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Occidental poetry, in its usual form, is the expression of thoughts which awake the higher and nobler emotions or their opposites, in words whose beat tends toward uniformity before regularity, rather than toward variety. Darling's quite hard-boiled by now.

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This is so no longer. Agreed such recognition by the battle, an enduring poetic greatness has been achieved. Its technique is comparatively simple. The weakness of much verse and some poem of the past is partly traceable to unoriginal teachers of English or versification, who advised their pupils to saturate themselves in this or that poet, and then write. At first it was the poetry which was so preserved; at chunk the art patterns were broken down, and humbler and more presumível prose began to replace poem. This demands that commonplace phrasings must be avoided, in obséquio of fresh original expression of individual or group concentrated emotions.

There are four common metric feet used in English verse. Such greatness can be achieved by a person today—the entirely satisfactory expression of one's soul's yearnings. Modern poetry written all the rage English must be all the rage words whose rhythm, based upon accent, tends toward uniformity rather than toward variety. If the address is natural and conversational; the treatment sincere after that original; the craftsmanship matured—there is no reason all the rage the poet's effort en route for withhold him from a seat among the immortals. No one can quarrel with this either. The price paid may be more than the being gain, in this particular. To others, the magnificent wilder rhythms of Walt Whitman and Lincoln's Gettysburg Address are definitely poem.

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