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The figure a poem makes analysis
Symbolism in the literary criticism
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1. Explain the contrasting imagery in the following lines:
Pastoral scene of the gallant South,
The bulging eyes and the twisted mouth,
Those two lines provide very peaceful and very violence imagery. The first line describes a verdant and serene grassy plain a Southern state and then the line that follows describes the faces of a lynched person. The first line is juxtaposing the graphic line that follows which describes the face of a murdered black person who hung from tree.
2. What is the effect of the exclamation mark used in the last line of the second stanza?
The exclamation mark gives the notion of surprise or anger at the end of the second stanza. Once again, Meeropol compares a beautiful nature scene with a graphic human death. The exclamation mark at the end of the stanza and after the comparisons shows that Meeropol is surprised, angered, or both, that the lynching of black people continued to happen in the South at the time.
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3.
Explain the suitability of the title to the poem.
I think the “strange fruit” that is referenced in the title is referring to the lynching of black people, specifically black men, which took place in the early to mid-20th century in the United States. Meeropol uses fruit as a metaphor in his poem since lynching victims were hung trees, similar to fruits. The strangeness of the “fruit” that hangs from the tree is both because there are human beings hanging from the tree and not fruits, and from the fact that the racism and lynching that took place were morally wrong, or
strange.
Authors use many different types of imagery in order to better portray their point of view to a reader. This imagery can depict many different things and often enhances the reader’s ability to picture what is occurring in a literary work, and therefore is more able to connect to the writing. An example of imagery used to enhance the quality of a story can be found in Leyvik Yehoash’s poem “Lynching.” In this poem, the imagery that repeatably appears is related to the body of the person who was lynched, and the various ways to describe different parts of his person. The repetition of these description serves as a textual echo, and the variation in description over the course of the poem helps to portray the events that occurred and their importance from the author to the reader. The repeated anatomic imagery and vivid description of various body parts is a textual echo used by Leyvik Yehoash and helps make his poem more powerful and effective for the reader and expand on its message about the hardship for African Americans living
In the third stanza, the language becomes much darker, words like: anger, explode, and against make this stanza seem even more warlike than the first stanza.
William J. Chambliss’ article “The Saints and the Roughnecks” show the two sides of these groups doing about the same thing and how the society looks at those actions. The Saints are looked upon as good, while the Roughnecks are the “troublemakers”. Saints are what we call the prep people and the Roughnecks are the people who have less than everybody else. Throughout this conflict it is presented mostly as well of course conflict theory and the labeling theory. The conflict theory is when there is a result of competition and social inequality of the haves and have nots. The labeling theory is the theory of once labeled as deviant, become more deviant and is the master status. Although in the article “The Saints and the Roughnecks” by Chambliss,
The dash in Emily Dickinson’s poetry, initially edited away as a sign of incompletion, has since come to be seen as crucial to the impact of her poems. Critics have examined the dash from a myriad of angles, viewing it as a rhetorical notation for oral performance, a technique for recreating the rhythm of a telegraph, or a subtraction sign in an underlying mathematical system.1 However, attempting to define Dickinson’s intentions with the dash is clearly speculative given her varied dash-usage; in fact, one scholar illustrated the fallibility of one dash-interpretation by applying it to one of Dickinson’s handwritten cake recipes (Franklin 120). Instead, I begin with the assumption that “text” as an entity involving both the reading and writing of the material implies a reader’s attempt to recreate the act of writing as well as the writer’s attempt to guide the act of reading. I will focus on the former, given the difficulties surrounding the notion of authorial intention a.k.a. the Death of the Author. Using three familiar Dickinson poems—“The Brain—is wider than the Sky,” “The Soul selects her own Society,” and “This was a Poet—It is that,”—I contend that readers can penetrate the double mystery of Emily Dickinson’s reclusive life and lyrically dense poetry by enjoying a sense of intimacy not dependent upon the content of her poems. The source of this intimacy lies in her remarkable punctuation. Dickinson’s unconventionally-positioned dashes form disjunctures and connections in the reader’s understanding that create the impression of following Dickinson through the creative process towards intimacy with the poet herself.
