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In it she meditates on the art of losing, building up a small catalogue of losses which includes house keys and a mother's watch, before climaxing in the loss of houses, land and a loved one. It is a part-autobiographical poem and mirrors the actual losses Elizabeth Bishop experienced during her lifetime.
Her father, for instance, died when she was a baby, and her mother suffered a nervous breakdown some years later. The young poet had to live with her relatives and never saw her mother again.
In her mature years she lost her partner to suicide. One Art carefully if casually records these events, beginning innocently enough with an ironic play on 'the art', before moving on to more serious losses.
It culminates in the personal loss of a loved one, and the admission that, yes, this may look like a disaster.
Lose something every day. Accept the fluster of lost door keys, the hour badly spent. Then practice losing farther, losing faster: None of these will bring disaster. I lost two cities, lovely ones.
And, vaster, some realms I owned, two rivers, a continent. Analysis One Art is a villanelle, that is, it consists of five tercets rhyming aba and a quatrain of abaa.
Traditionally the villanelle is in iambic pentameter, each line having five stresses or beats and an average of ten syllables.
So the first line scans: The art of losing isn't hard to master; with notable unstressed endings to most lines. The second line of each stanza solidifies the whole with full end rhyme.
The opening line is repeated as the last line of the second and fourth tercets.
The third line of the initial tercet is repeated as the last line of the third and fifth tercets. The opening line and the third line together become the refrain which is repeated in the last two lines of the quatrain.
Elizabeth Bishop slightly modified the lines but minor changes are allowed within the basic villanelle. The idea is to create a sort of dance of words, repeating certain lines whilst building up variations on a theme, all within the tight knit form.
Note the use of enjambment, carrying on the sense of a line on into the next, which occurs in the first four stanzas, bringing a smooth if considered energy into the poem. The fifth stanza is different. It has punctuation, a comma and two periods end stopscausing the reader to pause, as if the speaker is hesitant.
The last stanza is fully enjambed, each line flowing into the next, despite the unexpected use of parentheses. As you read through, note the almost conversational, tongue-in-cheek tone, with some irony to spice it up.
It's as if the poet initially is reminding herself of just what it means to lose something; it's no big deal we're told, certainly not a disaster? First Stanza The speaker chooses to turn the idea of loss into an art form and tries to convince the reader and herself that certain things inherently want to be lost and that, when they do get lost, it's nothing to cry about because it was bound to happen in the first place.
This is a fateful approach, gracefully accepted by the speaker. Second Stanza Following on in logical fashion, if fate dictates and things want to get lost, then why not lose something on a daily basis? Seems a tad wacky, an offbeat statement. Who wants to lose a thing and then not get emotional about it?First of all, it appears to speak to us, the readers, in language that is conversational and clear, but actually follows one of the most complicated and mind-bogglingly structured verse .
One bundle of her hair is at the bottom of the artwork. Another few bundles are in the middle and are slightly separated. Another bundle of hair is at the top of the artwork. All of these bundles are curvy to suggest movement as if her hair is being blown gently by the wind. Writing a Formal Analysis in Art History The goal of a formal analysis is to explain how the formal elements of a work of art affect the representation of the subject matter and expressive content.
The emphasis should be on analyzing the formal elements—not interpreting the artwork. That said, an understanding of the meaning of the work is the final goal of any formal analysis.
"One Art" works on two levels; on the first, we can take the meaning of the title from the first line, and assume that the "art of losing" () is the only art here.
However, if we take a closer l. Risk and Risk Analysis discusses risk concepts and some of the realities surrounding risk analysis and probabilities. This provides a common foundation for understanding and applying FAIR.
Nov 09, · How to Write a Visual Analysis Paper. Updated on June 4, Virginia Kearney.
For a simple introduction of the principles of design see the website of artist John. Principles of Design. The relationship of sizes inside the piece of art, for example the size of one building to another, or a head to the srmvision.coms: