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Poem not waving but drowning
Poem analysed structurally
Poem analysed structurally
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A Better Understanding of Misunderstanding People suffer in a variety of ways for a little of different reasons. Sometimes this suffering can go unnoticed or be misunderstood, because people don’t see or misinterpret the symptoms of suffering. The poems “Not Waving but Drowning”, by Stevie Smith, and “Richard Cory”, by Edwin Arlington Robinson, explore the idea of misunderstood suffering in very different ways. Although both poems are masterfully crafted, “Not Waving but Drowning” is more effective in its critique of how suffering is misjudged in its usage of structure and speaker as well as its language. Within the aforementioned poems specific linguistic choices were intentionally utilized to make the critique of misinterpreted suffering …show more content…
The sentences used by Smith range from 24-29 words. The sheer length of these sentences is not what makes them so effective. Smith utilizes these long sentences as well as drastic changes in speaker point of view within these long sentences to add an additional layer of confusion for the reader. A reader must first read these lengthy sentences as well as distinguish where the shift between speakers are. This detail adds another layer of complexity and confusion to the pome that highlights how easy it can be to misinterpret the distress of others. Smith presents this story to readers in a way that is anything but straight forward and requires careful reading and consideration to make sense of it. “ Oh, no no no, it was too cold always (Still the dead one lay moaning) I was much too far out all my life and not waving but drowning” (Smith 288 Lines 9-12) is a sentence that is constructed from 29 words and changes its speaker 3 times. The line nine is told from the point of view of a friend or on looker, while line ten is told from the point of view of a narrator, and lines eleven through twelve are said by the dead man. This very convoluted and complex writing style creates even more confusion in
In her poem entitled “The Poet with His Face in His Hands,” Mary Oliver utilizes the voice of her work’s speaker to dismiss and belittle those poets who focus on their own misery in their writings. Although the poem models itself a scolding, Oliver wrote the work as a poem with the purpose of delivering an argument against the usage of depressing, personal subject matters for poetry. Oliver’s intention is to dissuade her fellow poets from promoting misery and personal mistakes in their works, and she accomplishes this task through her speaker’s diction and tone, the imagery, setting, and mood created within the content of the poem itself, and the incorporation of such persuasive structures as enjambment and juxtaposition to bolster the poem’s
The depiction of imagery in this poem insinuates a moaning and nagging experiences; the negative and painful experience that people suffers because of an unimportant element that cannot supply the basic necessity of life: “Pinned down
In the poem “Self-Pity’s Closet” by Michelle Boisseu, the speaker’s main conflict is self pity, and the author used diction and imagery to show the effects that the conflict has on the speaker. Phrases like “secret open wounds,” (3) show the effects with the word “secret” meaning pain that others are not noticing, which leads up to the speaker getting hurt, but no one indicating to notice it. Another effect is the speaker becoming more self concerning and thinking more about her negatives. This effect portrays through “night raining spears of stars,” (19) because night tends to be the time when people have the most thoughts about themselves and also the word “spears” make up an image of pain piercing through the speaker. “Tangy molasses of
The barbarous images illustrated in the poems of tortured souls were so harsh to picture and not even experience in real life. In the first poem “Strange Fruit,” we get this image of discrimination
In the first instance, death is portrayed as a “bear” (2) that reaches out seasonally. This is then followed by a man whom “ comes and takes all the bright coins from his purse / / to buy me…” This ever-changing persona that encapsulates death brings forth a curiosity about death and its presence in the living world. In the second stanza, “measles-pox” (6) is an illness used to portray death’s existence in a distinctive embodiment. This uncertainty creates the illusion of warmth and welcomenesss and is further demonstrated through the reproduction of death as an eminent figure. Further inspection allows the reader to understand death as a swift encounter. The quick imagery brought forth by words such as “snaps” and “shut” provoke a sense of startle in which the audience may dispel any idea of expectedness in death’s coming. This essential idea of apparent arrival transitions to a slower, foreseeable fate where one can imagine the enduring pain experienced “an iceberg between shoulder blades” (line 8). This shift characterizes the constant adaptation in appearance that death acquires. Moreover, the idea of warmth radiating from death’s presence reemerges with the introduction to a “cottage of darkness” (line 10), which to some may bring about a feeling of pleasantry and comfort. It is important to note that line 10 was the sole occurrence of a rhetorical question that the speaker
Fear is an amazing emotion, in that it has both psychological as well as physiological effects on the human body. In instances of extreme fear, the mind is able to function in a way that is detached and connected to the event simultaneously. In “Feared Drowned,” Sharon Olds presents, in six brief stanzas, this type of instance. Her sparse use of language, rich with metaphors, similes and dark imagery, belies the horror experienced by the speaker. She closes the poem with a philosophical statement about life and the after-effects that these moments of horror can have on our lives and relationships.
