To understand the multiple meanings of a poem, readers must examine its words and phrasing from the perspectives of rhythm, sound, images, obvious meaning, and implied meaning. Readers then need to organize responses to the verse into a logical, point-by-point explanation. A good beginning involves asking questions that apply to most poetry.
These are valid questions.
Literary snack food has its place. In the same way, how often you like to push the boundaries of your literary palate with exotic fare is up to you. This kind of problem arises routinely whenever a society fulfills two criteria.
The second is that it has a rich enough literary culture that members of subculture A have next to no reading material in common with subculture B. Mutual incomprehension is the usual result.
That is to say, the way to avoid mutual incomprehension is to have a canon. A canon, in this sense of the word, is a collection of works by dead people that everyone reads, discusses, and thinks about in the course of their schooling.
There are three characteristics of a canon that deserve attention here. Who makes these decisions? In any canon there are certain works that everyone, or nearly everyone, agrees on, certain others that are less unanimously included, and a fringe of works that this or that subculture of fans consider to be canon fodder and everybody else dismisses.
This allows the canon to shape itself, and reshape itself, as an organic expression of the experience of a community. Finally, a canon is always unfair.
Factors other than literary merit and relevance have their inevitable roles, too, ranging from ethnic, gender, and class prejudice all the way to temporary vagaries of cultural taste that make the appeal of this or that literary gimmick irresistible for a while, and incomprehensible thereafter.
Now of course the inevitable unfairness of a canon is one of the standard points raised by those who insist that having a canon is a Bad Thing, and that canons of literature should therefore be abolished.
Pay attention, though, to what inevitably happens thereafter. So a canon is always changing, always contested, and always unfair. None of these things keeps it from doing its job, which is that of providing a basis for shared understanding in a society diverse enough to require that.
The current bickering between the political correctness of the left and the patriotic correctness of the right is a familiar phenomenon in cultural history. One of the great advantages of having a canon is that it makes it a lot easier to filter out trash.
Even in the most brilliant of literary cultures, a century might see a dozen genuine masterworks and a couple of hundred really good pieces of writing. Mark Twain once did the world a favor by exhuming one of these last, an otherwise forgotten midth century American novel, The Enemy Conquered; or, Love Triumphant by Samuel Watson Royston.
In most cases, this is exactly what they deserve. No doubt some of my readers will take umbrage at this claim. Have there been great works of literature that nobody recognized as masterpieces at the time, until they were hauled back up out of obscurity at a later date?
You can find their novels in online archives of old books if you want, and I dare you to read them without either dozing off or spraying the beverage of your choice across your computer screen. Many of them were wildly popular during their time, as popular as Twilight or Fifty Shades of Grey were in ours.
All of them slipped into merciful oblivion once the fad for their kind of fiction was over, just as Twilight and Fifty Shades of Grey will in their turn.Thanks for this essay! I think there is a strong age component in canon reading.
In high school (German Gymnasium), I only took a basic course in German literature, which included shorter works from the 18thth century, and a few 20th century novels (I remember Professor Unrat by Heinrich Mann and Homo Faber by Max Frisch, both of them very good choices for teenagers!), while some of my.
Link to College of Arts and Letters Programs Anthropology. Undergraduate Courses/link to graduate courses Cultural Difference in a Globalized Society (ANT .
"The Red Wheelbarrow" is a poem by American modernist poet and physician William Carlos Williams (–). The poem was originally published without a title and was designated as "XXII" as the twenty-second work in Williams' book Spring and All, a hybrid collection which incorporated alternating selections of free verse poetry and monstermanfilm.com is one of Williams' most frequently.
In poetry, metre (Commonwealth English) or meter (American English; see spelling differences) is the basic rhythmic structure of a verse or lines in monstermanfilm.com traditional verse forms prescribe a specific verse metre, or a certain set of metres alternating in a particular order.
The study and the actual use of metres and forms of versification are both known as prosody. The Best American Poetry Series Editor David Lehman [Amy Gerstler, David Lehman] on monstermanfilm.com *FREE* shipping on qualifying offers. AMY GERSTLER’S COMMITMENT TO INNOVATIVE POETRY that conveys meaning, feeling, wit, and humor informs the cross section of poems in the edition of The Best American Poetry.
The works collected here represent the wealth. In poetry, metre is the basic rhythmic structure of a verse or lines in monstermanfilm.com traditional verse forms prescribe a specific verse metre, or a certain set of metres alternating in a particular order.
The study and the actual use of metres and forms of versification are both known as prosody. (Within linguistics, "prosody" is used in a more general sense that includes not only poetic metre.