In the title only the first word in each sentence is capitalized to follow correct grammar of a normal sentence, but also to connect it to the depressed mood of the poem. Personification, repetition, and imagery are focused on along with devices like similes and metaphors to express her thoughts during the course of the rest of the
Compare and Contrast Over hundreds of years, people are telling stories to entertain and learned lessons. When the invention of writing and printing appeared, many writers around the world arose and they wrote stories in their own genre. Each story has different purposes, styles, themes, characters, symbols, and narrators. This essay will compare the theme of isolation, Parenting, and social identity, and the main characters Emily and the child, and the narrators between “A Rose for Emily” by William Faulkner and “The Ones Who Walk Away from Omelas” by Ursula K. Guinn.
In Taking Off Emily Dickinson’s Clothes, by Billy Collins we are taken on a journey back to the nineteenth century, it is fascinating to contemplate Collins idea of the diminishing of Dickinson's clothes. Emily Dickinson took her liberty to compose such shrewd poetry that was revealed later after her death to the public. Dickinson’s poetry is found perplexing and dramatic, which is clear on why Collins would pick Emily Dickinson as his incentive for this poem. Throughout Collins poem, he uses extended metaphors to expose the reader to understand the profound thoughts of a poet. Collins also conveys figurative language in reference to Dickinson life that can persuade an effect on the reader when reading a
But ironically, Whitman achieves more with the form of "Song of Myself." He uses a number of different rhetorical devices to accomplish his poetry. Overall, the poem lacks traditional form, but Whitman still made mindful choices with the structure and meter. In particular, Whitman does not obey the typical breaks in lines as seen in traditional poetry-Whitman lets the words decide the theme: Come my children, Come my boys and girls, and my women and household and intimates, Now the performer launches his nerve, he has passed his prelude on the reeds within (1056-1058). Whitman strategically ends the first line with "children."
Empson said that: „The machinations of ambiguity are among the very roots of poetry”(Surdulescu, Stefanescu, 30). The ambiguous intellectual attitude deconstructs both the heroic commitement to a cause in tragedy and the didactic confinement to a class in comedy; its unstable allegiance permits Keats’s exemplary poet (the „camelion poet”, more of an ideal projection than a description of Keats actual practice) to derive equal delight conceiving a lago or an Imogen. This perplexing situation is achieved through a histrionic strategy of „showing how”, rather than „telling about it” (Stefanescu, 173 ). It is true that Keats wished to make progress in philosophy: one reason for this was that he believed that an epic poet must be a philosopher. Apart from the passages in his letters where he talks of his philosophical
Duffy’s Feminism and Dramatic Monologues: A Study of Some Poems from The World’s Wife. Yasser K. R. Aman, Minia University, Egypt. Abstract This research aims at investigating Carol Ann Duffy’s representation of feminist issues by recalling historical, religious and mythological figures using the dramatic monologue. Duffy subverts feminine archetypes through a series of dramatic monologues in her volume The World’s Wife whose structure is based on an eclectic mixture of influences that build up intertextual and metatextual webs reflected in themes of love, as well as the loss of love, sexist oppression, sadness and loneliness, and many others. Be it noted that The World’s Wife shows difficulties, set by a patriarchal society, in the way of women as well as men.
Is it necessary for individuals to change themselves for the better? Although both “The Journey” and “Wild Geese” are both written by Mary Oliver, the latter takes a more open minded approach to the question. “The Journey” by Mary Oliver addresses theme of self through using second person pronouns, creating a stronger connection with the reader. Throughout the poem, the speaker never identifies themselves through first person pronouns. Instead, lines such as “One day you finally knew / what you had to do,” and “you felt the old tug / at your ankles,” narrates the thoughts of a “you” throughout the poem.
The second portion of Shakespeare 's (1603) passage, "And thus the native hue of resolution is sicklied o 'er with the pale cast of thought" (p. 63) was intended to solidify the meaning of the first. Whether deducing the quote to its simple, fundamental makeup, or striving to find hidden meanings, quite a bit of processing is required. These words created a follow up conformation of exactly what Shakespeare intended by the first portion. "The native hue of resolution" (p. 63) is the first impulse of your free will compelling you to take or do whatever it is that you desire, regardless of the consequences. This "hue" (p. 63) or choice a person may choose to make appears to be "native" (p. 63) or natural, further convincing the mind that the intense desire to have what it wants immediately is the right choice.
In the first stanza of the poem, I try to emulate Sylvia Plath in that I use enjambment to separate ideas to help the reader discern what is important. I use punctuation sparingly to make the stanza seem more lighthearted, and the enjambment and the dash that I use helps to compare and equate