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The article offers poetry criticism of the poem "sound of wave in channel" by Stephen Ratcliffe. It explores structure, Stanza and Key phrases of the poem; details on the fragmentary theorizations of poetics and mentions description and quotation as essential formal feature of the poem. It also mentions critical interpretation of the poem and offers themes and topics of the poem.

The article critiques the Irish poem "Clearances" by poet Seamus Heaney, particularly the third sonnet. Other topics include how Heaney carefully used rhymes and stanzas to describe his intimacy with his mother and how Heaney used metaphors to depict the absence of his parents after their deaths in the poems of his book "The Haw Lantern."

The author presents a criticism of the Old English poem "The Dream of the Rood." He mentions the use of hypermetric lines which contain three stress positions, the appearance of such lines in other Old English poems, and the comparison to verse written in stanzas.

The article offers poetry criticism of the poems "The Novel," "Study of Images I," and "Study of Images II" from the poetry book "The Auroras of Autumn" by Wallace Stevens. It explores "The Novel" which quotes literary critic José Rodríguez Feo's letter in italics, the three-line stanzas, Steven's love of tercets, the Italian scenery in "Study of Images I," the mention of a brown ice-bear in "Study of Images II," and provides a critical interpretation of the poems.

This essay analyzes how Barrett Watten's long poem, Under Erasure (1991), concentrates on erasure and displacement through the nonnarrative forms of the poem, in which diverse narrations of historical events are present to claim for their discontinuity and the author's self-consciousness. In formulating those nonnarrative forms in relation to a time structure of continual leaps and absences in his The Constructivist Moment (2003), Watten's vision of both poetry and history requires agency and the transformation of ideology. For him, nonnarrative poetry and history are strikingly similar in their preference for developing episodic remembering beyond periodization or conventional narrative frame. His approach calls for reflection on the connections of both identity and information as global processes of continual re-interpretation and erasure. More synchronic than diachronic, Under Erasure employs a repeated stanzaic structure throughout the whole poem. All this reveals Watten's essential paradox: regardless of rigid formal structure, writing is continually generating diverse meanings. By means of these conceptual and formal principles, Watten has investigated how to gain access to a new representation through nonrepresentation, simply by radically re-historicizing what was once culturally reduced. [ABSTRACT FROM AUTHOR]

The article offers poetry criticism of the poem “Crash and Burn" by Michael O'Neill. It explores the use of metaphor, rhythm, and the aesthetics of stanzas. The author discusses the autobiographical detail and his diagnosis with oesophageal cancer and treatment. Crash and Burn' records his experience of being hospitalised and following treatment.

The article critiques the Old English poem "Deor," found in the tenth-century Exeter Book. Topics discussed include the sequencing of the words "þaes ofereode, þisses swa mÆg" in the poem's refrain, the grammatical status of this phrase compared to other stanzas, and the traditional rendering and interpretation of the said refrain in Old English literature.

The article offers the text of and reviews the American 1922 poem "Stopping by Woods on a Snowy Evening" by Robert Frost. The poem's depiction of pausing during travel through a forest at night, including in regard to the stanza organization, is discussed.

The author presents a criticism of the English poem "The Image of God" by Elizabeth Barrett Browning. She mentions the appearance of two unpublished stanzas for the poem, the possibility of one source for the poem being a misquotation from St. Augustine's "Confessions," and the emerging Christology in her work.

The article offers poetry criticism of several poems found at the collection "One Thousand Things Worth Knowing" by Irish poet Paul Muldoon such as "The Sightseers" and "Cuthbert and the Otters." It explores pinhole, stanzas and rhyme. Also discusses the presence of critical pronouncements of Muldoon's poems.

The article offers poetry criticism of the poem "The Solitary Reaper" by William Wordsworth. It explores the use of metaphor, rhythm, and the aesthetics of stanzas. The other topics discussed include ways on how the poet arranged the stanzas of his poem, the words he used in describing after-life, and the terms he used in describing after-life.

