Anne Bradstreet used false modesty to avoid criticism from a male-dominated society that did not accept women as equals. Anne Bradstreet metaphorically referred to her book of poems as an “ill-form’d offspring” (line 1) as a judgment of its poetic worth. The constant repetition of the book being in critics hands, due to “errors were not lessened (all may judg) (line 6), demonstrated the fear she has to the judgment of her lack of resources and abilities from the press. She instead, judged all her poem’s errors because she had knowledge that her book would be published. In addition, she was not ambiguously sincere, since she bragged about her impressive poetic ability and stated her work as awful and shameful for critics to highlight her virtues.
During Shakespeare’s time, the societal norms that cultivated women were very precise. Women were held to high standards both look and act in a specific way, but did society ever take it too far? Many poets during Shakespeare’s time wrote traditional blazon sonnets, ones that compared women to the most wondrous things life has to offer; gems, jewels, plants, and stars. Such beautiful comparisons were made, but the women were made out to be so unrealistic. Women had become a collection of objects rather than human, but Shakespeare shed some light on the matter at hand and presented a new way of thinking.
The disease redrew her personal sketch, becoming something though physically lacking, yet resilient beyond comparison. By combining rhetorical strategies with rhetorical appeals, Mairs presents herself in a way that invokes an emotional response from the reader. After losing the ability to operate her legs properly, Mairs begins to declare herself a “cripple”. She proclaims this knowing people cringe whenever someone is called a cripple. Mairs herself doesn’t fully comprehend why she decided on this title, but she believes that she wants others to see her as a “tough customer”.
The scar on the face of Sage has a deeper meaning than it just being a permanent mark. When describing her scar, she states, “It isn’t a scar to me, really. It’s a map of where my life went wrong” (10). This scar symbolizes guilt, like a stamp to remind her of what happened in the past. This permanent mark on her face does not let her move on because of the guilt she feels about the accident.
Despite of being right in my accusations of her sister’s ingenuine behavior, every time I demand that my wife tries to see the true side of the story, she keeps quiet and avoids confrontation. As follows, I become extremely irritated and annoyed by her withdrawal from the conflict. According to the book, the person using the avoidance conflict style wishes the problem or conflict would go away by itself and appears uninterested in managing the conflict or in meeting the needs of the other person involved in the disagreement. As a positive side of her conflict management style in this particular situation by withdrawing she does not allow me gunny-sacking, that only leads to increasing tension, escalating emotions, and reducing listening effectiveness, as mentioned in the textbook. However, by not resolving this issue the tension in relationship with my spouse builds
32) and didn’t give any significance to her allegations. In addition to that, when it was finally known that Clytemnestra was right she defended herself saying “I was laughed at.” (pg. 32) even though being right, but she is instantly shut down by herald who defies her, the queen: “Are such words necessary? A Queen boasting so strangely…” (pg. 33).
Despite Ferrante and Dickinson 's similar motivations for anonymity, a distinction must be made between the two authors; while Dickinson refused publication entirely, Ferrante wished to publish her work, but only under the protection of a pseudonym. Ferrante likely wished to escape the fame and notoriety that accompanies a successful publication. Dickinson, in contrast, did not seem to fear fame or even consider its possibility in the same way as did Ferrante; Dickinson was entirely uninterested in sharing her poetry with the public, even under the protection of a pseudonym. This suggests that publication represented, for Dickinson, a depersonalization of her poetry; works that had once been meant to be read by Dickinson 's most intimate acquaintances as a personal address would be reproduced in mass for the perusal of
She says she “wants time to function as a power wash”, and remove the memory of the ride from her mind before she enters her house. This stanza shows how distressed the narrator feels about the comment, proving that her method of coping is not viable, and that she cannot let go of the small instances of racism she experiences. Her attempts to ignore times when she is offended do not work, and in that regard, are little better than John Henryism. She still does not confront racism, which would allow her some closure on the matter, but rather than fight against
They also show that women are more than just their physical appearance. In the beginning of the poem “Pretty” it shows how society makes girls insecure towards their outwardly looks. However, towards the end it signifies the fact that there is so much more than just being “pretty.” The next two poems are very similar in that they focus more on how to believe you are more important, than what society wants you to believe. “A Lady” by Amy Lowell talks about a younger woman looking up to an older woman, that has found her true identity. The younger woman uses an analogy to compare the older lady to “an old opera tune.” The poem explains that with age, comes maturity; and with maturity comes self-love.
Marvell” are both different than the other. However, they do take an opposing side in response to Marvell’s poem. For example, in “His Coy Mistress”, the speaker’s overall attitude is speaking up for herself and telling her lover how she wants to be more than someone to be used for his needs. You can see this as early as lines 1 and 2 where Finch writes, “Sir, I am not a bird of prey:/a Lady does not seize the day.” This comparison as herself, to a “bird of prey” shows how low Marvell ranks a woman compared to himself. However, in Finch’s work the mistress shows an openness to accepting Marvell’s love.