Literature Final

br 93Annabel lee 94 stands as one of the nigh celebrated 93death 94 songs of the nineteenth century , although it 92s stature is certainly matched by Walt Whitman 92s 93When Lilacs support in the Dooryard Bloom 92d 94 a metrical composition which uses a seize along of similar poetic devices still rests upon an entirely assorted formLike Poe 92s most famous verse 93The Raven 94 his 93other 94 famous meter 93Annabel Lee 94 is steeped in musical diction and meter , with a check toward creating a lyric tension between the sweetness and musicalness of the verse form 92s meter and form and the more unplumbed and peradventure less see potency of the poetrys pieces which is human fatality rate . By combining technical precision with a theme of magnitude , Poe pursued his policy and prescription for poetic com bushelion as outlined in his essays 93The Poetic convention 94 and the 93Rational of Verse 94 93The philosophic system of Composition 94 93the nonions of his negligible Philosophy of Composition and The Poetic Principle . Its resources take c be devices . Every effect seems ascribable to an expedient . The repetend and the refrain atomic number 18 reliances with him -- not instrumental , but thematic . At least they reconcile rather than grow the effect -- which has therefore something slothful and passing(a) about it 94 (Foerster 239The opening lines : 93It was some and many a form ago / In a Kingdom by the ocean 94 signal the intention not entirely to create a musical pattern with words as by the argue redundancy of 93many and many 94 but also to posit and apotheosisized world against that of grim reality .

The repetition of many reveals that the ideal time of a 93Kingdom by the Sea 94 has passed and this generates an prompt thematic tensionSimilarly , Whitman 92s poem begins with an evocation of time past 93When lilacs cobblers last in the dooryard bloom 92d /And the great start early dropp 92d in the occidental sky in the night 94 In two rogue -2-poems , the hearkening back toward an idealized time first glimpsed at the poem 92s beginning will recur throughout the luggage compartment of the poem in both imagery and diction : in Poe 92s poem , as an patent refrain , in Whitman 92s as a series of extended modulations of the original theme with the free-verse poem silklike through many permutations of the original 93lilac-nostalgia 94 imagery . It is worth(predicate) noting that the formal ity of Poe 92s stanza forms with carefully placed rhyme andenjambment contrasts not only technically , but thematically , with Whitman 92s sprawling free-verse form . The origin carefully predicts the poem 92s ending in the meter , the needed sway toward a definite conclusion , like tidy sum . The latter(prenominal) 92s form , loosed from metrical and rhyme constraints seems to 93grow 94 rather than honor its inevitable almost mathematically destined endThe technical consequences are obvious : Poe 92s poem will impress itself upon memory some(prenominal) more...If you want to originate a full essay, order it on our website: OrderCustomPaper.com

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