Analysis Of Claude Mckay 's Subway Wind

Another technique this poem takes use of is alliteration. The alliteration used helps to express the themes importance through repletion of sound devices. A specific example of alliteration

The poem also uses end rhyme to add a certain rhythm to the poem as a whole. And the scheme he employs: aabbc, aabd, aabbad. End rhyme, in this poem, serves to effectively pull the reader through to the end of the poem. By pairing it with lines restricted to eight syllables. The narrator creates an almost nursery-rhyme like rhythm. In his third stanza however, his last line, cutting short of eight syllables, stands with an emphatic four syllables. Again, in the last stanza, he utilizes the same technique for the last line of the poem. The narrator’s awareness of rhyme and syllable structure provides the perfect bone structure for his poem’s rhythm.

For all of its awkwardness Whitman’s poem is vibrant and a joy to read, with a dictionary close at hand. He makes the steam driven locomotive come to life on the page with the “ponderous side-bars, parallel and connecting rods, gyrating” (Whitman line 5) you can see the metal violently swinging back and forth. When he describes the thick, purple hazed, smoke rising from the machine one can almost feel the oily vapors on the face and nostrils. As the “warning ringing bell … sounds (sic) its notes” the reader can’t help but hear it in the distance, and at the end as the machine “Launch’d o’er the praries wide, across the lakes, To the free skies unpent and glad and strong” (Whitman lines 24-25) the same reader can glimpse the ghost train gliding into the sunset.

The article offers a unique view into Hughes’s poetry, revealing another side of Hughes’s expertise as a poet. Although she does spend a great deal of time on the discussion of the importance of Hughes’s diction to the rhythms he wanted to infuse into the aforementioned five pieces, Dickinson does more than the traditional literary analysis in order to explain Hughes’s talents as a writer. With special attention given to the five of his lesser-known works, she gives the reader an opportunity to hear the music within the lines of many pieces.

Poetry often uses sound to maintain a flow that keeps the reader interested and involved in a poem. Onomatopoeia is used in both “We Wear the Mask” and “Ballad of Birmingham” in one way and another. In the “Ballad of Birmingham,” alliteration is used when the consonant “W” is used in the line “her eyes grew wet and wild.” (26) In the same respect, “We Wear the Mask” states “But let the world dream otherwise/We wear the mask.”(14,15) The sound of the “W” is also repeated three times in these lines. Assonance is also a common sound used in both of the poems. In “Ballad of Birmingham,” the vowel “O” is repeated in the line “No, baby, no you cannot go.”(4,13) Also, the vowel “E” is repeated in the line “It hides our cheeks and shades our eyes”(2) in “We Wear the Mask.” The way in which a consonant or vowel is repeated brings a pleasing sound to the reader’s ear. The only major difference that the two poems contain is that in “Ballad of Birmingham,” the tone of the poem changes from a normal

describing the characters and objects throughout the poem and in creating the atmosphere of the

Billy Collins uses dark rooms, oceans, hives, color slides and mouse mazes to describe his poem “Introduction to Poetry”, but also a way to analyze poetry in general. Growing up, students are advised by teachers how to analyze poetry. The speaker of Introduction to Poetry, Billy Collins, attempts to guide the readers by teaching them a unique and appropriate way to analyze poetry. The use of personification and imagery, by the author, gives the readers a new perspective to interpret and find the significance in poetry. In this particular poem, the speaker does not want the reader to listen to the teachers of the reader’s past, “tie the poem to a chair with rope and torture a

The poem progresses from mourning of the deceased to praising of his achievements and fate to die before his glory withered. Therefore, the tone shifts from somber and quiet to upbeat and positive. Such shift of tone is achieved by Housman’s use of sounds. In first two stanzas, Housman describes the funeral procession as he remembers the time when the young athlete was proudly brought home after he won a race. Then, he solaces the mourners by reminding them it is better that the athlete “slip betimes away from fields where glory does not stay” (lines 9 and 10) because the laurel “withers quicker than the rose” (line 12). The soft “s” sound stands out especially in second and third stanza and it creates a sense of calm and quiet tone and evokes an image of townspeople mourning the death of their “hero”; Consonance of “s” sounds is present in words “shoulder, set, threshold, townsman, stiller, smart, slip, betimes, fields, does, stay, grows, withers, and rose.” In addition to consonance, soft sound alliteration in “road all runners” (line 5) helps to create a quiet tone. As the poem progresses into praising of the young athlete in stanzas four through seven, the consonance of hard “c”, “t”, and “f” sound become prominent. Readers can immediately detect

