| But our poem's horizon expanded far beyond this confined duality to embrace the universal, the human, as well as the intimate and personal. |
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| This paratactic quality becomes particularly apparent in the poem's second section, which begins with an abrupt shift in scene and image. |
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| Thus, accessing the poem's interlingual word play leaves the reader with associations of resistance. |
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| Forty years on, the poem's appeal was still strong enough to hearten the Achinese in their next struggle, against the invaders. |
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| The poem's shift from memory of childhood to anticipation of death is nicely attended by the modulation from olfactory to auditory. |
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| It is by reading and rereading that the poem's many movements and voices are eventually deciphered. |
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| The poem's indictment of Thetis as a botcher continues through her account of her failure to fully immortalize her son. |
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| It was the fascination with the poem's musicality that really got Ellison interested in writing. |
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| Most critical assessments analyze the implications of the poem's cultural roaming and inclusiveness. |
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| But it should only be attempted if the critic first honors the poem's literalness, because the poem's cold power is in its literalness. |
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| The poem's ostensible subjects are a typical enough roll-call of his concerns. |
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| The poem's title arises from its final, extraordinary image of a female luna moth hanging in foliage outside a country church. |
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| Many of the poem's juxtapositions seem casual or accidental at first, but then turn treacherous. |
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| The poem's initial strophe is careful, slow-moving, tonally sophisticated, and somewhat puzzling. |
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| The poem's breathless momentum and brio defy ironical posturing. |
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| The poem's closing strophe shows how Kaufman had become a master in capturing the lyrical qualities of the music and bringing them to bear in his poetry. |
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| That is surely a possible alternative reading of the poem's final lines. |
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| One obvious answer is that this acknowledgment constitutes the poem's initial proclamation that it intends to carry out violations of New Critical principles. |
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| He has also added a running paraphrase to each of the poem's twenty-four sections, making explicit much that the author's telegraphic style has compressed. |
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| One of the ways in which this foreshadowing of Agnes's death is expressed in the poem is through the swan imagery so deeply embedded in the poem's figural texture. |
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| The poem's theme moves between hope and the evocation of past happiness. |
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| The stanza continues the poem's play with the withholding of images. |
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| The effect of the poem's cryptic chanting composition is a kind of subliminal ominousness. |
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| The poem's idealistic theme or subtext accounts for its popularity across much of the political spectrum. |
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| Before the poem's publication as a book in December 1922, Eliot distanced himself from its vision of despair. |
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| That year, Petersburg also published a book, in which the images were accompanied by the poem's text. |
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| Another marker of the poem's modernity is Rossetti's disregard for the convention of matching a poem's syntax to its stanzaic form. |
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| Lineation is very much a matter of syntax, organizing the poem's grammar across its lines in ways significant and central to the poem's meaning. |
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| Strong suppression of verbality and agency in the poem's first two couplets. |
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| The poem's repeated use of feminine rhyme is also a formal reenactment of the poem's central interest in collaboration. |
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| Immediately apparent is that Shapiro cannot render the regular interlacing of masculine and feminine rhyme, which contributes much to the poem's music. |
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| The tangibility here of both the metaphor and the simile is typical of Thomas's tropology, as he resets the poem's tone and, figuratively, its location. |
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| The poem's dynamic owes much to the use of the tercet form and the recurrent use of enjambement, driving the reader on from one stanza to the next. |
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| A dawning awareness that the poem's content is scatalogical is the hermeneutic prize, vouchsafed to those who can penetrate its dense veils of sound to get the dirty joke. |
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| Strikingly, the poem's narrator takes as his starting point his encounter with Reynolds' picture of Abington in the Royal Academy exhibition room. |
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