2.) "Darkness" - Joseph Campbell
Darkness
I stop to watch a star shine
in the boghole A
star no longer, but a silverative
ribbon of light.
I look at it and pass on.
darkness title shows some negative thoughts and mood of poet. star shine shows some hope and positiveness for life.poems
show is the emergence of a distinctly modern style of poetry that
rejects the gushing excesses of the worst Victorian verse.
3.) 'Image'- Edward Storer
Forsaken lovers,
Burning to a chaste white moon
Upon strange Pyres of loneliness and
drought.
here poet may be interpret the he shows one couple and with the use of word burning shows hateness for love.
4.) "In a station of the Metro"- Ezra Pound
The apparition of these faces in the
Crowd;
Petals on a wet, black bough
In
this quick poem, Pound describes watching faces appear in a metro
station. It is unclear whether he is writing from the vantage point of a
passenger on the train itself or on the platform. The setting is Paris,
France, and as he describes these faces as a "crowd," meaning the
station is quite busy. He compares these faces to "petals on a wet,
black bough," suggesting that on the dark subway platform, the people
look like flower petals stuck on a tree branch after a rainy night.
Though short, this poem is very sensory in nature; it allows the reader
to imagine a scene while reading the lines. Through Pound's economical
description of these faces as "petals on a wet, black bough," he is able
to invoke a transient tone.
This poem is also a clear example of the Imagist style. Victorian poets
would frequently use an abundance of flowery adjectives and lengthy
descriptions in their poems. Yet Pound employs a Modernist approach to
"In a Station of the Metro," using only a few descriptive words (and no
verbs among them) to successfully get his point across.
5.) 'The Pool' - Hilda Doolittle
Are you alive?
I touch you
You quiver trembling like a seafish
I cover you with my net
What are you banded one?
In
the poem, The Pool," Doolittle speaks intimately about an issue that
she faced through her life: her bi-sexuality. One of her mentors,
Sigmund Freud, worked with Doolittle concerning her sexuality, which
led to her standing as an icon for both the gay movement and feminine
rights.
6.) "Insouciance" – Richard Aldington
In and out of the dreary trenches
Trudging cheerily under the stars
I make for myself little poems
Delicate as a flock of doves
They fly away like whitewinged
Doves.
In
this poem, poet compares his poems with dove. Here the words like
'Trudging' and 'cheerily' gives contrasting meaning. These words give
the image of life where we are doing many things unwillingly. Poems can
not fly but here poet says he has made poems that can fly away like
white winged doves. It looks he want to be free.
7.) Morning at the Window- T. S. Eliot
They are rattling breakfast plates in basement kitchens,
And along the trampled edges of the street
I am aware of the damp souls of housemaid
Sprouting despondently at area gates.
The brown waves of fog toss up to me
Twisted faces from the bottom of the street,
And tear from a passerby with muddy skirts
An aimless smile that hovers in the air
And vanishes along the level of the roofs.
The
people rattling breakfast plates early in the morning suggest the
poverty of the people who have to go to work early. They are also living
in the basements of houses for they cannot afford to live in better
apartments. The very roads in those streets are trampled or torn. The
speaker feels that the housemaids are down heated and miserable. But for
the city dwellers, the poor girls sprout out of nowhere at the gates of
the city. The speaker then notices a set of several other images of
poverty and dejection. He sees twisted faces of people who certainly
have pain and distress. He sees a girl with tears in her eyes and a
muddy skirt on her. Then someone passes by with an aimless smile. All
these images are objective correlatives of poverty, which is the main
theme of the poem.
8.) The Red Wheelbarrow- William Carlos Williams
so much depends
upon
a red wheel
barrow
glazed with rain
water
beside the white
chicken.
another way to interpret the meaning of ‘The Red Wheelbarrow’ is to affirm that Williams literally means
that much depends upon a red wheelbarrow and the white chickens: that
these symbols of farming and agriculture are central to the maintaining
of life as we know it. Of course, one may ask here why it’s important
the wheelbarrow is red;
would a green wheelbarrow be viewed as less important in the agrarian
history of the world? But this interpretation is tenable, nevertheless.
Yet although ‘The Red Wheelbarrow’ is rhymed, the subtle interplay
between the sounds of the words that end each line creates a melodious
pattern that reminds us of rhyme: ‘chickens’ very faintly picks up on
‘depends’ from the beginning of the poem, while it is possible to detect
a faint alliterative relationship between ‘water’ and ‘white’. In the
last analysis, William Carlos Williams clearly set out to write a poem
that offers concreteness of expression as its main feature. And, of
course, that red wheelbarrow.
9.) Anecdote of the Jar- Wallace Stevens
I placed a jar in Tennessee,
And round it was, upon a hill.
It made the slovenly wilderness
Surround that hill.
The wilderness rose up to it,
And sprawled around, no longer wild.
The jar was round upon the ground
And tall and of a port in air.
It took dominion everywhere.
The jar was gray and bare.
It did not give of bird or bush,
Like nothing else in Tennessee.
Anecdote
of the Jar is an imagist poem in which Stevens explores the question of
the superiority between art and nature: Is nature superior to human
creations, or does human creativity surpasses nature in some way? This
is an age-old and puzzling question. This poem solves the riddle by
recognizing the unique differences between art and nature: art may
sometimes be more beautiful than nature but it cannot be as creative as
the nature. The
jar, as a symbol of the imagination, is not fertile, and it cannot
recycle itself or reproduce, though it may, in imagination, be richer
than the nature. Both have their uniqueness, and yet we feel that the
poet is more or less on the side of the nature's diverse, creative and
limitless powers of creation. The confident persona, who seems to have
egoistically placed a jar to challenge the nature, realizes at last that
his art is not capable of what the nature is.
10.) ‘l (a‘E. E. Cummings
l(a... (a leaf falls on loneliness)
l(a
le
af
fa
ll
s)
one
l
iness
Cummings’s use of typography affects the way we read. Pause, gravity and
emphasis are heightened by the devices he employs; the sense and
significance of individual letters, words or lines are underscored. But,
most importantly of all, meanings are created as the reader’s thoughts
are slowed in their progress through the poem. We are forced to go back
and forth, thereby becoming aware of the meanings in what Norman
Friedman calls an immediate moment of perception.
If Cummings had simply written, “a leaf falls, loneliness,” his
publishers would probably have laughed at him. But he didn’t: he put the
first ‘l’ on its own, outside the parentheses to reinforce a sense of
solitude (because it is not in capitals, it looks like a number one); he
put the ‘a’ on its own between the first parenthesis and the line
break, and again this indefinite article suggests loneliness; this is
seen also in the next line, ‘le’, the French definite article, perhaps
again implying isolation; line seven contains simply the word ‘one’, and
line eight is comprised only of the letter ‘l’, having a similar
effect; and finally, the poem actually looks somewhat like a letter one,
not to mention the image of the words, like a leaf, literally falling
down the page. Cummings develops this simple poetic symbol for
loneliness into something far more potent.
for more reading about this all 10 poems read in this site:-
https://interestingliterature.com/2016/03/03/10-very-short-modernist-poems-everyone-should-read/
