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The Narratives and Parodies of Atrocity of Anthony Hecht Anthony Hecht, a previous Pulitzer Award earning poet and a previous United Areas Poet Laureate, is definitely perhaps one of America's greatest poets of the post-modern period. Delivered in 1923, he flower to fictional dominance in the 1950s and 1960s with the distribution of two books A Summoning of Rocks (1954) and The Hard Hours (1967). In his composing, he uses humor to make a scenario for parody and uses irony in his "narratives of atrocity" (Hecht, Vol. 19 209). Anthony Hecht's poems is usually famous for its good examples of parody that are all masterpieces of his "common erudition and humor" (Hecht, Vol. 19 207). He tries to display the comparison between creative, fake sights of existence and severe fact through amusing parody as noticed in "Nominalism" and "The Dover Bitch: A Critique of Life"(Hecht, Vol. 19 207). The humor provides poems with solid, fundamental meaning as noticed in "Nominalism:" Higgledy-piggledy Juliet Capulet Cherished the tenderest Thoughts of a flower: "What's in a name?" stated she, Etymologically "Save that all Montagues Smell in God's nasal area." (Psychic readings) Hecht produces parody in this piece by recounting a dramatic picture with a proficient and funny strategy to the reading. The parody of Juliet Capulet's popular series in Romeo and Juliet with such accuracy and art as to match both the meter and the traditional Shakespearean vocabulary provides an example of Hecht's usage of humor to make a parody (Hecht, Vol. 8 269). Hecht uses humor and parody in a identical way in "The Dover Bitch: A Critique of Lifestyle" which is definitely a parody of Matthew Arnold's "Dover Seaside." The tragic eyesight provided in the "The Dover Bitch" can be of stark comparison to the intimate and idealistic eyesight.