In the last fifth stanza, the writer ends his poem by saying, “Yes; quaint and curious war is! You shoot a fellow down, you’d treat if met where any bar is, or help to half-a-crown” (Hardy 17-20). This states that if the narrator and his “foe” had been in different life positions, they could have been good drinking. This also seems that the narrator is having trouble calculating the killing of war and compares himself to his enemy. “Half-a-crown is probably not so much that the narrator imagines the fellow as a beggar as it is that his own character but in a different context” (Napierkowski and Ruby 1).
Similar is done in “the manhunt” with its structure in rhyming doublets and the pain and war that is presented continuously in the poem through images of gunfires and war in “first phase” and “blown hinge”. This contrast presented in both poems makes the reader feel as if the poem doesn’t really fit in and if the effects of war or war itself is being forced into something that it isn’t that the suffering and pain is so great that it can’t be fit into “ordered rows” or maybe it lets the reader understand that “suffering” isn’t really understood and therefore forced into something it isn’t. The effects of this are then both present with ‘suffering” being held together so tight that it is about to explode. In the Manhunt this is presented through “every nerve in his
Through the use of a simile, diction, and imagery, Lechevsky communicates the theme of society underestimating a person’s worth by their looks. One poetic device that is utilized to show the speaker’s desire to be as a dandelion is a simile that is persistent throughout the entire poem. The comparison between a dandelion and a strong, influential, and worthy person forms the extended simile. The essential line that poses the simile is, “I wish I could grow like a dandelion,” (30) because it uses like to compare the person that the speaker wishes to become to a dandelion. The description of the plant
Despite the similarities in their usage of different arts, the painting and poem illustrate two completely different themes. In the poem, Penelope is sarcastic when saying that “they will call [Odysseus] brave”, meaning that she feels she should get the praise instead of Odysseus for keeping everything under control. Conversely, the painting shows a country engulfed in complete mayhem, suitors out of control, ineffective servants, and a distraught
In a society in which lineage and status held such importance in the qualifiers for land and power, it was the role of the poet to assert one’s lineage and power. The poet held huge importance in society and his words were his greatest tool. Many came to fear the words of the poet with some individuals claiming that the words of the poet held not only the power to curse but to mortally wound anyone whom they were written for . If compensated to do so the poet could write a piece of satire portraying an individual as cruel and inhospitable in order to diminish their status in society or they could praise an individual in return for a reward of cattle or other riches which could even be used to overthrow any previous satires written about an individual . This was not merely a
The paper seeks to explore the manner in which Namdeo Dhasal uses anger constructively as a literary innovation to articulate the silent rage of dalits who have been relegated to the bottom of social hierarchies since thirty centuries. In Dhasal’s poetry, one observes the startling possibility of anger as a mode of organizing and articulating emotional energy. The paper will further explore how Dhasal deliberately uses the subversive diction to challenge the elitist upper caste notions of decorum and balance. Keywords: activism, anger, caste, dalit, protest, subversive diction Indian poetry today is no longer monolithic: it is more polyphonic than ever before, perhaps because of a break-down of unifying concerns, and homogenizing ideologies like Bhakti in the medieval period or National Independence in the first half of 20th century. This destruction of a central voice has made poetry more various and democratic, capable of reflecting upon the subtle nuances of the complex experience of oppressed communities.
Mock epic is a narrative poem which aims at mockery and amusement by using almost all the characteristic features of an epic but for a trivial or unimportant subject. In the “The Rape of the Lock” there is an invocation to Muses, intention of subject, battles, supernatural machinery, and journey on water, underworld journey, long speeches, feasts (coffee house), Homeric similes and grand style but all for a simple family dispute instead of a national struggle. The grand action of a low subject produces comical laughter and makes the story more absurd. Instead of wonderful passions and great fights between heroes in which the immortals take part, The Rape of the Lock we see as a minor passionate quarrel assisted by the spirits of the air. The Rape of the Lock, on the other hand, gives us a picture of a stylish society.
It is a mock-heroic poem which sarcastically details the subject of a struggle between two aristocratic families in Pope’s contemporary society. Intriguingly, the powerful satirical reasoning and the pulsating epic streak that govern the particular poem have rendered it an epitome of mock-epic poetry. The objective of this article is to critically analyse the first 22 lines of the poem, The Rape of the Lock. Thus, the paper discusses the writer’s essential fidelity to the epic character and his strong satirical perception in the present poem with special reference to the select lines. Given a careful reading to those lines, it can well be contended that Pope’s The Rape of the Lockremains unexampled in the mock-heroic genre and hence it can judiciously be hailed as one of the finest works of the whole corpus of English poetry.
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,
He is also intense to the similar extent to expose the dishonesty of the money-oriented and fraudulent Sufi institutions. The difference between these two subjects is further increased when these are often used together in a single poem. Furthermore, they may also be used with an extensive range of secondary themes like complaints about the unkindness of destiny and the transitoriness of this world, the youthful flower of nature, admiration of himself, praise of his city Shiraz, references to his environment and incidents of his time, and eulogizing his own poetry. Combining all these themes in one ghazal gives it an appearance of discontinuation and often complicates to understand the main theme. He uses images from mythology, history, and literature, and the ideas drawn from the sciences and several other phases of life.