CONFESSIONAL POETRY

Confessional Poetry in 'Daddy' by Sylvia Plath & 'Epilogue' by Robert Lowell

Confessional Poetry in 'Daddy' by Sylvia Plath & 'Epilogue' by Robert Lowell

Introduction

It could be argued that poetry, by definition, is confessional, while recording the moods, feelings and world view of the poet. You could also apply this term, historical, the tone poems or religious theme. However, some poems are more overtly revelatory, more detailed analytical exposition in pain, grief, stress, joy, joy, doubt. Consequently, the term "confessional poetry" has been confined to a group of American writers of the 1950 and 1960 who developed and explored techniques for writing this kind of poetry, including Robert Lowell (1917-1977), Anne Sexton (1928-1974), Sylvia Plath (1932-1963) and Theodore Roethke (1908-1963). The confessional poetry differs from romantic poetry in candid, detailed microscopy and density psychotherapy with which the poet is revealed, revealing private or clinical issues himself. The notion of "confessional" arises from the response and the critical need to define the general rejection of these poets to the principles of Modernism, including the rule of "objective correlative" of Eliot and New Criticism, an aesthetic ideology that drove to create an analogy impersonal (the correlate) to distance itself from the original emotion:

Discussion

Confessional free verse poetry became the popular approach in second half of the 20th-century American poetry due, in the large part, to the popularity of poets like Robert Lowell, Sylvia Plath, and Allen Ginsberg. However, this popularity led to something of a backlash in the 1970's and 1980's, leading some poets and entire poetry movements to go out of their way to avoid writing in the confessional mode.

In 1950 this would have been difficult to see or predict. Then the lessons of the modernist masters, not so much suit their tastes, had been completely assimilated. The official style of the time required a balanced tone and ironic that flatter the mind celebrating, their powers and their limits. Poets seeking a "way" he could think of impersonal spiritual conditions rather than emotional moments. The self was submerged under the "voice" of the poem (Gioia, Mason & Schoerke, 2004). The rebellion was inevitable. The mere instinctive concern of individual poets have secured changes, but also most powerful forces had been launched. From William Carlos Williams, American poets have felt the force of the plain language of the colloquial, the commonplace, a naturalist aesthetic that was free of planning or simulation. This impulse toward what life is lifelike... is evident in all the religious movement (Gray, McCorkle & Balkun, 2006). The intimate details of their reports and heartbreaking betrayals and ruptures, desires and defeats are an effort to admit the poetry that had been banned and suppressed.

These poets claimed the use of raw material, intimate and psychological, from their own lives. Some poets rejected the label of "confessional" (including Anne Sexton) and continued his work with other types of writing experiments, but such rejection leaves no valid observation that there is indeed a communion of features and similar strategies in the poetry of these writers ...