Samantha Beardon's Blog

Using Synecdoche

Using Synecdoche in Life and Poetry.

Synecdoche refers to the practice of using a part of something to stand in for the whole thing.

Synecdoche examples in Idioms and Everyday Language.

Synecdoche is used in many common idioms, and it has become ingrained in the way we use language in our day-to-day lives. The meaning of some of the following examples may seem so obvious or literal that you may be surprised to discover that each one is, in fact, a synecdoche:

• “Nice wheels!” A synecdoche in which “wheels” stand in for the car that they are a part of.
• “Have you got the Bread” meaning money.
Or bread is used to refer to food in general.
• “What’s the head count?” The person asking this question is interested not just in the number of heads, but rather in the number of people to whom the heads belong.
• “I will use plastic” refers to a credit card.
• Many people use brand names to refer to generic-brand products; this is a type of synecdoche because the brand-name product is just one subset of a broader category.

So if you call all facial tissues “Kleenex,” call all adhesive bandages “plasters,” or drink “soda” whenever you’re having a soft drink, you’re using a synecdoche.

Examples of Synecdoche in Poetry

In “The Rime of the Ancient Mariner”  Samuel Coleridge uses synecdoche in the lines:
The western wave was all a-flame.
The day was well nigh done!
Almost upon the western wave
Rested the broad bright Sun.
Here, “wave” stands in for the whole ocean (or at least the part of the ocean—larger than a wave—that is relevant to the text). So when the Ancient Mariner says “the western wave,” he is referring to the ocean to the west, extending to the western horizon.In Ozymandius by Percy Bysshe Shelley”The hand that mocked them.” is a line in which synecdoche is used by using the word hand to refer to the sculptor.In T S Eliotts ‘The lovesong of Alfred Prucock’ we can see an example of synecdoche when he refers to people as their body parts. ‘Prepare your face to meet faces you will meet and have time for the works of hands.’In “I heard a Fly buzz—when I died” by Emily Dickinson
In the second stanza of the poem, Emily Dickinson writes:
The Eyes around—had wrung them dry—
And Breaths were gathering firm
For that last Onset—when the King
Be witnessed—in the Room—
Here, “eyes” stand in for people. Dickinson’s use of synecdoche emphasizes that the people in the room are watching the speaker, but it also serves a more technical purpose. In “I heard a Fly buzz—when I died” each stanza is four lines long. The first and third lines of each stanza are eight syllables long, and the second and fourth lines are six syllables long (a metrical pattern known as common meter). By using synecdoche, Dickinson is able to maintain the rhythm of the poem while communicating, in just a few words, that the people surrounding the speaker are watching her and have been weeping.
Why poets use synecdoche
The work of poets like Dickinson and Coleridge show how poets use synecdoche to exchange one word or phrase for another, making it a useful device for preserving rhythm and rhyme within poetic verse. Similarly, a poet could use synecdoche to enhance the sound of poetry. Perhaps most important, synecdoche allows poets to pack a lot of meaning into just a word or two. In “I heard a fly buzz—when I died,” Emily Dickson’s decision to use “eyes” to represent people draws our attention to the things that their eyes are doing: weeping and watching. We can infer that these people feel powerless because, as the speaker dies, all they can do is weep and watch. The people themselves, feel, in a way, like they are nothing more than eyes. By using synecdoche, Dickinson doesn’t need to tell us these details outright, which allows her to maintain the poem’s sparse, fragmented style.
In any context, synecdoche is a way to layer multiple meanings onto a single word or phrase. Synecdoche helps poets make their work more complex, nuanced, and meaningful.

Titling Poetry

Does the title of a poem matter?

Some poems are untitled especially many micro poem and specific genres such as Haiku and Tanka.

But what is the function of a title in a poem?

Title is usually the first introduction readers have to your poem. Therefore, if you are going to use one make it have impact. Select a title that grabs attention and makes people want to read further.

If you use a title it is a crucial part of the poem.
It can add an element to a poem that hasn’t been mentioned in the text. It might explain, add a clue, metaphorically show content or context. Or be an inducement to read further. Titles should be thought through and shouldn’t be a rehash of a line unless it really enhances the poem.
Here are some ways that titles can help readers to understand and interpret a poem:

The title can provide context for the poem. The title can give readers a clue about what to expect from the poem and whether it would speak to them. It can be a lure for what is to come. Followed by an enticing first line you hook your reader in.

