Analysis Of The Centntaur By May Swenson

The narrator begins with a disclaimer, saying that even her surface appearance must remain inaccessible to those reading the tale. This disclaimer is followed by an amazingly unhelpful simile: May is like the morrow of May. The element of cliché is not the only problem with the simile. Especially in a literary context, the reference to the month is already contained in May's own name. The simile becomes sadistically repetitive. In text, the word "May" (the name of the woman) becomes not only the signified but the signifier; her own name, in a way, calls us to liken her to the month. Consequently, the line likening her to the month shoves one metaphor back into itself, and then this simile becomes not one of A=B but rather A=A or even A within A. If a simile's two parts are too similar, then the simile ceases to be a simile, thus losing its poetic power to describe. Chaucer drives the point home by rhyming "May" with "may," setting up a parallel situation between his simile and his rhyme; "may" cannot properly be said to rhyme with "May"‹they are homophones. So in describing May on the night of the wedding feast, Chaucer first creates an aura of mystery, then intimates that much may be unknown about the bride, then finally gives the reader completely undescriptive lines about May's

Anne Sexton was a junior-college dropout who, inspired by emotional distress, became a poet. She won the Pulitzer Prize as well as three honorary doctorates. Her poems usually dealt with intensely personal, often feminist, subject matter due to her tortured relationships with gender roles and the place of women in society. The movies, women’s magazines and even some women’s schools supported the notion that decent women took naturally to homemaking and mothering (Schulman). Like others of her generation, Sexton was frustrated by this fixed feminine role society was encouraging. Her poem “Cinderella” is an example of her views, and it also introduces a new topic of how out of touch with reality fairy tales often are. In “Cinderella”, Anne Sexton uses tone and symbolism to portray her attitude towards traditional gender roles and the unrealistic life of fairy tales.

Prologues are often an author’s way of introducing important information or topics needed to understand the body of writing on a deeper level or as a way to direct the reader to a certain line of thought or specific interpretation of the writing. Anne Sexton writes a prologue for every single one of her poems in her compilation of fairytale poetry throughout Transformations. She gives the reader so many hints throughout her prologues on what the reader should pay attention to. In “Red Riding Hood”, Sexton draw immense attention to the issues of deception in real life though the importance she places on these issues in her poem. She calls out not only the frequency of deception in life but she calls attention specifically to the deception of a mother’s security.

It is unavoidable to doubt one’s ability to succeed in a world filled with so many options to fail. From the time the main character of “The Centaur” by May Swenson was ten years old, he became enthused by adventure. He was invested himself in all that could be in the world despite obstacles. Swenson utilizes language, imagery, structure, and point of view to illustrate the main character’s thought process as he explores his mental capacity and physical being.

One 's actions are first sparked by their goals and passions, but as they grow, outer forces invade those thoughts and make them clouded, their passions start to fade and eventually disappear. As children, we dream about what we want to be when we grow up. We have hope in our eyes, and nothing can hold us back. As we grow and learn, we are forced into realization of the harsh realities we live in, making our dreams sink. We must decide if we are going to let these forces knock us down, and conform to them, or stand strong and not take 'no ' for an answer. Margaret Laurence allows us to follow the development of Chris and how outer forces effect him in the short story "Horses of the Night".

Furthermore, the woman was never recognised as an equal in the world; with a “mane” for hair she is immediately relatable to an animal. When this connection is made, the woman is perceived as some strange creature; a mere mimicry of a real human. Harwood’s description of is a taste of how society views women; not quiet human. Now equipped with darker views of the flower filled day; the contemporary day reader is pondering to whether or not this vile practice is still belittling women of today.

Female imagery shows itself in the second line. When we think of Mayflowers, we typically think of the ship that brought settlers to America. This representation can go in several different directions. The Mayflower can represent the boat taking people from the only cavernous home they have known and pushed into a new world that they have never been part of, and left to their own devices; much like children being born. The mention of this flower could also be a parallel between the Mayflower ship and the party itself. It was supposed to be a great thing that brings happiness and development but based on the narrator’s reaction and what we know happened on the Mayflower while it traveled and when it landed; it is not too farfetched to assume that neither response was the one expected.

In Hopkinson's story, experience is central as it leads to potential complications the grandmother tries to avoid for her granddaughter by telling her personal story. The mother opposes her mother's urges for protection and tells her it is not necessary to frighten her daughter because “girlie's too young yet, there's plenty of time.” (2). The mother sees her mother's personal story as a “ghastly old wi[fe's] tale[s].” (1-2) therefore there is no rush to inform her child on dangers, but also because she believes her girl is too young. This opposition between both characters links to a broader opposition between two different ways to report events: on the one hand this story could be based on realistic facts when on the other hand it contains allegories and a moral which are features of fairy tales. This text mixes both types which revels Hopkinson's style, designated by herself in a 1999 interview with Gregory E. Rutledge, as "speculative fiction” and defined by Jewelle Gomez in her article “Speculative Fiction and Black Lesbians”: “I conflate the terms science fiction and fantasy fiction under this rubric [Speculative Fiction] because each in its own way addresses human concern with the future, with magic, and with the preternatural.” (949). The story borrows its

