A "fallacy" is a logical flaw based on a mistaken assumption.
On that count, the poem under discussion is not successful. Subtleties of outlook and expression can be teased out, but its outlook is strange and unconvincing.
Introduction There is no traditional school of literary criticism as such: It is not overtly or rigidly moralistic. It does not paraphrase a poem to extract its "message" and then grade the poem on how well the truth or significance of that message is expressed.
But it does see art as holding up some mirror to nature. All notions of civilization have taken a battering in the last hundred years — in world wars, genocide, totalitarian repression — and examples are not wanting of individuals who combined exquisite literary sensibilities with unspeakable cruelty.
Nor do writers exactly display in their private lives the qualities of their creations, especially the more driven and ambitious writers. But perhaps the discrepancies shouldn't be exaggerated.
Though Du Fu wrote against the horrors of the An Lu-shan rebellion, and Shakespeare's England was a police state, both poets wrote with a steady eye, acknowledging the worst while not denying the best. Good and bad is no doubt mixed in all of us, and only cynics deny goals and standards because humanity consistently falls short of them.
Man is the measure of his world, acutely aware of his nature, and poetry that excludes the less attractive we feel is sanitized and sentimental. But Humanism is not at heart a belief in man's perfectibility, but an attempt to give our lives significance by extending the great commonplaces of existence: Ceaselessly these great themes are repeated in more subtle and telling ways.
Traditionalist poetry builds on the past. Perhaps only in this century, in Modernism with all its strains, has there been such esteem for inverting the process, of basing the larger world view on individual perceptions.
Even the Romantics were well read in the classical languages, though the better poetry, or what we today regard as the better poetry, gradually separated itself from society and earlier literature as the century progressed.
A hundred years later, and not only is much contemporary art unreal and solipsist, but its consumption requires blatant merchandising. Serious writers and painters still find it very hard to make a living, and must follow a whirligig of fashion that is largely indifferent to quality.
As prices rise, and works of art soar beyond the means of the average investor, so new areas of collecting are opened up — not all with aesthetic merit, and not usually contemporary work, or the best of contemporary work.
The jobbing writer knows the value of topicality, and the poetry world is not without its specious promotions. Be that as it may, a good deal of criticism — proper criticism, not reviewing — is still broadly traditional.
Many who criticized the animality of Ted Hughes's poetry, or praised U. Fanthorpe's insight into the draughty corners of the welfare state, were signed up members of Modernism but reverting to the older view that content is important, that poetry should reveal and extend something significant about ourselves.
Our gaze goes through the poem to the world beyond. Audaciously original, we say, and compellingly written, but can we really accept the poem's outlook? Do we come away from the poem with a larger view of humanity, more clearly grasped, with a greater range of perceptions, sensibilities and thoughts coherently integrated?
If not, then we mark the poem down.
English Poetry and Fiction of the 's X. John Lennard's The Poetry Handbook: A Norton Anthology of Poetic Forms What is the poem saying, or trying to say? Remarks on other matters — organization, rhythmic energy, imagery, emotional appeal, etc. Here is the poem: The Architects But, as you'd expect, they are very Impatient, the buildings, having much in them Of the heavy surf of the North Sea, flurrying The grit, lifting the pebbles, flinging them With a hoarse roar against the aggregate They are composed of — the cliffs higher of course, More burdensome, underwritten as It were with past days overcast And glinting, obdurate, part of the Silicate of tough lives, distant and intricate As the whirring bureaucrats let in And settled with coffee in the concrete pallets, Awaiting the post and the department meeting — Except that these do not know it, at least do not Seem to, being busy, generally.
So perhaps it is only on those cloudless, almost Vacuumed afternoons with tier upon tier Of concrete like rib-bones packed above them, And they light-headed with the blue airiness Spinning around, and muzzy, a neuralgia Calling at random like frail relations, a phone Ringing in a distant office they cannot get to, That they become attentive, or we do — these Divisions persisting, indeed what we talk about, We, constructing these webs of buildings which, Caulked like great whales about us, are always Aware that some trick of the light or weather Will dress them as friends, pleading and flailing — And fill with placid but unbearable melodies Us in deep hinterlands of incurved glass.Traditional gender role is one issue of feminist literary criticism.
Feminist literary criticism is rooted from the understanding of women inferiority while its keyterm is the equivalent of right between men and women (Osborne 45). We will write a custom essay sample on Biographical Analysis of the Crucible specifically for you for only $ $/page.
Literary Analysis: Using Elements of Literature Students are asked to write literary analysis essays because this type of assignment encourages you to think about how and why a poem, short story, novel, or play was written. Art criticism, the analysis and evaluation of works of art.
More subtly, art criticism is often tied to theory; it is interpretive, involving the effort to understand a particular work of art from a theoretical perspective and to establish its significance in the history of art.
Traditional literary criticism takes the humanist view, and looks for both technical skills and significant content, for a re-representation of themes that belong to the great commonplaces of human existence. Psychological criticism in literature is the psychological analysis of motivations of the author and his work.
This criticism is based on the theory that author’s physiological state is unconsciously reflected in different aspects of the work such as characters, symbols, setting, and language.