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The importance of children's literature
Innocence in american literature
The theme of death in literature
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Lucie Brock-Broido’s “The Halo That Would Not Light” is a poem about the loss of childhood and its inevitable end. When one is born “the (raptor’s) beak (lets) loose of you” (ll 1-2), and drops your tiny body into the “scarab-colored hollow” (ll 3-4). The raptor letting the tiny body loose into the scarab colored hollow alludes to the old nursery stories of the stork delivering babies in cribs for their new families. When children are young they often have positive outlooks on the world and believe that everything is possible, like the magic in the “hollow hat” (l 13) or the “cardboard box” (l 5). They believe strongly in all in possible wonders of the world and it isn't until their “endless childhood” is finally “done” that they loose the
light in their halos (as children are often viewed as little angels). They enter a reality which is much more morbid than their previous one and must adjust to it, which causes them to loose their innocence and faith in possibilities. The light which had once shined bright during their childhood and lit their halo will no longer light when they reach adulthood and grow up. This poem was very confusing to read and I had at first thought that it was about a death and that the scarab-colored hollow was a sort of casket. It wasn't until rereading the first few stanzas that I realized they were alluding to the idea of storks and babies. Once I realized that the poem was about childhood and not the death of a person I was able to connect the morbid tone in the middle of the poem to the death of childhood and how it was inevitable because everyone grows up and their endless childhood will end. Then taking the title into consideration I figured that the death of childhood caused the light of the halo to diminish because children are often viewed as angels and once they reach adulthood they are no longer able to keep the light of the halo on. I would like to believe that this isn't true and not everyone’s positive outlook on the world ends once their childhood ends, but many people become less much hopeful in the future and chase after dreams that are more realistic
As the first poem in the book it sums up the primary focus of the works in its exploration of loss, grieving, and recovery. The questions posed about the nature of God become recurring themes in the following sections, especially One and Four. The symbolism includes the image of earthly possessions sprawled out like gangly dolls, a reference possibly meant to bring about a sense of nostalgia which this poem does quite well. The final lines cement the message that this is about loss and life, the idea that once something is lost, it can no longer belong to anyone anymore brings a sense...
Are adults overprotective of their children? To what point do we protect children? Where should the line be drawn? Along with those questions is how easily children can be influenced by these same adults. Two poets, Richard Wilbur and Billy Collins, express the ideas of how easily children can be manipulated and how sometimes adults think they are protecting their innocent children, when in reality they are not. Wilbur and Collins express these ideas in their poems through numerous literary devices. The literary devices used by Wilbur and Collins expose different meanings and two extremely different end results. Among the various literary devices used, Wilbur uses imagery, a simple rhyme scheme and meter, juxtaposition of the rational and irrational, and a humorous tone to represent the narrator’s attempt to “domesticate” irrational fears. Conversely Collins uses symbols, historical interpretations, imagery, diction and other literary devices to depict the history teacher’s effort to shield his students from reality. In the poems, “A Barred Owl,” by Richard Wilbur, and “The History Teacher,” by Billy Collins, both poets convey how adults protect and calm children from their biggest, darkest fears and curiosities.
“It was a large, beautiful room, rich and picturesque in the soft, dim light which the maid had turned low. She went and stood at an open window and looked out upon the deep tangle of the garden below. All the mystery and witchery of the night seemed to have gathered there amid the perfumes and the dusky and tortuous outlines of flowers and foliage. She was seeking herself and finding herself in just such sweet half-darkness which met her moods. But the voices were not soothing that came to her from the darkness and the sky above and the stars. They jeered and sounded mourning notes without promise, devoid even of hope. She turned back into the room and began to walk to and fro, down its whole length, without stopping, without resting. She carried in her hands a thin handkerchief, which she tore into ribbons, rolled into a ball, and flung from her. Once she stopped, and taking off her wedding ring, flung it upon the carpet. When she saw it lying there she stamped her heel upon it, striving to crush it. But her small boot heel did not make an indenture, not a mark upon the glittering circlet.
