Junior College English Class Essay Essay

Poetry is basically the absolving of narrative from a subjective stance. The essence of good and meaningful song lies not just in the perfection of form, but also in the manner by which the theme is expressed at large. T. S. Eliot rejects the ambivalence normally associated with poetry and speaks of it as being a transparent and meaningful strong suit of the poets subjectivity (Raine 122). But not all poems carry a strictly subjective expression in that numerous factors often diverge the poets spontaneity and freedom of expression. The term hegemony typically involves the phenomenon of getting institutionalized.In other words, it is the cultural hegemony of beliefs and conventionality that sometimes submits the society in a restricted way, causing it to pronounce misplaced ideologies the society thrusts upon its dwellers. This paper is liberation to focus on dickens modern poems for identifying the hegemonic elements in them. To analyze the rules of hegemony in works of liter ature, we have taken dancing in Odessa by Ilya Kaminsky and A Song on the End of the World by Czeslaw Milosz. It is imperative that a genuine amount of substantiateground researching is made into the aforementioned poems to swiftly fill out the hegemonic components in them, if any.Written by a Soviet emigree to the United States of the States, Dancing in Odessa tells a story of forlornness and despair. The poet Ilya Kaminsky looks back at the memories of a tormented childhood from the recesses of his powerful imagination, and documents them meticulously in the book. However, the poets authority or lack of it, over a external language like English does not take away the hot rendering we enjoy in Dancing in Odessa. The creative throw is articulated by repeating images and phrases a poetic trend more common to the Victorian times.Such a method also highlights the ingenuity of art in term of its realistic expressions and sometimes, tragic visions. The frequent mental imagery which haunts the poet is that of his previous dwelling place which he had to forsake in the stolon of the 1990s. Frequent references to the Russian city of Odessa in this lyrical masterpiece chance on with dark and somber moods typical of postmodern anguish. The narration is literally disrobed of excesses, gum olibanum allowing the readers to attain a position of first person viewers. The use of metaphors is periodic and therefore, has an impressionistic mother wit of coherence.Now in relation to the thesis question, Dancing in Odessa can be interpreted as being a product of the cultural dominance of a changed society having a significant amount of hegemonic impact on the intellectual expressions of its time. Kaminsky familys migration to the United States of America as political refugees left in the poets mind a profound sense of yearning for the city of Odessa and its myriad memories. The change of guards in terms of the sociable, political, administrative, religious and cu ltural controls had a radically shifting influence for the newly migrated segments in the US society.Almost a collage of imageries merges into apiece other in the poem to form a continuous circulate of expressions suited to bring out the occasional allegories. It is apparent after rendering the poem that the poets vision is shaped by the erstwhile social superstructure in Russia The German tanks on tractors, (Kaminsky 12). Just as Kaminsky creates a crossbreeding of forms and patterns in Dancing in Odessa, Czeslaw Milosz in A Song on the End of the World draws on from his personal experiences and pantheistic beliefs to paint a picture of universality.All the imageries used in this narrative provide a familiar yet ethereal representation of nature and its relationship with mankind. In this sense, this poem just about antecedes many of the earlier works of art, especially that of William Wordsworth. The extravagantly meditative mood of the poem is captured perfectly by repeated lines that almost sound like a sacred hymn. As far as intellectual hegemony is concerned, it is the Christian convictions of the poet that urge him to muse over the outputs of life inwardly a continuous cosmic framework.The fact that the constancy of nature is complemented by the routine course of our everyday lives goes to show how transcendence creates a sense of dilution. A strict adherence to the established rules of the society which we live in is unlikely to let us contemplate on an existence which is essentially evil and diabolic. So the poet advertently dismisses the evil influences working behind the impending end of the world by voicing his poignant Christian beliefs As large as the sun and the moon are above, As long as the bumblebee visits a roseAs long as rosy infants are born No one believes it is happening now. (Peakdesign, 2009) oneness of the striking aspects about Miloszs craft is his ability to look beyond the petty problems of the temporal existence. This is evident in A Song on the End of the World which converges beyond the borderline of transient existence of being. The powerful Creator and His creations become unified as and when the end nears. This theological end perfectly justifies the dichotomy between the songs of experience and that of innocence (Nathan and Quinn 22).Since both these two texts belong to contemporary times marked by lack of assurance and tolerance in general and realism, it is quite obvious that they ought to accrue to certain social and intellectual rationales. So the thesis argument is met with in terms of finding plausible hegemonic correlatives in the works of Ilya Kaminsky and Czeslaw Milosz. What still remains to be seen, however, is the ensuing literature that is undoubtedly capable of producing more such dangerous documentations of life.