen in "An Anatomy of the World" (1611), a poem that Donne wrote in memory of Elizabeth Drury, daughter of his patron, Sir Robert Drury of Hawstead, Suffolk. This poem treats Elizabeth's demise with extreme gloominess, using it as a symbol for the fall of man and the destruction of the universe .