“Sunday Morning”, written at the beginning of Stevens’s career, is considered as one of his best-known poems. As to the form, “Sunday Morning” consists of eight self-contained, fifteen-line stanzas, written in Wallace Stevens’s customary version of blank verse. The basic line in all Stevens’s long poems is a solemn and somewhat heavy blank verse, employing iambic pentameter and making use of echoing sounds rather than end- rhymes. At several points in the poem, the verse has a majestic quality and an intensity that are used to emphasize the strength of the poem’s message.

 "God's Grandeur" by Gerard Manley Hopkins is a petrarchan sonnet in sprung rhythm with a rhyme scheme of abbaabba/cdcdcd and most definitely it is representative of the importance of humanity in relation with God. Being firm in the position that God's power is available to all in the shape of living beings, Hopkins expresses pity and grief for the ignorance of mankind to this vital force which renders it to be a source of harm for natural world.

From the very beginning up to the end, Pound is attacking usury, for as its main effect  it eradicates production in every domain. The weaver, spinner and the maid withdraw  their art since it really does not pay comparing to the great deal of money the loan sharks gain while they do not even move a muscle. There are no more paintings on church walls; no one paints pictures for artistic ends and the artists die out for their  art is not valued. Even very basic needs of human beings are met: the bread is of very  low quality, the house is laid carelessly, and worse than that romance between young  people is never going to be happen because women marry the loaded ones not the  laborers. If we approach the poem from this angle, it has a lot to say to condemn  capitalistic society and usury as its incarnate.

According to Paul de Man - the leading figure of American deconstructive criticism, two sets of conflicting forces are involved in a text, grammatical aspects which are referential, logically ordered, and determinate, and, in contrast, rhetorical aspects which are non-referential and function in a way that provide the text with an assortment of illogical possibilities. (3) As a result of such conflict, the text is to be understood through different or even opposing interpretations, in other words, any given piece of writing, a poem, in our case, if being closely read, appears to be deconstructed by itself or self-deconstructing...

Live body, real and clear body, the ever-flowing energy to which there is no end, like the flow of sea tide; you don’t know when it began and when it will end…These are the kind of energy in style and pace of “Physical Theater” forgotten for many years. It began by the arrival of “Black Narcissus” and gradually faded away with the group’s annihilation. And you all dears are witnessing my efforts to revive the truth of body and its eternal energy besides the personal and new methods of pronunciation of me and those of my group.