Gillian Clarke’s “Lament” and Seamus Heaney’s “Mid-Term Break” are both very poignant poems that convey a sense of depression and tragedy. Both poems are based on real-life tragedies: while “Lament” is an elegy for the unprecedented loss of life and nature in war (specifically the Gulf War), “Mid-Term Break” describes Heaney’s experiences and the feelings of people that are close to him in the event of his younger brother’s untimely death.
In “Mid-Term Break”, Heaney makes good use of sound imagery to breathe life into the poem and to convey a sense of melancholy. In the beginning of the poem, Heaney mentions hearing “bells knelling classes to a close”, ringing as if they were funeral bells instead of normal school bells. This gives a sense of the narrator’s sombre thoughts of death. In the third stanza, Heaney also mentions that “the baby cooed and laughed and rocked the pram”. Firstly, this line is written in iambic pentameter, giving a sense of rhythm as is associated with lullabies and rocking the pram. Heaney also uses onomatopoeia, specifically sounds that are cheerful, to break away from the extremely depressing tone of the whole poem. He expresses the baby’s innocence and blissful unawareness of the events that have reduced his father to tears and that have crippled
…show more content…
In “Mid-Term Break”, Heaney describes the thoughts and feelings of the people that are described in the poem, from those distantly related to him to his immediate family who are lost for words at the prospect of the death of an extremely young member of the family. Symbols of masculinity, like the boy’s father and “Big Jim Evans”, are described before the weaker individuals such as the boy’s mother to shock and upset the reader, creating a sense of suspense and mystery, as well as to develop a sense of trauma and tragedy. Big Jim Evans especially says the event was a “hard blow”, to give a sense of how much the strong men are
The title used by Lucie Brock-Broido “The Halo That Would Not Light” gives the initial thought that the poem will involve something about an angel that has lost their purity. The theme surrounding a fallen angel is hinted with the word “Halo,” as it is commonly associated as a ring of light above a holy figure. “The Halo that Would Not Light” is a short poem about the progression of a child’s adventures from the time the stork, or in this piece “raptor,” drops the child in the carriage through our years of imagination, and abruptly ends with, “is done,” death or maturity. Brock-Broido makes some darker word choices when referring to things of childhood such as “the raptor beak.” Most of us know the nursery story of a stork, symbolizing birth,
“Nineteen”, by Elizabeth Alexander uses language and tone to form a multi-sensory poem about remembering her youth and desire to connect to her past Vietnam vet lover. These aspects of language and tone are embedded in the outer form of the poem, as the author forms an imaginative recreation of her young adult life, which directly impacts the reader to allow for an enjoyable simple read. The elements of language and tone formation ensure the translation of Alexander’s emotions or feelings of her youth for the audience to relate and understand. In the first place, the language within “Nineteen” is casual and not really poetic.
Loss is an experience unique to each individual and James McAuley and Gwen Harwood explore this in their poems “Pietà” and “In the Park”. The free verse “Pietà” bears witness to the physical loss a father endures on the anniversary of his son’s death, while in contrast, the sonnet “In the Park” explores the loss of self-identity that a mother feels in her role as a parent. The physical loss that accompanies the death of a loved one is depicted in “Pietà” when the narrator recounts how his son came metaphorically “Early into the light” of life, “Then died” one year prior. By accepting the part that death plays in one’s life, he acknowledges that “no one (is) to blame” for the loss, however, this resignation does not console his anguish. Just as he is consumed by his grief, so too is the mother in Harwood’s narrative but her pain stems from a loss of self-identity due to motherhood.
Throughout history, one of the most common occurrences during times of warfare is the death of the soldiers who are fighting for their country. Depending on one’s point of view, a soldier’s death at war could be honorable and glorified, or it can be a gruesome, anonymous demise. In the two poems, “Epitaph on a Solider” by Cyril Tourneur and “The Death of a Ball Turret Gunner” by Randal Jarrell, there is a stark contrast between the emotional impacts experienced by the reader. Through each author’s unique writing style, “Tourneur’s Epitaph on a Soldier” shows glory in a soldier’s death and is supportive of war, while Jarrell’s “The Death of a Ball Turret Gunner” gives a much more painful impression of war and the passing of those involved in it.
3. The audience for the essay, “Laws Concerning Food and Drink; Household Principles; Lamentations of the Father” from the Atlantic by Ian Frazier is for parents. The audience is portrayed throughout the essay through the tone of the narrator. The narrator uses a superior and authoritative tone as he is speaking, much like a parent. Because the narrator is describing the house rules, responsibilities and directly speaking to “you,” it is indicated that when he says “you” he is referring to the children of the household.
In Sherman Alexie’s short story, “War Dances,” the narrator unravels in thoughts and takes us through events in his life. He picks up by speaking about a cockroach that ends up dying in his Kafka baggage from a trip to Los Angeles. The cockroach still appears many times throughout the story. The narrator spends quality time in the hospital with his father, who is recovering from surgery due to diabetes and alcoholism, all along the way while he, himself, discovers he might have a brain tumor, leading his right ear to talk about his father. Using a style of tragedy and care both incorporate together a symbolic story that would make even a plain reader feel touched, leading to the major occurrence of a theme of the importance of family.
