Charlotte Smith's On Being Cautioned against Walking on an Headland Overlooking the Sea, Because it was Frequented by a Lunatic

The main theme within Clarke’s Sonnet is his distance and inability to communicate with a lover. This poem is written for his lover as an attempt to connect with her, although within the poem, he is continuing to communicate poorly. The way in which he copes with this broken relationship drives the tone of the poem.

The year 1652 marked a critical moment in the life of poet John Milton; it was the year he lost his sight. Consequently, he began writing a poem that is known for alluding to his blindness. This sonnet, titled Sonnet 19, is considered one of Milton's finest manuscripts and most famous works. The diction, syntax, and tone of Sonnet 19 are very particular and essential to conveying the poem's meaning as a whole. These three literary devices serve as the fundamentals to the poem and as the foundation of its structure in its entirety.

Written in the form of a Shakespearean sonnet, one could hardly mistake it for anything so pleasant. Sonnets being traditionally used for beautiful, appealing topics, already there is contradiction between

Since she has internalized society's expectations of women, this conflict is felt as a schizoid within herself” (Quawas, 44). This supporting evidence helps give bigger insight of a deeper meaning to the correlation of insanity and symbols in the actual text.

Gascoigne uses three quatrains and a couplet to create the English sonnet “For That He Looked Not upon Her.” The first quatrain introduces the reader to the speaker and his issues with his beloved, while also describing the speaker’s appearances after being heartbroken. In the second quatrain, the speaker builds onto his accounting of suffering and sorrow with an analogy of a “mouse” (Gascoigne

In the opening lines of Millay’s poem, it seems as if she is speaking to a lover. The tone of the poem is set in the first line, “in some quite casual way” (1). Throughout the sonnet, one senses a frighteningly casual tone, something very matter of fact, as if these fourteen lines are a passing thought in Millay’s head. The alliteration of “quite casual” supports the plain-spoken tone, giving a feel of simple, everyday speech. Millay imagines that as she is on the subway, she casually glances over and notices on “the back-page of a paper, say / Held by a neighbor” (3-4) her lover is gone and not to return.

Billy Collins, in his sonnet “Sonnet,” describes the content of sonnets in general, the Elizabethan sonnet, and the Petrarchan sonnet. Collins develop this idea, by stating that “All we need is fourteen lines,” to explain to a reader that all sonnets consist of fourteen lines; secondly, he metaphorically describes how a sonnet’s purpose is to “launch a little ship on love's storm-tossed seas,” to show the reader that sonnets are normally meant to be about love and the complications that come with it; thirdly, by stating that the “iambic bongos must be played and rhymes positioned at the ends of lines,” he metaphorically describes the rhythmic and rhyming limitations of the Elizabethan or Shakespearean sonnet; fourthly, he states that “ the

In 2010 Billy Collins writes Sonnet, a piece of literary work I consider to be the antihero of sonnets. Collins ironically follows neither the constructs of a Shakespearean nor Petrarchan Sonnet throughout. He also creatively breathes new life into a strict art form while rejecting the historical rules a sonnet must follow in this work. Upon further review of Sonnet, it becomes clear that this deliberate rule breaking is a skilled nod & side-step to historic norms and a promotion of a new age of creativity in the making of a sonnet.

In the story, A Tell-Tale Heart, the author, Edgar Allen Poe, tells the story of a mad man who has killed an elder man in despise of his “Evil Eye.” Poe uses insanity to develop the main character revealing his madness throughout the story. The narrator’s madness is revealed first through his misunderstanding of people, the old man in particular. It is also revealed through the misunderstanding of himself and the guilt he faces after killing this old man he claims to have loved. And lastly, his madness is shown through denial of his insanity.

Made up of three quatrains and couplet in iambic pentameter, Sonnet 1 contains the common thread of encouraging procreation, however each has a small topic shift that defines the tone of the quatrain. The first quatrain is an axiom, ending with the line “His tender heir might bear his own memory” signifying to the reader the speaker’s purpose behind their argument. By structuring the sonnet this way Shakespeare uses a structure that is similar to some persuasive arguments in real life. The rhyme scheme also helps to reflect this as Shakespeare uses the ABAB CDCD EFEF GG rhyme scheme to draw the reader’s attention to word that strengthen the speaker’s argument. An example of this is the rhyme between ‘’spring’’ and ‘’niggarding’’ in the third quatrain.

This paper provides an insightful look into the psychological unraveling of the mind that can take place in certain moments of people’s lives, in particular the lives of a jealous husband and a mentally tormented woman. The three stories, the “Jealous Husband Returns in Form of a Parrot” by Robert Olen Butler, the “Yellow Wallpaper” by Charlotte Perkins Gilman, and “The Tell-Tale-Heart” by Edgar Allen Poe, contain a variety of symbols that give insight into the human psyche and further show how various elements can relate to or foreshadow mental imbalances. Additionally, the stories’ respective tones and themes also aid in steering the stories in the right direction. Thus, the question

“To some extent insanity is a form of conformity; people are always selling the idea that people who have mental illness are suffering. But it’s really not so simple…I think mental illness or madness can be an escape also” (qtd. in “John Forbes Nash”). To many “normal” people, the terms “insanity” or “madness” portray a negative connotation-- the unfortunate ones “suffer” from mental illness. However, brilliant mathematician and Nobel laureate John Forbes Nash, who has paranoid schizophrenia, cherishes his unique condition as a means of retreat from the brutalities of reality (“John Forbes Nash”). Since ancient times, people have observed the link between madness and creative genius. Indeed, research has proven that the two conditions of

The nature of the metaphors with which the lyrical subject of the sonnet presents the nature of our world are grim and

He transitions the tone of the poem from one of despair and hopelessness to one of encouragement which adds a realistic effect to the poem while still encouraging the reader. There is a thin line between being completely discouraging and being realistic; the speaker in the story seems to keep the perfect balance between these two lines. With the skillfully organized tone, the author helps the reader better understand the mood of the story as well as the difficult

His writing shifts in this way in an effort to draw the reader’s attention. This frantic style of writing is meant to parallel the speaker 's thought process and mental state. In addition to this frantic writing style, the author repetitively uses opposing and contradictory words whilst attempting to describe lust, “enjoyed” (5) and “despised” (5), “hunted” (6) and “hated” (6), “bliss” (11) and “woe” (11), and “joy” (12) and “dream” (12). In addition to these contradictions, there is also heavy repetition. The words extreme and lust are both repeated several times throughout the poem. These conflicting views of lust, as well as the repetition of language, further reflect the confused, frantic, and frazzled mental state of the speaker. Beyond the madness as a result of guilt, the author claims lust within itself creates madness, “On purpose laid to make the taker mad:/ Mad in pursuit and in possession so, / Had, having and in quest to have, extreme;” (8-10). These lines create a metaphorical crack within the armor of the speaker’s mind that will echo throughout the entirety of the poem.