Number Three-Personal Narrative

Within To His Coy Mistress we see the manipulation in which the speaker uses for his own benefit through the personification of time, ‘Had we but World enough and Time’ expressing, through the personification of ‘Time’, how he would love the potential lover and wouldn’t mind her initial rejection if time was an endless matter. This attempt of flattery, seen

“No,” she said. “I’m determined to overdo it. Listen,” she exclaimed, as two birds sang together. “Not grieving, nor amorous, nor lost. Nothing to read into it. Simply music, Like Mozart. Complete. Finished. Oh, it is rain to listening ears.” She glanced at Edwin to see how he took this rhetoric. He took it calmly. She let go his hand and capered amidst the fallen eucalyptus leaves.

Symmetrically presented, parallel with the third hunt, is the third temptation. As the huntsmen vigorously chase the fox, so the lady

The third stanza goes on to define the pain, only now in more emotional terms, such as "It hurts to thwart the reflexes / of grab, of clutch" (14-15), as well as the pain of continuously having to say good bye, each perhaps as if for the last time: "to love and let / go again and again" (15-16). These lines reinforce the impression that the first stanza's definition of "to love differently" is in fact an anti-freedom or state of emotional anarchy, now using words like "pester" to describe any separation; the poet is compelled "to remember / the lover who is not in the bed" (16), hinting at obsessive tendencies as being possible components of the relationship. We also learn that she believes love requires work, which she cannot do without her partner's assistance, and that this lack of cooperation frustrates her. She believes this neglected effort is the other party's fault by his failure to do his fair share, thereby leaving her own efforts ineffective, the whole of it characterized as an effort "that gutters like a candle in a cave / without air" (19-20). Her demands of this work are quite broad, encompassing being "conscious, conscientious and concrete" in her efforts and optimistically calling this work "constructive" (20-21) before ending the stanza.

The majority of the lines contain a sort of syllabic meter, which evokes a lulling sense of monotony as the speaker describes his work. However, the unusual meter of the final two lines pulls the reader from this lull and forces them to focus on Levine’s message, “from the other world merely once in eight hours is half / what it takes to

Such a long explanation seems out of place in a poem full of fast-paced action, supernatural beheadings, seductive temptresses, and jolly hunts. The narrator realizes this but plunges into his description after inserting a disclaimer: ``And why the pentangle is proper to that peerless prince / I intend now to tell, though detain me it must'' (30. 623-4). This alerts the reader to pay attention, that the symbolic meaning of the pentangle is important to a proper understanding of thenarrator's message.

There is alliteration in the stanzas of 3 and 6 “blade beak” and claws clutching”. This poem also has a rhythm to it; the stanzas are not constructed in that unbalanced way in which it’s hard to keep flowing feel to the literature.

Although Mary Cornish's poem, "Numbers," appears to show the wonders of what numbers can do, the poem also shows a more hidden meaning behind the façade. Mary Cornish, through this poem, is asking the audience what it means to live a life and what makes a life worth living. In the first stanza, Cornish refers to numbers as people with will and choice by stating "they are willing to count anything or anyone," Cornish uses numbers as a way to mask that she is, indirectly, referring to people and how they have the ability to choose their own lives. Another section which alludes to free will is the fifth stanza where Cornish mentions Chinese takeout and every folded cookie holding its own fortune. This stanza points to the idea that within each cookie, or person, lies their own fortune to follow. Within the final stanza, the poem mentions three boys far from their mothers' calls, being a metaphor for people avoiding the call of conformity to avoid a leading a dull life. Also, in the final stanza, the line "two Italians off to the sea," appears which represent people going off into the unknown in search of a meaning to their lives, further tying the idea of free will to the poem. The final line in the poem is about a sock failing to appear despite search. What Cornish wanted to show with this line was that at times in life, a meaning cannot be found despite various efforts to find one, where the sock is the meaning of life.

This collection of over ninty words is much more than just a poem. It’s a story of millions of people. It ties in rhymes, sadness, happiness, religion and anger though a broad spectrum of other ideas.

Here comes the zenith of the curve, the longest sentences in the poem. Moreover, this third section is the most prose section. Schein describes the world from a little girl’s eyes in only one sentence, “Like the children running the magic shop,--We live in the occult, not always knowing how--The trick is done.” The metaphor between the world as a magic shop where both are “occult.” The obscure world can sneak and change her dreams without “knowing how the trick is done.”

The reading starts out by Elizabeth Alexander’s Autumn Passage and On Week Later in the Strange, written in the memory of her dear friend, Lucille Clifton who passed not so long ago. The poem contained a sense of bitter yearning of the “generational shift” nowadays. Toi Derricotte presented Speculations About I that made me wonder about I. It’s the 9th letter in the alphabet and means us. We question about ourselves, but the answer to the question only we know it because we represent ourselves. Her poem was very deep, and even after the reading was done, I was still speculating what her poem actually meant. Next, I had very high expectation for Mark Doty since I started this semester reading his World Into Word essay. However, he presented

8. The reason of writing this poem is to make fun of "the concern of poets to fid something new, or mocking their despair at having continually to count meters

The speaker in this poem seems frustrated; he delicately tries to inform his coy mistress that their death is near, and they still have not had sexual intercourse. In lines 17-33 the poem seems to lose the exaggeration sense and suddenly becomes serious. He (the speaker) reinsures his coy mistress that ³you deserve this state?(state of praise and high acknowledgment), ³But at my back I always hear, Time¹s winged chariot hurrying near? Andrew Marvell uses and interesting image in line 22 (the line mentioned above) when suggesting to his coy mistress that death is near. He substitutes the word ³death?for a more gentle, delicate term of ³Time¹s winged chariot? This term was probably used to prevent from frightening such a coy mistress. Marvell continues to involve the reader¹s imagination through unimaginable images. What do ³Deserts of vast eternity?look like? In fact, Marvell probably used such abstract images to suggest to his coy mistress that their future is indeterminable, and ³Thy beauty shall no more be found? Perhaps, beauty is what the coy mistress is so concerned with and the speaker in this case is trying to frighten her to have sex with him quicker. He continues to use intense imagery when describing to his coy mistress that even after death the ³worms shall try That long preserved virginity? The speaker now abstractly describes that holding on to your virginity for

The narrator exaggerates how many years he would spend admiring her body if he had the opportunity to live that long. Hyperboles are used throughout the poem, not only when the speaker discusses the little amount of time he has to pursue her, but also during the time he overstates her beauty and virginity rotting away and turning to dust. The narrator then informs her that the only way to make use of the time the two have is to sport “like amorous birds of prey”, in other words, have sexual intercourse (Marvell,

“The relationship between the energies of the inquiring mind that an intelligent reader brings to the poem and the poem’s refusal to yield a single comprehensive interpretation enacts vividly the everlasting intercourse between the human mind, with its instinct to organise and harmonise, and the baffling powers of the universe about it.”