The poem vividly describes death, and lynchings. The poem has a very sad and depressing tone; However, in some parts of the poem is can be happy, such as this line here, “Scent of magnolias sweet and fresh” (Meeropol 6). The emotion the speaker may use is more sad, dark, and depressed. This poem relates deeply to history. Lynching was a public thing back then and people would come their to enjoy it, they found it pleasurable.
Major Jackson is an American black poet. His poem “Might Pawns,” could be easily inferred to be about him, or about someone dear to him. Major Jackson’s poem, “Might Pawns,” uses a significant tone and unique symbolism to present that person issues does not affect ones intelligence, as one perceptive should be judged not where they came from, but how their mind speaks. The poem is one stanza, thirty-two lines, and only uses one period throughout the entire story. This causes the speaker to eventually start reading at a fast tone, which eventually shows the urgency the author is trying to portray.
The poem is not good to read only because of its subject, however. The use of repetition and symbolism in “Blink Your Eyes” adds more depth to the poem, and highlights the societal issues that the author and others of his race have felt. Use of repetition in poetry directs the reader 's attention to that word or phrase, as Sundiata does in “Blink Your Eyes.” Along with how the stanzas are formed, the repetition used sets a pace to the poem. In the first stanza, Sundiata writes “thru a red light red light red light” (Sundiata 503). The use of repetition here is smart, because the “red light” that is spoken of has two meanings and is crucial to the overall theme of the poem.
Not everyone is as lucky as you are. The ninth and tenth verse contain only monosyllabic words, almost as if the speaker attempts to carve in the message in the addressee’s brain. “Und sei still” (v. 9) separates the sentence “Drum dank Gott, daß Du noch lebst…“. This hyperbaton and the repetition of “noch” (v. 10) emphasise the conclusion further. Haringer managed to reuse the images of the first stanza very artistically.
It would seem the homeless aren’t a major problem of today’s cities compared with the crime. Figurative language can determine the types of languages being used, this relates to how a story is written with a rhyme scheme. In the excerpt of "The Night-Soil Men," rhyme scheme introduced little with rhyme and meter. During paragraph one, are examples of different types of scavengers; bone-pickers, rag-gatherers, pure-finders, etc. This suggests that many of the poor titles these people had were much the same in rhyming.
“Your every grief like a blade shining and unsheathed....my sorrow must be laid on your head like a crown” (Cullen, 25-27 & 30-31).The author is trying to say that others can cause grief and sorrow and the connection of one another. In conclusion, both poems are about human connections, but the differences are the topic of the poems, one being about race and the other is about grief and sorrow. The significance of these themes are that both connections of others during the Harlem Renaissance. Both poems expresses the theme of human connections by using words to describe the connections between the author and the community, like the diversity between White Americans and African Americans. But the topic of both are different, Hughe’s is purely based on race, but Cullen’s is the connection of
Their presence is often seen as a bad omen, or a sign that something bad is bound to happen. It is this symbolism that leads to the initial impression that the raven is an evil presence. Not only that but Poe’s word choices throughout the poem also imply this. For example, the final lines of the poem “And my soul from out that shadow that lies floating on the floor shall be lifted -- nevermore!.” This line shows the dark imagery that Poe often uses in his work. It is also the type of imagery that can lead to such a bleak conclusion.
What is often found lacking in the lyric poet is the ability to turn outward, to manage the modes of speech as well as those of song, to be dramatic as well as personal. But Frost is a rare exception in this respect. There is no one word like ‘lyric’ which encompasses this aspect of Frost’s excellence. One falters and gropes for words- what shall we say, dramatic monologue, bucolic idyll, epylion, to describe those somewhat longer poems of Frost’s so many of which are so good? The Death of the Hired Man, indeed almost all the poems in North of Boston, Out, Out and Snow in Mountain Interval, the first one missing melodrama, perhaps, only by its terrible brevity and economy.
In most of his poems eliot uses vers libre or free verse instead of the traditional verse in regular metres. Like the French symbolist poets, wliot also discards and rejects the conventional ways of connecting the oarts of the poem through logic and grammar or narrative sequence.his poems do not convey and depict meaning through logically connected statements , but through images which evoke a mood or an emotion. At the meaning of these images and the interconnection among them is not explicitly stated , eliots poems are often very difficult to understand . the difficulty is further increased by eliots frequents use of learned allusions drawn from his vast reading in many subjevts and in many languages and generally made ina a very oblique and remote manner . modernism in eliots poetry is reflected noy only in form but also in theme and content .
Reflective commentary: “TSN” is a poem composed of four different sections of verse; three ballad stanzas, a section of blank verse followed by a rhyming couplet and finally four stanzas of free verse. The first three sections of prose are written in predominately consistent meter, alternating iambic tetra- and trimeter in the three ballad stanzas, and iambic pentameter in the section of blank verse and the rhyming couplet. “Predominately” as there are some substitutions within two of the ballad stanzas (despite the poet’s best efforts). More specifically two trochaic substitutions, “Monarch”, and “Dire”, and an anapestic substitution “absolute”. The rhyme scheme varies throughout the poem, corresponding with the traditional schemes of the respective verse froms.