To borrow the words of Tucker, “… Baudelaire 's intention was not to rhapsodize his mistresses as his forebears had done” (888). “Une Charogne” is an intricate anti-Petrarchan piece; Baudelaire not only mocks Petrarchan ideals of beauty, but he attacks the blason by making it his own and using the uncanny to highlight its flaws in dehumanizing women and reducing them to body parts and flesh. Baudelaire reminds readers that the reason his poem is unsettling is not only because it is about an aestheticized carcass, but because the conventions he borrows to describe the carcass, the very same ones used to describe women, are questionable and troubling. He uses Petrarchan conventions to implode its own system. By taking the blason to the extreme, he highlights its problems and showcases its true
“Half-Caste” has no structure to it and its stanzas appear to break at no significant point. This could be portrayed as a subtle way to show how John Agard is imposing his own culture with his own accent and his own way of speaking, and expressing himself. This shows that John Agard is questioning the act of categorizing people in a discriminatory way. His free verse structure is an extended metaphor of the uniqueness of his mixed heritage identity. Similarly, ‘Island Man’ doesn’t have organization in its structure and is written in a free verse way.
A second literary device that the author uses is imagery. He mentions, “...of men who dimly and already crumbling through the powdery air” (Fitzgerald, 23). The author uses this to visually explain how dim and gray the setting is, and how the powdery air makes it difficult for the people to move around and work. The Valley of Ashes isn’t actually a place made out of ashes, but seems that way due to its polluted surroundings filled with dusts, representing the struggles and hopelessness of many. By using personification and imagery, Fitzgerald explains what the setting is like and why it is significant to the story.
Thus, by contrasting demonic imagery with Othello’s true nature, Shakespeare develops the theme of how impressions can be deceptive. This is further emphasized by Brabantio’s impressions of Othello. After Othello’s noble nature is first revealed to the audience, he politely addresses Brabantio, stating “Good signior, you shall more command with years/Than with your weapons” (I.ii.___). Brabantio responds insultingly, utilizing hellish imagery when addressing Othello, stating “Damn'd as thou art, thou hast enchanted her” (I.ii.___). In this scene, the demonic imagery Brabantio uses serves as a harsh contrast between his impression of Othello as “Damn’d” and Othello’s actual calm and noble nature.
Ionesco put his focus on the tragedy of language. In fact he bothers the audience with the disintegration of language, which is one of his main targets of this play. All over The Bald Soprano can be analyzed as a parody where the author mocks about the universal bourgeoisie which, to reveal a dehumanized mankind which became spiritually seen empty. Therefore Ionesco used the language as an important implement to highlight this dehumanization. In concrete the language of the Smiths and Martins is indeed old fashioned and dry adding slogans and a lot of simple expressions.
Shakespeare articulates the distressed tone through the use of contrasting diction in comparing Macbeth and Banquo. In this soliloquy, Macbeth realizes that the only prophecy left unfulfilled was Banquo’s: the proclamation that his sons would become kings. Shakespeare utilizes gallant, regal diction in Macbeth’s description of Banquo. Fearing Banquo’s “royalty of nature” and the fact that the witches “hailed him father to a line of kings”, Macbeth’s paranoia increases (3.1.52, 3.1.63). In contrast, Shakespeare’s diction in relation to Macbeth’s kingship has a worthless connotation.
Tragedies may all be different stories, but they all end in a similar way. Tragedies often have psychological implications that show what can lead to tragedy, be it fictional or non fictional. The story of Antigone centers around the fall of a prideful ruler who disobeys the gods, while Macbeth is about the fall of an ambitious hero influenced by evil. Creon is a more corrupt character than Macbeth because he is not affected by outside forces and the tragedy of the play is caused by him alone. The combination of Macbeth’s ambition and outside forces creates the tragedy in Macbeth, which is influenced by the supernatural much more than Antigone.
