As the popular saying goes, time waits for no man, and certainly it did not wait for the protagonist in Edwin Arlington Robinson’s “Mr. Flood’s Party.” Centering on an old man at the twilight of his life, Robinson’s poem speaks to, among other things, the inevitable passage of time that overtakes every man’s life until there is naught left but the memory of yesterday. Interestingly, even the name that Robinson chooses for his character, Eben Flood, is a play on words that alludes to the passage of time. An ebb, of course, is the recession of the tide away from land and into the vast sea. Likewise, the word “flood” evokes the image of daily life being covered up, hindered, and hidden by water. Moreover, the symbolism of water in this context …show more content…
In these lines, two points stand out as dealing directly with the theme of passing time. First, Robinson tells his audience that Mr. Flood knows that most things break, which means that he is all too aware of the impermanence of everything. Second, Mr. Flood also recognizes that “the uncertain lives of men” most assuredly do not stand “on firm earth,” or, put simply, that man himself is impermanent thanks to the beating on of time. Additionally, Robinson chooses to reference a particular song that is about nothing if not time’s passage: “Auld Lang Syne.” The term auld lang syne directly translates to “times long past,” and the author is surely aware of this when he chooses to feature the words in his work. Robinson writes, “For soon amid the silver loneliness / Of night he lifted up his voice and sang, / Secure, with only two moons listening, / Until the whole harmonious landscape rang – / ‘For auld lang syne’. . .” (Robinson 45-49). “Mr. Flood’s Party” is, at least in part, a poem about a man who is facing the same inevitable truth that all men must eventually face: time waits for no
Anne Moody’s memoir, Coming of Age in Mississippi, documents life growing up in Mississippi during the 1960s. The book outlines her life through her childhood, high school days, college life, and while she was a part of the civil rights movement. In the memoir, Moody serves as a direct voice for herself and her fellow African American neighbors, whom were enduring continued unequal treatment, despite the rights they had won after the Civil War. Part one of, Coming of Age in Mississippi, begins on Mr. Carter’s plantation in Anne’s childhood.
"Crossing the Swamp," a poem by Mary Oliver, confesses a struggle through "pathless, seamless, peerless mud" to a triumphant solitary victory in a "breathing palace of leaves. " Oliver's affair with the "black, slack earthsoup" is demonstrated as she faces her long coming combat against herself. Throughout this free verse poem, the wild spirit of the author is sensed in this flexible writing style. While Oliver's indecisiveness is obvious throughout the text, it is physically obvious in the shape of the poem itself.
In the poetry of the three authors, Anne Bradstreet, Michael Wigglesworth and Samuel Danforth, there are numerous expressions of conventional Christian sentiment throughout. One convention that is similar among all of the puritan poets is the quality of righteousness. Their preoccupation with interpreting god word and living by these standard can be seen in the writing of all three poets. Their reasons for living clean, moral life is because they believed that they would not only be judged for what they did in their mortal life, but also in the afterlife. Although they believed that god had predetermined who was going to heaven and who was going to hell, they thought that if you did not follow the word of god, it would lead to ultimate damnation.
Often, the reader sees him act like the ocean. He wants to be free on the llano and to not be held back by the town. Another character that water is used to represent is Cico. When he is telling Tony about the mysterious Hidden Lakes, he is also telling about himself. “There’s something strange about those lakes, like they are haunted.
In “The Great Santa Barbara Oil Disaster, or: A Diary” by Conyus, he write of his interactions and thoughts that he has while cleaning the horrible and momentous oil spill that occurred in Santa Barbara in 1969. In this, there is a stanza that he writes that appeals to the entirety of the poem, the one that begins on page three with “Day six” and ends with “again & again.” ; this stanza uses tone and imagery which allow for the reader to grasp the fundamental core of this experience and how Conyus is trying to illustrate the effects of such a disaster on a human psyche. Day six of this poem is the day that starts with a dishonest sense of normalcy of an urban environment. Conyus introduces the idea of toads croaking in a setting combining two worlds, “asphalt rain pond”; this paints the picture of nature and man coinciding to try to live together harmoniously in an environment that
Another scene of water is when Antonio dreams of his parent arguing about which water he was baptized in and Antonio says “‘Oh please tell me which is the water that runs through my veins"’(120). The waters used for
The most direct use of water establishes a parallel birth between Sethe and Beloved, connection that places Sethe in the role of her mother. When Beloved first appears at 124, she is said to have “walked out of water” and is “sopping wet” (60.) From the outset, Beloved is inextricably connected to water imagery. As soon as Sethe sees Beloved, she suddenly has an overwhelming desire to pee, and upon making it to an outhouse, “the water she voided was endless” (61). In this passage, there is a parallel between Beloved’s emergence from water and Sethe suddenly releasing large quantities of it, implying that Beloved has come directly from Sethe’s own water.