The title can set the tone for the poem, indicating whether it is serious, playful, ironic, or satirical. This can help readers to interpret the poem’s overall mood and attitude.
The title can suggest the meaning of the poem, hinting at the central idea, message, or argument. This can help readers to understand the poem’s purpose and significance. Or it could be a point or idea in theme but outside the poem that adds another layer.

The title can suggest different ways to read and understand what follows. This can encourage readers to engage with the poem more deeply and to consider different perspectives and meanings.

The title can excite a readers curiosity. Imagine picking up a large book with several pages of contents which only list the poems’ titles. You don’t want to start at the beginning you want to dip into the work. Which one would you choose to read first?
Would it be the one called “Untitled”? if the poet couldn’t be bothered with a title, why should the you be drawn to it or would you be curious?
Would t you be more drawn to ones called “Water” or “Hate” probably more so?
Or might you be more interested ‘Because I couldn’t stop for Death’ or ‘The Raven’ or ‘Tangoing Goats and Somersaulting Hearts’. Ultimately that is the conundrum you have when finding a title thinking about it’s street appeal!

There can be a difficulty with one word titles they can be hard to work successfully unless the poet has chosen a word with a complex or ambigious meaning. “Nature” is too generic: is it a gentle pastoral poem or is its nature red in tooth and claw? Is it even about the natural world? If you are into romance you might go for the poem entitled “Love” but it doesn’t offer any clues, it might be love of friends or siblings when you wanted romance or it could be hard core erotica when you wanted a little steam but not explicit sex.

A good title entices a reader to read the poem. It offers a glimpse into the poem or sets up a sense of intrigue. It might evoke a mood, set up a conflict, be quirky or funny.
“Call” sounds fairly mundane but “3am Phone Call” sounds ominous – phone calls in the early hours are usually made to pass on a piece of urgent news.
A poem called “As the forest flows.” is going to spark very different thoughts from “A streak of agate agitates the forest.”
“The Raven”, suggesting melancholy and perhaps darkness, will be very different to “The Peacock” suggesting pride, beauty, colour and perhaps strident noise.

Titles can be so much more than just regurgitation if a line or phrase from within the poem.

Title First or Last?
This is personal preference some poets write a poem to an idea they have for a poem. They start with a working title then construct the poem. Others write to an idea then title the poem after completion of the poetic process.

Remember if you start with a working title it’s not a title set in stone and during the editing process it’s worth revisiting the title to see if it could be improved in the light of the finished piece.

Copyright and Titles
Titles can’t be copyrighted. So there’s nothing to stop you using a title that’s already in use. Likewise, there’s nothing to stop someone else using one of your poem titles.However, bear in mind that, two poems with the same title will draw comparisons, particularly if one is more famous. Some editors/competition administrators put poem titles into search engines to check a poem hasn’t been previously published and may not have time to check beyond the title to see if it is the same poem.

In summary, a well-chosen title can be the key that unlocks a poem’s meaning, inviting readers to explore its layers and discover hidden depths. So, next time you encounter a poem, pay attention to its title—it holds more significance than meets the eye!

Try not to write Obscure, Abstract Poetry because it confuses readers

Abstractions in poetry can be a great concept, when used wisely and judiciously. When abstractions are overdone, the poem becomes a confusing mess for the reader that often defies navigation to a successful conclusion. When someone tells you that your poem is too abstract, they are very likely saying you have abstractions where there should be concrete imagery, or that the abstractions are not accurate and exact enough.

Some would say there has been a dearth of critique in modern poetry which has perpetuated low-quality writing across much of the field. I believe that social media is largely responsible for this. Many people today believe they do not know the difference between good poetry and bad poetry. But they should know; by using gut instinct. However, they get exposed to so much low level poetry over time that they have been told is great, they lose faith in their own judgement. If you read poetry widely then if you feel a poem is lacklustre, it probably is. The trick is to understand WHY it doesn’t excite you and then to avoid making those same mistakes in your own writing.

When you read a truly GREAT poem, it is like taking a walk through someone else’s uncluttered mind. You come away from it with new associations between images and ideas that you may never have considered before. Skilled poets do this in many ways, but one of the most basic and fundamental means is by inserting concrete imagery into the text of their poem.

