WW 1 In Poetry

The First serviceman struggle brought about a root change in the way people viewed society. It evoked the coda of passion and fantasy, which were previously associated with the ideas of war. Young men no long dreamed of riding off into battle. Mothers no longer imagined the stalw wile glory of their sons in war. The result of this was an outpouring of esthetical hu multitude face that broke all the rules of carriage at the time. This assure of art, cognize as cubism, was a revolt against earlier forms of expression. It strayed from modern elements, much(prenominal) as the sensual appeal of color and texture, great alight(p) charge, and the portrayal of dramatic movement. The essence of cubism was a focus on get up structure. This was done by registering several aspects of the identical aspiration simultaneously, and by fragmenting the form of depicted objects. One of the lede artistic minds in this revolution was Guillaume Apollinaire. Although th e most famous examples of cubism be delineated in the paintings of his good friend, Pablo Picasso, Apollinaire make outd this form of art in the form of poetry. It is no surprise that his experiences as a French military officer in World struggle I are unvarnished in his works, not hit in subject, further style as well. In his poem, Shadow, Apollinaire illustrates the commutation elements of cubism. Here, the influence of war is present in the personification of the vocalisers chip in memories extended in abstract metaphor throughout the poem. The speaker captures the essence of this in the phrase, octuple dwarfs. The auditor of the poem is the speakers proclaim personified memories, which seem to provoke contrastive emotions in the speaker. There is a sense of sadness as well as preference toward these memories. The word multiple gives the discount of more than one meaning. It indicates the many aspects of memories present in the speakers mind. This could preferably possibly reflect the ambiguity ! and insanity of the Great warfare, which the source must undoubtedly have experienced. The inconsistency of the speakers memories parallel the doubtfulness and swooning multiplicity of war. Apollinaire emphasizes the smack of confusion by plentiful multiple connotations to a individual(a) idea. With this in mind, the reader bed gain a deeper sense of how the First World War influenced cubistic expression. While vague and ambiguous, the memories of fallen comrades blur into pellucidity in the speakers mind. Just as a mass of individuals put up cast but a single shadow, memories can cut into a single thought.

The dark silhouette of a shadow does not contend individuality in the components of a group. A shadow is a reflected token from which one cannot hide - an natural companion or follower. Just as a man cannot escape his avouch shadow, he cannot avoid the persistence of his memory. In the poem, the speaker recognizes the continual presence of his dark memories. As the medical record of his companions fades, it is strengthened in a single ever-present memory. The cubist feel of presenting several aspects of an idea to create a single image predominates throughout the poem. It displays the influence of war, and reflects the attitude of society at the time. The manifestly irrelevant and confusing use of metaphor allows Appolinaire to create the thought of ambiguity, while transforming the multiple dimensions of his subject into the presence of a single thought. WORKS CITED Apollinaire, Guillaume. Shadow, in The Penguin book of First World War Poetry, ed. Jon Silkin . New York: Penguin Books, 1996. Cubism. Encycloped! ia Britannica. www.britannica.com. (6 Feb. 2001) If you want to get a abounding essay, order it on our website: OrderCustomPaper.com

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