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American Poets, 2007.
A comparison of the different styles of writing of American poets, Phillis Wheatley and Walt Whitman.
1,257 words (approx. 5.0 pages), 13 sources, APA, £ 29.95
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Abstract
This paper discusses two distinguished, but distinctive American poets - Phillis Wheatley and Walt Whitman. The paper compares and contrasts both of these poets respective works. It describes the various biographical factors that influenced their works, especially in terms of form, style, tone and content. It shows how they both write from different sources of personal inspiration, life experience and personal and artistic viewpoint.
From the Paper
" Whitman's poem "I Hear America Singing", on the other hand, is a straightforward celebration of America's diversity, or its "varied carols." Here, Whitman mentions American "singers" from all walks of life, each singing his or her varied songs, yet making harmony with the rest, "Singing with open mouths their strong melodious songs." The singers in Whitman's poem may be mechanics; carpenters; shoemakers; mothers; young girls; or others, but each sings "what belongs to him or her and to none else", separately yet in harmony. This poem is an ode to all common working Americans from all walks of life, and a celebration of the diverse individuals, skills, interests, and jobs that comprise America. As Whitman further suggests, there for songs for day, songs for night, and songs for all times in between, yet each American has a distinctive and important song to sing."
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American Poets, 2002.
A look at American poets, their poetry and sub-culture from 1951 To 1960.
1,150 words (approx. 4.6 pages), 6 sources, £ 30.95
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Abstract
A paper about American poets during the period 1951-1960. It traces the style and mood reflected in the fifties and states the poetic preferences of the audience of the time. Basically it focuses on the poets of the era and their styles compared to others of the Beat generation.
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Poetic and Technical Concerns of American Poets, 2008.
A brief examination of the different styles of poetry of Billy Collins, Donald Hall, Mary Oliver, Sharon Olds and Gary Soto.
707 words (approx. 2.8 pages), 7 sources, MLA, £ 17.95
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Abstract
This paper discusses how each of the great current American poets has developed a distinct style that is reflected in their technical and poetic form. The paper briefly looks at and discusses the poetic and technical concerns of the following poets: Billy Collins, Donald Hall, Mary Oliver, Sharon Olds and Gary Soto. Included in the paper are quote examples from each of the poets' works to illustrate the differences in their style.
From the Paper
"Billy Collins, an American Poet Laureate, has a form that uses a distinctly sarcastic and humorous tone. This form is evident in his poem "The Art of Drowning", where he states about life flashing before one's eyes as they drown, "But if something does flash before your eyes as you go under, it will probably be a fish, a quick blur of curved silver darting away, having nothing to do with your life or your death" (Qtd. in Khoury). Mazin Khoury states, "Collins uses simplistic stanzas to try to create images that pull the reader away from real life and draw them into his poetic creation" (Khoury). This use of imagery and sarcasm distinguishes Collins' style."
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Sylvia Plath: Tortured American Poet, 2005.
A brief biography of 20th century, American poet Sylvia Plath.
946 words (approx. 3.8 pages), 6 sources, MLA, £ 23.95
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Abstract
This paper begins with a look at the death by suicide of poet Sylvia Plath and her previous attempts at suicide throughout her life. The paper then looks at Plath's childhood, her relationship with her parents, her academic achievements, her marriage and her writings.
From the Paper
"One of America's best known twentieth century poets, Sylvia Plath (1932-1963) lived an artistically productive but tragic life, and committed suicide in 1963 while separated from her husband, the British poet Ted Hughes. Before her death at age 30, Sylvia Plath had suffered a bout of severe depression for several months, the likely result of her separation from Ted Hughes and her strong suspicion of his adultery with the English poet Assia Wevill ("Sylvia Plath"; "Sylvia Plath, 1932-1963" 2). Sylvia Plath had also made several previous suicide attempts, beginning at age 20, or perhaps even earlier, always precipitated by the spells of depression and debilitating self-doubt that dogged the poet from early adolescence on (Neurotic Poets, Sylvia Plath 6-7)."
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The First Modern American Poet, 2006.
A study of the life and legacy of poet Walt Whitman.
2,600 words (approx. 10.4 pages), 14 sources, MLA, £ 54.95
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Abstract
This paper studies the American poet Walt Whitman (1819-1892), one of the first to embrace uniquely American themes, styles and literary concerns. This paper examines Whitman's unique poetic voice and personal philosophy of poetry in order to show how Whitman established the first uniquely American voice within poetry, one separate from the mostly pre-Victorian and Victorian-inspired poetic styles, forms and themes of earlier American poets. The paper also explicates two sets of Whitman's free-verse poems: (1) Three of his earliest poems from "Leaves of Grass" (1855) and (2) four of his later Civil War poems, written from 1861-1865. Together these poems demonstrate how far Whitman had moved beyond British influence, to become the great innovator of modern American poetry.
From the Paper
"Within America before the Civil War, American literature most often closely imitated writing styles, tones and even thematic concerns of both past and present British authors. Before the poetry of Whitman in particular, American poets like Bradstreet, Taylor, Bryant, Wheatley, and others adopted British verse forms and other poetic conventions, shaping them to their own artistic voices and concerns within the New World. In several of Puritan poet Anne Bradstreet's poems that were either to or about her husband or children for example, Bradstreet closely imitated the metaphysical style of John Donne. The expansive, flowing, and exuberant free-verse works of Walt Whitman, which did none of that, may therefore be considered the first truly American poetry, reflecting, as it does, influences, moods, concerns, ways of expression, and social and political movements within American itself, and nowhere else, with a new and unique style and forms."
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Physicality and the Body in African-American Poetry, 2001.
Examines three poems by African-American poets, exploring how each uses physical imagery to convey meaning.
1,608 words (approx. 6.4 pages), 1 source, MLA, £ 36.95
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Abstract
This paper discusses poems by Amiri Baraka, Robert Hayden, and Michael S. Harper, exploring how each poet uses imagery of the human (specifically African-American) body to convey meaning. Baraka sees the body as a potential instrument for social change, calling for Black poets to create work that will inspire real action. Hayden describes the horrific lynching of a Southern Black man, exposing the sinister motives of his white attackers. Finally, Harper crafts a tribute to Coltrane, detailing the legendary musician's struggle with pain, both physical and existential.
From the Paper
"I have been reading the work of Amiri Baraka for several years now, but have only recently become more intensely interested in the complex style of this challenging poet. Baraka probably has the most unique, original style of any modern poet I?ve read, a style which, for me, is generally most effective when he reads it aloud than when simply read from the printed page. Much of Baraka?s poetry is heavily influenced by jazz music, so if follows that his poems are fantastic on a purely auditory level. As entertaining and stirring a performer as Baraka is, I would argue that his poems must not be looked at as performance pieces, but also as the work of an accomplished craftsman. To that end, I searched for examples of literary criticism and scholarship that focused on the text of Baraka?s work, rather than his impassioned delivery of it."
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Poet James Langston Hughes, 2004.
This paper discusses the impact, purpose, and design of seven poems by the African-American poet, Langston Hughes.
1,125 words (approx. 4.5 pages), 2 sources, MLA, £ 26.95
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Abstract
This paper explains that the most apparent element of Hughes's work is his use of particular diction to create vivid imagery; for example, in "The Negro Speaks of Rivers," Hughes attempts to balance his own soul, or perhaps the soul of the black peoples, with some of the longest and deepest rivers in the world. This paper points out Hughes's use of symbolism to convey meaning within a work and to symbolize how society functioned at that time, as in the poem, "Democracy". This paper concludes that Hughes was the first to step up from among the ranks of the black people and present such strong and unashamed words; thereby, Hughes helped to reshape attitudes toward African-Americans, while also giving his own people a new hope for tomorrow.
From the Paper
"The works of James Langston Hughes belong among the richest and most significant pieces ever written by American authors. To distinguish this certainty, Hughes was also an African-American. His poetic works analyzed herein speak largely of the lifestyles in which the African American people lived during the late 19th and early to mid-20th centuries. Hughes, born in Joplin, Missouri in 1902, was intended by his father to attend Columbia University studying engineering. After dropping the program in 1921 with a B+ average, Hughes did not again attend college until he received his B.A. in 1929 from Lincoln University. Between these times many of his great works were written and published. These include "The Negro Speaks of Rivers" (1921), an essay entitled "The Negro Artist and the Racial Mountain", and "The Weary Blues" (1926)."
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Augustan Poets, 2004.
Compares Augustan poets of the late 17th and early 18th century with poets from the "Graveyard School" from the mid-18th century.
1,453 words (approx. 5.8 pages), 0 sources, MLA, £ 33.95
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Abstract
This paper compares the different styles of poetry exhibited by Augustan poets and poets from the "Graveyard School". The paper focuses on Dryden and Swift as examples of Augustan poets and Finch and Gray as examples of poets from the "Graveyard School". The paper looks at the three main qualities of each style of poetry and then uses examples from the poetry to compare and contrast those styles.
From the Paper
"Secondly, both Finch and Gray use notions that reflect a Tudor revival. Finch makes a direct reference to Shakespeare?s The Merchant of Venice when she repeats: ?In such a night?? which echoes the same repeated phrase in the night piece that opens act V of The Merchant of Venice, when Jessica and Lorenzo are having a lover?s duel talking about tragic love stories. Also, Finch uses nature imagery, like Gray, which was a tactic that Shakespeare was famous for. By using Renaissance-like styles, the two poets suggest a desire for a lost age, one that was more innocent, pure, and free of cynical, experience-obsessed poets like Swift."
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Shakespeare and the Romantic Poets, 2006.
This paper discusses the reception of William Shakespeare by the Romantic poets as referenced in several text of both Shakespeare and these poets.
2,930 words (approx. 11.7 pages), 14 sources, APA, £ 59.95
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Abstract
This paper examines the way in which Shakespeare was viewed by the poetic exponents of Romanticism, and how some of the characters of Shakespeare's plays may exemplify the Romantic ideal. This author explains that two hundred years separates the time of William Shakespeare in the Elizabethan era and the Romantic poets and their vision of a society, which put the concerns of the individual to the forefront of political issues. The paper points out that, while direct reference to Shakespeare's works by the romantic poets is less than abundant, John Keats, Samuel Taylor and Percy Bysse Shelley suggest a clear aesthetic link between Romanticism and Shakespeare's texts. The paper examines characters of Shakespeare's plays and how they exemplify the Romantic vision of individual liberty, the freedom of expression and mans' relationship with nature, which feature prominently in "King Lear", "Hamlet", "Romeo and Juliet"."
From the Paper
"If then, life is to be lived according to one's ideals, as opposed to the rules of society, then the examination of cerebral conflict is a relevant concern. It would be a simple matter to make one's point by filling an essay such as this with quotations from "Hamlet", whose central character, it appears, is in a state of permanent confusion, or from Corialanus, who, it could be argued is the most egocentric character ever created by Shakespeare, and whose vanity, ultimately, proves to be his undoing. The Romantic hero referred to in my question however, is, for this critic, personified in the character of the eponymous protagonist of "Romeo and Juliet"."
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Five Poets, 2005.
This paper looks at five passages by five different poets to demonstrate the preoccupations of each of the poets and to show how each passage fits in to its relevant poem.
1,125 words (approx. 4.5 pages), 5 sources, £ 30.95
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Abstract
This paper offers a discussion of five passages to show how they fit in the works of which they are a part and what they say about the preoccupations of the poets who produced these works, these being Gerard Manley Hopkins and "The Windhover," William Morris and "The Defense of Guenevere," Dante Gabriel Rosetti and "The Burden of Nineveh," Christina Georgina Rosetti and "Goblin Market," and Robert Browning and "Bishop Orders His Tomb at St. Praxed's Church.
From the Paper
"In this poem, the poet celebrates the power and sacrifice of Christ. The windhover of the title is a type of kestrel, a bird, and the free soaring bird represents Christ and his dominion over the heavens and the earth. The passage in question demonstrates many of the interests of Hopkins, including his creative use of rhythm, with the rhythm enhanced by alliteration and repeated sounds. Each line contains a specific alliterative sequence, repeating "pl" in the first line as well as "s" sounds, the second repeating "bl" sounds, and the third "g" sounds, giving each line its own separate identity while linking all together in a creative play of sounds and words."
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Romantic Poets and the Representation of Memory, 2002.
A paper on how poets from the Romantic era sought to convey the complexities of the human mind through the representation of memory in their poetry.
2,255 words (approx. 9.0 pages), 4 sources, APA, £ 48.95
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Abstract
The paper shows how Romanticism was a period in human history where structure and form were abandoned for unrestricted thought and movement. It discusses its influence on poetry and how, through their representation of memory in their poetry, poets sought to illustrate the complexities of the human mind as well as explore Descartes? supposition of ?I think, therefore I am.? This paper specifically looks at two poems from the Romantic Era: ?The Nightingale? by Coleridge and ?The Idiot Boy? by Wordsworth. By conducting a thorough analysis of these two poems, the paper shows how many poets believed memory to be more than just observation to the past. Memories are loaded with the reminiscer?s interpretation of previous events and are therefore subject to the reminiscer?s culture, character and rationalising process. The paper discusses how, by representing memory in this way, poets provide their own interpretation of how the human mind operates and what it really means to be fully aware as a member of the human race.
From the Paper
"From the onset, the descriptions of the natural surroundings given by the narrator demonstrates the thought processes of the mind in capturing images from the outside. When the narrator talks of ?No cloud, no relique of the sunken day distinguishes the West, no long thin slip of sullen Light, no obscure trembling hues,? they are not merely observations because the narrator talks of images that are not there. Instead, the narrator implies more about his expectations at seeing a cloud and a relique of the sunken day, and his surprise at finding neither in sight. This is an example of the mind interpreting more than just the surroundings but taking into account time and circumstance in evaluating what is going on outside the mind. This can also be gleaned from the choice of adjectives the narrator employs in describing his surroundings. The narrator observes the ?soft bed of verdure? and ?vernal showers.? "
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The Romantic Poets Were Not Prophets, 2000.
An argumentative paper about Romantic poets and how their poetry is viewed today.
1,325 words (approx. 5.3 pages), 2 sources, £ 30.95
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Abstract
An argumentative paper about romantic poets. The author argues that romantic poets were not prophets as most view them to be but rather writers who desired to share their passion and appreciation of nature with their readers. A look at the works of William Wordsworth and John Keats.
From the Paper
"The Romantic Period is characterized by a poet?s fascination and harmony with the natural world. Lines upon lines were devoted to the description, exultation, and mystery of nature, yet the readers of the third millennium occasionally view Romantic poetry as pretentious and capricious. While only a handful of Romantic poets believed themselves to be prophets, others like Wordsworth proclaimed themselves voices ?of the common man.? Their intention was not to serve a higher power through their works of poetry, but instead they chose to describe natural beauty to an audience who might not have discovered the beauty for themselves. We can see through William Wordsworth and John Keats that most of the Romantics were not interested in being modern prophets; rather, they were merely sharing their passion for nature."
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Women Poets, 2007.
This paper discusses two contemporary female poets, Diane Wakoski and Raquel Chalfi.
997 words (approx. 4.0 pages), 7 sources, MLA, £ 24.95
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Abstract
In this article, the writer looks at the careers and poetical works of Diana Wakoski and Raquel Chalfi. The writer looks at the style and influences on each of the poets and notes their major works respectively. The writer concludes that Diana Wakoski and Raquel Chalfi have differences in their nationality and experiences, however, both speak to the experiences of women poets in the contemporary world through their poems.
From the Paper
"Like Wakoski, Raquel Chalfi has produced a large volume of poetry since beginning her career in the 1970s. Chalfi was born in Israel in 1945. She studied English Literature at Hebrew University where she received a Masters Degree. In addition to her literary studies, Chalfi graduated from The American Film Institute in Los Angeles. She used the skills learned in her education to work as a military correspondent during her mandatory army service in Israel."
"She continued to work in the journalistic field where she wrote and directed work for the radio and made independent documentary and experimental films. She has also written, directed and produced creative works for television and radio. For her work in film, television and radio, she has won several awards both in Israel and abroad. Another expression of her creativity has come in plays for which she has also won awards."
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Evolution and the Romantic Poets, 2008.
An analysis of the relationship between Darwin's theory of evolution and the romantic poets in the nineteenth century.
1,107 words (approx. 4.4 pages), 2 sources, MLA, £ 26.95
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Abstract
This paper discusses the conflict between evolution and religion since the publication of Charles Darwin's work in the mid-nineteenth century. It specifically focuses on the way in which this conflict affected the romantic poets. The paper shows how the romantic poets displayed a sense of physical change in the world, of the evolution of nature and of man over time. It suggests that their perceptions were not identical to Darwin's ideas.
From the Paper
"The Romantic poets had some sense of physical change in the world and of the evolution of nature and of man over time, though not in the way that Darwin would describe. Many also had a mystical link with Nature whether more as observers like Wordsworth or as spiritualists like Coleridge. Evolution and religion would conflict more in the next generation, but the Romantic poets found ways to accommodate both at a time when ideas about evolution were only just gaining strength."
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