Concrete imagery are words, usually nouns (but sometimes verbs and descriptors too) that create a clear, unambiguous image in your mind’s eye. Bad poems fail us in this manner. They fail to give us any actual things to imagine! In other words, there’s no “vision” there. The poem lacks concrete grounding in place, character, action, senses and so many other elements.
The abstract poet tends to fumble around, writing about the big ideas and concepts like love, death, sorrow, anger, pain, nobility, beauty, all abstract constructions. They are the froth on the coffee, the dew on the morning leaf pretty but not about to stand the test of time, words that give transient meaning. In other words, they TELL you inconsequential and abstract things because they have nothing to SHOW via active and descriptive writing.

These poets excel at writing poems that sound beautifully poetic that have well turned phrases. They add a transparent veneer of profundity, without bothering to do any of the hard work of coming close to saying anything truly profound or moving. There is not even an attempt at lucid coherence. At least if it is lucid, the reader may be able to glean some meaning.

Good poets do not deliberately complicate something just to make it harder for a reader to understand. Look at poets the ilk of Mary Oliver, Ted Kooser, Maya Angelou, Billy Collins, Jane Kenyon. The language is clear and concise. The word choice is simple and suits the poem. It does not seek to be “clever” for the sake of being clever because it is poetry. Their work is accessible and deeply moving. Unfortunately, a lot of young readers, and young poets too, think poetry needs to be abstract to “be” poetry. This has, in turn, created certain habits in the writing of contemporary poetry in online communities. Bad information about poetry in, equals poor poetry out. Poems that rely on hidden meaning, or unsubstantiated abstraction keeps something away from the reader.

Why do people read poetry? People read poetry to experience and feel and understand in ways only poetry can conjure. They read poetry to seek to make sense of the world we live in. To understand the human experience. To empathise with ideas the poet puts forward, to see an emotion in action, to feel. But it is difficult to understand if the poetry is inaccessible by being over-the-top abstract.

Is it a case of new poets responding to a strong impulse to disguise what they’re saying. Do they think it is only poetry if it is obscure and difficult to decipher? It is not uncommon to see young poets, unconsciously, do something at the beginning of their poems that demonstrates, according to whatever terms they have, that they’re poets. It’s as if they’re presenting their poetic qualifications for inspection. Some of them, for instance, will do something bizarre or outright confounding and disruptive with syntax. Others will throw in a bunch of conflicting and mixed images and metaphors before the reader even knows what the poem is about. Whilst this all makes sense to the poet – one would hope! – the reader does not reside inside the mind of the author.

There is often a reluctance to give basic information — what is going on (action), where we are ( location), context, who is speaking (character, voice) and so forth — as if to do so would be to ruin whatever is poetic about the poem.
Any thing that is difficult to say is ideally best said in a clear and concise voice with grounded imagery and metaphor.

One of the great pleasures of reading poetry is to feel words mean what they usually do in everyday life, and they begin to start to move into a more charged, activated realm. In poetry our familiar language can start to feel resonant with significance, more alive, even noble. It provides the AHA! moment for the reader. It is how these words are strung together that generates the magic and makes great poetry; thereby making it accessible to the reader. The words we use in our everyday lives carry with them deep reservoirs of history (personal and collective) that can, through a poem, be activated in the reader. Wildly abstract poems do not achieve this same level of connection and emotive response.

Painting poetry with colour

Using colour to paint your poetry

The psychology of colour is a fascinating area that explores how colours are linked to emotions, perceptions, and cultural expressions.
Colours have a way of evoking emotions, memories, and associations. Metaphors and similes that involve colours add depth and vividness to our language.
So adding colour to poetic comparison devices and to your lines can really help imagery pop in poetry.

When we say something is ‘similar’ to something else we mean they are very ‘like’ each other.
We use a similar word, ‘simile’ when we are writing. Similes COMPARE two things.
If I were to say a flower was ‘like’ , or ‘similar to‘, or ‘as yellow as‘ the sun, I would be using a simile.
Other examples:
The dropped red petals like a pool of blood.
Scattered rose petals like a river of desire.
Her beautiful hair like glistening toffee.
Her skin is like lustred copper.
White feels like cotton wool and the brush of a feather.
White smells like clothes fresh and soft from the tumble dryer.
When the sea is as grey as her eyes.

If we say something IS something else, then we are using a metaphor. If I were to say the flowers are suns, I would be using a metaphor.
A metaphor is a way of comparing things to help a reader understand an idea or picture imagery in a clearer way. We say one thing is another thing. But it’s figurative,metaphors aren’t meant to be taken literally. When I say, “He’s a dormant volcano,” you know I’m speaking figuratively. He’s not actually a volcano; what I’m saying is that he’s unpredictable and can blow at any time.

Other examples:
The flowers are glowing suns in a green sky.
The accordion’s rich notes accent his sepia tones.
White is a fresh start, a clean slate.
The day is white.
He stares out the window caught in a brown-study.
Despite economic challenges, Sarah’s business managed to stay in the black throughout the year

Add an adjective to colour
A way of making colour interesting is to add an adjective to it, So colours can be nuanced according to context.

In a battle scene or a riot you might use
mercury-red blood
a bat-black sky
nickel-silver armour.

For nature you might use
an electric-blue river
a nut-brown forest
paradise-green field
the sky is a robin’s egg blue

As I looked up at the clear, robin’s egg blue sky, a sense of tranquility washed over me, and all my worries seemed to vanish.”

If I gave you a word to make more vivid how could it be achieved with interesting colour?
If you were describing lips, autumn leaves, hair or dusk you could go for an enhanced colour which makes an easy metaphor.

Her sugar plum lips were berry-red and had a silky gloss. LIPSThe autumn leaves were gleaming in dragon flame-red. AUTUMN LEAVESHer hair was brazier-red and tumbled around her swan’s neck. HAIRThe evening sky glowed in firedrake-red, a shepherd’s delight. DUSK

Colour Psychology

Let’s explore some delightful ways Universal Colour-Emotion Associations exist.
Across different languages, people often link colours with emotions
For instance:
• English speakers say someone is “seeing red” when they are angry, or they “feel blue” when they are sad.
• French speakers use phrases like “avoir une peur bleue” (having a blue fear) to describe extreme anxiety.
• German speakers say “sehen rot” (see red) to express anger or “werden gelb vor Neid” (turn yellow with envy) to convey envy

Research shows that these colour-emotion associations appear to be universal. People from 30 countries found it easy to link colors with emotions, and the links were consistent across cultures. Similar languages had even more similar color-emotion association

Colour Metaphors in Different Languages:

Different cultures may use colours to signal different intensities of the same emotion or
use colour symbolism differently.

Here is a short list of colour implications in life and writing during the recent centuries:

green = jealousy, rebirth, money

purple = royalty, enlightenment, fantasy

pink = happiness

brown = earthly qualities

orange = curiosity, wisdom

gray = depression, defeat, monotony, boredom

gold – happiness, wealth

red = anger, danger, war, seduction, passion

black = sorrow or death, lack of light, can also be associated with financial success. The account is in the black.

white = purity but also death (implied from shroud)

blue= sadness, also calmness, serenity

Using colour infuses our language with vivid imagery, making our expressions more engaging and relatable. So next time you describe someone’s personality or mood, consider using the rich palette of colours to paint a more colourful picture. Think of making colours more arresting by adding an adjective and get a whole new dimension to your writing. Explore the cultural and general symbolism of colour and find new spice to sprinkle on your lines. Happy writing

Tocsin

There is a persistant plip plop
scritch scratch scratch scritch
staccato beats like the tapping
of alien fingers on the window.

I pause and shiver shoulders tense
It must be the amplified sound of rain
and leaves yet there is a discordance
in the air like the distant call of the tocsin.

I shrug and turn on Rusalka and sit feet up,
as the liquid notes of the music envelop me
as I visualise the prince swimming in the lake

the phone rings.

The Art of using symbolism in Poetry

Symbolism is a powerful literary device that enriches poetry by adding deeper layers of meaning. Through symbols, poets can convey complex ideas, evoke emotions, and create connections between the tangible and the abstract.

What Is Symbolism?

At its core, symbolism involves the use of—objects, colours, events, or even emotions—to represent something beyond their literal meanings. These symbols are laden with qualities and associations that are often open to interpretation.

