Abstract This paper discusses how Robert Lowell and Robert Creeley are two great American poets and how, although the two men have different styles of poetry, both are just as influential. Lowell's poems tend to be longer and more detailed, while Creeley's poems are shorter and seem to require more analysis. The paper examines how, despite their differences, both poets somehow "use" historical issues in their works and how, whether it is more obvious, such as Lowell's, "For the Union Dead", or a more subtle approach, such as Creeley's, "I Know a Man", both poets incorporate a historical issues into these two poems.
From the Paper "During the 1960s, Americans started focusing on American history. Robert Lowell's poem, "For the Union Dead", which was written in 1964, is no different. In "For the Union Dead", Lowell compares the 1960s look of Boston with the older images of Boston; he is trying to show the relationship between the past and present through these descriptions. It almost reads as if he is walking through Boston and writing what he sees, then compares the image with what is used to look like. He begins the first stanza with a description of how the South Boston Aquarium looks now, with "Its broken windows boarded/The bronze weathervane cod has lost half its scales" (Lowell 2-3). The issue here is Lowell's hometown is vanishing; aspects that he remembers as being beautiful are now falling apart. Lowell is sad to see his home like this, as he remembers it as a fun place to visit as a child. "
Abstract This paper analyzes the poetry of Robert Creeley, explaining how his style breaks both traditional formal structures and perceptions.
The author has chosen two of Creeley's poems in particular, "The Window" and "The Language", to illustrate how his relationship through a mode of expression is itself examined in relation to the object of language.
From the Paper "The poetry of Robert Creeley breaks both traditional formal structures and perceptions in an attempt to not only describe a more authentic interaction with phenomenological experience, but to reenact this relationship through a mode of expression that allows its form to arise from the dynamic interaction of the content. Two of Creeley's poems, "The Window" and "The Language", address the manner in which the form of the poem engenders an enactment of the ontological position of the poet, and illustrate how such expression is able to authentically recreate the experienced. The poetics of "Projective Verse", to which Creeley contributed, offer an explication of the relationship of the poet to the 'real' that does not assume the traditional subject / object relationship of western thought. This leads to the abandonment of the conventional poetic forms that restrict the authentic expression of experience through the presuppositions of their conceptual structures. Composition is instead intended to utilize the space of the page in a reenactment of the non-linear interplay of objects in the 'real', through the visual, aural and linguistic aspects of poetry. This mode of expression is itself examined in relation to the object of language, leading to the location of authentic meaning in the potentiality of speech at the moment of human utterance."
A comparison of the techniques used by e. e. cummings in his poem, "somewhere I have never traveled, gladly beyond" and Robert Creeley in his poem, "I Keep to Myself Such Measures."
1,945 words (approx. 7.8 pages), 0 sources, 2009, $ 61.95
Abstract This paper compares e. e. cummings' poem "somewhere I have never traveled, gladly beyond" and Robert Creeley's poem "I Keep to Myself such Measures." The paper examines how, through the use of a similar technique that uses physical terms and the use of words that suggest a physical state, these poets are able to encapsulate very powerful meaning and emotion.
From the Paper "It is clear that the images evoked by e. e. cumming's "somewhere i have never travelled, gladly beyond" and by Robert Creeley's "I keep to myself such measures" suggest a landscape. Each poet uses different styles of language, e. e. cummings being very descriptive and varying, and Robert Creeley being very minimalistic and unchanging. It is apparent that the suggested landscapes do not actually exist in reality, but instead are meant to evoke an emotional state, through the use of physical terms. The poets are similar in their ability to conjure various emotions through the use of physical language, but each poet has created very dissimilar landscapes and thus, dissimilar correlating emotions."
Abstract This paper examines the San Francisco Renaissance, which arose from the West Coast Bohemianism, in comparison to the New York School and the Black Mountain School. It shows how the San Francisco Renaissance was particularly important because it not only represented the collected works of geographically limited poets, but also served as a center from which ideas were exchanged and brought to life. It also discusses how one would be hard pressed to firmly separate any of the important beat poets from the San Francisco Renaissance, such as Robert Duncan and Robert Creeley.
From the Paper "The first reading for the San Francisco Renaissance featured poetry by Kenneth Rexroth, Jack Spicer, and Robert Duncan. The latter would shortly serve as a teacher at the Black Mountain College, working with fellow San Franciscan Robert Creelet to forge strong links between the two schools. (Wikipedia, ?San Francisco...?) Yet despite this early reading, and similar such displays of avant- garde work, the true emergence of the San Francisco Renaissance was linked to a reading at a much later date. In October of 1955, at the Six Gallery, influential San Francisco poets Mike McClure, Gary Snyder, and Phil Whalen were joined by newcomer Allen Ginsberg (and Lamantia reading the work of a deceased poet)."
