Like the wife, Ann, I believe practically all people desire acceptance. However, life is not perfect and I know that I face rejection constantly. Like with the husband’s reasoning, often I have been excluded for insignificant reasons. Simply a change in skin color indicated an adjustment in the person he wanted to marry. In addition to the judgmental aspect, I can also relate to this man’s selfishness and desire for control in that I see people like him everyday.
Another sonnet and contemporary pairing is, William Shakespeare’s sonnet 152 and Amy Winehouse’s You Know I’m No Good. In Shakespeare’s sonnet 152, he is writing about a man who is seemingly not in a committed relationship with anyone, but is having sexual relationships with a married woman. He is both frustrated with the position he is in, but wants to stay is this adulterous affair because he is a selfish man. The first line of the poem he states, “In loving thee thou know’st I am forsworn” (1). Then goes on to say, “I am perjured most / For all my vows are oaths but to misuse thee” (6-7).
He “had worked hard since publication of Leaves in 1860 to revise the poems, change some titles, and edit out a few poems, including three from the ‘Calamus’ cluster that he apparently thought were too sexually explicit” (Oliver 20). In several respects, the poet “turned his attention not to poetry but prose after the war” (Eiselein 21); this led to the publication of his “very complex and difficult essay Democratic Vistas” (Mack, The Pragmatic Whitman: Reimagining American Democracy 136). Thomas Carlyle wrote “Shooting Niagara: And After?”, an antidemocracy article, published in the New York Tribune (August 16, 1867). The editors of the Galaxy asked Whitman if he would like to write a response to“Shooting”. He wrote three articles: “Democracy,”
‘Half-caste’ by John Agard deals with the satirising attitude shown by the protagonist towards a man who insults the protagonist for having parents from two different races. ‘Unrelated Incidents’ by Tom Leonard deals with a BBC reporter who announces that if he read the news in his native accent, people would not believe it. Both John Agard and Tom Leonard get their point across by writing their poems in their native dialect (their native accents), in order to show equality for all cultures. John Agard and Tom Leonard share two common audiences. Both poets lived in Britain and wrote about the difficulties of having a native accent which caused the protagonist in the poem to be discriminated.
Harleys feels for that person and pictures himself feeling the same way. One of Harley’s main weaknesses is judging a person by their appearance and taking their stories to heart. The author describes this trait as being good hearted and worrying about the well being of others. His aunt spoke with him about the situation and he continued to make the same mistake. He is grown man and continues to make the same mistakes because he was not taught how to condition his
Eliot, who became Barker’s patron, literary and financial, though Eliot considered him "a very peculiar fellow". " (SHEPHERD,2007,n.p). According Ian Sansom 's article The Chameleon Poet: A Life of George Barker, Barker was considered to be wild and extreme. The author also describes the relationship between Dylan Thomas and George Barker as the two men that were great rivals but they were also refered to as drinking companions. Even though Barker´s poetry was influenced by Thomas and reminds of his style, he is not that famous as his contemporary.
I. Introduction A. Literature Review The Rocking-Horse Winner has been widely read as a Lawrentian fable accounting the “，nemesis of the unlived life” (Martin 65) in a lower middle class family. Debates has been raged over whether this story is of objective impersonality under modernism standard. While Martin highlights the story’s self-consciousness by its technical perfection, Burroughs, leaning towards Leavis, Hough, Gordon and Tate, insisted RHW’s inefficiency for its lack of imagination and failure to present life in a naturalistic objective standard, and indicated that its didactic purpose relying on the boy’s death is an outdated Victorian pathos (Burroughs 323).
With Auden the language and impedimenta of his own time were absorbed into his poetry at a deeper level, as it were, than was the case with any other poet of the thirties. The modern symbols and analogies do not shine out of his poems like great, glowing jewels; on the contrary, they seem an integral part of his poems. There appears to be no discrepancy and no barrier between his poems and the world in which he lives. Thus he can write a sonnet, like the one from which the opening lines are quoted: A shilling life will give you all the facts: How father beat him, how he ran away, What were the struggles with his youth, what acts Made him the greatest figure of his day: Of how he fought , fished, hunted, worked all night, Though giddy, climbed new mountains; named a sea: Some of the last researchers even write Love made him weep his pints like you and me. (Auden 44 ) In this poem there is an immense sense of psychology and psychiatry which was shared by some of the best of the thirties poets but which had its most dominating influence on the thought and poetry of Auden.
The Defence of Poetry By P. B. Shelley Written in 1820, but published in 1940, it was Shelley’s way of understanding Poetry in a world constantly changing. It was written as a response to Thomas Love Peacock’s satirical piece named “The Four Ages of Poetry” in which Peacock tells that intelligent men should stop writing poetry, because it’s a waste of time, and start dealing with new sciences, such as economics theories, things which will bring an improvement to the world. He says that Poetry is valueless in a world of science and tehnology. Shelley had to respond to Peacock’s piece and so the defence of poetry took affect. In “The Defence of Poetry” Shelley starts with the defence of poetry as a whole, then language, the creative faculty in Greece, the poetry of Dante and Milton and the conclusion.
It is not only biography but it might more accurately be called Selected Thoughts on the Life and Afterlife of John Keats in which Severn, Brown, and Haydon described several portraits and sketches of Keats, living and dead. After a little research, it would inform that Keats was called a Cockney poet because of his lowly birth and education, his association with Hunt, his affectations as a poet to high culture, his recourse to Greek mythology without its knowledge, his jealousy of aristocrats and well-born poets and also his fantastic rhymes- "moon, boon; blooms,