Summary about the kingfisher
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Kingfishers or Alcedinidae are a family of small to medium-sized, brightly colored birds in the order Coraciiformes. ... While kingfishers are usually thought to live near rivers and eat fish, many species live away from water and eat small invertebrates.
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The Kingfishers,” a lyrical meditation on the ruins of an Aztec burial ground, is written in a bold style invented for this poem, which Charles Olsonexplained shortly after in his essay of 1950, “Projective Verse.” The poem does away with such formalities as rhyme and regular meters, symmetrical stanzas, and the normal pattern of argument in which particulars move toward universals or vice versa. Instead, it proceeds through a succession of widely varying stanzaic units as information is brought into the discourse and a unifying perception is drawn from the array of accumulated facts and ideas.
The poem opens with a paradox taken from the early Greek philosopher Heraclitus, which states that only change itself is unchanging. Olson’s rendering of the phrase emphasizes the will of change, which gives pretext to what follows. The poem cuts abruptly to a party in its last hour somewhere in Mexico, near the ruins of an Aztec city, perhaps Tenochtitlán, the old Aztec capital that is now Mexico City. A man is addressing a stunned audience of guests with remarks about the deterioration of Mexican culture, the downward path of change toward entropy. “The pool is slime,” he concludes, and disappears into the ruins.
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The poem opens with a paradox taken from the early Greek philosopher Heraclitus, which states that only change itself is unchanging. Olson’s rendering of the phrase emphasizes the will of change, which gives pretext to what follows. The poem cuts abruptly to a party in its last hour somewhere in Mexico, near the ruins of an Aztec city, perhaps Tenochtitlán, the old Aztec capital that is now Mexico City. A man is addressing a stunned audience of guests with remarks about the deterioration of Mexican culture, the downward path of change toward entropy. “The pool is slime,” he concludes, and disappears into the ruins.
So begins part 1 of a three-part meditation on change and the poet’s responsibility to heed the shiftings of reality in his calling as writer. Part 1, the longest of the sections, is divided into four smaller movements, each with its own set of relations to be worked out. Various principles are at work in the building up of the poem’s content. In the first movement of part 1, the juxtaposition of elements is cinematic, a “jump-cut” technique of butting events together without transition markers.
The second movement combines elements of three different topics, each separate and sequential in the poem’s exposition but increasingly part of some deeper unifying chord tying all three topics together. The E on the stone, the first topic, is an allusion to the description by Plutarch, the second century c.e. Roman writer, of a navel stone (omphalos).
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The poem opens with a paradox taken from the early Greek philosopher Heraclitus, which states that only change itself is unchanging. Olson’s rendering of the phrase emphasizes the will of change, which gives pretext to what follows. The poem cuts abruptly to a party in its last hour somewhere in Mexico, near the ruins of an Aztec city, perhaps Tenochtitlán, the old Aztec capital that is now Mexico City. A man is addressing a stunned audience of guests with remarks about the deterioration of Mexican culture, the downward path of change toward entropy. “The pool is slime,” he concludes, and disappears into the ruins.
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The poem opens with a paradox taken from the early Greek philosopher Heraclitus, which states that only change itself is unchanging. Olson’s rendering of the phrase emphasizes the will of change, which gives pretext to what follows. The poem cuts abruptly to a party in its last hour somewhere in Mexico, near the ruins of an Aztec city, perhaps Tenochtitlán, the old Aztec capital that is now Mexico City. A man is addressing a stunned audience of guests with remarks about the deterioration of Mexican culture, the downward path of change toward entropy. “The pool is slime,” he concludes, and disappears into the ruins.
So begins part 1 of a three-part meditation on change and the poet’s responsibility to heed the shiftings of reality in his calling as writer. Part 1, the longest of the sections, is divided into four smaller movements, each with its own set of relations to be worked out. Various principles are at work in the building up of the poem’s content. In the first movement of part 1, the juxtaposition of elements is cinematic, a “jump-cut” technique of butting events together without transition markers.
The second movement combines elements of three different topics, each separate and sequential in the poem’s exposition but increasingly part of some deeper unifying chord tying all three topics together. The E on the stone, the first topic, is an allusion to the description by Plutarch, the second century c.e. Roman writer, of a navel stone (omphalos).
hope it will help you
please let me brainlist
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