Here are some key points about symbolism:
1. Context Matters: The meaning of a symbol hinges on the context in which it appears. A single object can symbolize different things depending on the surrounding circumstances.
2. Subjectivity: While some symbols are universal (like the colour white representing purity), others are subjective or can have specific cultural connotations. Readers bring their own perspectives and experiences, affecting how they interpret symbols.
3. Common Symbols: Certain symbols recur across cultures and literature. For instance:
• White: Symbolizes purity, new life, or peace.
• Black: Associated with death, danger, or mystery.
• Red: Represents love, passion, or even death.
• Green: Signifies rebirth, nature, and growth.
• Cross: Symbolizes Christianity, sacrifice, or heaven.
• Home: A symbol of safety and peace.
• Flowers The symbolism of flowers was particularly strong in Victorian times in both Europe and America.  Many cultures imply meaning to different plants, herbs or flowers.  Last year. at a family funeral everyone received a prig of rosemary, and this was said to be symbolic of remembrance.  A red rose on St Valentine’s day is a symbol of the affection you might hold for another person or that they might hold for you. This symbolic meaning is called in the West floriography and examples of the symbolic use of plants and flowers in some case linked to the colour of a bloom can be found in many poems and paintings. 

Examples of Symbolism in Everyday Life

Everyday words, objects, and even concepts often have more than a single meaning. Across time, certain aspects of everyday life and experience evolve in meaning and associated significance, making them symbols of something besides what they actually are. Here are some common examples of symbolism in everyday life:

• rainbow–symbolizes hope and promise

• red rose–symbolizes love and romance

• four-leaf clover–symbolizes good luck or fortune

• wedding ring–symbolizes commitment and matrimony
picture of a shopping trolley —symbolises on line shopping

Examples of Symbolism in Poetry

1. “Daffodils” by William Wordsworth:
• In this classic poem, daffodils serve as a powerful symbol. The vibrant yellow flowers represent more than their physical beauty; they embody the idea of joy, inspiration, and the transcendent power of nature. The image of the daffodils dancing in the breeze becomes a metaphor for the poet’s own inner experience.

2. “The Raven” by Edgar Allan Poe:
• The  raven in Poe’s haunting poem is more than a mere bird. It symbolizes grief, despair, and the relentless persistence of sorrow. The repetition of the word “Nevermore” reinforces the raven’s symbolic weight.

• “Fire and Ice by Robert Frost”
In the poem, fire symbolizes destructive and consuming emotions such as jealousy, desire for power, anger, and impulsivity. Ice, in the poem, symbolizes destructive and withholding emotions such as hate, indifference, loneliness, and isolation. Of course, the poet indicates to the reader that the literal meanings of fire and ice make them capable of destroying and ending the world. However, it’s the symbolism of fire and ice that enhances the meaning and significance of the poem.

3. “Ode to the West Wind” by Percy Bysshe Shelley:
• In this ode, the west wind symbolizes change, renewal, and the power of nature. Shelley invokes the wind as a force that can both destroy and rejuvenate, emphasizing its transformative role.

Why poets use Symbolism

Different types of symbols create different effects for readers, though the overall goal of symbolism as a literary device is to enhance the reader’s experience with literature.
Here are some examples of types of symbolism and their effects:
• emotion: symbols often evoke emotional responses in readers, allowing them to invest in the story. This emotional effect of symbolism also creates a lasting impression for the reader of the literary work.
• Imagery: symbols can create imagery and provide visual elements that allow readers to understand complex literary themes. This also has a beneficial effect for writers so that they don’t feel an overreliance on language to explain their intended meaning.

The Art of Uncovering Hidden Meanings
As readers, we must dive deep into the layers of symbolism. Metaphors, allegories, and allusions help us unlock these hidden meanings. When encountering symbols in poetry, consider the following:
• Metaphors: These associate complex concepts with familiar images.
• Allegories: Use symbolic characters to represent abstract ideas.
• Allusions: Refer to other works, myths, or historical events to enrich the symbolism.
Remember that poetry invites us to explore, question, and engage with symbols. Each reader brings their unique lens, making the experience rich and multifaceted. So, the next time you encounter a rose, a storm, or a broken mirror in a poem, pause and unravel the layers of symbolism—they hold secrets waiting to be discovered.
In the realm of poetry, symbolism is the bridge between the tangible and the ineffable, the mundane and the magical. It invites us to see beyond the surface and glimpse the profound truths that lie beneath.
References:
1. Symbolism – Definition and Examples – Poem Analysis
2. How Is Symbolism Used In Poetry – Poetry & Poets
3. What Does Symbolism Mean In Poetry – Poetry & Poets
4. Symbolism in Poetry: Uncovering Hidden Meanings – Poems Please

Remember, as you explore poetry, let your heart and imagination be your guide—the symbols await your interpretation!

