In Goya’s Greatest Scenes We Seem to See

We ‘re frequently taught to travel with our first feelings. My first feeling after reading Lawrence Ferlinghetti ‘s verse form “In Goya ‘s Greatest Scenes We Seem to See….” was that Ferlinghetti was merely holding some merriment with hyperbole by doing an overdone comparing between the calamities of war and the problems Americans face on the main roads. Of class I rapidly remembered this was so Ferlinghetti and it could n’t be a simple verse form of exaggeration. After a 2nd read I noticed a good sum of initial rhyme, but still found myself covering with his undeniable usage of exaggeration. So, spread outing my first feeling I decided to analyze the usage of exaggeration and initial rhyme as the chief poetic devices in this verse form. After continued re-readings it besides became clear how Ferlinghetti brightly combined those two devices to accomplish contrast and understatement every bit good.

Let ‘s get down with a simple read through to pick out as many illustrations of exaggeration as can be found. Making a speedy reappraisal of Goya ‘s pictures, most commentaries on this verse form, including Linda Sue Grimes The “people of the world” can barely be seen in one scene of any image, particularly sing the comparatively narrow focal point in most of Goya ‘s work. Catching the “exact moment” of anything is about impossible, ne’er mind that fact that “human suffering” while so apparent during Goya ‘s clip was surely apparent during the Plague and throughout anterior history. Paintings are inanimate so the topics ca n’t “writhe on the page” . There is a reference of “cement skies” and “carnivorous cocks” .

Traveling to the 2nd half of the verse form Ferlinghetti references “legionnaires, false windmills and demented roosters” , all illustrations of exaggeration at some degree. I ‘ve been in Dallas, NYC, Chicago, Miami and Paris but have ne’er seen a freeway “fifty lanes wide” and my little back pace, which is difficult tack clay, it still refutes the impression of a “concrete continent” . Despite claims of the ecology motion the engines of the painted autos of the people can non devour America. There are prisoner transfer vehicles on occasion seen on the American main roads but they are no tumbrels on the main roads.

Ferlinghetti ‘s starts his usage of initial rhyme in the rubric with “Goya ‘s Greatest” and “Scenes we seem to see” . He references “Babies and bayonets” ( initial rhyme and surprisingly blunt contrast ) , blasted trees, set statues, chiropteran wings and beaks. Cadavers and carnivorous pricks complete the first subdivision. In the 2nd section contains the undermentioned alliterativephrases ; “ranged along roads” , “further from place on expresswaies 50 lanes wide” , “concrete continent” , “bland billboards” , “illustrating imbecilic illusions” , “scene shows” , and “more maimed” .

The two halves of the verse form besides represent exaggeration on a larger graduated table. Merely the truly naive would non see that comparing the tragic agony of the topics in Goya ‘s pictures to the agony of people on US main roads is an excessive hyperbole. That is the definition of exaggeration harmonizing to Merriam-Webster Online Dictionary.

This last point, comparing people being mutilated by inhumane soldiers to commuters, gave me cause to reflect. Surely Ferlinghetti was n’t nescient to the grade of hurt and anguish the Spanish nationalists experienced during the war. As I looked to research Ferlinghetti ‘s life I found life experience I did n’t anticipate.

His ability to take an emotionally degage position comes from a life in which he encountered loneliness and loss and isolation that “ quotation mark from book”

There are many cases in his life that make it clear he was more familiar than most with the atrociousnesss of war, so he surely ca n’t claim ignorance of the horrors being suffered in the pictures of Goya. “ More quotation marks from book about his military experiences and the narratives he heard from WWI, visa vie Hemingway”