The form remained largely unknown until it was found and developed by writers such as Shakespeare.
Quite obviously, however, her reasoning is serious. She refers to a kind of poetry that is neither honest nor sincere but that has found fashionable approval by virtue of its very obscurity. The last version, appearing in the Complete Poems ofis four lines long, having been cut from a poem of thirty-eight lines that appeared in the Selected Poems of and the Collected Poems of This longer version, in turn, grew out of the original thirteen lines printed in Observations.
The last revision was, I think, a mistake. For one thing, the poem of four lines is so brief that it invites misinterpretation. The words "dislike" and "contempt" overshadow the idea that poetry has also a place for the genuine and, without knowing the earlier versions, a reader might very well feel confused.
What poetry is she referring to? It isn't clear in the short version. In this case the concision itself results in a kind of obscurity. The middle version is the one I like best. The thirteen lines in Observations are thin by comparison to the longer poem of The Observations version makes clear that Miss Moore is denigrating a particular kind of modern poetry in which intellectualization has led to incomprehensibility, but it does not, as the longer version does, seek to define what poetry ought to be.
The longer version does this. The raw material for poetry abounds, it is everywhere, is anything, but it must be imaginatively grasped. Imagination proceeds from a deeper source than intellection. When, in "Melanchthon," Miss Moore speaks of the "beautiful element of unreason" underlying the poet's tough hide, I think she is talking about the place where imagination grows.
The "element" is genuine because it cannot be otherwise, its source mysterious, hidden under layers of the rational mind. Poetry, then, when it is genuine, is a collision of this private vision with the outside world.
It is an imaginary garden full of real toads. This is thought that needs emphasis; I miss it in the four-line poem. Perhaps Miss Moore felt that she was following her own advice on compression.
What we find valuable in style is "the principle that is hid. But in the final version of "Poetry" the virtue of compression has been carried too far. The hidden principle has been too well hidden. The Cage and the Animal.A target audience is the intended audience or readership of a publication, advertisement, or other message.
In marketing and advertising, it is a particular group of consumers within the predetermined target market, identified as the targets or recipients for a particular advertisement or message. Businesses that have a wide target market will focus on a specific target audience for certain.
Poems are often written elusively, and it is not always easy to tell why and for whom they are written at first glance. An audience is a literary term used to describe for whom a writer is constructing a poem. The audience is meant to find significance in the poem's meaning, and it is the poet's duty to write in a way.
An analysis of poetic forms gives insight to a poem's meaning. These examples of form in poetry with an analysis of poetry form will make you the poetry expert at your next literary gathering.
Find couplet examples, terza rima examples, quatrain examples, cinquain examples and many more.
To do this you will put together an Audience Analysis Questionnaire for your speech. Include all three types of questions (fixed alternative-and include the alternatives; scale-include the scale; and open ended-provide the space for responses).
A Rhetorical Analysis of “The Right Stuff” reputation he brings to his writing and his use of pathos to appeal to his target audience of parents and educators, his use of logos is weak.
Suzuki is skilled in argumentation, but there would be a carry over into their reading of . Audience analysis is the process of examining information about your listeners. That analysis helps you to adapt your message so that your listeners will respond as you wish.
(1) In everyday conversations you adapt your message to your audience. For example, if you went to a party the night before.