What do you sense?

does it taste like
smooth mellow chocolate
sweet, smooth and melting
leaving contentment
or is it sharp lemon tart
or nutty toasted almonds
to savour and linger over

does it taste like
pepper, mustard and vinegar
harsh on throats hurting stomachs
or the cumulative effect of
chilli spice – the cumulative heat
that travels across skin making
perspiration shine and
nerves tingle?
does it sound like
a celestial choir,
Dr Hook at full volume,
a playlist of romantic duets
the profound glory of Pacabel’s Cannon
on guitars supported by an orchestra
or melodic like the dawn chorus

does it sound like
a child learning the recorder
an errant burglar alarm
a chain saw labouring to cut a tree,
making the jaw tense and ears retract?

does it feel like
being wrapped
in a warm fluffy blanket
safe sheltered succoured
or
an icy draft stinging the eyes
adding goosebumps to the skin
when the blanket slips?

what sort of love do you have?

Samantha Beardon

Poetic Devices

Literary devices/Poetic devices/Figurative Language

Common literary devices, such as metaphors and similes, are the building blocks of literature, and what make literature so enchanting. Language evolves through the literary devices in poetry and prose; the different types of figurative language make literature spark in different ways.

Yet these devices are techniques we use in our normal speech as well as in our writing. We don’t just use metaphors when we write or when we read they are a dynamic part of our everyday communication. Indeed that is why it many metaphors are seen as cliché they are used so frequently they no longer have the surprise element that we as writers want to interject into our writing.
The common metaphor is alive and well and you use them continuously when you speak. Metaphors are methods of comparison,symbolism or description.
‘She is the apple of his eye’,’he broke my heart’, ‘life is a race’, ‘fit as a fiddle’, ‘old flame’, ‘my room is a prison’. Do you have metaphors that are part of your standard repertoire? They will be so much part of your normal speech pattern you are probably unaware you use them they are hot wired in your psyche.

How often do you personify inanimate objects? Giving human characteristics to non human Our car is a she, my husband refers to ships as she, I have been known to have a conversation with my laptop and a teddybear amongst other things. I frequently ask my laptop how it wants me to do something when it rejects all my moves. I accuse the rain of waiting till I am outside to deliberately soak me. The cookie called to me, the sun came late, the frost came with icy fingers, the flowers danced in the breeze. Again it’s a part of how we interact with the world.

Think of the symbols you use in your daily communication. ‘The heart’ symbolic of love or lost love, wedding rings symbolise joining together, chains can mean being imprisoned or held back, ladders can symbolise ascent to better things, clocks can represent deadlines, time passing, owls might represent wisdom or sometimes foreshadowing.

If you really analyse conversations, or every day writing you will find you are using the devices we refer to as literary or poetic devices all the time. We are not as writers coming to them as new concepts. Yet at the beginning of this article I said they are the building blocks of literature .

Why call these devices specifically literary/Poetic devices?

If we use them all the time in our lives why do we highlight these devices as being important in literature?
Its because writers/poets take these devices and use them meaningfully. We understand the theory of their construction and we use them mindfully to enhance our poetry and prose.

Literary devices refer to devices or manoeuvres writers use in their writing to relay information and develop the narrative, i.e., to make his or her work complete, interesting or complex. In other words, it is a “literary or linguistic technique that produces a specific effect, esp. a figure of speech, narrative style, or plot mechanism”. There are hundreds of literary devices but some are more commonly used than others. Some are used equally in prose and poetry and some will appear more often in one form of literature rather than another.

There is much overlap in how literary devices are categorised and you will see the categories of devices being used slightly differently in different books and articles, this doesn’t take away from the fact that we use all such devices mindfully in our writing and it’s how we use them that is important.
For instance you can consider that form is a poetic device such as Free Verse or Sonnet. Devices of Sound and Rhythm are poetic devices such as alliteration or consonance.

Literary/poetic devices refer to a broad category of techniques referring to literary or linguistic techniques in a work of literature that produces a specific effect. Whilst, figures of speech are also seen as a type of these literary device. This is the primary difference between literary devices and figures of speech.

Figures of speech are forms of expression where words are used out of their literal meaning or out of their ordinary use. Figures of speech often offer emphasis, the freshness of expression, or clarity to a work of literature. Furthermore, their main aim is to use the language creatively to heighten the effect of what is being said. There are many types of figures of speech.
Some Examples of Figures of Speech
• Similes – making a direct comparison between two things
• Metaphors – making an implicit comparison between two unrelated things
• Personification diving human characteristics to non human entities.
• Synecdoche – using a word or phrase that refers to a part of something to represent the whole or vice versa.
• Oxymoron – using two contrasting words together
• Hyperbole – deliberately using exaggeration for the sake of emphasis

Thinking about how we write poetry.

This poem was written and posted for critique with no editing prior to posting and it shows, it has some strengths that need enhancing in order to make this a poem of strength.

Life is as colorful as sunset rainbow
I noticed that in the glow of your eyes
the spark of your alabaster teeth
a caption in my head for another Day.

What if the DAY wasn’t a bubble blast
if I could hold the hands of time by its edge
the hugs, smooches on the checks and giggles
a page in my diary dressed with petals.

Love is real, its real and true
the note on my blacklist board I failed to admit
a soft tinkles and touches of your smiles
takes me on a journey down the aisle.

Love is a valley of perfection
happiness, laughter and merry-ment
two steps at a time might make you flip
been buckling my shoes to climb over again.

This has some good imagery but its superfical so you love her everything is wonderful. Why should I the reader care? Would I save this to read again? Probably not. Does it stir emotion in me? Not really. I know I am a hard romantic task master. Has it got lines that stay in my head? Make me think?
Stanza 1 uses some nice visual clues shes got bright eyes and a glow in her eyes, the rainbow a symbol for happiness bit we dont really see this lady or what this love is.

I think stanza 2 is the strongest stanza and shows their interactions and shows he thinks they are important.

This is one of those poems that centres around the poets thoughts but doesn’t really engage the reader enough.

Give this to a particular young lady I am sure she would love it, it would make her feel special and would make her smile for a week. But as a poem for a general reader it could work harder.

But if you are putting this out as a poem to enthall readers its not strong enough.
This is too general too abstract.
There is more telling rather than showing.
Who are this couple?
What makes him love her?
What is different about their relationship than thousands of others?

What it would be good to do is to find a way to show this love maybe in one incident that shows the love in action. Or more detail of the couple. Why they are in love and how their love manifests. Make us really see the love the bond that draws them together.

Compare it to this poem on the same theme.

Before You Came
Faiz Ahmed Faiz – 1911-1984

Before you came,

things were as they should be:

the sky was the dead-end of sight,
the road was just a road,
wine merely wine.

Now everything is like my heart,

a color at the edge of blood:
the grey of your absence,
the color of poison,
of thorns,
the gold when we meet, the season ablaze,
the yellow of autumn, the red of flowers, of flames,
and the black when you cover the earth
with the coal of dead fires.

And the sky, the road, the glass of wine?
The sky is a shirt wet with tears,

the road a vein about to break,

and the glass of wine a mirror
in which
the sky, the road,
the world keep changing.

Don’t leave now that you’re here—
Stay.
So the world may become like itself again:
so the sky may be the sky,
the road a road,
and the glass of wine not a mirror, just a glass of wine.

Both poems use colour to instill imagery but in different ways. The second specifically used red and grey ..gold and red and using the colours to indicate feelings of love and loss, the first is showing the rainbow for happiness which is good but lacks the depth of imagery of the second. . Look at the metaphors and imagery in the second poem the use of the sky the wine and the road to demonstrate feelings.

The first poem will make a good poem if edited and rewritten the poet needs to find that story.

We know little of the story of the second poem either but we do have a picture of a love that brings happiness and sadness and is perhaps unstable. Will she stay with him as he wants will they be happy? We don’t know we have to decide for ourselves but I can picture that relationship clearly.

What do you think?

Climate Change Anthology

Climate Change Anthology Final 4Download

The Passion for Poetry institute has just run a 4 week course on Climate Change and Poetry. Here is an Anthology of the Students Assignment Poems. The students are mostly young Nigerians with a Passion to Learn Poetry enjoy their first efforts on Climate Change.