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So one feels that the writing is haphazard : that the rhyme is making the poet say things he doesn't really feel , and which , therefore , the reader does not feel . One likes to see the rhymes fall into place , but he must end up with ...
... can offer a simple , tangible , and still basically sound measure of the quality of a poem's language : count the adjectives and the verbs ; good writing ( active writing ) will almost invariably have more verbs .
It is at least possible to distinguish kinds of adjectives and to observe that some kinds are more likely to occur in bad writing than in good . A useful first distinction can be made by dividing all adjectives ( and by extension ...
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I have experienced this book in several editions. The operative word in the title is "how." As an amateur poet for whom finding the technical construction of a "poem," or even something so prosaic as the very definition of poetry, this book over the past 40 years has been vital. Ciardi takes the word craft down to basic tools of craftsmanship, such as a pinter wild word with such basic as palate, paint, canvas, easel, brushes, etc. Probably his best chapter is that taht tells why a much beloved poem like
"Invictus" isa very bad poem, changed my whole way of looking at my own work. The example poems in the book, which have changed some from one edition to the next, are themselves very important. This is is a must book for both writers and readers.
Walter De la Mare The Listeners
Edwin Arlington Robinson Mr Floods Party
John Keats The Eve of St Agnes
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