A father communicates his dying advice to his son before his execution in Great Britain. Evidently, this depicts the warning of three things one might encounter in the world: the wood, the weed, and the wag. As shown, the author, Sir Walter Raleigh, employs certain stylistic techniques to display and explicitly explain the author's advice towards his son. To embark, Raleigh thoughtfully employs parallelism, assonance, tragic symbolism, and lively metaphor to depict his warnings about the tragic world. In the first quatrain, Raleigh utilizes assonance to grab his son's attention about the beauty of the world; thus, this beauty results in an image of caution when they meet. Consequently, he warns his son of his bad behavior in order to keep him …show more content…
Not only that, the assonance emphasizes the beauty of life through the connection of the phrases. Despite this, Raleigh describes, "But on a day, they meet all in one place, / And when they meet, they one another mar." To explain, Raleigh objectifies the concept of a jovial time to enhance his concise tone. Evidently, he sternly shares that his life will suffer if he does not take care of his current self. All in all, this quatrain introduces the notion of warning through juxtaposition of beauty and its eventual detrimentation. In the second quatrain, he delves into the concepts that he warns his son of utilizing symbolism and parallelism. As a result, he develops his stern tone in order to convey the trepidation he feels for his son's future. To share, it proclaims, "The wood is that which makes the gallow tree / The weed is that which strings the hangman's bag." As such, he introduces tough, mature notions through parallelism, which his naive son must understand to survive in the real world. Evidently, the the "gallow" and "hangman" both symbolize the cruelty of the world, which reflects Raleigh's experiences through …show more content…
Thus, he desperately wants his son to consider the previously stated warnings of death in order to achieve a fulfilling life. In essence, the second quatrain depicts the key ideas through symbolism; as a result, his son will soon realize the reality of his father's advice as he lives life. In the third quatrain and the turn, Raleigh thoroughly emphasizes the importance of paying attention to the hardships of life through lively metaphor and an impactful tone. To explain, the world changes and his son needs to prepare himself for the tragic future. To begin, he solemnly expresses, "Green springs the tree, hemp grows, the wag is wild, / But when they meet, it makes the timber rot." To illustrate, Raleigh compares the concept of life and the cruel world to the comely image of nature. However, this transforms into a horrific image, which further warns his son to stay attentive to his surroundings and actions. Furthermore, Raleigh elicits, "Then bless thee, and beware, and let us pray, / We part not with thee at this meeting
The tree “swings through another year of sun and leaping winds, of leaves and bounding fruit.” This sentence evokes images of happiness and serenity; however, it is in stark contrast with “month after month, the whip-crack of the mortgage.” The tone of this phrase is harsh and the onomatopoeia of a “whip crack” stirs up images of oppression. The final lines of the poem show the consequences that the family accepts by preserving the tree—their family heritage. When the speaker judges the tree by its cover she sees monetary value, but when she looks at the content in the book she find that it represents family. Even though times may be tough for the family, they are united by memories of their ancestors.
The author's diction manages to elicit emotional connotations of genuine happiness and well-placed helplessness as he depicts the chronological events of his chance to live a better life in the north. As the road Douglass takes unwinds before him the "loneliness" follows him in pursuit like a "den of hungry lions"
At the beginning of the poem, the speaker starts by telling the reader the place, time and activity he is doing, stating that he saw something that he will always remember. His description of his view is explained through simile for example “Ripe apples were caught like red fish in the nets of their branches” (Updike), captivating the reader’s attention
The poem opens upon comparisons, with lines 3 through 8 reading, “Ripe apples were caught like red fish in the nets/ of their branches. The maples/ were colored like apples,/part orange and red, part green./ The elms, already transparent trees,/ seemed swaying vases full of sky.” The narrator’s surroundings in this poem illustrate him; and the similes suggest that he is not himself, and instead he acts like others. Just as the maples are colored like apples, he
Huey Pierce Long rose from a poor Lousiana family to become a demigod in the pantheon of American politics, while slowly abandoning his most deeply held principles to the prevailing political realties of the time. While not exactly matching the details of his life, Willie Stark in Robert Penn Warren's All The King's Men closely parallels the famous southern demagogue, known as the "Kingfish." The author uses this association to further illustrate his primary goal of the book - that one cannot effectively change society through a corrupt system, without being corrupted by the system itself. Through first observing historical similarities, the reader is then prepared to accept Warren's thesis.
The use of anaphora is prominent in the poem as each stanza is initiated with the same or similar phrase. The second through eighth stanza begin with the words, “I see them,” this is to show the speaker’s sympathy for the slaves and the horrible lives they were given. He feels as if he is his great-grandfather and is responsible for the abhorrent crimes he committed. Berry then changes the phrasing to, “I know” signifying that he empathizes with the slaves, finally saying, “I am” showing that he feels similar to a slave. This anaphora shows the struggle of being a descendant of an evil person, the speaker’s inner demons make his life full of shame and guilt for the actions of his ancestors.