The structure of the poem logically supports the theme of conflict and "imperialism" in that it is clearly divided into two sections or "camps." The first four stanzas offer a description of "you", the "righteous and heroic" cowboy who brutalizes life without creating new life. The perspective shifts then from predator to prey in the final five stanzas as "I", presented as victimized woman and exploited nature, "addresses" her antagonist. The tone or mood of "Backdrop Addresses Cowboy" also undergoes a change after the first four stanzas when the reader enters the tragic, joyless experience of one who is paying the price of "slaughter and desecration." At this point in the poem, it seems futile to consider whether or not the price should be paid and the metaphoric man-woman tension remains distrubingly unresolved. In terms of form, "Backdrop Addresses Cowboy" is written in open (org...
The poem does not have a perfect rhyme; however, it still has some rhythms making the poem connected. For instance, “Immortality” (line 4) with “Civility” (line 8), “finally” and “Eternity”; they all make the poem has beautiful rhythms and poetic musicality. Dickinson also uses many art techniques; for instance, personification and metaphors, to make the poem more appealing. Dickinson personified “Death” as a gentleman in the poem, which it the most important personification in the poem. Dashes are another literary trope commonly used by Dickinson, in this poem she also uses many dashes. Dashes can make readers’ reader speed slow down. Hence, readers can have more time to consider the meaning of the poem. Besides that, the tempo of the poem also influenced by the use of capital letters for common nouns. The speaker of the poem is a woman who has an unusual trip with death and immortality, at the end of the trip, the woman realizes that death is not the end of the
In this poem the writer uses a technique called Enjambment. In most cases Enjambment can show anger, desperation or frustration...
In the first stanza, the speaker states his or her clear disdain for publishing one’s work by referring to publication as “foul” and by use of metaphor stating that “Publication—is the Auction/ Of the Mind of Man.” Dickinson then strategically uses enjambment between the last sentence of the first stanza (“For so foul a thing”) and the first sentence of the second stanza (“Possibly—but We—would rather”) to pose this immediate conflicting idea that although poverty may be a justifying reason for a writer to resort to publishing, it is still a questionable decision after all. The first stanza is also the only one that does not end with a dash. This in conjunction with the enjambment allows the reader to continue on smoothly from one stanza to the next while keeping the idea from the previous stanza in mind.
a dash. Judith Farr believes that the dash seems to indicate that the poem is
In the last line of the second stanza, the subject enters dramatically, accompanied by an abrupt change in the rhythm of the poem:
of vowel sound. For instance, at the end of each stanza it says, "Quoth the
The last words of the first stanza are: “tiger and lion” and the first words of the second are: “lie still as the sun.” The end of the first stanza is therefore going on to a different subject, which intrigues th...
Not only the government in Persia, but the Islamic religion also influenced his writing. He thinks that people merely go through the motions of life and do not truly live in the moment they are in. When people live this way, they are viewing life merely as a stepping stone to God. It causes individuals to go through the motions of preying and worshipping just so they can go to heaven one day. Poem 103 stresses that one should not be concerned about the future. It states,
In line one, “Death be not proud, though some have called thee” the poem begins with an apostrophe, in this specific instance, Death. In line one the narrator also personifies death by directly addressing it. In line three, “For those whom thou think’st thou dost overthrow” there is an alliteration sound of “Th”. This repetitive “Th” sound draws the reader’s attention to a certain line and signifies some kind of importance the author is trying to convey. The narrator displays a creative use of imagery in line five “From rest and sleep, which but thy picture be” to help the reader use imagination and picture death as no more than restful sleep. Another strategically used device in line six, “Much pleasure; then from thee much more must flow,” is the narrator’s use of an ellipsis. The author leaves the interpretation of the rest of the sentence for the reader to fill in at his or her discretion with the words they choose. (Hebron, 37) The narrator uses internal rhyme in line seven and eight to grab the reader’s attention and renew interest in the following lines, “And soonest our best men with thee do go, Rest of their bones, and soul’s delivery.” Lastly the narrator ends the work by reiterating the personification of Death in the last
The first stanza provides important information that is carried through the entire poem. Here the reader is introduced to two different scenarios about the same issue. The speaker is