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“Myth,” “At Dusk” and “Maddie Clifton” are heavy, burdensome poems that are hard at first consumption. Death is an uncomfortable topic; loss is immeasurable and grieving can be lifelong. These three poems share a deep, raw reality of this unforgiving and universally unavoidable topic.
“Maddie Clifton” is a most horrific telling, as it is based on a true story, ripped right the headlines of The Florida Times-Union. Told from the perspective of the 8-year-old murder victim, this poem speaks loudly to the bond only a mother and child can share. I found my eyes welling up several times, thinking of my own mother and I’s close, close relationship. Being forced to relive this nightmare each night in your own slumber, thinking you are reuniting with your child, walking peacefully along the shore, your words flowing like the wind to the ears of your daughter, and suddenly, forcefully, without fail, that serenity and peace is shattered. No, it is stolen.
In much the same way, Natasha Tretheway’s “Myth” wrestles with that nightly robbery, an act committed each time the morning overtakes the poet’s slumber. In her dreams, she is reunited with her mother. She is there with her, engaged, present; and then as in “Maddie
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Clifton,” that peaceful comfort of being reunited is cruelly abandoned, or as Tretheway pens, “Again and again, this constant forsaking; My eyes open, I find you do not follow…” In contrast, “At Dusk” looks at the topic of loss in less of a gut punch, suckered each time to the same moment of forsaking; and more as active choice between survivor and the lost soul.
Tretheway presents this view by magically and vividly painting the cat owner, calling her cat to return home for the evening. Eventually, her words trail off and she forgoes the begging. She returns to her home and lets the cat make her decision as “to bound onto the porch, into the steady circle of light,” or fall back to the “flickering” fireflies near her head. The use of light is masterful by Tretheway in that while in life, or returning home – the light is constant, a “steady circle.” In death, or misdirection or misguided choice, the light is flickering, not all the way
on. These three poems all discuss loss, but each goes to a different place and different degree of hurt.
Part I is particularly anecdotal, with many of the poems relating to the death of Trethewey’s mother. The first part begins with an epitaph from the traditional Wayfaring Stranger, which introduces the movement of the soul after death, and the journey towards the ‘home’ beyond. In “Graveyard Blues”, Trethewey examines the definition of “home” as a place of lament, in contrast to the comforting meaning in the epitaph beginning Part I, and the significance of the soul’s movement after death. The ‘home’ described in the epitaph is a place of comfort and familiarity, where the speaker returns to their mother. In contrast, Trethewey describes the ‘home’ she returns to after her mother’s death as a hollow place, the journey back to which is incredibly
Abuse is a difficult and sensitive subject that can have long lasting effects. These traumatic emotional effects are often intensified if the abuse happens at a young age because children do not understand why the abuse is happening or how to deal with it. There are many abuse programs set up to counter the severe effects which abuse can have. Even more, poets and writers all over the world contribute works that express the saddening events and force the public to realize it is much more real than the informative articles we read about. One such poem is Theodore Roethke’s My Papa’s Waltz which looks carefully through the eyes of a young boy into the household of an abusive father. Robert Hayden’s Those Winter Sundays is a similar poem from the perspective of a young adult reflecting back on the childhood relationship with his father and the abuse his father inflicted. These poems are important because they deal with the complex issues surrounding the subject of abuse and also show the different ways which children react to it. My Papa’s Waltz and Those Winter Sundays are similar poems because they use tone, imagery, and sounds and rhythms to create tension between the negative aspects of abuse and the boys own love and understanding for their father.
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.
At a glance, the poem seems simplistic – a detailed observance of nature followed by an invitation to wash a “dear friend’s” hair. Yet this short poem highlights Bishop’s best poetic qualities, including her deliberate choice in diction, and her emotional restraint. Bishop progresses along with the reader to unfold the feelings of both sadness and joy involved in loving a person that will eventually age and pass away. The poem focuses on the intersection of love and death, an intersection that goes beyond gender and sexuality to make a far-reaching statement about the nature of being
I will discuss the similarities by which these poems explore themes of death and violence through the language, structure and imagery used. In some of the poems I will explore the characters’ motivation for targeting their anger and need to kill towards individuals they know personally whereas others take out their frustration on innocent strangers. On the other hand, the remaining poems I will consider view death in a completely different way by exploring the raw emotions that come with losing a loved one.
...ns remain. The conclusion forms a complete circle as the speaker declares with reinforced certainty, “I wake to sleep, and take my waking slow. I learn by going where I have to go” (18-19). Finally, “The Waking” is a moving look at the paradoxical cycle of life, and the poetic form of this villanelle is perfectly enacted in its mystical language, rhyming patterns, and refrains.
In her poem "Myth," Natasha Trethewey uses mythology, a unique structure, rhyme pattern, and punctuation to make form and content inseparable. Each of these elements serves to share the stages of grief one goes through one feels at the death of a loved one as well as the feelings of deep loss and longing.
The speaker started the poem by desiring the privilege of death through the use of similes, metaphors, and several other forms of language. As the events progress, the speaker gradually changes their mind because of the many complications that death evokes. The speaker is discontent because of human nature; the searching for something better, although there is none. The use of language throughout this poem emphasized these emotions, and allowed the reader the opportunity to understand what the speaker felt.
Hardship is found in the poems of poets James McAuley and Gwen Hardwood. In “Pieta” and “In the Park” respectively both express that death is painful and filled with grief. McAuley’s free verse poem “Pieta” describes the anguish of a grieving father whereas Harwood’s focuses upon a dejected and confused mother who sits isolated in a suburban park.
...ple. The way that Frost uses body language, shows how distant that the couple is becoming. There are many ways that people can handle grief, this poem is just one way that two people handle their lost. “Home Burial” also gives the “morbidness of death in these remote place; a women unable to take up her life again when her only child has died. The charming idyll” (Robyn V. Young, Editor, 195).
Humans beings have many different emotions, but no one emotion is harder to deal with than the feeling of grief. In the poem “The Raven”, Edgar Allen Poe explores the darker side of human thoughts and emotions brought by the pains of grief. Poe artistically, with the use of many literary devices such as imagery, symbolism, repetition, and personification, produces a poem that reaches the root of grief and how it effects the mind.
The speaker reflects on the teenage girl’s childhood as she recalls the girl played with “dolls that did pee-pee” (2). This childish description allows the speaker to explain the innocence of the little girl. As a result, the reader immediately feels connected to this cute and innocent young girl. However, the speaker’s diction evolves as the girl grew into a teenager as she proclaims: “She was healthy, tested intelligent, / possessed strong arms and back, / abundant sexual drive and manual dexterity” (7-9). The speaker applies polished language to illustrate the teen. This causes the reader not only to see the girl as an adult, but also to begin to grasp the importance of her situation. The speaker expresses what the bullies told this girl as she explains: “She was advised to play coy, / exhorted to come on hearty” (12-13). The sophisticated diction shifts towards the girl’s oppressors and their cruel demands of her. Because of this, the reader is aware of the extent of the girl’s abuse. The speaker utilizes an intriguing simile as she announces: “Her good nature wore out / like a fan belt” (15-16). The maturity of the speaker’s word choice becomes evident as she uses a simile a young reader would not understand. This keeps the mature reader focused and allows him to fully understand the somberness of this poem. The speaker concludes the poem as she depicts the teenage girl’s appearance at her funeral: “In the casket displayed on satin she lay / with the undertaker’s cosmetics painted on” (19-20). The speaker elects not to describe the dead girl in an unclear and ingenuous manner. Rather, she is very clear and
William Wordsworth’s poem “We are Seven” from his Lyrical Ballads explores the complex theme of death through its effects on the living and the ways in which people think of those they have lost. The narrative is composed of a conversation between an adult male speaker and an eight-year-old girl, with the central focus on the girl’s two deceased siblings. Throughout the ballad, the young girl is insistent that despite two of her siblings having passed, they are seven in total – contrasting with the speaker, who is confident that the girl’s deceased siblings make her one of five. In this respect, Wordsworth demonstrates extensive use of perspectivism, which is crucial to the poem’s development, as it highlights the different outlooks that children and adults have on death. While social knowledge often upholds the belief that adults are more knowledgeable than children, “We are Seven” asks its readers to evaluate which of the characters has the superior understanding of life and death. An analysis of the adult speaker and young girl’s polar perspectives on death in “We are Seven” challenges the adult/child dichotomy – revealing that through her positive and imaginative approach to honouring the dead,
Funeral Blues by W. H. Auden is a short poem that illustrates the emotions that he is dealing with after the love of his life passes away. The tone of this piece evokes feelings that will differ depending on the reader; therefore, the meaning of this poem is not in any way one-dimensional, resulting in inevitable ambiguity . In order to evoke emotion from his audience, Auden uses a series of different poetic devices to express the sadness and despair of losing a loved one. This poem isn’t necessarily about finding meaning or coming to some overwhelming realization, but rather about feeling emotions and understanding the pain that the speaker is experiencing. Through the use of poetic devices such as an elegy, hyperboles, imagery, metaphors, and alliterations as well as end-rhyme, Auden has created a powerful poem that accurately depicts the emotions a person will often feel when the love of their live has passed away.
The poems ‘Praise Song For My Mother’ by Grace Nichols and ‘Harmonium’ by Simon Armitage use different techniques to present the themes of relationships with family and death in different ways.