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Recommended: Death in poetry
The pain the poet experiences during and prior to the creative process results in blood flood, which is the release and birth of words, the relentless stream of poetry. The poet bleeds the poems. They will not keep still inside. Out they run and run...
Plath frequently relates and compares the blood and thrill of birth of poetry to childbirth: the child forces its way out in the world, screams for delivery, just as words will keep torturing the poet and will not leave her calm unless they gush forward and amalgamate in poems. The redness of blood also stands for the eruption of emotion and vigor, induced by a fire in which the poet burns and turns into ashes so as to be revived like Lady Lazarus into this new phoenix - the poems, the new form of existence.
The nine letters of the word `metaphors' and the nine syllables of each of the nine lines of the poem with the same title reinstate the similitude between poetic creation and the nine months of pregnancy preceding childbirth. The loaf of the metaphor is engendered after the lengthy fermentation of the yeast - the dough that is a mixture of the poet's gift, muse, artifice, coupled by the endured grief, and who knows by what else, a mystery known only to gods. And once the metaphor eats all the juicy fruit, there's no stopping it, it has `boarded the train, there's no getting off'.
In reference to blood in `Poppies in July', the speaker covets to bleed along with the poppies, to have the redness of the flowers' pain trickled to her mouth and into her glass colourless capsule, to be enfolded by the purgatory red flames. Perhaps such yearning is for the sake of bringing life to her numb body and soul, whereat life implies pain, living the pain to the full, as though feeling pain means being alive.
The bleeding of the thumb when cut comes deep from the heart, and, look! A whirling pool of wine-coloured blood! The body inside is torn into smithereens, hence the written poem `Cut' itself is to alleviate the pain, reassemble it bone by bone, to play the role of `a pill to kill the thin papery feeling'. Yes, and the twenty-eight days of moon's dragging and crackling of her `blacks'. What a relief as the blackberry liquid breaks the tension!
The jars of honey from
...he imagery of the more intensely-felt passages in the middle of the poem. Perhaps the poet is like someone at their journey's end, `all passion spent', recollecting in tranquillity some intimations of mortality?
In the poem “Auschwitz” by Charles N. Whittaker, the poet uses figurative language such, as end- rhymes and a metaphor to convey a theme about death and losing hope/faith. In the poem, Whittaker uses this phrase “and the blue ink slabs a little harder on the skin/ above the veins in despair where murder let in”(Stanza 3 lines 1-2). Here, Whittaker addresses how “skin” and “in” rhyme at the end of the rhymes. To infer more, end-rhymes occur in the rhyming of the words at the end of the two or more lines of poetry. This connects to the theme of death because the blue inks may represent the blood of all the prisoners who are dying. This illustrates how death is represented when saying “murder” and “veins”. Another example is the metaphor used
In this poem called “Creatures” by the author Billy Collins there is a literary device called a metaphor when the reader is reading this poem. A metaphor is a comparison of two unlike things without using the words like or as. In lines one (1) through...
Strand, Mark and Evan Boland. The Making of a Poem: A Norton Anthology of Poetic Forms. New
Figurative Language in used throughout poems so the reader can develop a further understanding of the text. In “The Journey” the author uses rhythm and metaphors throughout the poem. “...as you left their voices behind, the stars began to burn through the sheets of the clouds..”(25-27). The author compares the star burning to finding your voice. Rhythm also develops the theme of the poem because throughout the story rhythm is presented as happy showing growing up and changing for the better is necessary and cheerful. In “The Laughing Heart” the author uses imagery and metaphors to develop the theme throughout the book. “There is a light somewhere. It may not be much light but it beats the darkness”(5-7). Always find the good out of everything, even it
The imagery in this passage helps turn the tone of the poem from victimization to anger. In addition to fire images, the overall language is completely stripped down to bare ugliness. In previous lines, the sordidness has been intermixed with cheerful euphemisms: the agonizing work is an "exquisite dance" (24); the trembling hands are "white gulls" (22); the cough is "gay" (25). But in these later lines, all aesthetically pleasing terms vanish, leaving "sweet and …blood" (85), "naked… [and]…bony children" (89), and a "skeleton body" (95).
"Characteristics of Modern Poetry - Poetry - Questions & Answers." ENotes - Literature Study Guides, Lesson Plans, and More. Web. 09 Jan. 2012. .
Brooks, Cleanth. The Well Wrought Urn: Studies of the Structure of Poetry. London: Reynal & Hitchcock, 1947.
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.
Plath writes in seven line stanzas. She uses a unique rhyme scheme that changes from in each stanza. Occasionally she isolates one line in order to annunciate its meaning. She also uses enjambment to help stress the meaning of certain lines. Plath also like to use metaphor and simile in her poem. Lines nine and ten she uses simile when she writes, “Like an eye between two white lids that will not shut. Stupid pupil, it has to take everything in”. She is stationary in her bed and almost doesn’t want to see everything anymore but she cannot hide what is going on around her.
As the tone changes the perspective of the reader changes as well. There is no clear way to determine whether the speaker is responding to her situation with the appropriate amount of madness or is actually going mad and escaping into her own mind. Plath’s poem shows how a woman 's happiness was defined by her relationship to a man, which is enough to infuriate or drive any woman insane. The speaker struggles to continue her very existence because of her lost love. It is true that the speaker is very emotional and feels things very deeply, but that is not enough to prove that she had lost her mind. By the end of the poem the speaker seems to realize that she is wasting her time waiting on a man. She would rather have a present love that is completely unfathomable than a real love that is not around. The repetition in this poem makes the reader believe this loss is actually causing the speaker to lose her mind, but through changing tones that mirror the emotions anyone would go through in a situation of loss like this the speaker’s response is completely
"A man wading lost fields breaks the pane of flood" which starts the second section gives the effect of pain and hurt. The man survives by going along with nature and resisting it, but it also gives the effect of danger at the same time. " Like a cut swaying" carries on the effect of being deliberate, sharp and precise and "it's red spots" and "his hands grub" continues with the theme of the animal sort of.
The first half of the poems’ images are of life, coming of age, and death.
The consistent pattern of metrical stresses in this stanza, along with the orderly rhyme scheme, and standard verse structure, reflect the mood of serenity, of humankind in harmony with Nature. It is a fine, hot day, `clear as fire', when the speaker comes to drink at the creek. Birdsong punctuates the still air, like the tinkling of broken glass. However, the term `frail' also suggests vulnerability in the presence of danger, and there are other intimations in this stanza of the drama that is about to unfold. Slithery sibilants, as in the words `glass', `grass' and `moss', hint at the existence of a Serpent in the Garden of Eden. As in a Greek tragedy, the intensity of expression in the poem invokes a proleptic tenseness, as yet unexplained.
Brooks, Cleanth. The Well Wrought Urn: Studies of the Structure of Poetry. London: Reynal & Hitchcock, 1947.