Ispahan Carpet

The strongest usage of metaphor in this poem is in the first stanza in the line “write their knees with necessary scratches”. While scratches cannot be written, words can, so this insinuates that children learn with nature, and that despite its fading presence in today’s urban structures, it is a necessary learning tool for children. The poet has used this metaphor to remind the reader of their childhood, and how important it is to not just learn from the confines of a classroom, but in the world outside. This leads to create a sense of guilt in the reader for allowing such significant part of a child’s growing up to disintegrate into its concrete surroundings. Although a positive statement within itself, this metaphor brings upon a negative

The children are unnoticed by others and the mother is the only one that is protecting them. This poem shows the hard times that the mother must face because her children have died. However the mother is coping with them while still protecting her children after they have died, This is the mother's way of coping because she is not yet ready to let go of her children and still wants to care for them. This poem shows this through nature by portraying the mother as a bird who is protecting her nest. Also the poem uses nature by describing the harsh times as a winter wind that has caused harm to the mother and her children.

Second in the second paragraph there is use of personification. The writer use personification though out the entire poem. He says that the poem can find when it can’t. The writer also says that poem live in the bottom of shoes

The objects people keep in their homes can tell a story about who they are or were. Each item possessed by the residents of a house is evidence of how these people may have lived. Ted Kooser’s poem “Abandoned Farmhouse” takes the reader on a walkthrough of the remains of a farmhouse where a poor family once lived. In “Abandoned Farmhouse,” Kooser selects seemingly insignificant relics left behind by each family member to illustrate who these people were and how they lived. The picture he paints is a bleak one and reflects the impoverished life which the residents lived within this now lonely and desolate building.

The poem suddenly becomes much darker in the last stanza and a Billy Collins explains how teachers, students or general readers of poetry ‘torture’ a poem by being what he believes is cruelly analytical. He says, “all they want to do is tie the poem to a chair with rope and torture a confession out of it”. Here, the poem is being personified yet again and this brings about an almost human connection between the reader and the poem. This use of personification is effective as it makes the

The use of symbolism and imagery is beautifully orchestrated in a magnificent dance of emotion that is resonated throughout the poem. The two main ideas that are keen to resurface are that of personal growth and freedom. Furthermore, at first glimpse this can be seen as a simple poem about a women’s struggle with her counterpart. However, this meaning can be interpreted more profoundly than just the causality of a bad relationship.

The poem describes the weather and its effect on cotton flower by pointing out the dying branches and vanishing cotton. The image of insufficiency, struggle and death parallel the oppression of African American race. The beginning of the poem illustrates the struggle and suffering of the cotton flower; which represent the misery of African Americans and also gives an idea that there is no hope for them. But at the end the speaker says “brown eyes that loves without a trace of fear/ Beauty so sudden for that time of year” (lines 13-14). This shows the rise of the African American race, and their fight against racism. The author used mood, tone and

In the poem the speaker tells us about how his father woke up early on Sundays and warmed the house so his family can wake up comfortably. We are also told that as he would dress up and head down stairs he feared ¨the chronic angers of that house¨, which can be some sort of quarrel between his father and his mother in the house. This can also lead the reader to believe that the father may have had been a hard dad to deal with. However the father would polish his son's shoes with his cracked hands that ached. This shows the love that the father had for his son and now that the son has grown he realizes what his father did for him. The sons morals and feelings have changed him because as he has grown to become a man he has learned the true meaning of love is being there for one's family and not expecting it to be more than what it is. Consequently this teaches him a lesson on how much his father loved him and how much he regrets not telling him thank

Symbolisation is also used to counteract the miserable life of an Australian housewife. This can be seen in the line “She practises a fugue, though it can matter to no one now if she plays well or not, (stanza one, line one).” This line suggests that the woman portrayed is a musician. The poem latter reads, “Once she played for Rubinstein, who yawned,” (stanza one, line nine). This suggests she was talented enough to present to Rubenstein but didn’t succeed. “The children caper, round a sprung mousetrap where a mouse lies dead.” This line symbolizes the housewife. Her dreams of becoming a musician are trapped within her own environment. This same line can also evaluate the difficulties and harshness of the urban Australian life. Seeming sad this is something that is exciting to the children.

