Analysis Of The Poem ' Marigolds ' By Eugenia Collier

“There’s no such thing as aging, but maturing and knowledge. It’s beautiful, I call that beauty.”- Celine Dion. Lizabeth, the protagonist, experiences a change in her life through emotional hardships as she grows up and starts to understand more about life. Children are innocent, they don’t realize how mean and disrespectful they are at times. Maturation plays a big role while growing up and changes many things. Maturity is a life-long process of learning and experiencing new things, but also brings responsibility and discipline. In “Marigolds” by Euginia W. Collier the experiences of the narrator support the theme that maturity changes the way one perceives life.

Lizabeth struggles with her emotions when she says, “I was still child enough to scamper along with the group over rickety fences and through bushes that tore our already raggedy clothes, back to where Miss Lottie lived” (261). Lizabeth is caught in a sort of limbo, acting childish, yet feeling as though she ought not to be. Consequently, she feels as though she possibly should be acting more mature. “Our already raggedy clothes” demonstrates how her clothes are dirty and ripped like a child’s clothes would be. Furthermore, the children are rushing to Miss Lottie’s to taunt her, an immature act in itself. Additionally, Lizabeth also shows how she wants the best of both childhood as well as adulthood when she says, “Y'all children get the stones, I’ll show you how to use ‘em” (263). Although she appears mature by displaying courage when she says, “I’ll show you how to use ‘em,” the fact that she is showing them how to tease a neighbor completely contradicts that. Acting just as immature as the children she’s talking to, Lizabeth is hardly a grown adult to be taken seriously. Through the emotions and phony bravado, Lizabeth’s acts and words paint a clear picture of her

Humanity is but a facet of the sublime macrocosm that is the world’s landscapes. In the relationship between man and landscape, nature is perpetually authoritarian. In her free-verse poems, The Hawthorn Hedge, (1945) and Flame-Tree in a Quarry (1949), Judith Wright illustrates the how refusal to engage with this environment is detrimental to one’s sense of self, and the relentless endurance of the Australian landscape. This overwhelming force of nature is mirrored in JMW Turner’s Romantic artwork, Fishermen at Sea (1796). Both Wright and Turner utilise their respective texts to allegorise the unequal relationship between people and the unforgiving landscape.

The author uses a seemingly endless cycle of poverty to emphasize the cage in which the characters are trapped. As Lizabeth muses over her childhood, she recalls the daily cycle of how “each morning our mother and father trudged wearily down the dirt road and around the bend, she to her domestic job, he to his daily unsuccessful quest for work.” (1). Every morning began the same way, passed the same way, and ended the same way. Lizabeth feels trapped, forced to go through the same series of events for what seems to be the rest of her life, with the same people, in the same place. When the author pairs this with the “dusty” setting of the town and the time placement of the Great Depression, it creates an effect of hopelessness for the first part of the story. This is only furthered by Lizabeth continually returning to the idea that “Poverty was the cage in which we were all trapped.” (1). Lizabeth opens the story by first giving a description of her hometown as “dusty”, remembering the poverty and hopelessness. She then continues by referring to the cage of not having enough money, and the cycle that it put them through, and ends by alluding to her future being limited to her poverty.

“Once upon a time there was a wife and mother one too many times” (Godwin 39). This short story begins with the famous opening, once upon a time, which foreshadows that the story line will be similar to a fairy tale. It raises expectations for the story that all will be magical and end happily. A typical modern-day fairy tale is that of a distressed character who overcomes an obstacle, falls in love with prince charming, and they ride off into the sunset; living happily ever after never to be heard from again. Godwin however, puts an unexpected twist on “A Sorrowful Woman”. This short story is a tale about what can happen when everyday roles take over our identity. Ultimately, this short story challenges societal expectations of marriage

In the short story, “Marigolds,” Eugenia Collier tells the story of a young African-American girl, Lizabeth, as she transitions from adolescence to womanhood in Maryland during the Great Depression. Throughout the story, Lizabeth and Miss Lottie, a very poor old woman, experience hope in similar ways. Lizabeth describes her neighbor, “Now at the end of that life [Miss Lottie] had nothing except a falling-down hut, a wrecked body, and John Burke, the mindless son of her passion. Whatever verve there was left in her, whatever was of love and beauty and joy that had not been squeezed out by life, had been there in the marigolds she had so tenderly cared for” (638). This quotation best exemplifies the main point Collier makes in the story.

Love is not always an easy adventure to take part in. As a result, thousands of poems and sonnets have been written about love bonds that are either praised and happily blessed or love bonds that undergo struggle and pain to cling on to their forbidden love. Gwendolyn Brooks sonnet "A Lovely Love," explores the emotions and thoughts between two lovers who are striving for their natural human right to love while delicately revealing society 's crime in vilifying a couples right to love. Gwendolyn Brooks uses several examples of imagery and metaphors to convey a dark and hopeless mood that emphasizes the hardships that the two lovers must endure to prevail their love that society has condemned.

Lastly, her family betrayed her by not listening to her side of the story after her sister told lies about her, and they betrayed her when they acted as if they did not care if she moved out of the house. In all of these actions, the family itself and certain members of the family are portrayed as uncaring, unsupportive, disrespectful, conniving, deceitful, and hateful to Sister. Through every action of the family, Sister is treated harshly, and she tries to not let this bother her. Yet, anger and bitterness build up inside of her until she cannot take it anymore. Consequently, it built up so much inside of her that it severely affected Sister so profoundly that she moved away from her home to get away from her family.

Initially, Collins demonstrates how one can weigh a dog’s weight with his method. Concrete diction in the first stanza, such as, “ small bathroom”, “ balancing”, and “shaky” suggest the uncomfortable nature of his intimate relationship with his pet. Although Collin is unappreciated for the gritty toil determination, he praise himself to applauded that “this is the way” and raising his self-esteem by comparing how easier it is than to train his dog obesity. In addition, the negative diction used to describe Collin holding his dog to be “awkward” for him and “bewildering” for his pet. This establish he rather force love rather willing show patience. When holding a pet on scale, there is less hustle because he secures the dog’s position by carrying it. Where as when he orders the dog to stay on the weighing scale with a cookie, his dog only followed him because of the expected reward.

Concerning her love affairs, it must be mentioned why she got involved in so many relationships, even with a seventeen-year-old student, resulting in the loss of her good reputation and dismissal from a high school. The reason is simple: she has longed for happiness and love. She has been trying to find another man to be happy. She herself describes it: „After the death of Allan - intimacies with strangers was all I seemed able to fill my empty heart with.“ (Williams 118). However, when she comes to her sister Stella and her husband Stanley, she keeps lying both to herself and to them. She pretends to be nothing but a respectable and honourable woman. She tries to persuade them that she is flawless, although her pretentious refinement looks

I know that knock knock illustrates what Tupac’s poem was trying to represent. I think knock knock is and example of what a rose growing in concrete looks like, Daniel Beatty to me is the “rose” and the “concrete” is the situation the poem describes , that its that his father is in jail and he never again heard a word from him. Nevertheless Daniel manages to surpass his “concrete”, I think he got tired of waiting for a response so he made himself some answers and by doing that he turned himself into this very talented individual that spreads powerful messages in the form of poems.

Once Lisa and Erast consummate their relationship, the feelings of gratification he received from her were no longer “novel.”6 This also draws us to the question: was there ever anything esoteric in Liza that Erast had no right to? Or, was their relationship simply new and self gratifying so that it appeared that it was Liza who produced these new feelings, not simply this new experience? Erast could simply be bored, and creating a narrative from a romance novel. The opposite of this is that Liza (and what was esoteric about her) was spoiled by Erast. Her downward spiral following their commiseration corroborate this. However, both arguments produce the same conclusion: Erast ultimately had no right to pursue Liza. She was not only below his

Growing up in the South and living life by working every day outside, and growing crops

Chopin uses common household features as a metaphor for Mrs. Mallard’s exclusion from the outside world. When she first learns of Brently’s death, Louise looks out an open window into an open square. Next, Chopin chooses to use treetops a quiver with new spring life as the first thing Louise sees prior to having her revelation, with a description of the delicious breath of rain in the air. Spring, of course is when things grow anew, and we know that water, as a a symbol cleanses ill pasts. This type of rich symbolism, returning to form, helped Chopin to make her story into simply “an hour”. As well, Chopin, makes use of parting clouds to provide Louise a blue sky, again, freedom like the