In today’s modern view, poetry has become more than just paragraphs that rhyme at the end of each sentence. If the reader has an open mind and the ability to read in between the lines, they discover more than they have bargained for. Some poems might have stories of suffering or abuse, while others contain happy times and great joy. Regardless of what the poems contains, all poems display an expression. That very moment when the writer begins his mental journey with that pen and paper is where all feelings are let out. As poetry is continues to be written, the reader begins to see patterns within each poem. On the other hand, poems have nothing at all in common with one another. A good example of this is in two poems by a famous writer by

While reading the poem “Introduction to Poetry,” Billy Collins sends a message to the readers that they should be patient and impartial when it comes to analyzing a poem in order to see the true meaning behind the without being over analytical. There is a revieting situation that takes place because Billy Collins is delivering his message to all readers about the way that one should be able to read a poem. This poems educates the reader on how to be able to read and plunge into a poem, through using many techniques like mood, tone, and literary devices to do so. In the first two lines Collins demands that we tackle a poem with a invigorating eye. There should be an exploration of what the poem means to us. How does this poem apply to our

Sometimes poets use different conventions to give the poem a better "flow." "Thirteen Ways of Looking at a Blackbird", by Wallace Stevens uses assonance to make the poem have a

Attention to diction, tone and sound are elements of poetry vital to voice. In James State “Introduction” Tate states the poet reaches his or her discovery on putting language on edge,” (Introduction page 18). Tate stresses the importance of diction through this statement as if you don’t play with a poem’s language, what will the poet discover. For example, if one’s poetry lacks quality language, the poem’s voice will often be affected in a detrimental way. If a poem consists of ‘bad’ wording, a reader will often be turned off by the presence of such diction, and as a result, the poem meaning may have less of an impact on the reader. In each of my poem’s I attempt to play

Taking example of poetry from “First Fight. The Fiddle” and “Lady Lazarus” are different style in poem writing, one poem rhymes and the other simply not. From both poems, talk about death and survival, about the darkness of evil that lurks inside snatched lives. In “First Fight. Then Fiddle” Gwendolyn Brooks suggests that although life can be so intimidating with many turns, enjoyment of its can be captivating. Brooks also embraces the fact that love can be hurting and music can be tasteless. When the heart becomes empty and life has no thrill, there is always something worth fighting for. Be deaf to music and to beauty blind proposes all senses may no longer serve its purposes.

This poem is in the form of free verse, because the conversation isn’t planned out; the speakers speak what they want. Also, with the continual of end-stop and run-on lines, readers get a sense of random formation, the way a telephone conversation should flow. The free

“Storm Warnings,” true to its literal subject matter, possesses flowy sweeping syntax created by the strategic use of commas and phrasing to draw parallels between the physical oncoming winds and the gales of life. The author crafts a long run-on sentence that spans the first stanza and carries on into the latter portion of the second to mirror the continuous flowing of windy weather and the forward motion of life. Once the speaker notices the brewing storm, they “walk from window to closed window, watching boughs strain against the sky.” In this portion of the affromented run-on sentence, alliteration, rhythm, and the repetition of words all contribute to the impression of movement. The various “w” sounds at the beginnings of words and the repetition of the word “window” create a sensation of continuously flowing forward, especially when read aloud; the comma adds a small swirling pause to the rhythm, which is then soon after resumed with the word “watching.” Just as the poem rhythmically moves forward with its long phrases connected with frequent commas, so must life carry on with each additional experience, whether it be misfortunes or joys. The elongated syntax allows all these elements to work together within sentences to highlight the similarities between physical storms and emotional struggle and to stress the inevitability of predicaments in life.