Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The influence of poetry
Poetry Elments of style
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The influence of poetry
In verse 1 when it say’s ( I know you're somewhere out there ). It makes me think of my Great Grandpa Cowling. He’s somewhere out there but just not in this world. When you look at verse 2 it say’s ( talking to the moon ) Since i am the only girl out of 7 kids on my dad's side of the family, I got up to my room and start talking to myself. If you listen to verse 4 it say’s ( The talk of the town ), the town is actually my 6 brothers when they talk like they're the boss i go up to my room. In verse 5 it say’s ( Someone's talking back ), It's my great grandpa Cowling he is talking back to me. In verse 7 it says ( At night when the stars light up my room ), at night when the stars light up my room I am up in my room talking to
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.
Without the use of stereotypical behaviours or even language is known universally, the naming of certain places in, but not really known to, Australia in ‘Drifters’ and ‘Reverie of a Swimmer’ convoluted with the overall message of the poems. The story of ‘Drifters’ looks at a family that moves around so much, that they feel as though they don’t belong. By utilising metaphors of planting in a ‘“vegetable-patch”, Dawe is referring to the family making roots, or settling down somewhere, which the audience assumes doesn’t occur, as the “green tomatoes are picked by off the vine”. The idea of feeling secure and settling down can be applied to any country and isn’t a stereotypical Australian behaviour - unless it is, in fact, referring to the continental
Kim Addonizio’s “First Poem for You” portrays a speaker who contemplates the state of their romantic relationship though reflections of their partner’s tattoos. Addressing their partner, the speaker ambivalence towards the merits of the relationship, the speaker unhappily remains with their partner. Through the usage of contrasting visual and kinesthetic imagery, the speaker revels the reasons of their inability to embrace the relationship and showcases the extent of their paralysis. Exploring this theme, the poem discusses how inner conflicts can be powerful paralyzers.
Stanza three again shows doubtfulness about the mother’s love. We see how the mother locks her child in because she fears the modern world. She sees the world as dangers and especially fears men. Her fear of men is emphasized by the italics used. In the final line of the stanza, the mother puts her son on a plastic pot. This is somewhat symbolic of the consumeristic society i.e. manufactured and cheap.
The most preeminent quality of Sonia Sanchez “Ballad” remains the tone of the poem, which paints a didactic image. Sanchez is trying to tell this young people that we know nix about love as well as she is told old for it. In an unclear setting, the poem depicts a nameless young women and Sanchez engaged in a conversation about love. This poem dramatizes the classic conflict between old and young. Every old person believes they know more then any young person, all based on the fact that they have been here longer then all of us. The narrative voice establishes a tone of a intellectual understanding of love unraveling to the young women, what she comprehends to love is in fact not.
In the first stanza, she describes the ocean going in and out which could be a symbol for the time passing. Her next line is “The sea takes on that desperate tone of dark that wives put on when all love is gone.” (Doolittle 1.5). This is about the darkness and grief she feels without her past love. Stanza two is all about her wanting to be saved or rather
The third stanza is a second and different refrain. This refrain occurs in every other stanza. It acts as a divider between the stanzas dealing with a specific character. In the fourth stanza, Father McKenzie is introduced to the reader. He is described as a materialistic man whose life has no meaning.
The abstract from the Bible, depicts the creation of life from the chaos. The light was called day, so the life has been associated to these concepts, whereas night and darkness were conventionalized referring to Death or Evil. That might be one of the reasons why these conceptual metaphors overlap to re-activate images of Life and Death and are effortlessly perceived providing logical traits to the poems where they occur.
In stanza one all we know about the narrator is that they are alone in a car. In stanza two all we know is that the narrator compares the young housewife to a "fallen leaf". And in stanza three, the final stanza, as the narrator passes on by, he or she bows, and smiles.
In the first stanza, the speaker starts talking about the problem he is having with his mom. He then decides to leave his house. When he leaves his house he thinks its going to be easy to live alone in the streets and that is when he uses imagery and says “I’m gonna be that seed that doesn’t need much to succeed “. He then finds out that life in the streets is not so easy and that’s when he says, “ I’m ready for the world, or at least I thought I was… “In this stanza he also uses tone when he says, “ DAMN, was it my fault something I did….”? Here he is asking himself if it was his fault that his father had left him at age 7 and why did his father leave.
The poem opens with a bang as the speaker addresses God as "three-personed God" (1), hence the Christian God, with a desperate demand. The opening line uses iambic pentameter meter with a rhythm that suggests the sound of someone beating on a door, with the "bam, pa, pa, bam" sound, repeated: "Batter my heart, three-personed God," (line 1, italics mine). The poem begins with alternating trochaic and iambic feet, which make the drumbeat rhythm, and enhance the tone of desperation in the voice. The urgency of the plea is expressed by the direct command, which suddenly ends with a caesura. This is followed by the opening line's enjambment that rushes the plea forward into the next line to explain this urgency. The rhythm then changes to a slower tap, tap, tap, ta tap, ta tap as the speaker tells God that He has been gentle and kindly, "for You/ As yet but knock, breathe, shine, and seek to mend" (1-2). The spondee stresses on the third foot of the line suggest a deliberate knock, knock, knock, yet the verbs reveal God's quiet, but persistent concern, which the speaker suggests has been too easy, thus far: God, as Holy Spirit, breathes, shines, and mends. The verb "knock" in line two could well refer to Revelation 3:20: "...
... and then suddenly everything stops. For example, 'the drop of an axe and the smack' and 'a silent place that once rang loud'. The first speaker in the poem is more deeper and imaginative than the second speaker, for example when speaker A says, 'as if just before It was not empty, silent, still, but full of life of some kind, perhaps tragical.' The second speaker is more down-to-earth and certain, for example when speaker B says, 'Not that I know of. It is called the Dell.' This conveys two different images of the place to the reader, an imaginative one and a realistic one. Speaker B's reaction to Speaker A conveys to the reader that Speaker A is too pensive and thinks in to things too much. Speaker A's reaction to Speaker B conveys to the reader that Speaker A wants to keep his imaginations alive and that he doesn't want to know the truth surrounding the chalk-pit.
The repeating words are almost a marker for the reader to pay close attention to this grouping of words as they may point to the overall message. The repeated phrase that can be immediately be pointed out would be “look at the sea.” This phrase appears twice, in the first stanza as well as in the third. Both seem to be referring to the people the speaker is talking about as well as the “people” only focusing on the sea and not what is around them. This goes along with what was stated earlier as the “people are not hindered by the things that happen around them.” Another repeated phrase that speaks to a similar idea would be “cannot look.” Repeated in the closing stanza, grouped with different words each cross the line of describing two different ways to approach a situation. The first is paired with the word “far,” this is almost as if Frost is suggesting these people are either not looking too far into the future, or past, but need to stay in the present. The next is paired with “deep,” again it seems as if Frost is suggesting the people are not trying to gather all the facts, information about what they happen to be doing but to live in the moment to find understanding. Almost as if he is saying people tend to look past the answer they seek. Not only are there repeating phrases we see the use of the same tenses per stanza. The
The speaker’s personal emotions emphasizes the poem’s theme since although his father is no longer with him in this world, the memory of his father will always live in his heart. Throughout the poem, Lee uses the sky, underground, and the heart to symbolize imagination, reality, and memory—emphasizing the poem’s theme of the remembrance of a loved one. Lee also uses repetition to convey the meaning of Little Father. The speaker repeatedly mentions “I buried my father…Since then…” This repetition displays the similarity in concepts, however the contrast in ideas. The first stanza focuses on the spiritual location of the speaker’s father, the second stanza focuses on the physical location of the father, and the third stanza focuses on the mental location of the speaker’s father. This allows the reader to understand and identify the shift in ideas between each stanza, and to connect these different ideas together—leading to the message of despite where the loved one is (spiritually or physically), they’ll always be in your heart. The usage of word choice also enables the reader to read in first person—the voice of the speaker. Reading in the voice of the speaker allows the reader to see in the perspective of the speaker and to connect with the speaker—understand
The second stanza is much like the first, with allusion as the main feature. The "glorious form" and "light insufferable" are symbolic of God. Exodus 33:20 says no man shall see the face of God and live. Here Milton specifically writes about the Son, Jesus Christ. Milton says He sat in "Trinal Unity" at "Heaven's high council-table." "Trinal Unity" refers to the Christian doctrine of the Trinity. All three are separate and distinct Persons of one God. They are in perfect unity. Finally, Milton says Christ forsook His glory and came "here with us." This is a reference to Philippians 2 where Christ "humbles Himself" and makes Himself in "the form of a servant." Finally, Milton says He chose "a darksome house of mortal clay." This alludes to 1 Corinthians 4:7 where Paul calls men "jars of clay.