Therefore, Oliver’s incorporation of imagery, setting, and mood to control the perspective of her own poem, as well as to further build the contrast she establishes through the speaker, serves a critical role in creating the lesson of the work. Oliver’s poem essentially gives the poet an ultimatum; either he can go to the “cave behind all that / jubilation” (10-11) produced by a waterfall to “drip with despair” (14) without disturbing the world with his misery, or, instead, he can mimic the thrush who sings its poetry from a “green branch” (15) on which the “passing foil of the water” (16) gently brushes its feathers. The contrast between these two images is quite pronounced, and the intention of such description is to persuade the audience by setting their mood towards the two poets to match that of the speaker. The most apparent difference between these two depictions is the gracelessness of the first versus the gracefulness of the second. Within the poem’s content, the setting has been skillfully intertwined with both imagery and mood to create an understanding of the two poets, whose surroundings characterize them. The poet stands alone in a cave “to cry aloud for [his] / mistakes” while the thrush shares its beautiful and lovely music with the world (1-2). As such, the overall function of these three elements within the poem is to portray the
While staying at Mel’s home, the adolescent female narrator personifies the butterfly paperweight. The life cycle begins with the narrator “hearing” the butterfly sounds, and believing the butterfly is alive. The butterfly mirrors the narrator’s feelings of alienation and immobility amongst her ‘new family’ in America. She is convinced the butterfly is alive, although trapped inside thick glass (le 25). The thick glass mirrors the image of clear, still water. To the adolescent girl, the thick glass doesn’t stop the sounds of the butterfly from coming through; however, her father counteracts this with the idea of death, “…can’t do much for a dead butterfly” (le 31). In order to free the butterfly, the narrator throws the disk at a cabinet of glass animals, shattering the paperweight, as well as the glass animals. The shattering of the glass connects to the shattering of her being, and her experience in fragility. The idea of bringing the butterfly back to life was useless, as the motionless butterfly laid there “like someone expert at holding his breath or playing dead” (le 34). This sense of rebirth becomes ironic as the butterfly did not come back to life as either being reborn or as the manifestation of a ghostly spirit; instead its cyclic existence permeates through the narrator creating a transformative
Helena Maria Veramontes writes her short story “The Moths” from the first person point of view, placing her fourteen year old protagonist female character as a guide through the process of spiritual re-birth. The girl begins the story with a description of the debt she owes her Abuelita—the only adult who has treated her with kindness and respect. She describes her Apa (Father) and Ama (Mother), along with two sisters as if they live in the same household, yet are born from two different worlds. Her father is abusive, her mother chooses to stay in the background and her sisters evoke a kind of femininity that she does not possess. The girl is angry at her masculine differences and strikes out at her sisters physically. Apa tries to make his daughter conform to his strict religious beliefs, which she refuses to do and her defiance evokes abuse. The girl’s Abuelita is dying and she immerses herself in caring for her, partly to repay a debt and partly out of the deep love she has for her. As her grandmother lay dying, she begins the process of letting go. The moth helps to portray a sense of spirituality, re-birth and becomes, finally, an incarnation of the grandmother. The theme of the story is spiritual growth is born from human suffering.
In Mary Oliver’s poem “The Black Snake,” the narrator contemplates the cycle of life with the unpredictability of death. Mary Oliver’s work is “known for its natural themes and a continual affirmation of nature as a place of mystery and spirituality that holds the power to teach humans how to value one’s life and one’s place” (Riley). In the poem, The Black Snake, the narrator witnesses a black snake hit by a truck and killed on a road one morning. Feeling sympathy for the snake, the narrator stops, and removes the dead snake from the road. Noting the snake’s beauty, the narrator carries it from the road to some nearby bushes. Continuing to drive, the narrator reflects on how the abruptness of death ultimately revealed how the snake lived his life.
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 this poem about seeing from the shadows, the speaker?s revelations are invariably ironic. What could be a more unpromising object of poetic eloquence than mayflies, those leggy, flimsy, short-lived bugs that one often finds floating in the hulls of rowboats? Yet for Wilbur...
“Her face was fair and pretty, with eyes like two bits of night-sky, each with a star dissolved in the blue.” This elaborate simile creates a mental image of the natural beauty of the young princess, Irene, by comparing her eyes to the night sky. The simile also parallels the depth of Irene’s soul to the dark, endless night sky.
