“You know we are made up of love and hate but both of them are balanced on a razor blade.”-Ed Sheeran “What Do I Know?”. In the poem “Little”Sister, Vina Berger uses the rhythm of iambic pentameter and many metaphors to describe the fine line between love and hate. “Little”Sister paints a picture of Berger’s strong emotions at her younger sister in an articulate yet figurative manner. It shows that the line between love and hate is so fine that sometimes the people that we destest the most are also the people we adore the most. This point is particularly illustrated in line(s) 9 and 10 when Berger describes how she loves and hates her sister's sense of humor at the same time “It enrages me that your sense of humor; Smacks a reluctant smile
In romantic words, the poet expresses how much she does think of love. She state it clear that she will not trade love for peace in times of anguish.
' Here's much to do with hate, but more with love.' Act 1 scene 1.
Today some people say that love is blind, but in William Shakespeare’s “Sonnet 130” and Pablo Neruda’s “My Ugly Love,” they understand and see its honesty. Inside their poems they tell love like it is: imperfect and full of flaws. Needless to say, Shakespeare and Neruda had no apparent trouble conveying the true meaning behind beauty and love through their usage of reflection against positive and negative imagery, the usage of an orderly structure, and usage of sensory devices. If there is one thing that someone could learn through the work of these poets, it’s that beauty lies further than just the appearance on the outside; once someone else can realize this, only then will they discover the true significance that beauty brings to love.
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
...er” (Shakespeare 9) and “eternal lines” (Shakespeare 12) both refer to Shakespeare’s desire to immortalize the subject’s beauty. The final, and undoubtedly greatest difference between the two works, is the method of expressing them. A sonnet is meant to be recited, unlike a song, which is always accompanied by a melody and vocals. Dolly Parton’s soft and feminine voice beautifully complements the lyrics, and the upbeat music further enhances the warm and cheerful atmosphere of the song. Despite the differences in structure and time period, Shakespeare’s “Sonnet 18” and Dolly Parton’s “Love Is Like a Butterfly” share similar themes, and are great representations of how love can be expressed through literature.
Love and Hate are powerful emotions that influence and control how we interact with people. To express this influence and control and the emotions associated with love and hate, for instance, joy, admiration, anger, despair, jealousy, and disgust, author's craft their writing with literary elements such as as structure, figurative language, imagery, diction, symbolism, and tone. Poems in which these can be seen present are “My Papa’s Waltz” by Theodore Roethke, “My Last Duchess” by Robert Browning, and “Sonnet 130” by William Shakespeare. Within “My Papa’s Waltz” a mighty love is seen between the father and son. To express this Roethke uses figurative language, symbolism and diction. Within “My Last Duchess” there is little love, but an ample hate towards the duchess from the Duch. To express this the
In a typical family, there are parents that expected to hear things when their teenager is rebelling against them: slamming the door, shouting at each other, and protests on what they could do or what they should not do. Their little baby is growing up, testing their wings of adulthood; they are not the small child that wanted their mommy to read a book to them or to kiss their hurts away and most probably, they are thinking that anything that their parents told them are certainly could not be right. The poem talks about a conflict between the author and her son when he was in his adolescence. In the first stanza, a misunderstanding about a math problem turns into a family argument that shows the classic rift between the generation of the parent and the teenager. Despite the misunderstandings between the parent and child, there is a loving bond between them. The imagery, contrasting tones, connotative diction, and symbolism in the poem reflect these two sides of the relationship.
In conclusion, it can be stated the examples of Emily Dickinson's work discussed in this essay show the poetess to be highly skilled in the use of humor and irony. The use of these two tools in her poems is to stress a point or idea the poetess is trying to express, rather than being an end in themselves. These two tools allow her to present serious critiques of her society and the place she feels she has been allocated into by masking her concerns in a light-hearted, irreverent tone.
In our lives, we sometimes find ourselves burning in paroxysm; a hot-blooded, impulsive, and impassioned version of ourselves. Some choose to express these emotions in words. Take Marge Piercy as example; she wrote a poem on the basis of love. In Marge Piercy’s Moonburn, she uses vigorous and engaging language, and contrasting symmetrical stanza length to convey the effect of tempestuous passion, and state that love can take over our lives.
In a way, I think that the poet is trying to convince us that love is
The first stanza sets an overall impression of this fragment that love is so complex and powerful for it turns a lover with incompatible mixed-feelings. The speaker opens this poem by
Pablo Neruda’s Sonnet XLIV “You Must Know That I Do Not Love And That I Love You” clearly illustrates that love has two sides. Neruda uses the text as an example throughout his poem to explain that love has two sides. These two sides are that he loves and that he does not love.
The woman, if only reading stanza one, would think her and the speaker are in total agreement. This idea, however, is fleeting as stanza two acts not only as a refutation for stanza one, but also as evidence for stanza three.... ... middle of paper ... ... The satire exists in the expectation that love has to occur before sex.
The poem is written in iambic tetrameter, which initially gives the impression that the poem will be a cheerful and upbeat poem. However, when you realise words such as ‘Weakness’ and ‘Woe’ the true hatred and resentment of the poem is shown.
She defines her idea of what is right in a relationship by describing how hard and painful it is for her to stray from that ideal in this instance. As the poem evolves, one can begin to see the author having a conflict with values, while simultaneously expressing which values are hers and which are unnatural to her. She accomplishes this accounting of values by personalizing her position in a somewhat unsettling way throughout the poem.