The article offers poetry criticism of the poem "For the Unfallen" by Geoffrey Hill. It mentions that symbols used by Hill in the poems to describe correlation between the world and self, the stanzas and formal symmetry of the poem, and the arrangement of the stanzas. Moreover, it also cites the other poems he wrote.

The article offers poetry criticism of the poem "Vaghezza" by Francesco Maria Gualterotti. It explores the presence of repertoire, apostasy, and description of stanzas. The author provides a critical interpretation of the poem and offers different meanings behind several elements, such as the La vita fugge e non s'arresta una hora, lacero corpo nel sepolcro cinse and metaphor Sindone.

This essay, reprinted from the 1968 volume of the journal, presents a literary critique of the poem "Easter 1916," by William Butler Yeats, focusing on the poet's engagement with the form of occasional poetry. Topics addressed include Yeats' use of stanzaic poetry conventions, the tradition of occasional poetry before and during Yeats' period, and Yeats' depiction of several characters within the poem.

The article offers poetry criticism of the poem "The Eve of St. Agnes" by John Keats in relation to the notion of narrative poetry and to reader response criticism. Topics include the notion of a wandering viewpoint in critic Wolfgang Iser's reader response theory, the role of stanzas in Keats's poem, and the theories of critic Brian McHale.

The article critiques the 19th century poem "The Solitary Reaper," by English poet William Wordsworth. Topics discussed include the observations made by writers John Edward Hardy and J. H. Prynne on the rhyme scheme and stanzas of the poem, the deviation of the word "herself" in the poem's rhyme pattern, and the early manuscript which reportedly served as Wordsworth's reference for this poem.

The article offers poetry criticism of the poem "The Routine Things Around the House" by Stephen Dunn. It explores the meaning of first three stanza of the poem. It states that words used in the poem are terse and monosyllabic while "unforgivable" assigns judgement. It further mentions that the poem portrays an extraordinarily personal moment raised out of love.

The article offers criticism of the poem "Deus Loci," by Lawrence Durrell. The author offers insights into the structure of the poem, particularly the scenes depicted in its stanzas and its conclusion which effectively complemented the opening lines. Topics explored also include the landscape selected by Durrell for this work, the way Durrell revealed the identity of the speaker in the poem's last stanza, and the aspect of Taoist process suggested in the poem.

A criticism is presented on the Serbian poet, medical doctor and humanist Svetislav Stefanović's translation to the Serbian language of the 19th English poem "The Blessed Damozel (Blažena Deva)," by Dante Gabriel Rossetti. An overview of the various versions of Stefanović's translations of the aforementioned poem's stanzas, including in regard to the preservation of the poem's original structure and the translator's use of syllabic masculine rhymes, is provided.

The article critiques the poem "Afternoon Service at Mellstock" by Thomas Hardy. The author examines the meter of the poem to reflect on ways in which aspects of adulthood and youth are related. Themes such as the collective singing of hymns and social subjectification are explored and the language used in various stanzas are analyzed.

A critique is presented of the ekphrastic poem "Musée des Beaux Arts," by W. H. Auden, which was inspired by the painting "Landscape with the Fall of Icarus," by Pieter Bruegel. The modernism of the poem is considered as is the poem's form, particularly that it is 21 lines divided into two stanzas of 13 and 8 lines respectively. The author feels that the 21:13:8 formula is an allusion to the golden mean. The Greek myth of Icarus and Daedalus is considered.

This article offers criticism of the poem "Beasts" by Richard Wilbur. It states that the stanza-pattern of the poem which is a series of six carefully orchestrated expansions and contractions has given evidence to its formal character. It notes that the major formal feature of the poem is the double movement of visually and aurally regular stanzas inhabited by five sentences of unpredictable syntax.

The article offers poetry criticism of the poem "Linen" by James Schuyler. It states that questions may be explored after reading the poem like why it should be considered lovely. The author provides a critical interpretation of the poem by stating that a complicated course between conditions and distraction is present making its lyric possible. He notes that the poem is not too artful because its art is operating beneath notice. He adds that the poem's first stanza depicts difficulties.

The article offers poetry criticism of the poem "Tale of Sir Thopas," by Geoffrey Chaucer. It explores the use of metaphor for the difficulties of poetic composition, rhythm, and the aesthetics of stanzas. The author's use of his self-representation in the poem as a meta-commentary on vernacular poetry and masculine poetic performance is explained. Moreover, the author attempts to engage the persona of a public speaker in the poem.

The article offers poetry criticism of the poem "Nineteen Hundred and Nineteen," by William Butler Yeats. It examines the theme of violence in the poem and provides explication of its plot, in which a woman is murdered by the Black and Tans anti-revolution group. The poem "The Magi," also by Yeats, is also discussed for its potential insight into the portrayal of violence in the poem. The use of two stories in the poem, the concept of folly, and the last stanza of the poem are analyzed.

The article offers poetry criticism of the poem "Meditation 2.56," by Puritan poet Edward Taylor. The author examines the format of theological poems in the poetry collection "Preparatory Meditations before my Approach to the Lords Supper," focusing on the structure of stanzas and rhyme schemes. The theme of the poem, which focuses on the respective powers of mankind and of God, is examined in light of Taylor's religious convictions.

The article offers poetry criticism of the poem "Thanks," by John Tomlinson. It examines the use of the first and second person in the work as well as the theme of gratitude. The author examines instances of orthographic deviation and suggests that they shed light on the condition and experiences of the poem's speaker. Stanzas, lexical items, and the use of the if-clause are also addressed.

The article offers poetry criticism of the poem "Upon Appleton House, to My Lord Fairfax," by Andrew Marvell. It discusses the poem as a meditation and compares the depiction of Appleton House to aspects of the real building's architecture, including its use of square and circular shapes. The author traces Marvell's steps through the house, analyzing the content of the poem's stanzas. Topics addressed include nunneries in 17th-century England, the Appleton garden, and the estate's landscape.

The article critiques the poem "Moving," by Randall Jarrell. Particular focus is given to Jarrell's approach to the poem. Topics covered include the poet's emphasis on loneliness, bewilderment and the feeling of abandonment, the attempt to posit childhood as a part of the ideal order and the absence of a single portrait of a happy child in Jarrell's work. Also mentioned is the poem's iambic stanzas and irregularly rhymed lines.

The article critiques the poem "One Art," by Elizabeth Bishop. Particular focus is given to Bishop's approach to the poem. Topics covered include the poet's preference for the bracing leads of rhetorical conventions or for occasional premises, the poem's identification as autobiographical and more accessible and the odd moment that cues the terrible estrangement in the final stanza.

The article critiques the poem "Frau Bauman, Frau Schmidt, and Frau Schwartze," by Theodore Roethke. Particular focus is given to Roethke's approach to the poem. Topics covered include the sweetness and lack of self-consciousness shown by Roethke, the depiction of lush assemblage of unending duties found in the whole first stanza and the honor given by the poet to the essence of women.

The article critiques the poem "I tie my hat--I crease my Shawl," by Emily Dickinson. Topics covered include the use of riddles in Dickinson's poems, the representation of the self in her work and the diction of the opening stanza which allegedly seems to define her as exactly as the activities she describes. Also mentioned is the shift of personal pronouns from singular to plural.

The article offers poetry criticism of the poem "Driving With Dominic in the Southern Province We See Hints at the Circus" by Michael Ondaatje. It explores the use of metaphor, rhythm and the aesthetics of stanzas. It also discusses understated meaning of the poem as well as its critical interpretation. The author states that the poem presents a glimpse of another world, other lives and describes that everyone feels charmed to other's life rather than one's own life.

The article offers criticism of the epic poem "Laberinto de Fortuna," by Juan de Mena. It cites stanzas in the poem that depicts the attempts by Mena to write an epic poetry. Conformity with the rules on epic manifested in "The Poetics" by Aristotle, appears to have become the foundation for Mena to draw his own theory of epic. His work is said to feature and stress the political, moral, philosophic and aesthetic aspects which are the main ingredients of an epic poetry.