Firstly, Munro displays society’s weak and stereotypical view of women through the protagonist’s mother. The mother acts exactly as society expects girls to, staying inside the house, cooking and cleaning. For example, the mother “did not often come out of the house unless it was to do something – hang out the wash or dig potatoes in the garden.” (43) indicating that her sole purpose was to be inside the home. However, although women are expected to be weak and silenced, the protagonist opposes herself to society’s expectations. While most girls are expected to help their mother in the kitchen and stay inside, the protagonist prefers to “help my father when he cut the long grass, and the lamb’s quarter and flowering money-musk, that grew between the pens. He cut with the scythe and I raked into piles.” (43) Due to the protagonist preferring to work outside with her father it makes her mother feel as though, “It’s not like I (she) had a girl in the family at all.” (44) which is evidence that the protagonist defies gender conventions by participating in male-oriented tasks. Munro expresses the protagonist’s unconventionality through the use of symbolism in Flora the horse. Flora is viewed as, “given to fits of violent alarm, veering at cars and even at other horses, but we loved her speed and high-stepping, her general air of gallantry and abandon.” (44) Whereas, the other horse Mack, is described at “slow and easy to handle” (44) The inclusion of the comparison amongst Mack and Flora is to show the reader that Flora’s wild and brave personality is not common and is seen as unconventional which represents the protagonist and her separation from the norm.

Clemmans, Gayle. "Review: Deborah Butterfield's Contemplative Horses at Greg Kucera." The Seattle Times. 9 June 2011. Web. 31 Oct. 2015.

The participants at CentraCare were more than willing to learn and focused on what we had to present.The teaching strategies we incorporated were lectures and discussions because we wanted the participants to understand and participate in our presentation. The developmental stage of the participants were elderly white males and females. Most of the participants were white females and then their were two white males. The cultural influences of participants weighed on them a little because they did not know if they could do the exercises due to their age. We assured them as a team to do what you can and age has nothing to do with a little exercise. The socioeconomic status did not have any influence on our presentation because our presentation

An animal is any “living organism other than a human being” (OED). When the definition of animals directly divides them from humankind, examples of half-human, half-animal creatures are meaningful yet complicated symbols. A Midsummer Night’s Dream plays with the mystical and supernatural by frequently breaking down the barriers between animals and humans. Fairies are neither human nor animal, and they live in a world, Fairyland, which is separate from and invisible to humans. Considering the definition of animal is anything that is not human, the world of fae is unconsciously rooted in animalistic imagery. This world is also home to other half-human creatures such as satyrs, centaurs, nymphs, mermaids and sprites. A Midsummer Night’s Dream thus highlights and breaks down the barriers between the human and non-human world, and with seemingly little purpose. This essay will analyze the use of animal imagery, particularly through the donkey and serpent, to argue that animal imagery intensifies the emotions of the play, from exaggerating comedic elements to accentuating the dark and nightmarish aspects of Fairyland.

When imaging the ideal audience of fairytales, children are quick to come to mind, although, our perception of Little Red Riding Hood as an innocent fable is far from the truth. Alternatively, the origins of this story are derived from Italo Calvino’s “The False Grandmother”, a story immersed in symbolism and metaphorical symbols intended strictly for a mature audience. The preceding tale was “Little Red Cap “written by Charles Perrault and then later the “Little Red Riding” written by the Brothers Grimm. Although the details of these tales vary, they all maintain similar storylines. The stories revolve around the young female character Little Red Riding Hood who is sent off on a mission to bring her grandmother a basket of goods. During her adventure she encounters a wolf who engages in a hot pursuit to eat both the Grandmother and Little Red Riding Hood, only to succeed in the earlier rendition of the story. In this essay I will prove that when the Grimm’s Brothers and Perrault’s Little Red Riding Hood stories are critically analyzed, it becomes evident that they are inappropriate tales for children as they exemplify the consequences of a minor transgression by Little Red Riding Hood as being the misleading cause of the violence and seduction that occurs thereafter.

The whole poem is free verse, which signifies the freedom the poet now feels. She has transformed into a stronger creature, that is more threatening and free than the woman she was before has been. She has progressed; she looked in the mirror, and saw a ‘dragon’, this shows how she herself feels that she changed; she has become more powerful.

In her transformation of the well-known fable "Little Red Riding Hood," Angela Carter plays upon the reader's familiarity. By echoing elements of the allegory intended to scare and thus caution young girls, she evokes preconceptions and stereotypes about gender roles. In the traditional tale, Red sticks to "the path," but needs to be rescued from the threatening wolf by a hunter or "woodsman." Carter retells the story with a modern perspective on women. By using fantasy metaphorically and hyperbolically, she can poignantly convey her unorthodox and underlying messages.