The first stanza of the poem offers us with descriptions of the temporal and spatial dimensions the boy was situated in through the use of figures of speech, namely metaphor and metonymy. “[S]ky began burning” is a metaphor for the bright explosions and burning debris viewed from above, perhaps as a result of the ongoing war. On the other hand, the house can be seen as a metonymy for the people inside it. By the comparing this “house” to the birds in the eaves, the boy speaks of the house as a shelter or refuge for the people affected by the war, just like how birds find protection in the lower border of a roof overhanging a wall. Also, the

The Schoolroom on the Second Floor of the Knitting Mill starts with a mostly lighter tone. A traditional, happy, school room is depicted. The speaker expresses that they “miss” the teacher, Mrs. Lawrence, her room, and the school in general. The tone changes at the somewhat ominous line 15, “somehow it happens,” The line of children crosses the threshold and the speaker, Judy, is told she is not a good leader. The tone is mirrored in the reader’s opinion towards Mrs. Lawrence. Informal diction is used and, on a second reading, several words indicate that even from the beginning the poem may not be as light and sweet as it initially appears. Mrs. Lawrence “carves” her nails, the chimney “[breaks] up the sky”, and it is said that moving over

This imagery includes “splinters, / And boards torn up, / And places with no carpet on the floor” (4-6). The character’s language paints a very real picture of an old and dangerous stairway that provides little in the way of support and is constantly threatening harm. The details such as splinters force one to think of sudden sharp pains in unexpected places while the torn up boards introduce ideas of sudden instability and lean times. The road of life has not been full of comfort either, as the carpet is thin or even missing from entire segments, but still the older woman continued to climb, “And reachin’ landin’s, / And turnin’ corners, / And sometimes goin’ in the dark” (10-12). The life depicted thus provides few safe havens in the form of ‘landin’s’, if all the boards are in place, but more frequently prove difficult in their own way as they introduce corners and sections that must be navigated completely in ignorance. Picturing trying to climb this twisting stairway, it is easy to see how this life has been littered with all kinds of difficult trials and tribulations, but also sprinkled with comfort in the idea that the floor was covered with carpet sometimes and rest in the concept that she came across landings sometimes.

This strong metaphor compares the narrator to the elephant who feels their fate is death. The third part of line 4 is the fine timbers that directly relate to the house previously mentioned. The purpose of the house fortifies the idea that what’s inside is of value. The house is nothing without its fine timbers and it is merely for protection and shelter. Just like a pregnant woman is for her unborn child. The fifth line represents the rising loaf like a child growing inside a womb. It is a pun on a familiar saying to pregnancy of a bun in the oven. “Money’s new minted in this fat purse” plays with the idea that the purse has no great value in itself but contains valuable things inside. Line 7 explores the narrator’s feelings towards having a child. She feels like “a means”, as if she is just a way for the baby to be born. As a mother she is just “a stage” and a platform but not a performance. She is “a cow in calf,” where many cows are separated from their offspring and have little to do with their mum. The final lines seem to break away from the rest of the poem and have a tone of darkness. After eating “a bag of green apples” one might feel sick especially since green apples are considered sour. The fruit is also unripe, signifying that the narrator is not ready to have a baby. Another point that can be found is that it is easy to see the resemblance of this line and Eve from the Bible. Eve was tempted to eat an apple and was cursed with the

The children are the ‘we’ of the first half of the poem. They “loved it” (5) when the mother kicked out their father and were “glad” (1) at the result of divorce. When their father lost his job they “grinned” (4) and were “tickled” (line 7) with pleasure as they watched their father’s world crash down around him. The sympathy conveyed through the narrative sits with the mother and children during the first half of the poem. As the daughter begins to speak in present terms, and the “you” (1,3) suddenly is now “father” (17), the poem undertakes a dramatic shift. Sympathy begins to surface, from the reader, for the “bums in doorways” (18) who begin to take on a victimized persona with their hands depicted as useless “flippers” (21) attached to their “slug” (19) bodies. It is not to say that the speaker has forgotten the cruel insensitive man that she recalls in the first part of the poem, but the father is now not the only villain and the mother and children are not the only sufferers.

Here is the interpretation and analysis of the poem based on the sections that respect the grammar and meaning of its sentences: