Richard Cory, by Edward Arlington Robinson

The verbalism of Edward Arlington Robinson's poem, "Richard Cory" is very(prenominal) conservatively controlled. The speaker is anonymous and the reader's sense of who the speaker is, comes entirely from any(prenominal) can gathered from the manner in which he dialogue active Richard Cory. Robinson uses normal word order and sentence structure. The elision to this is the fact that each stanza is a single sentence -- this makes the sentences long and complex. The narrator overly talks in a very normal tone. His diction is, mainly, informal, as if it was one ordinary person addressing another person he knew. The tone is conversational and until now it does more than just convey information. This is because of the breaks in his informal diction that hint at something else. For example, no one would use hurt like "imperially slim" or "cleanly happy" in normal conversation. While the choice of words serves specialized purposes, the change in diction also has a purpose. If Robinson yet wanted to give people's awestruck response to Richard Cory, then he could have had the narrator speak this way throughout the poem. Instead, he breaks off his informal speech with the insertion of such expressions. The unalterable repetition of "and" as he lists the aspects of Richard Cory makes the sentences sound excited and rushed. But, it also makes them sound clumsy -- as if the writer was only use to writing the simplest style. But, the diction gets even tremendouser. It sounds almo

In damage of imagery, the poem creates open images. The reader could withdraw in any person's picture that might occur to him from the outlines of Robinson's description. Cory seems grand to the "people on the pavement", and the narrator uses general terms to describe the impression Cory makes.

He does not, for example, tell the reader anything about how Cory actually looks. Is he dark or fair, young or old, short or tall? The general impression of Cory, like the use of slightly formal diction to describe him, creates a sense of distance between Cory and those (including the reader) who observe him.

As shortly as Pooh-Bah tries to explain the situation to Nanki-Poo, he begins by referring to "our logical systemal Mikado" (Gilbert 5). This draws attention to the fact that all the logic of the play is upside down. All the action of the play starts with the crinkle of the logical Mikado who makes the rules. The audience has just heard the history of the Mikado's law regarding flirting. They have also seen how the people replied -- by do the next condemned man the Lord High Exe slideioner. They give their argument for this, "'Who's next to be decapited / cannot cut off another's head / until he's cut off his own" (Gilbert 5).

Coffin, Robert P. Tristan. New Poetry of New England: halt and Robinson. New York: Russell & Russell, 1964.

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