Dark Rook In Rainy Weather

But the point of anguish at which my mother killed herself was taken over by strangers possessed and reshape by them the collection of area poems became symbolic to me of this possession of my mother and of the wider vilification of my father it was if the clay from her poetic energy was taken up in versions of my mother made out a bit embedded reflect only the inventors as if they can possess my real actual mother and now or woman who would cease to resemble herself in those other minds.”(Plath

Plath describes her father as classically Aryan in appearance ‘your neat moustache/and your Aryan eye, bright blue’ making him the antagonist in their relationship, reinforced by her descriptions as herself as a Jew, or the victim, ‘chuffing me off like a Jew.../I have always been scared of you’. Although the Nazi comparisons are abundant throughout the poem she also uses symbolism and other comparisons to make the same point. She conjures the image of her father as a dark and monstrous creature who, ‘bit my pretty red heart in two/...the vampire who said he was you’ reinforcing the audience’s negative view of her father. The symbolic description of her father as vampire and Nazi gives the audience a clear idea of Plath’s father, destroying her and sucking out her life. In direct contrast with Plath’s dark image, Harwood’s representation of her mother is full of admiration and love, ‘It is not for my children I walk on earth.../it is for you’. She doesn’t give a description of her mother in the way Plath does of her father, using a more indirect approach to create a general, yet

In addition to basic english sonnet elements, the poet capitalizes on the reader’s negative connotation of specific words to emphasize the strong shift that leads to the overall meaning. First, the poet uses the motif light versus darkness to exemplify the contrasting view that the speaker holds. By using words that juxtapose such as “radiant” and “black,” the poet demonstrates how the speaker views their current miserable situation as the positive light of the life. With this, the speaker views the area “below” as the dark light of their life; the dark also symbolizes the unknown elements of life. Next, the poet uses color symbolism to signify two different interpretations of the color black by the speaker. First, the speaker uses the color black in the sense of sadness or demise of one’s personality. By originally comparing their depressed state to radiance, the reader infers that the future that is associated with the color black will result in even more sadness or the complete demise of normality that the speaker currently holds. Secondly, the poet uses the color black to symbolize the speaker’s feelings of uncertainty and emptiness. The reader infers that the speaker is empty due to the fact that they are subdued from the real world, and serve only as an observer. In addition, poet uses the

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.

The poem begins with, “Thou ill-formed offspring of my feeble brain,” (1) which gives the reader the impression that the poem is harsh. However, upon further inspection of the poem there is a spectrum of tones which diverge throughout the entire piece. These tones show how the speaker’s attitude towards the subject develops and evolves. The Author to Her Book has a variety of tones that shows the painful process of transition.

She was mature when she wrote this poem. This is ninety-six lines long poem which talks about the journey of how her eight children, four boys and four girls, are grown ups now and moved away from her. “I nursed them up with pain and care, nor cost, nor labor did I spare. Till at the last they felt their wing” (Bradstreet 208). She uses this lengthy metaphor of describing herself as a mother bird and her children as hatchlings.

The author’s diction in the sonnet creates a strong and firm point that is being shown, as well as understood. Words such as “nobly”, “precious”, “constrained”, etc. all give a

The third to the eighth stanza of the poem are emotional and intense. They describe the knight and women’s meeting and mystify the attraction that appears to develop between them. There are also semantic fields of nature and imagination in these stanzas.

Inconspicuous, clever, and charming, these regularly appreciated verses show up at an easygoing perusing to present few issues of analysis or understanding. However the arrangement has incited forcefully unique readings over late years. There is proceeding with difference among pundits about the tone and reality of the succession, about the unique situations (scholarly, authentic, and scholarly) inside which it might should be caught on, what's more, even about the fundamental frameworks of the account which these apparently straightforward verses apparently unfurl. Part of the issue in perusing the "Charis" sonnets lies definitely in that pressure between their account and verse capacities: between a perspective of the lyrics as constituting, a solitary, ceaseless, and naturally related entire - 'the story' which the writer declares in the opening sonnet and then again ten discrete 'verse pieces' to be freely relished and caught on. A fairly comparable pressure is to be found inside the 'ten pieces' on Lady Venetia Digby which make up the succession 'Eupheme', set in appearing to be balance to the "Charis" ballads close to the finish of The Underwood: and inside those bigger gatherings of ballads, the Epigrams and The Forest, in Jonson's 1616 folio. 1 In these cases, lyrics composed at various circumstances

In the first half- line of the poem, the Wife sets the elegiac tone with three simple, clear words, “Full of sorrow” (The Wife’s Lament, line 1). In three words, the wife plainly describes how she feels. As the poem continues she tells her story and the explanation for her

In addition to the vivid imagery that the two authors provide, both Plath and Hayden set very different tones with the words they use. For example, Plath sets a dark and angry tone with the words she uses to describe her father. She uses sarcasm by saying, “Every woman

depicts how before the poet was at peace in nature all his complicated thoughts were tangled and intertwined, however now they are all started to crumble into nothing. This technique is used to emphasise a point due to the use of intense sounds, such as ‘s’ which allows the reader to further think and articulate themselves around the point as the techniques use makes the stanza far more predominant.

 A lot of critics speak about the poetic aspect of her work and think that ``With her, the Southern tradition of the Gothic novel is refined into a poetic sensibility which has not escaped either imitation or misuse" (Hassan 506). Even if her novels are all in prose and ``not in any obvious sense poetic" (Allen 208), ``from its first appearance, critics have recognized the Lyricism of the McCullers narrative style, which can render even sordid subject matter in poetic terms" (Griffith 209). This come from her first vocation which was music. One can find this constant presence of music in her novels: ballad and Negro song. This is a part of the spirit of the deep South she described in her work.

The poem is organized into three quatrains with an interlocked rhyme scheme and a final rhyming couplet. The first two quatrains portray the poet as an actor in love, while the third quatrain is concerned with the callous response of the beloved spectator, and the final couplet marks a shift from description to judgment with the poet concluding that the woman who he loves must be made of stone to be so unfeeling. The sonnet is written in iambic pentameter, this style of meter furthering associations with the theater and theatrical performance to the minds of readers familiar with the well-known English plays of this period by Christopher Marlowe and William Shakespeare written primarily iambic pentameter. Furthermore throughout the poem, the unstressed/stressed pattern seems to further dramatize the speakers words, especially in the last quatrain in which the important words relating to action and reaction are consistently stressed, such as “merth”, “rues” “when” (twice), “laugh” (twice), “mocks” and “cry.” Spenser’s use of iambic pentameter also invites comparison to the work of Patrarch, the father of the sonnet who used iambic pentameter for his poems. Spenser’s sonnet 54 returns to many

Lamb’s writing attaches the reader to the children that he is speaking of. The reader processes the poem through the mindset that he is speaking to his children. By not knowing until the very end that the children were imagined, the reader is able to better experience the power of imagination. I believe that the connection of imagination helps relate to the most powerful things that readers want and desire. People consider things that they don’t have, or can’t have, in vivid ways and it was portrayed through this