![]() ![]() Examples are diverse, including everything from Santoka’s oeuvre of first-person haiku to James Tate’s prose poetry to the ancient epics. The narrative mode of poetry seeks to tell a story. The following sections will go into depth about 12 different styles however, the textbook big four modes are: Some tell a story, express a personal viewpoint or respond to an experience, and some do any combination of these things - or something else entirely. The 12 Types of Poetryĭifferent styles of poetry do different things. A more useful definition of mode in poetry is that it provides an answer to the question: What is the poem doing? This question of action and intent can also be expanded beyond poetry to basically anywhere the written word presents itself: novels, professional writing or even something like a product label. then style or type of a poem is its mode. ![]() If form is the shape the poem takes - its design, the representation of its essential nature, etc. Form has a relatively strict definition It’s the shape of a poem - the way the content is organized in the time, imagination or page space it occupies. The film in which it features, about the night train carrying mail from London to Scotland, remains a classic of British documentary filmmaking you can watch the excerpt from the film featuring Auden’s poem here.When you’re talking about styles or types of poetry, you’re probably talking about either form or mode. Has any English poet better caught the rhythms of a railway train as it powers along the tracks? Thanks to the classic film which featured it – and for which it was specially written – ‘Night Mail’ remains one of Auden’s best-known poems and one of the greatest poems about the movement of a train ever written. See the link above and scroll down to find Aldington’s transport poem among his 1916 volume Images Old and New. Here, Aldington captures the jerking and rocking of the Tube train on the London Underground as he travels under London with his fellow passengers, all of whom seem to harbour the same, sinister question behind their eyes. ![]() The imagist poet Richard Aldington (1892-1962) had mixed views about modern London: on the one hand, his work displays a distaste for the commercialisation and industrialisation of the city, while on the other hand, it provided him with the subject-matter he needed to write much of his finest poetry. Follow the link above to access a pdf of the first edition, via the Hope Mirrlees website. It was out of print for much of the twentieth century, until the publication of Mirrlees’ Collected Poems in 2011. Helen Hope Mirrlees lived in the French capital during the early twentieth century, and this 445-line poem is remarkably bold and innovative, blending as it does street signs and advertisements in the Paris Metro with allusions to Aristophanes, Shakespeare, and French painting, as we follow the female narrator through the streets of the city over the course of a whole day, from dawn till dusk and through to the dawning of a new day. Bearing the influence of Apollinaire’s poetry such as ‘Zone’ (about the bustle of the city and the aeroplanes overhead), Paris: A Poem (1919) was actually written by a British female poet, born to Scottish parents in Kent in 1887. ![]() The poem was written two years ago and is haunted by war: that fateful car journey saw Apollinaire and his friends heading off to fight. In this poem he recalls a car journey he made in August 1914 – the month of the outbreak of the First World War. Apollinaire (1880-1918), a French avant-garde poet, was one of the first to incorporate the recent invention of the motorcar into his poetry. Guillaume Apollinaire, ‘ The Little Car’. ![]()
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