The representative poem essay

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The representative poem essay

Definitions[ edit ] Length and meaning[ edit ] Lynn Keller describes the long poem as being a poem that is simply "book length," but perhaps the simplest way to define "long poem" is this: Susan Stanford Friedman describes the long poem as a genre in which all poems that are not considered to be short can be a considered a part.

These overly inclusive definitions, though problematic, serve the breadth of the long poem, and have fueled its adaptation as a voice for cultural identity among marginalized persons in Modern and Contemporary poetry. Only a broad definition can apply to the genre as a whole.

In general, a poem is a "long poem" when its length enhances and expands upon the thematic, creative, and formal weight of the poem. Though the term "long poem" may be elusive to define, the term is now finally getting the attention it deserves.

The genre has gained importance both as a literary formand as a means of collective expression. Lynn Keller solidifies the genre's importance in her essay, "Pushing the Limits," by stating that the long poem will always be recognized as a notable genre of importance in early twentieth-century American literature.

Ezra Pound coined the phrase, referring to his own long poem The Cantos. The long poem's length and scope can contain concerns of a magnitude that a shorter poem cannot address.

The poet may see himself or herself as the "bearer of the light," to use Langston Hughes' term, who leads the journey through a culture's story, or as the one who makes known the light already within the tribe.

The poet may also serve as a poet-prophet with special insight for their own tribe.

The representative poem essay

In Modern and Contemporary long poems the "tale of the tribe" has frequently been retold by culturally, economically, and socially marginalized persons. Thus, pseudo-epic narratives, such as Derek Walcott's "Omeros," have emerged to occupy voids where post colonial persons, racially oppressed persons, women, and other people who have been ignored by classic epics, and denied a voice in the prestigious genre.

Revisionary mythopoesis[ edit ] Various poets have undertaken a "revisionary mythopoesis" in the long poem genre. Since the genre has roots in forms that traditionally exclude poets who have minimal cultural authority, the long poem can be a "fundamental re-vision," and function as a discourse for those poets Friedman.

These "re-visions" may include neglected characters, deflation of traditionally celebrated characters, and a general reworking of standards set by the literary tradition.

The Hedgehog and the Fox - Wikipedia

This revision is noted especially by feminist critical work that analyzes how women are given a new voice and story through the transformation of a previously "masculine" form.

Cultural commentary[ edit ] Lynn Keller notes that the long poem enabled modernists to include sociological, anthropological, and historical material.

Many long poems deal with history not in the revisionary sense but as a simple re-telling in order to prove a point. Then there are those who go a step further and recite a place's or people's history in order to teach.

Like revisionary mythopoesis, they may attempt to make a point or demonstrate a new perspective by exaggerating or editing certain parts of a history. Fear of failure is also a common concern, that perhaps the poem will not have as great an impact as intended. Since many long poems take the author's lifetime to complete, this concern is especially troubling to anyone who attempts the long poem.

Ezra Pound is an example of this dilemma, with his poem The Cantos.

On "Two Tramps in Mudtime"

The American long poem is under pressure from its European predecessors, revealing a special variety of this anxiety.

Walt Whitman tried to achieve this idea of characterizing the American identity in Song of Myself. Thus, when the author feels that their work fails to reach such a caliber or catalyze a change within the intended audience, they might consider the poem a failure as a whole.

Poets attempting to write a long poem often struggle to find the right form or combination of forms to use. Since the long poem itself cannot be strictly defined by one certain form, a challenge lies in choosing the most effective form.

Its roots in epic make the genre appear to be non-inclusive of female writers. This is due to the epic's long history of being primarily a realm of writing for men. They complain that the emotional intensity involved within a lyric is impossible to maintain in the length of the long poem, thus rendering the long poem impossible or inherently a failure.

Rozenthal and Sally M. Gall's "The Modern Poetic Sequence" inspired by Poe's sentiments, "What we term a long poem is, in fact, merely a succession of brief ones It is needless to demonstrate that a poem is such, only inasmuch as it intensely excites, by elevating, the soul; and all intense excitements are, through a psychal-necessity, brief.

For this reason, at least one half of the Paradise Lost is essentially prose—a succession of poetical excitements interspersed, inevitably,with corresponding depressions—the whole being deprived, through the extremities of its length, of the vastly important artistic element, totality, or unity, of effect.

In short, a poem to be truly a poem should not exceed a half hour's reading. In any case, no unified long poem is possible. Many long poems do make use of multiple voices, while still maintaining all the element of a poem, and therefore cause even more confusion when trying to define their genre.

Therefore, this causes the other equally important subgenres to be subject to criticism for not adhering to the more "authentic" form of long poem. These can lead to confusion about what a long poem is exactly. Below you will find a list describing the most common and agreed upon subgenre categories.

Please help improve this article by adding citations to reliable sources.The Hedgehog and the Fox is an essay by philosopher Isaiah Berlin—one of his most popular essays with the general public—which was published as a book in However, Berlin said, "I never meant it very seriously.

I meant it as a kind of enjoyable intellectual game, but it was taken seriously. To find in this extraordinary book, Representative Men, an Emerson expounding the primacy of personality and heroic genius in six major figures of Western European civilization - Plato, Swedenborg, Montaigne, Shakespeare, Napoleon, Goethe - seems nothing short of anomalous.

The Thomas Gray Archive is a collaborative digital archive and research project devoted to the life and work of eighteenth-century poet, letter-writer, and scholar Thomas Gray (), author of the acclaimed 'Elegy Written in a Country Churchyard' ().

Walter Jost. Like many of Frost's poems, "Two, Tramps in Mud Time" unites divergent lines of thought by placing in tension opposed or contradictory values: the self and the other, the literal and the symbolic, the general and the particular, the straight-forward and the ironic, and so on.

Walter Jost. Like many of Frost's poems, "Two, Tramps in Mud Time" unites divergent lines of thought by placing in tension opposed or contradictory values: the self and the other, the literal and the symbolic, the general and the particular, the straight-forward and the ironic, and so on.

The Hedgehog and the Fox is an essay by philosopher Isaiah Berlin—one of his most popular essays with the general public—which was published as a book in However, Berlin said, "I never meant it very seriously. I meant it as a kind of enjoyable intellectual game, but it was taken seriously.

Ezra Pound on Vorticism