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Powerful uses of metaphor
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John Kusch’s “Red Lily” seamlessly weaves together the arts of poetry, music, and imagery to concisely convey their respective meanings to his audience. By composing together these three forms of media Kusch creates a more compelling commentary on his subject of love and death than a work which would utilize only one. Primarily, the pain of lost love and love’s fleeting innocence have a greater impact on the audience when paired with the atmosphere musical and visual supplements bring. Originally, the piece starts with darkness and a lifeless, shrill sound as the narrator reminisces on faded memories as he “envied how each living thing let’s blood decide” (Kusch). Resultantly, an atmosphere of nostalgia signals to the audience the narrator’s separation from his past self, further supported as new words appear: “Blood runs in one direction: survival” (Kusch). Paired with a red-tinted image of a playing child, this sentence indicates past memories are tainted by the irreversible state of time (Kusch). Back to the present, the red-tinted picture becomes clear. More words appear, saying “The heart meets itself life …show more content…
Death being this moment, is inevitable and unavoidable as “there is no decision” to be made. (Kusch). The chilling sounds continue but get more intense as a lily, tinted in red, appears (Kusch). The narrator compares his loved one to such a lilly, but instead of “pure white” it is “the full red glass” and emphasized in bold, red text are the harsh words: “You are as certain as the blood.” (Kusch). The intensity of the music and words create tension in this scene and although it appears the narrator is belligerent toward his loved one it is rather this person’s death that is inflaming his emotions. Therefore, Kurch acknowledges the happiness love brings, but in this case emphasizes the eminent pain it will
“That night I lay in bed and thought about dying and going to be with my mother in paradise. I would meet her saying, “Mother, forgive. Please forgive,” and she would kiss my skin till it grew chapped and tell me I was not to blame.”
... seeing and feeling it’s renewed sense of spring due to all the work she has done, she was not renewed, there she lies died and reader’s find the child basking in her last act of domestication. “Look, Mommy is sleeping, said the boy. She’s tired from doing all out things again. He dawdled in a stream of the last sun for that day and watched his father roll tenderly back her eyelids, lay his ear softly to her breast, test the delicate bones of her wrist. The father put down his face into her fresh-washed hair” (Meyer 43). They both choose death for the life style that they could no longer endure. They both could not look forward to another day leading the life they did not desire and felt that they could not change. The duration of their lifestyles was so pain-staking long and routine they could only seek the option death for their ultimate change of lifestyle.
One must look at this poem and imagine what is like to live thru this experience of becoming so tired of expecting to die everyday on the battlefield, that one starts to welcome it in order to escape the anticipation. The effects of living day in and day out in such a manner creates a person who either has lost the fear of death or has become so frighten of how they once lived the compensate for it later by living a guarded life. The one who loses the fear for death ends up with this way of living in which they only feel alive when faced with death. The person in this poem is one who has lost their fear of death, and now thrives off coming close to it he expresses it when he states “Here is the adrenaline rush you crave, that inexorable flight, that insane puncture” (LL.6-7). What happens to this persona when he leaves the battlefield? He pushes the limit trying to come close to death to feel alive; until they push
Death has feelings as much as any human, imagining, getting bored, distracted, and especially wondering (350, 243, 1, 375 respectively). Odd, one could say for an eternal metaphysical being. But then again, not that queer once having considered how Death spends his time. He is there at the dying of every light, that moment that the soul departs its physical shell, and sees the beauty or horror of that moment. Where to a human witnessing a death first hand (even on a much more detached level than our narrator) can easily be a life changing event, Death is forced to witness these passings for nearly every moment of his eternal life. Emotional overload or philosophical catalyst? Death gains his unique perspective on life through his many experiences with the slowly closing eyelids and muttered last words. Yet in this...
Throughout the lives of most people on the planet, there comes a time when there may be a loss of love, hope or remembrance in our lives. These troublesome times in our lives can be the hardest things we go through. Without love or hope, what is there to live for? Some see that the loss of hope and love means the end, these people being pessimistic, while others can see that even though they feel at a loss of love and hope that one day again they will feel love and have that sense of hope, these people are optimistic. These feelings that all of us had, have been around since the dawn of many. Throughout the centuries, the expression of these feelings has made their ways into literature, novels, plays, poems, and recently movies. The qualities of love, hope, and remembrance can be seen in Emily Bronte’s and Thomas Hardy’s poems of “Remembrance” “Darkling Thrush” and “Ah, Are you Digging on my Grave?”
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
Within this short but meaningful story, Poe describes in such gory detail how the Red Death seals one fate with blood. He tells of pain, horror and bleeding. Furthermore, the Red Death, described as a pestilence in the short story kills quickly and alienates the sick. Describing the scene of redness and blood streaming from the pores, a strong visual is created immediately in the reader’s mind. His description of the afflicted’s pain also adds to the graphically explicit exposé of the red death disease. The red death image is morbid and aids Poe in creating a wonderfully horrific scene. At first thought, the reader may believe that the predominant color red would best represent the room covered by black velvet tapestries, but when thought of at a different perspectiv...
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.
“Falling in love is the best high you can get without breaking any laws,” phycologist Shauna H. Springer writes to Alternet Magazine in regards to a study conducted by Dr. Helen Fisher at the Kinsey Institute. In this study, Fisher captures the idea that love can ignite the same euphoric feeling cocaine gives. Human nature drives an inevitable desire to find this drug and love induced euphoria. The poem, “Upon the breeze she spread her golden hair” by Francesco Petrarch and the song, “Northern Wind” written and performed by City and Colour both comparatively capture the feeling of true love as well as the pain that it can cause. Although these two selections differ in exact situation, both speakers use similar diction to explore the theme
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.
well as the victim, shows that it is concerned with death in life and asks us to evaluate our own
Robert Burns has created many magnificent poems but the most charming, is “Oh, my love is like a red, red rose”. This poem is the essence of all his artistic creativity. He has a particular merit because relying on folklore and the dialect of his country; he created a modern art that does not only belong to the culture of his country but all over the world culture. With his genius, Burns fascinates the reader by transforming Scottish folk songs into marvelous poems. With sweet music in his heart, the poet-speaker writes about a young woman who he loved beyond measures. On the background of amazing music, Robert Burns, plants a red, red rose on the heart of the reader. It looks like this lyric is written by a shaking pen that is not under Burn’s command but under a magic power of an emotional vibration, which sources automatically from an exquisite sense of spirituality. Without such vibration, Burns could not choose any word to create his immortal lyric. The secrets of this fascinating lyric can be detected in the light of a literary analysis of four stanzas, and the literary interpretation of every gleaning word.
Love by definition is “an intense feeling of deep affection” (Webster’s Dictionary). In “A Red, Red Rose” by Robert Burns, the use of imagery, similes, metaphors, and even hyperboles (extreme exaggeration) conveys this message to the readers. Burns, a Scottish decadent, uses his countries dialect and an upbeat iambic meter to show his happiness for his newfound love. Although some critics of “A Red, Red Rose” prefer to believe that Burns wrote the poem on his deathbed, the reference to the newness and giddiness he feels send a message of endless possibilities for his love. Several examples throughout the poem will support the theory, that Burns is not dying, but actually just starting to live a new and exciting life.
In “Yes, of course it hurts,” Swedish poet Karin Boye uses the bursting of a bud at the end of winter to symbolize death. She refers to the broken bud falling as it being forced to embrace the unknown, and says that the time before the bud breaks is terrifying and painful. However, the fall is exhilarating and fearless (Boye 120). In Alfred Lord Tennyson’s “Crossing the Bar,” he envisions death as a person crossing the bar into the ocean. The poem expresses some apprehension for the inevitable crossing, but it is hopeful about the possibility of meeting “my Pilot,” or God (Tennyson 193). Although both Boye and Tennyson are hopeful about the deaths faced in their poems, Tennyson’s hope seems to come from the possibility of heaven, while Boye’s hope stems more from relief and trust in the universe. The visions of death imagined by Karin Boye’s “Yes, of course it hurts” and Lord Alfred Tennyson’s “Crossing the Bar” are similar in their mutual hope for relief after death but different because of their differing views on religion.
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.