By Herbert R. Kohl
Poetry has the ability to maneuver and problem the reader. it will possibly accentuate or perhaps rejoice distress, be cynical or wry, or simply snicker outright in an outrageous method. Poetry is as severe and antic as existence, and but examining smooth poetry might be stunning to our feel of what language is or needs to be.In A Grain of Poetry, Herbert Kohl provides a sequence of guideposts to aid every body learn poetry and observe these poems that tell and encourage them. In transparent, direct language, he covers the entire essential-but usually unchartedpaths to knowing poetry: shape and constitution, line breaks and pauses, rhythm and melody, imagery, and recitation. Written by means of one of many country's best educators, A Grain of Poetry is a entire and available consultant for all poets, scholars, and poetry enthusiasts.
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Additional resources for A Grain of Poetry: How to Read Contemporary Poems and Make Them A Part of Your Life
And then the chil dren holding up their scarred hands to the falling babies-the poem presents a single, dynamic, painful picture. The way in which the lines and stanzas are broken and their lengths varied are guides to how the poem should sound. On a third reading the poem takes its full shape and sound and can be read without thought to the breaks but with an expression of the content and passion the poet has shaped into the work. The melody in "The Babies: I" is not repetitious. It is one continuous line varied in tone, emotion, and inflection.
Of course, a variety of principles ... can be used with good effect. The three versions of Mary I gave at the beginning, though written in par ody, can be used to illustrate techniques which can actually be quite useful. Notice first of all how important the line divisions are. Each gives a decidedly different emotional tone and effect to the words-because although we read right on, the line units make a momentary impression; we get the impact of the line and then of the sentences and rhetorical units.
This poem by Ron Padgett, though its general shape is more conventional than the last few poems, depends as much upon the line breaks for its coherence and effect as they do. The title sets the scene for the poem: "Disgruntled" is a cranky word that sets the reader up for a disgruntling experience. Yet Padgett, as is usual in his poetry, has a wry, ironic, and humorous take on disgruntlement as well as most everything else. Disgruntled Man I brush the hair located on the right side of my head, I brush it beautifully, thinking of you.
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