However, the central theme evident in both the pictures is the notion of sin and punishment. The pictures depict the spiritual predicament of mankind and mankind given over to sin, which is completely oblivious to God’s law and the fate he has prepared for mankind. Lust is evident in both the pictures through the appearance of figures engaged in amative acts. Distinction between various classes of people is also evident in both the pictures. Bosch represents the hellish counterpart of the heavenly mansions in both the pictures, dominating the foreground with new motifs.
Emily Dickinson and Robert Frost both write about darkness, structuring their poems in an uncertain and cynical tone stringing along the reader by using consistent rhyming and vague details. The authors also use extended metaphors and fearful imagery to implement the ominous feel that comes with darkness. Although both poems use different devices to achieve their purpose, the message is almost parallel. In Emily Dickinson's “419” she grabs your attention by using the pronoun “we”, in doing this she relates to the reader and makes the poem more personable. Her point of view allows her to describe just how vast her darkness is, all the while putting us at the center of the action.
The poem’s sufficiency is references toward God and the Christian religion. The main idea of this poem is to appreciate what is in this world and don’t take it for granted. Colderige makes it very clear in his poem that the Ancient Mariner is not a God, but in the choices he makes are like everyday people making life decisions. For example, it is like saying in the “nature” of humans, we were designed to screw up or in other words, make mistakes in life and make really good choices for ourselves. Killing an albatross in the Ancient Mariner, was like committing a sin.
Throughout the poem Beowulf, the author, whom to this day is still unknown, uses light and darkness to explain good and evil characters and events. This unknown author describes Beowulf, the hero of the story, and other people and events as bright, as well as making many references to the sun and sunlight. The monster that Beowulf defeats named Grendel, is often described as a shadow or only emerging in the dark of night. The imagery is used with light and dark is used to represent the good and evil that the author saw as he was Anglo-Saxon and likely pagan as well. Imagery is used often throughout the poem, but especially when Grendel and Beowulf are first introduced and when they fight.
Hirsch depicts “our hearts” as “black handkerchiefs...flying” through “the night.” These images, and specifically the diction of “black” and “night” relay the dark context of Hirsch’s literary techniques. Subsequently, Hirsch portrays the way our hearts, these “handkerchiefs,” “[soak]” up the “darkest beams of moonlight” and “the music of owls.” The image of the “darkest beams” continues to develop this darker nature. However, the “moonlight” and “music of owls” relay lighter aspects, and are used as metaphors for the theme of the poem, the need to open one’s heart and trust. Hirsch continues with the imagery of “our hearts” as “black fists flying back to the glove of our chests.” This imagery expresses the darker qualities being shown. Ultimately, this imagery is a metaphor, “black fists”—our hearts—return to “our chests,” shows that Hirsch is suggesting we slowly begin to open our hearts and trust—soaking in the “moonlight”—but can suffer a relapse to our old habits—“black fists...back to the glove.” By detailing this relapse, Hirsch proves the necessity to become like “the sleepwalkers”—to adamantly open our hearts and learn to trust, ultimately to broaden and enrich our
Got the weary blues And can’t be satisfied” (25-28) are all great examples of repetitive lines being used in this poem in order to to emphasize a relaxed, yet depressing mood. It is also a free verse poem with an inconsistent rhyme scheme and meter, making the poem sound a lot like natural speech. However, Hughes adds hints of rhyme here and there throughout Chung 4 the entire poem as not to entirely exclude musical elements, for music is a vital concept that adds to the understanding of a blues poem such as this. Lastly, the poet masterfully utilizes poetic devices as a means of maximizing the vividness of the mood that is being conveyed. Hughes takes advantage of figurative language by using it to assist
In “419,” Dickinson’s darkness is a metaphor for the unknown. Her use of dashes throughout each stanza disrupts their smooth flow and characterizes her narrator, showing the character’s hesitancy when abandoned in the darkness. As the character progresses through the darkness, however, the reader identifies a hopeful and perseverant tone. By expressing that “We uncertain step / For newness of the night,” the narrator shares the feeling of alarming change that is expected to become easier given time.
The humanization of the Demon done by the author creates an atmosphere in which something so terrible and tyrannical is used as a symbol of isolation, emotion, and rebellion that we as humans experience regularly. In our physical world we are bound by time, space, social constraints, and emotion just as the Demon is in his fictional world. By portraying the Demon’s dilemmas in a human way, Lermontov simply tells a beautifully tragic and elaborate story in which evil projects human qualities allowing us to feel empathy and connection with others, whether they are fictional or
“Dulce et Decorum Est” is similar to “ Who’s for the Game” because they both rhyme and they both talk about a aspect of the war. For example they both say that the war is not going good and the country and its soldiers are suffering. They are also similar because they both use similes and pathos to express how they feel about the war. The differences between the poems are they have different ways that they appeal to the reader. For example the author for” Dulce et Decorum Est” uses more of a depressing connotation and the author for “Who’s for the Game” uses more of a welcoming persuading view.
Only after he is repeatedly rejected does the creature become violent and decides to seek revenge” (Mellor 106). This creation story is made obvious from the commencement with the epigraph from John Milton’s Paradise Lost (1667), which starts the novel • In an effort to promote his capability for human interface and thus describe his place in the social order, the individual in Frankenstein ducats himself on principles and immorality. “I read of men concerned in public affairs, governing or massacring their species. I felt the greatest ardor for virtue rise within me, and abhorrence for vice, as far as I understood the signification of those terms, relative as they were, as I applied them, to pleasure and pain alone”(125). The individual increase his own logic of principles not including the control of religious conviction or the creator mythology.
It says that he argues that one can understand the Hebrew concept of love only by looking at one of the core commandments of Judaism, Leviticus 19:18, “Love your neighbor as yourself”. ( Jewish theology of love and Great Commandment) For Martin Buber, Judaism and Christianity were variations on the same theme of messianism. Buber made this theme the basis of a famous definition of the tension between Judaism and Christianity: Pre-messianically, our destinies are divided. Now to the Christian, the Jew is the incomprehensibly obdurate man who declines to see what has happened; and to the Jew, the Christian is the incomprehensibly daring man who affirms in an unredeemed world that its redemption has been accomplished. This is a gulf which no human power can bridge.
Theses quotes reveal that God power is fear so that it can shut the sinners down and destroy sinners who made him angry. In essence, Edwards had a powerful impact on his puritan audience of his puritan audience by his use of a cautionary tone, a clear imagery and complex figurative language. Edwards wanted to impact his audience by appealing to their fears, pity and vanity. Edward describes the tone, imagery, and figurative language in the passage to use an awesome metaphor to get his point across the audience. Edward view was also to get sinners to hell, who does not
All three artists uses the lines in weird directions such as crisscrossing and diagonal placements in both artworks. In the Blue (Crest), used different tints of blue and Vertigo, used different tints of orange giving two different views of the artwork. The blue used in In the Blue (Crest) helped with portraying the feel of water and the orange just seems as a color placed in the painting of Vertigo, even though with the lines it helps represents the chaos in the picture. They both were similar besides the dimensions, In the Blue (Crest) did give a different feel since it was three dimensional than the two dimensional
Alliteration is the consonant sounds that recur in a line. In the song “Happy” Williams’s example of alliteration is “Here comes bad news, talkin ' this and that” (Line 13) the T repeats three times in this line. In conclusion, the song “Happy” is a literary work of musical art. Pharrell Williams incorporates the use of several of the poetic devices in his song. These literary elements include personification, metaphor, simile, and alliteration.