Analysis Of The Poem ' Warning ' During 1961 ' By Jenny Joseph

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.

The fact that enjambment is used throughout the poem such as in the lines, “like a colour slide or press an ear against its hive” portrays a lack of structure and therefore emphasizes the initial enjoyment one feels when reading a poem before the chore of analyzing it begins. This is also emphasized through the fact that the poem is a free verse poem.

Alliteration and metaphors are two major elements of this poem. The repetition of consonant sounds and alliteration occurs throughout the poem. All of the lines strongly use the repetition of consonants and alliteration except for lines two and seven. In addition to that, the controlling figure of speech in this poem is a metaphor. It is strongly articulated in the first line, and as the one continues to read, it is amplified and extended throughout the rest of the poem. The metaphor compares mask of Line 1 to the fabricated emotive facades that African-Americans had made use of in order to avert provoking their oppressors.

· In the first line of the poem, the speaker expresses her feelings towards men by using the word “Anger”(1). From just the

In line 5, the adverb ‘coupling’ is describing the couple as R.W is walking to McDonald’s; also showing sign of symbolism. This makes the reader understand the time it takes for writing a quality poem. Next, on line 3, the preposition ‘through’ and the adjective ‘blossoming’ are “feeding” the reader’s brain, and the reader can really enjoy this. Lastly, on line 18, the phrase ‘the counter girl is as crisp as a pickle’ is a very descriptive simile that makes the reader starving after reading so much descriptive adjectives about McDonald’s and their

George Szirtes article “Formal Wear: Notes on Rhyme, Meter, Stanza, and Pattern” from the Poetry Foundation opens with opinions which focus on limitations of poetic form. As a counter to these common arguments, Szirtes claims, “Verse is not decoration: it is structural. It is a forming principle and words at depth” ("Formal Wear: Notes” 2). He then develops an argument explaining, “the constraints of form are spurs of the imagination: that they are in fact the chief producers of imagination” ("Formal Wear: Notes” 2). Taking these ideas into consideration Szirtes incorporates the idea of language explaining how language connects to memory and imagination which come together to form poetic images. Additionally, when poets use form it develops

The author uses diction throughout the poem to help the reader better understand how the speaker is feeling. For example, "It was hot. A size too large, my wool winter suit scratched" (lines 1-2) shows

Repetition is another key poetic device used in the poem, and considering its effect on the reader gives insight as to what the speaker may be emphasizing as significant. The word “dread” is repeated several times throughout the poem, specifically in lines 12 and 15. The Oxford English Dictionary defines it as “feared greatly…dreadful, terrible.” Because this word is used so many times, it draws the reader’s attention and contributes even more to the imagery of the Tyger. The repetition of the first stanza forms a sort of introduction and conclusion. The few differences between them get the reader’s attention and point out significant ideas that go along with the meaning of the poem. The comma in line 21 shows hesitation, and the colon in line 22 commands the attention of the Tyger as the speaker

The poem Life cycle talks about Australian children growing up in a family obsessed with AFL. Being brought up in a family of football supporters encourages and Enforces the passion for football. That from the moment the child is born and throughout their life, until death these people love football because of their upbringing. It talks about how these families influence their children so much that football almost becomes a religion, where the football grounds are equivalent to a church. Through-out the poem life-cycle, Bruce Dawe emphasises and exaggerates that we are who we are based on what we’ve be taught, and our way of life, personality, personal interests and hobbies.

Besides using certain rhythmic devices to create the fragrant timeline of the poem, James Wright also uses other rhythmic devices for different purposes. These details finally established a subtle rhyme scheme. For example, the only use of alliteration in the poem is third line’s “spare his suffering”, where the “suffering” seems to be really spared by its initial consonant sounds. In the thirteenth line, “flesh” and “flayed” connect the two sentences, enabling a much more smooth tone of the last sentence with a feeling of a tragedy ending. Some consonances are also interesting. Besides what have already been mentioned before, “victim beaten” in ninth line uses the “en” sound to imitate the stuffy voice of beating someone. Assonance is also used in the twelfth line “ when I remembered bread my flesh had eaten”; “ bread” here is used as a metaphor of Jesus, so along with this assonance, a relation ship between “bread” and “flesh” is clearly shown. When talking about rhymes, what James Wright did also adds more subtlety to the poem. Usually in a sonnet a nice formatted rhyme is already enough; however, James Wright tried to add counterpoint relationship to end-rhymes, making the whole poem more complex

In the first stanza(,) rhyme is used to point out the emotional state of the speakers outlook,

Enjambment connects the third and fourth stanza together, the enjambment reinforcing the disconnection felt by the child between them and their parent. A detailed description of the items in the room has been given, highlighting the ignored person, who is second place to anything else in her room. The words used have connotations of sea life, in particular a fish bowl, ‘as in a rock pool’ (13), ‘green bowl gleamed’ (15). This imagery illustrates the feeling of isolation, as rock pools and fish bowls are confined spaces

Because the poem is long, it won’t be quoted extensively here, but it is attached at the end of the paper for ease of reference. Instead, the paper will analyze the poetic elements in the work, stanza by stanza. First, because the poem is being read on-line, it’s not possible to say for certain that each stanza is a particular number of lines long. Each of several versions looks different on the screen; that is, there is no pattern to the number of lines in each stanza. However, the stanzas are more like paragraphs in a letter than

“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.

The poem begins with two lines which are repeated throughout the poem which convey what the narrator is thinking, they represent the voice in