To that end, the overall structure of the poem has relied heavily on both enjambment and juxtaposition to establish and maintain the contrast. At first read, the impact of enjambment is easily lost, but upon closer inspection, the significant created through each interruption becomes evident. Notably, every usage of enjambment, which occurs at the end of nearly every line, emphasizes an idea, whether it be the person at fault for “your / mistakes” (1-2) or the truth that “the world / doesn’t need” (2-3) a poet’s misery. Another instance of enjambment serves to transition the poem’s focus from the first poet to the thrush, emphasizing how, even as the poet “[drips] with despair all afternoon,” the thrush, “still, / on a green branch… [sings] / of the perfect, stone-hard beauty of everything” (14-18). In this case, the effect created by the enjambment of “still” emphasizes the juxtaposition of the two scenes. The desired effect, of course, is to depict the songbird as the better of the two, and, to that end, the structure fulfills its purpose
The theme of concurring through fear and believing in the light of success is tied to the personification because the father acknowledges that the voices he listens to have restricted him throughout his entire life, which has caused a battle of depression within himself. The symbol of desolation is displayed in the story; the father reaches a point where he can no longer live a life filled with misery, and therefore, commits suicide to escape his pain. MacLeod combines numerous coordinating conjunctions, specifically “and” (228), to join words together, and since it’s the narrator’s thoughts; it would be reasonable for the sentences to run-on longer. A simile in the sentence, “his blue eyes flashing like clearest ice beneath the snow that was his hair” (228), is to implicate an image for the readers of the father’s colorful eyes. At the beginning, there is color in the passage that shows his father is an ordinary man that has feelings and wants happiness. However, the next sentence, “his usually ruddy face was drawn and grey” (228), shows a shift in the atmosphere; considering there is no longer color in the setting. When the narrator describes his father working, the color in the scene disappears to show his hatred of being a
...oncluding passage to his narrative for a specific purpose: to create a more profound connection with his audience on the basis of his experiences and thoughts. He creates a vision of relief in the beginning of the passage by means of diction, similes, and an impeccable amount of imagery. Douglass also applies an approach for the application of syntax, diction, and connotative sense to amplify the feelings of loneliness and paranoia presented after emancipation. The result is the masterpiece that fluently runs from one state of mind following his escape to another. It is a masterpiece with a timeless sense of moral values being unconsciously taught to its audience, whether or not they succeed in deciphering it.
Metaphors are used by Chesterfield, whereby he uses them to portray his son’s values. Chesterfield builds his son up, and provides all the obstacles that could come into his life in the near future. He takes his time to warn his son about the problems, and struggles that he is to face in the future through a metaphor where he says, “thorns and briars which scratched and disfigured me in the course of my youth” (Stanhope 91). He refers to these problems as thorns and briars. He was frightened that his son was going to make the same mistakes he made while he was a youth and so, he had to warn him in advance of what awaits him. He uses metaphors in his warnings just to emphasize his points. Later on, in his warnings to his son; Chesterfield also uses anastrophe in contradicting his points. He uses anastrophe as an understa...
...t is arguable that the birds fight is also a metaphor, implying the fight exists not only between birds but also in the father’s mind. Finally, the last part confirms the transformation of the parents, from a life-weary attitude to a “moving on” one by contrasting the gloomy and harmonious letter. In addition, readers should consider this changed attitude as a preference of the poet. Within the poem, we would be able to the repetitions of word with same notion. Take the first part of the poem as example, words like death, illness
Not only the words, but the figures of speech and other such elements are important to analyzing the poem. Alliteration is seen throughout the entire poem, as in lines one through four, and seven through eight. The alliteration in one through four (whisky, waltzing, was) flows nicely, contrasting to the negativity of the first stanza, while seven through eight (countenance, could) sound unpleasing to the ear, emphasizing the mother’s disapproval. The imagery of the father beating time on the child’s head with his palm sounds harmful, as well as the image of the father’s bruised hands holding the child’s wrists. It portrays the dad as having an ultimate power over the child, instead of holding his hands, he grabs his wrists.
Throughout the story, James Joyce demonstrates an unyielding motivation to illustrate the narrator’s disenchantment with most aspects of his life. As the narrator ages, he only becomes more embittered. Anguish is an emotion used to give a clear sense of the events significance. Joyce places this emotion at the end of the story with care. Joyce combines placement with strong details to describe the boy’s emotions. “Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger” (Joyce, 1028). Many readers are struck with the notion that there is inadequate motivation for such intense anguish (Brugaletta 12). The ensuing quest of Joyce’s explanation that he experiences is between the young boy’s promise and his frustration. Such motivation must appear weak in contrast with the reaction they supposedly cause, the boy’s youth and romanticism notwithstanding (Brugaletta 12). The young boy has sensuously and emotion...
He cleverly justifies the ill-viewed situation of his marriage to Gertrude, reminding them that their better wisdoms' have freely gone with this affair all along'. In this way he can brush past this sensitive matter, expect no interludes and proceed to other issues. It is interesting to note the changes and flexibility of his language. Addressing the crowd he initially adopts a personal tone on the matter of the past kings death, with creative oxymorons like wisest sorrow' and defeated joy', knowing he speaks of a matter dear to all of them. He pays his own respect, in public, to the sensitive subject that should force the whole kingdom to be contracted in one brow of woe'.
In the second quatrain, the speaker depicts a moving image of a twilight that can be seen fading on him as the sun sets in the west and soon turns into darkness. Symbolizing the last moments of life the speaker has. In the third quatrain the speaker depicts an image with a similar meaning as the previous, except for one distinct last thought. The speaker depicts a living image of a bonfire extinguishing and turning into ashes, ashes that may represent his well lived youth. The image gives the idea that ashes represent what once was a beautiful life to the speaker.