Poetry, that can be simple in audio and change in duration from a few words to some full-sized book, necessitates a lot more understanding, imagination, and technique to write than prose. In form, its line finishes, departing from traditional design, don’t need to expand to the right margin. Characterized by the three pillars of emotion, picture, and music, it can, but doesn’t necessarily have to, include alliteration, metaphor, simile, repetition, rhythm, meter, and rhyme. Above all, form, as opposed to content, distinguishes the genre from all others. While prose is read, paced, and translated by way of punctuation and sentence structure, poetry achieves a significant amount of interpretive significance through them.
“Poems are not only matters that we read, but also matters that we see,” wrote John Strachan and Richard Terry in their book,”Poetry: An Introduction” (New York University Press, 2000, p. 24). We are conscious at a glance if or not a poem is composed in a regular or irregular form, whether its Ines are short or long, whether the poetry is constant or stanzaic… Many (poets) have fashioned works that explicitly aim to draw the reader’s attention to their visuality.”
Arnold asserts that literature, and especially poetry, is”Criticism of Life”. In poetry, this criticism of life has to conform to the laws of poetic truth and poetic beauty. Truth and seriousness of matter, felicity and perfection of diction and fashion, as are exhibited in the top poets, are exactly what constitutes a criticism of life.
Writing poetry can be as simple as a few well placed words that rhyme or it can be a complex arrangement of lines, stanzas, and rhyming patterns.
Poetry opens up an infinite world of creative options, and as soon as you have a good understanding of the broad assortment of styles and techniques available, you can craft your own unique expression of life – a poem which will engage your reader.
The history of poetry is as complex as the art form itself, and there have been many disagreements over the centuries over what constitutes a poem. The origins of poetry stem back into oral tradition, where a poem was utilized primarily for didactic and entertainment purposes in the form of a ballad. Shakespeare created the Sonnet renowned – a poetic form that fuses together a delicate balance of the two narrative and lyrical qualities. With the coming of the printing press and the book, poetry became a highly respected literary style. As we have just mentioned, read is something that cannot be dismissed – or at least should never be ignored. It can be challenging to cover all possible examples simply because there is so much concerned. So we feel this is just an ideal time to take a break and examine what has just been covered. In light of all that is offered, and there is a lot, then this is a perfect time to be reading this. The last outstanding areas for conversation may be even more important.
Poetry, says Arnold, interprets life in two manners:”Poetry is interpretative with natural magic inside, and ethical profundity”. And to achieve this the poet must target at high and excellent severity in all that he writes.This demand has two fundamental qualities. The first is the option of excellent actions. The poet should choose those which most strongly appeal to the fantastic primary human feelings which subsist permanently from the race. The second essential is exactly what Arnold calls the Grand Style – that the perfection of form, choice of words, drawing its force directly from the pregnancy of matter that it communicates.
This, then, is Arnold’s conception of the nature and mission of true poetry. And by his overall principles – that the” Touchstone Method” – introduced scientific objectivity to critical investigation by providing contrast and analysis as both principal tools for judging individual poets. Therefore, Chaucer, Dryden, Pope, and Shelley fall short of the best, since they lack”high seriousness”. Even Shakespeare believes too much of saying and too little of conception. Arnold’s ideal poets are Homer and Sophocles in the early world, Dante and Milton, and among moderns, Goethe and Wordsworth. Arnold puts Wordsworth in the front position not for his poetry but because of his”criticism of life”. It’s curious that Byron is put above Shelley. Arnold’s surplus love of classicism made him blind to the beauty of lyricism, and we cannot take Arnold’s opinion that Shelley’s poetry is less satisfactory than his prose writings. Its not easy to write a Poem on any said topic.
Arnold’s criticism of existence is often marred by his naive moralizing, by his insufficient perception of the connection between morality and art, and by his uncritical admiration of what he considered as the golden sanity of the early Greeks. For all his championing of disinterestedness, Arnold was not able to practise disinterestedness in all of his experiments. In his essay on Shelley particularly, he displayed a lamentable lack of disinterestedness. Shelley’s moral viewpoints were too much for the Victorian Arnold. In his article on Keats also Arnold failed to become disinterested. The sentimental letters of Keats to Fanny Brawne were too much for him. However, Arnold’s insistence about the standards and his concern on the relation between poetry and life make him among the excellent contemporary critics.