One of the problems with graphic rating scales that quickly became apparent after their introduction is the so-called ‘halo effect.’ When examining graphic ratings of performance, Ford (2001) found that there was a tendency for raters to give similar scores to a ratee on all dimensions of performance. Parrill (1999( To rate a worker in this manner would be the equivalent of rating the worker on one single scale, as opposed to many different scales that measure different aspects of work performance. Other researchers also discovered this problem. Parrill (1999) Soon, there was a great deal of literature documenting the problem of halo when using graphic rating scales. More current literature has also documented the issue of halo, citing that it continues to be a pervasive problem with graphic rating scales (Landy and Farr, 2000).
The first words of the book convey a parrot that spoke “a language which nobody understood”, and Edna’s husband “had the privilege of quitting [the parrot] when [it] ceased to be entertaining” (11). In the same light, Edna speaks of and wishes for a life that nobody apprehends. Her husband also possesses the moral, objectifying liberty to quiet Edna when she did not provide leisure, as one can turn off a song once it grows into a tedious nuisance. A further exemplification comes about when Old Monsieur Farival, a man, “insisted upon having [a] bird. . . consigned to regions of darkness” due to its shrieking outside (42). As a repercussion, the parrot “offered no more interruption to the entertainment” (42). The recurrence of the parrot evolves Edna’s state of stagnance as a consequence of being put to a halt by others despite her endeavor of breaking free. Ultimately, as Edna edges out towards the water to her death, a bird is depicted with “a broken wing” and is “beating the air above, reeling, fluttering, circling disabled down, down to the water” (159). This recurrence parallels the beaten bird to a suffering Edna. She has “despondency [that] came upon her there in the wakeful night” that never alleviates (159). Dejection is put to action when Edna wanders out into the water, “the shore. . . far behind her” (159). Motif of birds articulates her suicide by its association with
Have you ever judged someone by just taking in consideration one physical aspect of that person? Has that judgment been a positive statement? If it is, you would need to know what the Halo effect is. This effect consists in making good judgments about a person base on one of his or her character´s aspect. To make clear, who have never listen or think that beautiful people are smart, or that people who wear glasses are nerds. I am pretty sure that you have criticized someone by using some of these statements. Therefore, you have used the Halo Effect to draw conclusions about a person. This effect can be present in different aspects of our lives like job, education, government, media, etcetera, and it also can influence our everyday behavior or decisions.
Katherine Philips gained a lot of attention as a poet after writing “On the Death of My Dearest Child, Hector Philips”. This poem was written in a way to give readers an emotional account of a mother mourning the experience of losing her child. Philips expressed deep emotions from a maternal standpoint in the elegy. Unlike Jonson, Philips had the unspoken right of claiming a deep maternal connection with her son through pregnancy and childbirth. Philips’ approach to writing “On the Death of My Dearest Child” illustrates that the pain of losing her son, Hector, was enough for her to never write another verse again.
From the cookies and presents, to the break from school, there are many factors that bring glee to the heart of any child; however, one aspect of Christmas has this affect more than any other, and that is Santa Claus. Being the bringer of presents, the symbol of Christmas, and the spreader of joy, his character is iconic, and known by all. With this, though, comes the eventual realization that this man we so adore, does not exist. It is soul crushing to say the least, as in essence, one of our idols has died. For a child, this death is perhaps the beginning of their maturation; once the realization has come, there is a part of the child that grows up. In the poem “The Death of Santa Claus” by Charles Webb, he writes, “he (Santa Claus) can't breathe, and the beautiful white world he loves goes black,” (line 13). While he is discussing Santa, and his passing, this line could also be in reference to the child. The beautiful white world is the whimsical fantasy that is childhood; our imaginations are the very thing that bring that world to life, and when we begin to learn that the things we believed so strongly are not real, the once illuminated, endless world goes black. This goes along with the way we view death as children. In the shows we watch, books we read, and movies we see, death is portrayed as someone ‘seeing the light.’ Naturally, due to our lack of understanding of such a topic, this