Heitman Poem

O Osiris N., this here is the [hard] eye of Horus. Take it to thee that thou may be high, and that he set may fear thee. Breaking of two red jugs. This N. comes to thee Nut this N. comes to thee Nut. He has tossed his dad to the ground he has deserted Horus him. His two wings are developed as those of a hawk his two plumes as those of a gmḥśw-bird of prey. His ba has brought him here his enchantment force has prepared him. Thou opens thy put in paradise, among the stars of paradise thou workmanship the primary star, the friendly of Ḥw thou looks down on Osiris, as he charges the spirits. Thou remains there a long way from him. Thou are not of them thou shalt not be of them.

A fisherman sits in his boat on the open sea, alone save for the fish below the water’s surface. The calmness of the ocean is disrupted by something underneath, something big. Fear seeps through the fisherman’s heart as he sees the shiny gray dorsal fin pierce the sun-glinted surface of the ocean. The creature stops its ritual and pulls its head out of the water, revealing the face of a great white: scars from countless battles in the ocean’s depths, a mouth full of lethal daggers, and dark, savage eyes.

In Julie Sheehan's poem we get a clear message that the tone is sarcastic. The usage of figurative language exaggerate the poem. The exaggeration in the poem makes us believe if this is real “hate” because of the hyperbolic phrases. In her piece “Hate Poem,” Julie Sheehan uses hyperbolic personification, metaphor, and simile to create a sarcastic tone to convey that passionate emotions can be easy to confuse.

because he is so much smaller than his father, but he also looks up to

It swirled against the log spiles of the bridge. Nick looked down into the clear, brown water, colored from the pebbly bottom and watched the trout keeping themselves steady in the current with wavering fins. As he watched them they changed their position by quick angles, only to hold steady in the fast water again. (Hemingway 177)

The momentum forces me to stumble down. I fall on my back, the air knocked out of me. I lay for a moment, attempting to catch my breathe. As I learn to breath again, a heavy thing falls on me. My vision is blocked as a handful of black hair lands on my face. Next to my ear is a set of lips.

It is dark. There is the musky smell of wood and concrete, the dust that can be seen when the lights turn on, the creaking from the footsteps above, but most of all, there is the darkness.

The poem I read “The Poem Wants a Drink,” by Karen Glenn, title stood out to me immediately because it isn’t a sentence you see often. It’s uncommon to describe inanimate objects as having emotions and desires, such as a poem needing a drink. To me this hinted that the poem was going to have a more dark subject matter or tone. The first stanza confirmed my initial thought that this might not be a positive poem, as the poem describes itself as a “layabout with limited ambitions.” The second stanza opens with the lines “this poem doesn't give a damn for rhyme or reason.” This line stood out to me, first because of the curse word, which is something that is generally avoided in poemes I have seen before.

The lip has grown around the hooks and the hang “like medals with their ribbons frayed and wavering,” showing that this is not the first fisherman encounter that this fish has had. The fish is “wise” as the author tells of his “five-haired beard of wisdom trailing behind his aching jaw. The reader is brought into a deeper respect for the fish and the narrator lets him go as he had been caught five times before and still had managed to be alive. This story is full of symbolism such as the fish lack of a struggle shows the relationship between expectation and reality.

Before I could respond, I feel a stinging pain dig into my neck. I collapse into the darkness.

Next, the speaker talks about the fish’s eyes, larger, shallower, and yellower than hers. The different pieces of fishing line caught in his jaw shows how many times he either escaped or was let go by the other fishers. Then the description of the rented boat, the parts of the boat that all turned into a rainbow.

“Jerusalem, you know the holy land” that’s where I say I’m from when people ask. But if they don’t understand that then I’ll say “You know, Israel and Palestine, in the Middle East you know?” But when my father asks, I say I’m from Palestine except I pronounce it like “Fullisteen”. That’s how real Arabs from “Fullisteen” say it, or at least that’s what he says. But, when I say Palestine people think of war and refugees. That’s why I say “Jerusalem, the holy land”, because it makes my country sacred. Then people don’t think of war or bombs but hope, life, and mirth.

The assonance that is in It Girl by Jason Derulo are important because they help describe how perfect/beautiful the girl is to him, they help describe how much he loves her in the song, they help describe her attitude towards the guys that were talking to her, they help describe that even though her is drunk her knows and to leave with a strange and they help describe how loyal she would be to anyone her is dating or married to, because all the guys in the club were trying to flirt with her and when they asked her for her number her either turned them down or told them you can lose my number, I’m done, you don’t get another chance cause I’m love drunk. All Jason Derulo’s songs have assonances in them, for example, in total the song Whatcha

Japanese literature in the Heian period was most popular for its domination of women’s culture (Hooker, Richard). During this time, a new writing technique was implemented called hiragana. This was especially accepted as a woman’s way of writing since a woman knowing Chinese characters was considered unladylike. For many years Chinese characters was the only accepted way of writing, thus the birth of a new writing technique was like a revelation. This incorporation made a huge impact on Japanese literature, since long before it existed, most techniques were adopted from the Chinese. The most popular works during this time included various monogatari such as Ise monogatari and Taketori monogatari, and most popular, Genji monogatari.

If I happen to encounter poetry imbedded within prose, I tend to either skip over it, scan it, or otherwise read it as quickly as possible if it seems uninteresting. I am almost shamed to admit that my reading habits hold no exception for traditional Japanese literature, although I guess I am forced to go back and actually read them thoroughly now, since that happens to be the topic of this paper. First of all, I can grasp the meaning of the poem if it is obvious enough in context. For someone unfamiliar with Japanese literature, history, language, etc., it is difficult to understand, let alone recognize the allusions present. Luckily, Royall Tyler was kind enough to footnote a good majority of the poems for the inexperienced readers