The overall message in this poem is a drill sergeant educating young soldiers and preparing them for the harsh reality of war. He is not playing ‘Mr. nice guy’, he is being tough and strict to give the soldiers no easy way out.
In the middle of the poem, the speaker arrives at the number of casualties from the war. When he reads this number he can’t believe that he is still alive. As he reads down the names he uses the visual imagery and simile to describe how he expected to find his own name in “letters like smoke” (line 16). This helps the reader understand how lucky the speaker felt about somehow escaping the war still alive. As he goes
“I’d go on my two bare feet. But when, with my brother’s jack-knife, I had cut me a long limber horse with a good thick knob for a head…The willow knob with the strap jouncing between my thighs was the pommel and yet the poll of my nickering pony’s head,” says the main character. He basks in the glory of his younger years, and longs for a time when he was oblivious to all of the evils of the world. Containing many simple phrases, the structure of the poem brings an airy vibe to the mystical imagery. “My teeth bared as we wheeled and swished through the dust again. I was the horse and the rider, and the leather I slapped to his rump spanked my own behind,” reads the poem. Descriptive verbs allow the reader to see the character’s movements. The reader is able to easily understand that the character is comparing himself to his horse which he becomes one with. The poem is written in a first person point of view in which the character is within and beside
McKay uses his poem “America” as an avenue to express his indifference towards facing the challenges due to his race and of the dark future for his race. He develops these concerns in the form of a Shakespearean sonnet with three quatrains and a final heroic couplet to conclude the poem. Diction utilized by McKay within the first quatrain such as with “feeds” and “cultured” gives America a nurturing or even motherly essence. This exemplifies his love for America. However, McKay juxtaposes this affection by the various harsh descriptions containing cacophonous consonant sounds such as “bread of bitterness” or “sinks into my throat.” He utilizes similes within the next quatrain to further demonstrate this juxtaposition. The comparison of how America’s “vigor flows like tides into [his] blood” and how “her bigness sweeps [his] being like a
(Conroy, Mary James, Claude McKay) His human pity was the foundation that made all this possible McKay also wrote on a variety of subjects, from his Jamaican homeland to romantic love, with a use of passionate language. If we must die-let it not be like hogs Hunted and penned in an inglorious spot, while round us bark the mad hungry dogs (MacKay) 1-2 who wants to die losing a battle with no pride most of all without dignity but if we must go we may as well go down fighting and be honored with dignity afterwards instead of losing everything and be forgotten without a purpose give them something to talk about remember us by. They must die. No choice about it; no question about it The attackers harass in a humiliating way, almost celebrating their dominance over their victims. The poem uses quatrains iambic pentameter in majority of the poem. It seems to be conditional to begin each sentence in the octave There is an extended simile where African Americans are being compared to hogs He calls on them to fight back even though they have no chance of winning. The attackers harass in a humiliating way, almost celebrating their dominance over their victims. "Mocking" is making fun of someone, except there is no fun in mocking (MacKay) 4 The poem uses this simile to show how the brutality and un-human nature of the attacks on African Americans were. McKay shows how he doesn 't want to end up beaten and battered like a wild animal no one
with a cadence which holds true through out the whole poem (Team, Shmoop Editorial). Service’s application of literary devices like alliteration enhances the flow of the poem; “roam 'round, cursèd cold, foul or fair, half hid, and brawn and brains” (Service).
The song centres around the warfare associated with change “battle outside And it is ragin’”. The imagery used reflects the society the song was written in and the ideals of a society that was focused solely on war during that era (the 1960s). It also displays the different attitudes that generations have towards change and the warfare that can occur from this. Authoritarian figures “Senators, Congressman...Mothers and fathers” are used to demonstrate the conflict between the older and younger generations. “Don’t stand in the doorway Don’t block up the hall” shows how the older generations, may try to prevent
Second, striking similes are used throughout the whole poem. The speaker does not content himself with using age-old phrases or comparisons. His similes are unique and gripping. "Like old beggars under sacks," "like a man in fire or lime," and "like a devil's sick of sin," help to add vivid mental pictures to the poem. The soldier's uniforms are ripped and threadbare from all the fighting, and they are so exhausted that they bend over as they walk. The man that breathed the mustard gas is in such incredible pain that all he can do is jerk about as if he were on fire. After a while, the gas causes his face to sag until he resembles something from the horrors of hell. The speaker's similes are ones that cause the reader to stop and just think about what is being described
At the beginning of the poem, Brooks begins the contrast by introducing the long-held racist beliefs that the white troops held going into war. In describing these beliefs, Brooks employs instructional diction in her description of the white troops’ preconceived racist ideas being a “formula” that “was fixed,” as well as how they had “obeyed instructions” to continue to promote these racist ideas when they had arrived to war. This description of the racist ideologies possessed by the white troops entering war is in contrast with the troop’s first actual physical encounter with African American troops. This encounter is described later on in the first stanza when Brooks describes how the soldiers were “perplexed” by how
“Merry-Go-Round” is a poem about a little colored child that goes to the carnival. The child wants to ride the merry-go-round, but has a problem finding the back. From where the child comes from, Jim Crow laws segregate the blacks from the whites. This poem has a lot of depth and meaning, although it sounds very simple. It also tells us the mindset of most blacks in the South in the days of segregation. I chose this poem because the boy’s innocence was touching and its deep meaning was very powerful.
Use of free verse in this poem creates a lack of structure that appears to parallel the soldier’s own lack of structure and direction in his own life after he leaves the war. The poem begins with the image of a soldier's and his squadron raiding a farmhouse:
However, the poem has fluidity despite its apparent scarcity of rhyme. After examining the alteration of syllables in each line, a pattern is revealed in this poem concerning darkness. The first nine lines alternate between 8 and 6 syllables. These lines are concerned, as any narrative is, with exposition. These lines set up darkness as an internal conflict to come. The conflict intensifies in lines 10 and 11 as we are bombarded by an explosion of 8 syllables in each line. These lines present the conflict within one's own mind at its most desperate. After this climax, the syllables in the last nine lines resolve the conflict presented. In these lines, Dickinson presents us with an archetypal figure that is faced with a conflict: the “bravest” hero. These lines present the resolution in lines that alternate between 6 and 7 syllables. Just as the syllables decrease, the falling action presents us with a final insight. This insight discusses how darkness is an insurmountable entity that, like the hero, we must face to continue “straight” through “Life” (line 20).
. . should burn and rave at the close of day”(2). This means that old men should fight when they are dying and their age should not prevent them from resisting death. Another example of personification in the poem is “Their frail deeds might have danced in a green bay”(8). This line personifies the men’s frail deeds by saying that they could have danced. This means that the potential actions of the men could have flourished and contributed greatly to their lives. The metaphor “. . . words had forked no lightning. . .”(5) is about how the men had done nothing significant with their lives. They had not achieved anything great or caused a major change. The simile “Blind eyes could blaze like meteors and be gay” is about how even grave and serious men will fight against death for as long as they can. Another notable example of figurative language within the poem is “. . . blinding sight”(13). This oxymoron details how the men can see very well and it is very obvious to them that they will die soon, but they know that they can control how they will leave this world. There is an abundance of imagery within this poem, a few examples of which are “. . . danced in a green bay”(8), and “. . . caught and sang the sun in flight”(10) . These examples of imagery are both appealing to the sense of sight by using descriptive words such as “Green” and “danced” in the first example and words such as “caught” and “flight” among others. The second example also appeals to the sense of sound by
causes the poem to flow, and thus lightens up the dark and serious issue of war. The lines "But ranged as infantry, And staring face to face, I shot at him as he at me, And killed him in his place." are easy to read; however, their meaning is extremely
Browning employs imagery into the poem, which emphasizes the tone of motivation. The speaker asserts that he never turned his back on his people as he “marched breast forward.” In this line, Browning points out that this poem is in fact, about a soldier. In addition,