Essay Criticism Part 3

Essay Criticism Part 3-5
Many vocabularies, scientific and psychological, remained active in Ammons’s poetry throughout his life, and he played constantly with possible attitudes toward nature, the body, marriage, loss, and death.

Many vocabularies, scientific and psychological, remained active in Ammons’s poetry throughout his life, and he played constantly with possible attitudes toward nature, the body, marriage, loss, and death.In spite of its occasional awkwardness, Comic diffidence before supreme forms of nature remained a part of Ammons’s later work, as did the truculence of the moon, here mutinously (if incorrectly) declaring her light to be her own.He seems not to have been beset in that role by the anxiety that typically attended his self-presentation as a poet.

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The poet celebrates the casual tone of the placid “new walk” but has yet to accept, intellectually, that the outbreak of violent feeling is one of the indispensable and inevitable ingredients of his lyric world, confronting the pastoral of the seashore with a furious wind: “Song is a violence / of icicles and / windy trees,” “violence / brocades // the rocks,” “a / violence to make / that can destroy.” Acknowledging hostility in himself, and seeing an equivalent violence in nature, Ammons is preparing for the emotional explosions of his later poems.

a theoretical construct that refers to a cluster of social and behavioral conventions that are typically considered to be socially appropriate customs for individuals of a specific sex within a particular culture Feminist criticism, or gender studies, focuses on the role of women (or gender) in a literary text.

Gender studies also considers how literature upholds or challenges those constructions, offering a unique way to approach literature.

Feminist theory can be traced to the theories of Simone de Beauvoir in .

The Chicago poet John Logan was offering a correspondence course in poetic composition, and Ammons sent him the book.

He found an enthusiastic reader who understood his achievement: “I have read your book several times and I find it completely beautiful,” Logan wrote.

Nonetheless, he was the first American poet for whom the discourse of the basic sciences was entirely natural.

He had been saturated in it as an undergraduate at Wake Forest, and it had for him a moral intimation as well as an intellectual one: It spoke provable truth, and so became an object of alliance in his disaffection with Christianity.

Meanwhile, he fretted that the short poems could not represent the grand inclusivity of thought and language to which he aspired.

And Ammons, who was musical, a fine pianist and singer, always worried about what sort of music the lines would convey.

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