Despite its prevalence, suffering is always seen an intrusion, a personal attack on its victims. However, without its presence, there would never be anyway to differentiate between happiness and sadness, nor good and evil. It is encoded into the daily lives people lead, and cannot be avoided, much like the prophecies described in Antigone. Upon finding out that he’d murdered his father and married his mother,
During the process of growing up, we are taught to believe that life is relatively colorful and rich; however, if this view is right, how can we explain why literature illustrates the negative and painful feeling of life? Thus, sorrow is inescapable; as it increase one cannot hide it. From the moment we are born into the world, people suffer from different kinds of sorrow. Even though we believe there are so many happy things around us, these things are heartbreaking. The poems “Tips from My Father” by Carol Ann Davis, “Not Waving but Drowning” by Stevie Smith, and “The Fish” by Elizabeth Bishop convey the sorrow about growing up, about sorrowful pretending, and even about life itself.
"Characteristics of Modern Poetry - Poetry - Questions & Answers." ENotes - Literature Study Guides, Lesson Plans, and More. Web. 09 Jan. 2012. .
Ferguson, Margaret W., Salter, Mary J., and Stallworthy, Jon. The Norton Anthology of Poetry. fifth ed. N.p.: W.W. Norton, 2005. 2120-2121. 2 Print.
“Nobody heard him, the dead man, / but still he lay moaning:” This is how many people go on through life. Many are dying inside but you would never know. It is possible for people to create masks to hide their emotions. Sometimes these masks are so deceptive that even close friends or family members cannot see through then until it is too late. In Stevie Smith’s poem, “Not Waving but Drowning” the writer effectively highlights how someone’s cry for help can be mistaken for joy. It is important for people to at least have someone who cares about them and knows them well enough to see when something is going wrong in their lives. This can often be the lifeline that saves one from drowning.
Many writers use powerful words to portray powerful messages. Whether a writer’s choice of diction is cheerful, bitter, or in Robert Hayden’s case in his poem “Those Winter Sundays,” dismal and painful, it is the diction that formulates the tone of the piece. It is the diction which Hayden so properly places that allows us to read the poem and picture the cold tension of his foster home, and envision the barren home where his poem’s inspiration comes from. Hayden’s tumultuous childhood, along with the unorthodox relationships with his biological parents and foster parents help him to create the strong diction that permeates the dismal tone of “Those Winter Sundays.” Hayden’s ability to both overcome his tribulations and generate enough courage
The poem, “After Great Pain”, by Emily Dickinson, is one that conveys an inner struggle of emotion and the process that a person goes through after experiencing suffering or pain. Through this poem, Dickinson utilizes physical reactions to allude to the emotional pain that can make people feel numb and empty. Included in this poem is an array of literary devices, such as oxymorons, similes, and personification. These devices help show how death and grief can be confronted, whether it be by giving into the pain or by regaining emotional strength, letting go, and moving on with life. As we work on the project, we discuss multiple aspects of the poem and how the structure and diction alludes the meaning of the poem.
Stirman, S. W. & Pennebaker, J. W. (2001): Word Use in the Poetry of Suicidal and Nonsuicidal Poets. Psychosomatic Medicine. 63, p. 517-522 � 2001 American Psychosomatic Society, Retrieved December 20, 2004 from http://www.psychosomaticmedicine.org/cgi/content/full/63/4/517
The choice of words of the author also contributes to the development of the theme. For example, the use of words like "drafty," "half-heartedly," and "half-imagined" give the reader the idea of how faintly the dilemma was perceived and understood by the children, thus adding to the idea that the children cannot understand the burden the speaker has upon herself. In addition, referring to a Rembrandt as just a "picture" and to the woman as "old age," we can see that these two symbols, which are very important to the speaker and to the poem, are considered trivial by the children, thus contributing to the concept that the children cannot feel what the speaker is feeling.