This diptych poem is essentially engrossed with the loss of innocence through experience. Part One of Father and Child, Barn Owl, explores the innocence of childhood and the bewilderment towards the nature of death. The line “my first shot struck” consists of monosyllables which creates an emphasis on the shock that is contained within the persona for committing such an act. Part Two of Father and Child, Nightfall, is fast forwarding to a role reversal between the father and child, the child now being the carer and nurturer of the father. “Your passionate face is grown to ancient innocence”, this line reflects the fathers attitude to his surroundings at the present time, taking in the nature and once ordinary things around him, that all become extraordinary with this last inevitable walk.
She utilises a diptych structure which portrays the contrast of a child’s naive image of death to the more mature understanding they obtain as they transition into adulthood. This highlighted in ‘I Barn Owl’ where the use of emotive language, “I watched, afraid/ …, a lonely child who believed death clean/ and final, not this obscene”, emphasises the confronting nature of death for a child which is further accentuated through the use of enjambment which conveys the narrator’s distress. In contrast, ‘II Nightfall’, the symbolism of life as a “marvellous journey” that comes to an end when “night and day are one” reflects the narrator’s more refined and mature understanding of mortality. Furthermore the reference to the “child once quick/to mischief, grown to learn/what sorrows,… /no words, no tears can mend” reaffirms the change in the narrator’s perspective on death through the contrast of a quality associated with innocence, “mischief”, with more negative emotions associated with adulthood, “sorrows”.
Using distinctively visual, sensory language and dramatic devices in texts allows the reader and audience to view as well as participate and relate to different emotions. In the fictional play “Shoe Horn Sonata” written by John Misto, 1995, Misto sets the scene by using dramatic devices to address the extremely confronting circumstances that the protagonists, Sheila and Bridie experience. Similarly, in the poem “Beach Burial” by Kenneth Slessor, 1944, Slessor too uses extremely strong visual language on the subject of war to overcome the gruesome realities of the subject matter. Misto’s play “Shoe Horn Sonata” shares the impacting journey two young women are forced to face, spending 1287 days in captivity in a Sumatran war camp, during world war two.
He does this to not bombard the reader with a dark abusive poem. This can be seen by the metaphorical style of writing he has incorporated in his poem. For instance, the poet chooses a dance instead of outright saying it was an abusive encounter. Additionally, it shows the love the speaker has for the father. Instead of degrading the father he makes him more human to the reader by adding descriptive words.
When singing the song whiskey is trying to symbolize an item that could help forget the bad times. The word “lullaby,” symbolizes how they are put to sleep as in both are dead and now they can rest in peace as people do when they sleep and dream. By using imagery and symbolism the reader gets a better comprehension on the story being
In Aldous Huxley’s novel Brave New World, individual freedom is controlled by the use of recreational drugs, genetic manipulation and the encouragement of promiscuous sexual conduct, creating the ideal society whose inhabitants are in a constant happy unchanging utopia. In sharp contrast, Seamus Heaney’s poetry allows for the exploration of individual freedom through his symbolic use of nature and this is emphasised even further by people’s expression of religion, which prevails over the horrors of warfare. Huxley’s incorporation of the totalitarian ruler Mustapha Mond exemplifies the power that World State officials have over individuals within this envisioned society. “Almost nobody.
Comparative Essay How can different perceptions about one topic be expressed in poetry? The main theme that the two sets of poems convey is war, but it’s expressed in different point of views through the use of diction that builds tone. The tones of these poems play a big role in conveying the differences between the different eras that these poems are written in, and shows how societies have changed from the Victorian era till the time of World War I. The diction and tone in Borden and Owen’s poems is so much different than the diction and tone in Lovelace and Tennyson’s poems due to different perspectives and point of views. In all four poems the main idea is war, but each set conveys a perspective of war, a positive perspective
The poem Two Lorries was written by Seamus Heaney an Irish poet born in Northern Ireland, precisely in County Derry, on April 13, 1939. He was one of the most remarkable authors of that time, which dealt with topics of violence and social issues as well as nature and Ireland history, which demonstrates the variety of his work. Heaney was awarded with a Nobel Prize in the field of literature, by 1995 since his work was of lyrical beauty and ethical depth, which exalt everyday miracles and the living past. Seamus marked study on the role of sorrow in Ireland’s political atmosphere during the Troubles; a meditation on the personal effect of the Troubles on the citizen population, and should be read as the physical death of human life, the death of Ireland’s pastoral innocence, and the death of childhood to the abrupt nature of violence. By the time he was 74 he died on the 30 of August in Dublin.
“Lament” is written in 7 stanzas, with 3 lines per stanza. In the first stanza, Clarke laments for the pregnant green turtle, which lays “her eggs” in a “nest of sickness”. “Her” is used stimulating a more personal feeling of maternity. Clarke uses the term “nest” in an ironic way.