When the maids compare their dreams to their reality, “In dreams, we all are beautiful...all is mirth and kindness/There are no tears of pain.../But then morning wakes us up:/Once more we toil and slave,/And hoist our skirts at their command/For every prick and knave” (126). In The Penelopiad, the maids’ more childlike side is shown. They dream of men taking them away, being princesses, and actually being loved. But then, they must go back to slaving away, being property. The Odyssey makes it seem as if the maids actually liked being this way, that they actually liked the things they did and the things that happened to them.
Carol Ann Duffy also uses sibilance in this poem, for example; ‘shifted, wish, stirred’. This represents the resurrection of a body and the movements of it. Looking at how Carol Ann Duffy uses short sentences, it seems like she is using an angry tone of voice, going on and on, for example; ‘Nobody died. Nobody wept. Nobody slept…’ as if she is emphasizing to the readers that the poor women are just like nobodies, (relating to the poem ‘Anon’ by Carol Ann Duffy from Feminine Gospels).
Roald Dahl expresses the important theme that people outside of positions of power can be stronger than they appear by exquisitely using dramatic irony, characterization, and situational irony in his short story “Lamb to the Slaughter.” Roald Dahl uses dramatic irony when Mrs. Maloney acts as though she doesn’t know she killed her husband when she goes to the grocer’s, “ ‘How about a nice big slice of cheesecake? I know he likes that.’ [The grocer stated] ‘Perfect’ [Mrs. Maloney] said, ‘He loves it.’ ” (Dahl 379). This quote shows how she is smart enough to get an alibi by
Throughout the novel, Moira’s use of informal language and slang is apparent. This is significant because Moira’s crude vocabulary is dramatically different from how the Handmaids are taught to speak, marking her as a dissenter under the restrictive rule of Gilead. For instance, Moira scoffs that the Red Centre is “a loony bin” in Chapter 13. The use of the colloquial noun ‘loony’ to describe the Red Centre establishes a conversational, almost childish tone of voice. This contrasts from the rather mechanic and automated voice Offred has when she becomes a Handmaid, replying with contrived phrases such as “praise be” to other Handmaids.
The tone of the poem went from sweet to scary. Worms taking the mistresses virginity is suppose to make the mistress realize that there is no point on preserving her “honor” when it will just go with her to the grave. The speaker goes on about and describes her “quaint” turning into dust. During that time period, quaint meant vagina. Then says how his “lust” will turn into ashes.
Vincent Millay uses an anaphora of the word ‘and’ in the last two lines of ‘I too beneath your moon, almighty Sex’ in order to sum up the ‘ingredients’ she used in her poetry (“honest bone / Is there, and anguish; pride; and burning thought; / and lust is there; and nights not spent alone.”). The word ‘and’ is used four times in these last two lines. With this part of the poem, she wants to express the fact that poets write their poetry for the purpose of beauty but they have to work with what they are given. What is available for Millay in order to make poems are the ‘materials’ she comes across during her life, such as: honest bone, anguish, pride, burning thought, lust and nights not spent alone. In this part of the poem, Edna St. Vincent Millay uses a lot of caesuras.
HAVISHAM -MIHIR SHAH Throughout her poems carol ann duffy gives a voice to women who have previously been historically ignored. She addresses stereotypes aggressively and also celebrates female sexuality through her poems. She portrays characters that both support and reject the stereotypical representation of women in the male dominated society of the 1900s, by contrasting innocent, helpless, naive women to unexpected dominant, confident and powerful female figures. ‘Havisham’ is a poem written in monologue, spoken by the voice of miss havisham from Charles Dickens’ novel ‘great expectations’. Duffy uses dramatic monologue to effectively show the womens point of view.
As many discovered, the author might have written this about his daughter. In fact, when the narrator addresses the pearl within the maiden’s bosom, he, more than likely, addresses the maiden instead of the pearl. Searching high and low for his pearl, the narrator shows us that the pearl takes the form of his daughter, or some a young female he loved dearly. Presenting more than just a case of a lost possession, the maiden demonstrates and expounds on the topic of grief with Christian doctrine, encouraging the mourning jeweler that he indeed has a purpose to live. She points him to a higher purpose and goal:
The poem is written about a woman’s love relationship with a man. The poem consists of words that have symbolic meaning which depicts how the relationship is. The relationship is depicted as a very loving and caring relationship while the disadvantages of the relationship are discussed as well. In essence, the poem implies that the advantages in a true love experience overpower the challenges in a true love experience. The first stanza starts off gently to the likelihood of what seems to be great.
Love is a complex emotion; it is both one of the most wonderful and painful feelings a human being experiences. In the poem Valentine, poet Carol Ann Duffy explores the ‘true’ concept of love extremely eloquently and unusually, through the use of powerful and thought provoking imagery and language techniques. The form, in which Duffy effusively depicts an onion to the concept of love, is done through the use of convincing metaphors, similes, alliteration, and other language techniques, which make the reader, both empathize and envy the emotion Duffy describes. Carol Ann Duffy uses alliteration, negative adverbs and blunt sentences to connote her rejection of and animosity towards traditional love tokens. This is conveyed in Duffy’s use