The End of the World in Yeats’ Second Coming and Cummings’ what if a much of a which of a wind
Hellfire and brimstone, a massive environmental disaster, a third World War; how will the world end? This issue can stop conversations, or start hour long arguments; it can start a religion, or cause people to renounce their faith. The answer to the ubiquitous question of how the world will eventually end is a paradox; to know the answer means that the final hour has come. Both E.E. Cummings and William Butler Yeats express their premonitions about when and why this awesome event may occur. Both prophetize about the horrific destruction of the world in their poems, "what if a much of a which of a wind" and "The Second Coming"; however, Cummings and Yeats disagree on the final cause of this destruction. While both utilize graphic imagery, stark contrast, and unique syntax to warn their readers about the evils of mankind, Cummings predicts society's irresponsible use of technology will engender the world's end, while Yeats believes that men themselves, the "worst full of passionate intensity," will ultimately cause the downfall of civilization.
Cummings' use of intense and somewhat disturbing imagery in his poem "what if a much of a which of a wind" urges readers to realize the extent of the devastation caused by catastrophic, preventable, destruction. The first stanza of the poem, describing images such as the sun "bloodying the leaves", evokes terror in the reader. The thought of the sun, usually associated with warmth and love, destroying something that it has helped to develop, directly parallels technology's current role in society. Technology, usually thought of as beneficial to mankind, slowly destroys the society that it ...
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...thinkers since the beginning of time. E.E. Cummings and William Butler Yeats felt compelled to express their thoughts as to the imminent destruction of mankind. However, what they were unaware of at the the time that they wrote their prophetic poems, was how frighteningly true their predictions almost came. Yeats commentary regarding the leaders of the world and their "passionate intensity" prophetized the Holocaust of World War II and the autocracies created by Hitler and Stalin, while the masses "lacking all conviction" sat and watched with passive indifference. E.E. Cummings' description of man's misuse of technology, was exemplified by the dropping of the atomic bombs on Hiroshima and Nagasaki. These poets sounded an alarm that was ignored; hopefully we are now prepared to heed their warnings so that their dire predictions will not prove to be ultimately true.
According to Jim Meyers, in "Righting the Wrongs of Slavery," reparations for slavery wouldn't solve anything. He claims that it would just put an even bigger rift between white and black Americans. He argues that "white bitterness would be inescapable" and that white Americans would feel as though they owned everything that black Americans obtain with the reparations. He also poses the questions that many of the articles for and against reparations pose: Who will receive these reparations and who will have to pay them? Is it just based on skin color? Will all black Americans receive reparations even if they aren't descents of slaves or will they look at every Americans genealogy to discover who is and who isn't? What about white Americans who aren't descents of slave holders? Will Irish immigrants who came to this country in the 1920's have to pay these reparations? It's really hard to draw the line. The battle seems like a hard one to win when there are so many variables that can't be ignored.
The last poem “Fire and Ice” by Robert Frost is about the end of the world. The use of the word “I” in the poem makes it appear to be Frost himself who is narrating this poem. This poem is more sing song in nature than the other poems because of its use of rhyme words like “fire”, “desire”, “twice”, “ice”, and “suffice” (cite poem p. 369). There is alliteration with the phrase “favor fire” (cite poem p 369). There is an implied reference to hell being the “fire” that would be brought on by “desire” or sin. The picture of the atomic bomb certainly adds to the word
When You are Old, by William Butler Yeats, represents and elderly woman reminiscing of her younger days. A past lover whispers to her as she looks through a photo album. Basically, Yeats is showing that as the woman gets older, she is alone, but she does not have to be lonely. She will always have her memories for companionship.
"The blood-dimmed tied is loosed, and everywhere the ceremony of innocence is drowned". As many currently see our society today, Yeats was in fear of what the future had in store, and felt it necessary to warn society of their abominable behavior. All of the good in the society has been taken over and overwhelmed by the horrible actions. No longer do ceremonies, or acts of kindness, take place, which Yeats believes is a direct effect of the loss of youth and innocence. "That twenty centuries of stony sleep were vexed to nightmare by a rocking cradle". This quote from "The Second Coming" informs the society that if they do not begin to correct their transgressions against one another as a whole they will awake the anti-Christ. The anti-Christ will come to claim his Jesus and correct the predicament that they have gotten themselves in to.
However, according to my Christian beliefs, God sent his son, Jesus, to Earth to die and pay for the sins of all people, and one day Jesus will return to Earth to take all Christian believers to Heaven; I believe that Yeats named his poem “The Second Coming” because it portrays his prediction that Jesus’, “Second Coming is at hand” (524). Yeats dedicates the entire first stanza of his poem to telling the reader the problems that he sees with politics and violence/terror, “Things fall apart, the centre cannot hold; / Mere anarchy is loosed upon the world, / The blood-dimmed tide is loosed” (524). The second stanza of the poem basically says that “surely” Jesus will return soon and he describes a beast-like character that could possibly be representing Satan, God’s demon opponent in the Book of
The unity of God, man, and nature is of course a common theme in Wordsworth's poetry, having been given equally memorable treatments in Tintern Abbey and elsewhere, but it was the seemingly paradoxical sentiment of this passage from The Prelude that made such a strong impression on me. As John Beer points out in his article "Romantic Apocalypses," "Although traditionally the apocalypse and the millennium have gone together, recently, the first, with its sense of doom, has been more prominent" (109). To a reader who has lived through the passing of both a new century and a new millennium, the phrase "Characters of the great Apocalypse" tends to evoke feelings of eschatological anxiety, and to suggest the fragility and transience of the landscape Wordsworth is attempting to describe. It is easy to forget that Wordsworth used the term in its original sense of "simply 'revelation,' the name given to the English version in the New Testament" (Beer 109); and that in its evocations o...
In the poem “The City of the End of Things” by Archibald Lampman, he paints an image of a dystopian and mechanical future. The theme of this poem is a prediction of the natural world's destruction and of the current industrialized future. Humans cannot live without nature, thus with the destruction of the natural world comes the downfall of humanity. Lampman wrote “Its roofs and iron towers have grown / None knoweth how high within the night”(9-10), which provokes a picture of a city that is ever growing, seemingly overnight.
Neither are passionate nor creative in factors such as love, language, history and literature. Our society today, in general, is unsure about the future: The nightmare of total organization has emerged from the safe, remote future and is now awaiting us, just around the next corner. It follows inexorably from having so many people. These quotes represent Watts’ fear for the future; George Orwell and Aldous Huxley both explore the future state of civilization in their novels.
Percy Bysse Shelley’s Ode to the West Wind is a dramatization of man’s useless and “dead thoughts” (63) and Shelley’s desire from the Autumn wind to drive these “over the universe” (65) so that not only he but man can start anew. The thoughts are first compared to the leaves of trees but as the poem progresses the thoughts are paralleled with the clouds and finally the “sapless foliage of the ocean” (40). Shelley personifies himself with the seasons of the Earth and begs the West Wind to drive him away thus allowing him to lost and become the very seasons. In the end Shelley’s metamorphosis is realized and he becomes the very wind and the power with which he humanized throughout the poem.
