The idea of loss is prevalent in both “Stop all the Clocks” by W.H Auden and “Mirror” by Sylvia Plath. Auden’s poem reveals the travesty of death and the consuming emotions which accompany the devastation of the physical loss of a loved one, whereas, Plath depicts the symbolic loss of identity through the inevitable process of ageing.
The initial stanza of Auden’s “Stop all the Clocks” introduces the idea of loss by allowing readers to identify the grief and sorrow evoked by death. His narrator demands “Stop all the clocks, cut off the telephone,” because he is consumed by the anguish of grief. Each sound around him is contrary to his feelings where he stipulates to “prevent the dog from barking with a juicy bone” as life cannot continue when …show more content…
Auden describes his loved one as his metaphorical “North”, “South”, “East and West” and demonstrates his importance to every facet of his life. He was his alliterative “working week” and metaphorical “Sunday rest” but when he dies the narrator comes to the horrendous realisation that he “was wrong” because love does not “last forever”. Similarly, Plath’s narrator acknowledges that the mirror is essential to her life. Transforming into a metaphorical “lake” she searches its “reaches for what she really is” as it is “important” to the woman who “each morning” stands in front of it and “replaces the darkness”. Plath depicts a lack of love for oneself because as the woman ages, she metaphorically “turns to those liars, the candles or the moon” to hide her reality of inevitable decrepitude through …show more content…
Rossetti’s narrator reiterates to “remember” her when she is “gone away” as she does not possess the ability to “half turn to go” or choose to “stay”, where vulnerability is emphasized as death is final. Contrastingly, Angelou’s narrator compares herself to “dust” where similar to this; she will “rise” as she is determined to overcome the “bitter, twisted lies” of gender and racial stigmas, where she refuses to be confined by her role in society. Where Rossetti’s poem evokes a sombre tone because she will be going metaphorically “far away into the silent land” of death, Angelou insinuates that although her antagonist may metaphorically “trod” her in the “dirt”, her fortitude will “rise” through the refusal to be victimized. Through the first person narration in both poems, triumph despite adversity remains a focus because where “Remember” aims for integrity and purity of her memory, the narrator in “Still I Rise” refuses to be disrespected by
Click here to unlock this and over one million essaysShow More
As the poems continue, Plath’s tone isn’t fully exposed whereas Harwood’s piece instantly demonstrates the disparity and regret of the storyline. Plath continues perplexing readers through the description of the mirrors, however the mirror itself is not mentioned, being “the eye of a little god”, the mirror compares itself to a god, powerful and truthful. Hung “on the opposite wall”, the mirror always sees the same figure, “pink with speckles” until “it flickers”, demonstrating the mirror now personifying itself and suggesting that the relationship between the wall and mirror is not as once though symbolising hidden truth. Harwood continues introducing the tone of regret, whilst sitting in the park surrounded by her “two children whin[ing] and bicker[ing]”, a loved one from the past passed her by, however, they are “- too late” for her, exchanging small talk with the individual the mother feels a sense of regret. Plath and Harwood effectively employ metaphors throughout the middle of their poems to explore the idea of regret and
In all societies, many women struggle with how they view themselves when they look in the mirror. In both of the poems, “What the Mirror Said” by Lucille Clifton and “Mirrors” by KHL, the message speaks to women and how they perceive themselves when they look in the mirror. Each poem uses figurative language, a distinct word choice, and sound to support their message, but the poems do have some differences. The poems, “What the Mirror Said” by Lucille Clifton and “Mirrors” by KHL both focus on how women view themselves, which is supported through the use of figurative language and word choice while they each speak to the same audience in different ways.
Within the short stories by Ursula K. LeGuin, Isaac Singer and O. Henry the theme of overcoming loss penetrates the reader in a thought-provoking manner. LeGuin's “Gwilan's Harp” contains a protagonist who learns the lesson of putting her identity in herself rather than the possessions and people surrounding her. Furthermore, “The Washwoman” exhibits the useful principle of pursuing through life, even in the heaviest of trials. Additionally, O. Henry's “The Last Leaf” highlights the significance of forming sensible decisions versus frivolously hasty ones. Loss brings about feelings of either failure or sorrow in the one experiencing it.
He grabs his reader’s attention with the command phrase “Stop”, following up with demanding his reader to cease the noise of everyday life, from the cutting of a telephone to the silencing of a piano (Auden 1,3). These depictions of imaginative noise that can be found in common life are typically joyous, but the simplicity of this command allows the reader to understand the immense grief that Auden is experiencing. He is in such a state of depression that he desires for his audience to shift their full attention to the loss of his lover. The repetition of “Stop” creates a mental jump cut to the situation Auden describes. All the noise he wishes to stop becomes lifeless in the reader’s minds.
As the mirror views the empty room, the woman meditates on the wall across that is so familiar, due to remaining in the same place for too long, that she describes it as “part of my heart” (Plath, 1961). The woman has been through the uneventful years and sees her reflection as an old woman growing older who has “drowned a young girl in the mirror” (Plath, 1961). As each, the narrator and the woman in “Mirror”, have been trapped in themselves, the main stage they encounter is a disillusionment of
A death in the family is a difficult challenge in most people’s lives which can affect them significantly. In the short story, “The Story of an Hour”, just this happens but the reaction is not in the way most would expect. Mrs. Mallard, the main character, is told her husband has died in a train wreck. The news of Mr. Mallard’s death awakens a long suppressed and dormant sense of freedom in Mrs.Mallard. This freedom is short lived, as her husband’s return crushes her awakened spirit and ends her life.
Through the words reflecting melancholy and sorrow, we can sense the narrator's self destruction due to the death of the woman he loved. As one examines the figurative language of the poem, one finds that its form and
Unlike last poem, this time the narrator is not a mirror, because she has the ability to “pinch” and “look at myself in the mirror”, however, this narrator’s attitude is very similar to a mirror: she does not feel the pain and suffering of herself or other people, but it appears that she does not want this, because she is “frightened” by it. Then the narrator headed to the “streets”, where all kinds of misery happen: loud “shouts”; “children with dirty faces”, they are apparently very poor, because they “ask for charity”, even sell their body for money; also there are “tanks” and soldiers with “bayonets”, so the narrator is in a war zone. After she saw the terrible scene, she can “feel” and “hurt”, but soon she “feel nothing” again, the surroundings
Plath’s narrator is challenged by the aging process and the narrator in mirror reflects upon whatever it sees and metaphorically “swallows it immediately” traumatising the mental state of the woman. Noonuccal’s narrator has accepted that an indigenous community is being lost and the alliterative “semi-naked band subdued and silent” is a reflection of their
Sylvia Plath uses language as a mechanism to transport the reader into the atmosphere of the poem. She achieves this by using specific descriptive words to elucidate the significance of the mirror and lake. For instance, she describes the mirror to be “silver and exact” with “no preconceptions”. This shows that the mirror is objective and has no prior knowledge or biased feelings towards the woman. As well, she outlines the nature of the lake by saying “ I see her back and reflect it faithfully”, which indicates the honesty of the lake.
The poem is written is her voice as the narrator as she says how she will rise to the occasion despite oppression and the inherent painful past of the black man. She says that despite oppression and unfair treatment of black people, they will rise above it. The lines opening lines ‘You may tread me in the very dirt/ But still, like dust, I'll rise’ show the determination of black people during the Civil Rights Movement and the way in which they were determined to rise above racial
The origins of this stylistic poetry have been traced back to English romantic poets, especially to William Wordsworth and Samuel Taylor Coleridge, who wrote autobiographical verse about their intimate explorations of the mind. Taking a similar approach, Sylvia Plath’s constructed several poems where she “seldom bothered to create a persona through whom she could project feelings.” Such qualities of her writing are significantly prominent in her poem Mirror, which is a “variation on the theme of searching for self in reflection because the woman in the mirror is seeing a reflection.” At first glance, it is apparent that the overall structure of the poem itself, is not idle. In fact it is quite the contrary.
Within the ballad the mirror takes on two forms: Both complete and cracked. If the mirror is compared to men and their relationship with women, things begin to fall into place. The mirror itself is what allows the Lady to see the “shadows” though it does not allow for her to experience them herself (Tennyson l. 48). Women had to live vicariously through their husbands or loved ones, not experiencing the moments but simply admiring them from afar. They only knew the knowledge that their husbands would share, essentially making them “mirror images” of their husbands.
Allen Curnow’s ‘Time’ and Emily Dickinson’s ‘Because I Could Not Stop For Death’ show the similar themes of the passing of time and its implications. The two poems both discuss events that occur throughout an average life (childhood, work, marriage and death are some examples), however, there is a stark contrast between the finality of ‘Because I Could Not Stop For Death’ and the mundaneness of ‘Time’. The poem ‘Time’ is a tribute to the passing of time and how much humans have grown to obsess over it. The poem is an extended metaphor, using the repetition of “I am” to instigate that the voice is Time itself.
After the dramatic downturn towards the end of Sylvia Plath’s life, a lot of literature critics seemed to finally grasp the veiled meanings in Plath’s poetry. Her work displays signs of overwhelming emotion; one can’t help but assume that the vivid language resembles true personal references. There were many repeated themes throughout the collection that suggested how her mental stability exposed to this imagination of her poetry, led to her suicide. It came to terms just how fragile Plath was and the depression that overcame her was the push that led to the devastating suicide during the harsh winter of 1963. The depression she faced earlier in time was further enhanced after the affair that her husband, Ted Hughes had with Assia Wevill, shattering