For example, she uses the words “admiration” and “dread” near each other to describe Belinda, his love interest, showing how his thoughts toward the girl are confused and that there are fighting emotions within himself. This is apparent again in lines 51-53, in which it is noted that Hervey is “charmed” by Belinda, yet he is “inclined to despise her”. The difference in diction creates a muddled tone which is reciprocated in the knowledge of the reader, as well as in Hervey’s own being. While Hervey feels himself wanting to love Belinda, he does not want
Also, Prufrock states, “Do I dare/ Disturb the universe?” (45-6) and “So how should I presume?” (54) to verbalize his hesitance and dryness in his love reaction. Prufrock continuously expresses his inner conflict and refrains from taking action; such passiveness contrasts with the poem’s title being “The Love Song”. Both pieces are triggered by love, more specifically unrequited love, yet the general tone has an ironic detachment to some degree.
Ambiguity in John Keats poems Applied to the poems To Autumn and La Belle Dame Sans Merci The following essay treats the problem of ambiguity in John Keats poems To Autumn and La Belle Dame Sans Merci. Ambiguity is treated by the structuralism school and is presented as an intrinsic, inalienable character of any self-focused message, briefly a corollary feature of poetry. Not only the message itself but also its addresser and addressee become ambiguous.
There are a multitude of techniques poets use to make their poetry both pithy and complex. Due to the limitations of certain poetic forms, poets may be forced to use the devices of meter and diction to accurately express their commentary. Some poets may choose to use allusions to relate a number of scenarios to a certain theme, utilizing the historical context of these scenarios as further material for interpretation. Other poets may choose the opposite approach to economy, intentionally writing little, but carefully using diction and metaphor to allow the reader to “say a lot” themselves by interpreting the work in a number of different ways. Although the poets John Keats, W.H. Auden, and Sylvia Plath use these techniques differently, they
Ultimately, the story of Romeo and Juliet teaches us about the most quarrelsome, primal instincts of the human nature, and how not avoiding them can lead to a tragic end. Romeo and Juliet’s families, as mentioned previously, both have an extreme hatred for each other. Even at the beginning of the play, Tybalt and
Truthful and emotional, Edna St. Vincent Millay’s “Pity Me Not,” reveals a powerful view on the aspects of love while using multiple rhetorical devices such as anaphora, diction, and metaphors to promote her message. These rhetorical devices covey the scene and its true meaning. In the text, a prevalent phrase used that is considered an anaphora is “Pity Me (not).” This phrase shows the feeling of despair and how the hopeless speaker has just given up on everything. Love, but truly painful and eye-opening heartbreak, has really affected the speaker.
Many of Muldoon’s poems can go under this category if readers accept the notion that “playfulness both conceals and permits a serious intent” (Patke 290). Commenting on the difficulty of “The More a Man Has,” M. Allen suggests that it structures “a myth” that motivates the speakers and the characters, however, it “neither explains nor redeems their predicament” (71). According to Wills, the difficulty of the text gives reason for readers to accuse the poet of willful obscurity and extremely “cynical” and “ungenerous tone” (Reading
The poem “My Love for You is so Embarrassingly” by Todd Boss is a poem about love and the whirlwind of feelings you get when experiencing it. In this poem, Boss uses many figures of speech in order to put ourselves in his shoes and help us better understand what love is to him. The title may cause confusion; why would love be so embarrassing? Throughout the poem he uses several metaphors ultimately explaining it.
They use elements of the language of ‘classical’ epic and lyric and some linguistic neoterisms also used by late classical drama. Despite the fact that fragment 26 CA brings to mind Alcman’s partheneia and other partheneia, fragment 22 CA has associations with other poetic compositions in which loci amoeni are described. This fragment not only triggers associations with Alcman, but also with Sappho’s and Ibycus’ poetry. These bacchic maidens seem to sing a song not only in an idyllic, but also in a seemingly sacred place, away from the gaze of men. The landscape resembles that of Sappho’s 2 V: Sappho invokes Aphrodite to come from her temple in Crete, where there is a grove (χάριεν ἄλσος) with apple trees.
Is it not surprising how lust and love are so much related to each other yet particularly unique? Both seem to find their way into sentimental connections in the poems Porphyrias Lover and Adam and Eve it is passed on precisely how perilous both can be and in certain cases even deadly. Both poems sketch deep passion and disappointment in men when it comes to the women they have chosen. Both writers give you this sense of passion along with inhuman like behavior; the only difference is one man had a conscience.
The one thing I found interesting was the relationship between the characters George and Dot. This pas was the ultimate love story. It was full of passion, frustration and emotions.
I can 't help what 's past.’ She began to sob helplessly. ‘I did love him once – but I loved you too.’” (Fitzgerald 132). This quote shows how she feels for both men, and she cannot say that she didn’t love him, because it wouldn’t be true.
In “The Trouble with Poetry”, and “Introduction to Poetry” Billy Collins focuses on the issue of forced inspiration, and the lack of appreciation readers, and aspiring poets have for the feel of poetry. In “Introduction to Poetry”, Collins mentions that some poetry enthusiasts try too hard to find the meaning of a poem; to try and decipher it like some ancient hieroglyphics, that they forget that poetry is not an essay and does not necessarily have to have a distinct message. In stanza’s seven and eight, the speaker states that poetry should be felt, and that what one poem means to a group of people could have a completely different effect on another group. In stanza eight “Feel the walls” is the speaker’s ways of saying that one should feel a poem and let the poem speak to them, instead of searching for what they believe to be its true meaning.