Sonnet 130 Poetry Analysis
1.) Choose an image from each of the poems you have selected and analyze how the image is created, and what common literary techniques have been used in the four poems.
The high communicative value of poetry stems out of its ability to trigger emotional responses. The creation of images through the use of literary techniques can enhance the emotional response to a topic. This can be seen in Sonnet 130 by William Shakespeare, where and image of the poets mistress is shown, as well as in an An African Thunderstorm by David Rubadiri, where and image of villagers preparing for an oncoming storm is portrayed. Similar style is used Old Man Walking by Kavevangua Kahengua, where an image of a man watching others dine in restaurants is depicted and
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This creates the belief that the themes supported by the image will remain pertinent. In Sonnet 130 the poem describes the mistress as “tread(ing) on the ground,”(line 12) incorporating her movement into the image. The poems appreciation of her movement shows that the image is a reflection of a time period, not a fleeting moment, reiterating the interminability of the love for the mistress. Verbs of motion are also used in Dulce et Decorum Est where the soldiers “pace // Behind the wagon” (Lines 17 and 18). Here the motion illustrates how soldiers were forced to keep moving despite the death and so clarifies the poems conviction that a single death had a diminutive impact in the war. In An African Thunderstorm the poem uses continuous present tense in line 28: “flying off,” and verbs of motion in line 23: “Dart about.” These fast continuing movements mirror the sudden yet lasting impact of the arrival of colonisation, substantiating the poems description of colonisation. The action of “scents // diffusing through the air” (line 24) in Old Man Walking is also shown in continuous present tense to reiterate the continuity of the man’s hunger as a result of the never ending cycles of poverty which dictate the unequal distribution of wealth highlighted in this stanza of the poem. (220
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