Mary Oliver’s poem “Crossing the Swamp” shows three different stages in the speaker's life, and uses personification, imagery and metaphor to show how their relationship with the swamp changed overtime. The swamp is personified, and imagery is used to show how frightening the swamp appears before transitioning to the struggle through the swamp and ending with the speaker feeling a sense of renewal after making it so far into the swamp. Finally, metaphor is used to compare the speaker, who has experienced many difficulties to an old tree who has finally begun to grow. Mary Oliver uses the literary element of personification to illustrate the speaker and the swamp’s relationship. She portrays the swamp as alive in lines 4-8 “ the nugget of dense sap, branching/ vines, the dark burred/ faintly belching/ bogs.”
Ray Bradbury’s short story, There Will Come Soft Rains, has elements of destruction, and what the future holds for mankind. It tells the story of a self operating house that carries out its day to day duties as , after a nuclear holocaust has occurred. In addition to this short story Rad Bradbury includes a poem by the same name written by Sarah Teasdale’s. While these two pieces of literature resemble each other in many ways, they also differentiate in just as many.
The speaker discloses that his children have been “gathered like a small cloud [and have become] . . . steam weeping on the window” (ll. 32-35). The speaker uses this final comparison of his children to weeping clouds to convince his grandpa that his life is not irredeemable and his presence is still needed in this world. In conclusion, through Gary Soto’s usage of powerful imagery, precise descriptions, and an absence of rhythm, he evokes a sense of sympathy for the community where he grew up while telling a beautiful story.
The syntax of the poem symbolizes speaker’s realization towards what the sea is teaching him. The two periods during each stanza symbolizes the relationship of both the
On July 18, 1964, The New Yorker published a short story entitled “The Swimmer” (Wilhite 215). Edited thoroughly and heavily compacted from its original form, “The Swimmer” represents John Cheever 's most acclaimed and recognized work. The protagonist of the famous and momentous short story, Neddy Merrill, undergoes a watery journey of self-exploration, acceptance, and tragedy while swimming in various pools as he makes his way home from a party. Slyly and allegorically, the short story dramatically demonstrates the possible density of the literary technique called characterization. Containing many cliffhangers open to the reader 's individual self-interpretation, the short story effectively uses the strong power of language to illuminate
In Lucille Clifton’s short poem, “Good Times” she uses repetition for emphasis and uniformity. In her use of repetition and anaphora, Clifton gives the seventeen line poem a lengthier, list-like feel and emphasizes the emotional impact of memories on the speaker, revealing a deeper, more complex aspect to the short, simple poem. The most apparent repetition in “Good Times” is the anaphora that prompts half of th lines. In repeating “and,” Clifton transforms her poem into a uniform, rhythmic list of the speaker 's memories (Clifton 2). Uniformity within the poem creates a sense of
“There Will Come Soft Rains” is a short story by Ray Bradbury that was first published in the May 6, 1950 issue of the Collier’s. The story was later published in Bradbury’s The Martian Chronicles, which was a collection of science fiction short stories. Bradbury enjoyed writing short essays on the arts and culture, however he used his fiction works to explore and criticize culture and society. Bradbury uses the short story “There Will Come Soft Rains” to address the uneasy atmosphere left by World War II.
In this poem Henry Longfellow describes a seaside scene in which dawn overcomes darkness, thus relating to the rising of society after the hardships of battle. The reader can also see feelings, emotions, and imagination take priority over logic and facts. Bridging the Romantic Era and the Realism Era is the Transcendental Era. This era is unusual due to it’s overlapping of both the Romantic and Realism Era. Due to its coexistence in two eras, this division serves as a platform for authors to attempt to establish a new literary culture aside from the rest of the world.