The article offers poetry criticism of the poem "I Have a Friend; I Have a Story" by Robert Louis Stevenson. It mentions that the first stanza of the poem entails a quarrel between lovers. It also examines the second and the third stanza of the poem which depict affection and hope. Meanwhile, the entire content of the poem is offered.

The article offers poetry criticism of the poem "All Influences Were in Vain" by Robert Louis Stevenson. It describes the metaphors used in the poem. It explores the second and the final stanza. The various subjects depicted in the works of Stevenson including the picture of the poet and his wandering thoughts are noted. The entire content of the poem is offered.

The article offers poetry criticism of the poem "The Well-Head" by Robert Louis Stevenson. It mentions that the closing stanzas convey Stevenson's desire for consummation. It also notes that the poem did not adopt the Hebraic attitude of perceiving God in his works. The author also reveals that the title of the poem itself shows the duality of the mental struggle of the poet. Meanwhile, the entire content of the poem is offered.

A critique is presented of the free verse poem "Constantly Risking Absurdity" by Lawrence Ferlinghetti, focusing on the poem's structure, word emphasis, and he psychology of reading lines of text. Themes of death and audiences are discussed, as well as Ferlinghetti's metaphors, depiction of beauty, and use of stanzas.

Poetry criticism on the narration and intention of "For Annie" by Edgar Allan Poe is presented. The arrangement of the stanzas is considered alongside transitions between the past and present tense. The author questions whether or not the reader should interpret the narrator to be deceased. Other topics include comic tone, the deliberate or mistaken metaphysical effect of a dead narrator, and the theme of illness.

The article offers brief poetry criticism of an untitled poem by Camillo Sbarbaro. It presents the text of the poem and examines the form of the poem, including its use of one stanza and hendecasyllables, as well as its lack of rhyme. Other topics discussed include the poem's syntactic construction, its themes of love and life, and references to childhood fables, fiction and narration.

The article offers poetry criticism of the poem "I Sit Up Here at Midnight" by Robert Louis Stevenson. It explores the use of metaphor, simile, and the aesthetics of stanzas. It mentions that the sentences used by Stevenson signify a sense of simplicity. The author provides the meaning of the word "Inchcape" found in the third stanza. Meanwhile, the entire content of the poem is offered.

The article offers poetry criticism of the poems in the book "The Collected Poems of Barbara Guest" by Pam Thompson. It explores the use of metaphor, rhythm, and the aesthetics of stanzas and one stanza is orthodox or as a block of text, left-aligned, will rarely be able faced with narratives with sequential logic. The author provides a critical interpretation of the poem and offers different meanings behind several elements, such as the night lights, New York School and paintings.

The article discusses innovation in poetry, and presents and critiques the poem "Don't fight," a Burmese climbing rhyme by Katherine Cottle. It focuses on Cottle's innovation of rhyme in an English language poem using an altered Southeast Asian formal tradition of the climbing rhyme. It details how her innovation creates a subtle disconnect between stanzas that is deemed appropriate for the poem's subject of separation as well as connection between parent and child.

The article offers poetry criticism of the poem "Of Ruins and Rumors," By Angelika Quirk. The author discusses the use of long measurement and use of numbering in each stanzas of the poem. She also highlights the use of nouns to serve as objects to the preposition "of." She also mentions that as a teacher, she can use the poem to let her students analyze the prepositions, cultural and historical references used in the poem.

The article offers poetry criticism of the poem "Epilogue," by Robert Lowell. It explores the use of metaphor, rhythm, and the aesthetics of stanzas. The use of classical recusatio (refusal) and topos is explained. The author provides a critical interpretation of the poem and offers explanation on the italicized lines.

The article offers poetry criticism of the poem "The Explosion," by Philip Larkin. It examines the relative brevity of the work compared with Larkin's other poems, its focus on the experiences of miners, and the influence on the poem of a television documentary viewed by Larkin about the dangers of mining. The work's stanzas, pacing, and themes of disaster, camaraderie, and hope are also explored.