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Extended metaphor. An extended metaphor, also known as a conceit or sustained metaphor, is the use of a single metaphor or analogy at length in a work of literature. It differs from a mere metaphor in its length, and in having more than one single point of contact between the object described (the so-called tenor) and the comparison used to ...
O Captain! My Captain! at Wikisource. " O Captain! My Captain! " is an extended metaphor poem written by Walt Whitman in 1865 about the death of U.S. president Abraham Lincoln. Well received upon publication, the poem was Whitman's first to be anthologized and the most popular during his lifetime. Together with "When Lilacs Last in the Dooryard ...
The dreamer stands on the other side of the stream from the Pearl-maiden. Pearl is one of the greatest allegories from the High Middle Ages. [ 1] As a literary device or artistic form, an allegory is a narrative or visual representation in which a character, place, or event can be interpreted to represent a meaning with moral or political ...
A metaphor is a figure of speech that, for rhetorical effect, directly refers to one thing by mentioning another. [ 1] It may provide (or obscure) clarity or identify hidden similarities between two different ideas. Metaphors are usually meant to create a likeness or an analogy.
Scholars have noted that the form of the poem follows the content: the wavelike quality of the long-then-short lines parallels the narrative thread of the poem. The extended metaphor of "crossing the bar" represents travelling serenely and securely from life into death. The Pilot is a metaphor for God, whom the speaker hopes to meet face to face.
Poetry analysis is the process of investigating the form of a poem, content, structural semiotics, and history in an informed way, with the aim of heightening one's own and others' understanding and appreciation of the work. [ 1] The words poem and poetry derive from the Greek poiēma (to make) and poieo (to create).
The poet Abraham Cowley, in whose biography Samuel Johnson first named and described Metaphysical poetry. The term Metaphysical poets was coined by the critic Samuel Johnson to describe a loose group of 17th-century English poets whose work was characterised by the inventive use of conceits, and by a greater emphasis on the spoken rather than lyrical quality of their verse.
The poetry depends on extended, elaborate metaphors and conceits, and the language is often rhetorical—written for actors to declaim rather than speak. For example, the grand speeches in Titus Andronicus , in the view of some critics, often hold up the action, while the verse in The Two Gentlemen of Verona has been described as stilted.