The most significant thing to deal with language and techniques used in The Cockroach is the comparison between Halligan and the cockroach. This poem is an extended metaphor of the poet’s life, which is revealed as he observing an insignificant insect closely. The author uses simplistic and casual language to describe this vivid picture of the cockroach. The imagery brings the reader into the scene with the purposeful language that portrays the cockroach. His rhymes follow the pattern of every other line rhyming until a shift, the uncertainty of the cockroach.
The poem’s calm tone, the stars of the second verse, the gentle voices that tell of their suffering and allude to chirping crickets, and the candles, which lighten the bushes and might be fireflies, suggest it is evening. The place seems to be devoid of people. Apart from a slightly melancholic, lonely tone, nothing hints at the speaker of the poem. Although the entire poem consists of only one sentence that describes the scenery, an arc of suspense leads towards the last two lines. Something was happening (vv.
Edward Lear remains one of the few poets in the Victorian Era to write nonsensical poetry that satisfies this desire. In “The Owl and the Pussy-Cat,” Lear uses the structure of a light verse poem, internal rhyme, and figurative language to amuse his audience while allowing them to enjoy the many unique aspects of his poem. “The Owl and the Pussy-Cat,” a light verse poem, uses nonsensical diction, and free meter to create an enjoyable read. First, Lear uses silly language throughout his work. “To the land where the Bong-Tree grows / And there in a wood a Piggy-wig stood…” (Lear 127).
In 1899, Dunbar wrote a poem titled Sympathy. This poem, which was clearly influential in the literary world, even inspired one of Maya Angelou’s famous works “I Know Why the Caged Bird Sings”. The structure of the poem is concise and even. There are three stanzas, each containing seven lines, and repetition of the idea in the first line of the stanza in the last line of the stanza. For example, in stanza three the first line reads, “I know why the caged bird sings, ah me” (15) and the last line reads, “I know why the caged bird sings!” (21).
The definition of Stevens’ poetry can not be reduced at one single self-given sentence about it. The Pennsylvanian poet is building up the frames containing all of its philosophical poems by smaller pieces. The poems are readable inside-out – they start as singular particles which intertwine with each other and create the bigger picture, as if the reader jumps off a cliff: at first one sees the grass, the sea, the sky, but when he has no earth under his feet, rolling fearlessly into the air, he could feel and see every small detail of the
The ideas of romanticism are clearly manifested in “To a Skylark”, a poem written by Percy Bysshe Shelly in 1820. Such ideas are metaphorically represented throughout the poem by various bodies of nature, mainly the skylark. Shelly is attempting to imitate the bird. He wants to be to his readers what the bird is to him; an unseen being whose presence can still be detected through its art. The first stanza starts off by referring to the skylark as a “blithe spirit”.
It is the emotional reaction to this song that has induced such a large body of literature. One would ask why? Listening intently and deeply out on the heath, he composes, in his ode, two different types of lyrical poetry in an experimental way in order to translate and record what he has heard: the odal hymn and the lyric of questioning voice that responds to the odal hymn-- as if his own consciousness is questioning the repository of the bird in which it now resides, and these competing forms, intensifies the drama within the poem. Keats incorporated a pattern of alternating "short" and "long" vowel sounds into his emulation of the bird. For example, “O for a beaker full of the warm South,/ Full of the true, the blushful Hippocrene,/With beaded bubbles winking at the brim,/And purple-stained mouth;/ That I might drink, and leave the world unseen,/And with thee fade away into the forest dim.
It consists of eighteen six-line stanzas with a decidedly emphatic meter and rhymes The story of “The Raven” is all about the man who is mourning because of the death of his love. He encounters the raven and answers all of his questions by saying “Nevermore”. Nevermore is an example of repletion. It is a literary device wherein it repeats the same words or even phrases many times to emphasize the idea. A literary device plays a significant role in the literature and poetry.
One of the instruments that Hopkins uses in this poem is alliteration in order to show us his beautiful imagery . It is a technique that he likes to use “Fresh-firecoal chestnut-falls; finches’ wings” ( Hopkins, line 4). Every reader is capable of picturing the land with its possibilities of being “fold, fallow, and plough.”( Hopkins, line 5). The word in the title”pied” is related to words like : "freckled, dappled.’’(Hopkins,1-6, 8-11) . Beauty is mixed .
The sun began to shine upon the summit of the hills as I went down the road; and by the time I had come as far as the manse, the black birds were whistling in the garden lilacs, and mist that hung around the valley in the time of the dawn was beginning to arise and die away.The story catches my attention with David 's simple, narrative writing style . It creates this ponderous theme indicating that something unfortunate must had happened to his father, and David is about to settle out into the unfamiliar world. On the other hand, the use of the metaphors and motifs sets a nice start for David 's adventure, it seduces me to read on. Ending: The final line of Kidnapped is, "The hand of Providence brought me in my drifting to the very doors of the British Linen Company 's bank" (30.16). The story ends with an incomplete note, leaving readers with the uncertainty whether David ever meets up with Alan again after parting with him on the way to Edinburgh, or whether David is successful in freeing James Stewart.