Ever since the creation of written language, humanity has been connected on profound levels with each other. However, the gap in between separate languages has also hampered this connection in the lost experiences of translations. Although the nature of language itself is universal, the differences between two languages often obstructs the reader 's ability to fully comprehend a literature piece. The translator 's struggle to balance between poetic purposes and the intended meaning of the author often mars the reader 's ability to fully comprehend translated texts. Similairly, in Victor Hugo 's historical novel Les Misérables, much of Hugo 's brilliant contemplations of the French language is often lost in English translations.
The Ugly Truth About Beauty In Frankenstein, Mary Shelley excels at accurately portraying how social beauty standards, along with being alienated from society, affects one’s perception of oneself. For the most part, when people think of “Frankenstein,” they immediately think of “monster.” However, Frankenstein is the creator of the creature - a creature who in actuality is unfit to suit the label of “monster” and is not given a name. In the midst of the novel, the creature becomes aware of other people’s appearances, the beauty they possess, and how it is all so different from his own image. Attempting to comprehend the newly found information causes the creature to question his own appearance, and once he does so, the view he once had of himself is altered. To the characters in the book and to those in the world today who do not know the creature’s side of the story, Frankenstein’s creature is seen as the monster.
Hughes uses strong descriptively forceful phrases like “fester like a sore” or “stink like rotten meat” when writing to gross out the reader but also to entice them to read more. Cullen who also uses descriptive language goes for a more calm approach using phrases like “silken cloth” or box of gold.” Cullen uses less visual description and more of a mental description. He pushes a happy feeling with a box of gold wrapped in a silken cloth and then makes the reader sad when he says that he has laid them away. Hughes and cullen both are descriptive but they don't describe in the same way. The poem by Langston Hughes and Countee Cullen are very different in the way they portray emotion, how they should be read and the way in which they are written but they are very similar in the main theme and that is
In contrast to this, “Dulce Et Decorum Est” begins with the lines “Bent double, like old beggars under sacks, Knock-kneed coughing like hags, we cursed through sludge” (l. 1-2). The word choice has a much more negative atmosphere associated with it and the alliteration present gives the poem a much harsher tone. The purpose of Tennyson’s poem appears to be about honoring courageous soldiers, while Owen’s poem wants to display the horrors of war and discourage men from fighting. The endings to both poems vastly differ from each other in that one respects heroes, while the other does not. The final lines of “The Charge of the Light Brigade” are “Honor the charge they made!
Several differences can be seen throughout the old-English Beowulf (Heaney) and the modern-day film Beowulf and Grendel (Gunnarsson) due to the cultural difference between the Middle ages and Modern time. More details entered the film to appeal to a more modern audience that requires reason and details. The old English poem held no use for complexity to tantalize the reader. Additions that add complexity to Grendel’s character in Beowulf and Grendel include backstories and new characters. In Beowulf, the epic, it states, “Grendel was the name of this grim demon haunting the marches, marauding round the heath and the desolate fens; he had dwelt for a time in misery among the banished monsters, Cain’s clan, whom the Creator had outlawed and condemned as outcasts (Heaney, pg.
When Faber, a retired english professor, describes “some of the things” society needs that could be in any form of media, a form of “infinite detail and awareness”, he refers to them as “quality,” “texture,” and “the pores in the face of life” (Bradbury 83). Although he is using these words in a metaphorical way, the words themselves conjure up very physical and real elements for the reader. They emphasize a sense of literally feeling and experience that is vacant from any and everything society in the novel could have to offer. In this manner, physical senses are once again connected to a sense of humanity that society has
At first, the world is characterized as “vile” (4), but as the poem progresses, it is “the wise world” (13). However, the speaker is merely being ironic and it is likely that in actuality, he is saying the world is malicious. The following line, “and mock you with me after I am gone” (14) implies that the world will be using the relationship between the two to mock the subject after the speaker is dead. Although both sonnets are ones which contain an elegiac mood, they differ in regards to enduring love. In “Sonnet 71”, Shakespeare argues that love will end as soon as death approaches which evidently shakes the foundation of the theme of love.