Primarily, only a very small amount of these Americans actually owned slaves. Even in the antebellum South only one in five, or 20% of white Americans were slaveholders (Source A). Despite the fact that this very select amount of people had been involved with slavery they still can’t be held responsible for their actions today because both them and their slaves are dead. Unlike in an Insurance claim, where there is a definite victim, and visual evidence of the incident that can show the damage caused by the person, there is no way of proving who can receive the reparation because there is no evidence of who committed the act and who was specifically affected by it (Source C). Lastly, white Americans can’t be forced to pay for reparations because many of their ancestors sacrificed their lives to end slavery by fighting in the Civil War, which would prove that they were against slavery, and therefore not involved with it. Anyways, these sacrifices, in the words of President Abraham Lincoln, are what, “Make possible a new birth of freedom in the United States” (Source B), that every American, regardless of color, has benefited from. And so, there is no justification in making the entire white population pay reparations for taking part in the use of slaves because hundreds of thousands of their ancestors fought and died for the freedom of all slaves, which serves as a reasonable form of
E. E. Cummings' poem "since feeling is first" is a poem which shows how emotions dictate people's actions and why the narrator thinks they should. The poem implies that to follow one's heart is better than following one's mind, yet, at the same time the poem is the narrator's analysis of why emotion comes before thought. The last line of the poem brings a twist on theme that the rest of the poem seems to be following. It speaks of death and of thought, rather than of life and emotion, showing that death is something that should not be ignored in life, and that thought is important even with the domination of feeling. Cummings enhances these themes by using the literary elements of diction and tone, irony, and setting and situation.
...se in their once-strong social system. The “Second Coming” Yeats’ refers to is also addressed in the book, as Achebe relates the second coming to the arrival of the white missionaries. Through the writing of his book, Achebe is able to express his feelings of unfairness and hatred that he attributes to the Christians that had torn his people apart. Especially toward the Christians, who believe in the “second coming”, he scoffs at their hypocrisy and the corruption they bring. It should be noted that Yeats’ poem has multiple interpretations regarding its meaning, and Achebe’s comparison between them is strictly only based on what Achebe himself believes is the poem’s purpose. Through these two pieces of literature, Achebe is able to accurately describe his opinion of the white missionaries, as well as provide a picture of the conflict that result from their arrival.
The allusion to the biblical story of Adam and Eve in William Butler Yeats' poem, "Adam's Curse," reflects the poem's pessimistic theme: the tragic nature of fate. In the story, Adam and Eve, the first man and woman, had defied God, and consequently, were thrown out of paradise. Their punishment (and as their descendents, everyone's punishment and "fate") was to feel the joys and the pains of being human, including love and happiness but work and disappointment as well. Yeats parallels this tragedy of Adam and Eve's newly-found mortality with a narrative which is composed mostly of a conversation about the hardships of writing poetry, being beautiful, and staying in love. By linking the two stories, he implies that such endeavors are not only laborious aspects of life, but can be "destined" to end or fail also. Yeats further establishes the inevitability of something ending by setting the conversation "at one summer's end" (1) and later having the speakers see "the last embers of daylight die" (29) when the conversation itself dies.
John Keats explores his fear of death in “When I have fears that I may cease to be” in the form of a Shakespearean Sonnet. The poem contains three quatrains that interlock his primary fears together, leading to a couplet that expresses his remedy and final thoughts. His primary fears are expressed with respect to the abab cdcd efef gg rhyme scheme of the Shakespearean Sonnet, with each fear contained in each rhyming quatrain. His first fear, in the first quatrain is dying without living up to his full potential as a writer, when he states, “Before my pen has glean’d my teeming brain…” (2). This line indicates that he has not expressed through his pen, all that is on his mind, and leads into the second quatrain with the use of a semicolon which suggests that the next part of the poem is connecte...
Though written only two years after the first version of "The Shadowy Waters", W.B. Yeats' poem "Adam's Curse" can be seen as an example of a dramatic transformation of Yeats' poetic works: a movement away from the rich mythology of Ireland's Celtic past and towards a more accessible poesy focused on the external world. Despite this turn in focus towards the world around him, Yeats retains his interest in symbolism, and one aspect of his change in style is internalization of the symbolic scheme that underlies his poetry. Whereas more mythological works like "The Shadowy Waters" betray a spiritual syncretism not unlike that of the Golden Dawn, "Adam's Curse" and its more realistic fellows offer a view of the world in which symbolic systems are submerged, creating an undercurrent of meaning which lends depth to the outward circumstances, but which is itself not immediately accessible to the lay or academic reader. In a metaphorical sense, then, Yeats seems in these later poems to achieve a doubling of audience, an equivocation which addresses the initiate and the lay reader simultaneously.