Pabl Neruda

Neruda express his thanks for thanks in many ways, and one way was figurative language. The speaker used a lot of powerful figurative language to get his point across. In my opinion, the strongest use of figurative language is one that hits you right in the first stanza. It states, “Thanks to thanks, / word / that melts / iron and snow.” This personification means that saying “thanks” can break through the toughest and harshest of situations (the iron) and the smallest, softest of situations (the snow). Another use of figurative language can be found in lines 9-14, where it states, “Thanks / makes the rounds / from one pair of lips to another, / soft as a bright / feather / and sweet as a petal of sugar.” First off, personification is used when the speaker says “makes the rounds from one pair

Another example of metaphor that also highlights the feelings of Neruda is at the beginning of the poem, “They disappear among my clothes,

“Anthem” is a book written by Ayn Rand in a dystopian world. In “Anthem” egoism plays a major role in the story. Egoism is when someone is motivated and sets goals after one’s actions. It helps to know where you stand. Also allowing you to know who you are and how important you are as an individual. By knowing what you stand for and who you are will give you a place to fall back on times of

Truth cannot contradict itself; thus, to recognize a fictitious entity, one must first analyze the apparently existent. Accordingly, “The Egoist’s” first stanzas portray the individual ego as mythical and ghostlike by discriminating it from the natural world. Instantaneously, Neruda boldly asserts, “Nobody is missing from the garden. Nobody is here: / only the green and black winter” (Neruda, 1-2). Repeating “nobody is” intimates the flowers’ lack of self. Likewise, Neruda connoting green and black in the subsequent line signifies nature’s holism. Green, reflecting

Notwithstanding the regular view of shadowy vacancy dominating the persona’s luminous phantom as terrifying, Neruda unconventionally suggests, “it’s an hour / when no one should arrive” (5-6). Hence, he characterizes the self as an unnatural threat, which upholds repressive illusions like separateness and death, rather than a necessity. Neruda solidifies this interpretation in the next stanza by once again elucidating nature’s harmony, noting, “This is the hour / of fallen leaves… when / ...they rise up to know the spring” (14-16, 21). Through mentioning “the hour of fallen leaves,” Neruda employs autumn and winter as seasonal symbols to delineate individuality as perpetuating humanity’s woes. People see time’s passage and human demise as horrific because they confirm the soul’s evanescence. Yet, as Neruda reveals, because the leaves understand their nature, they see every hour, birth or decay, holistically. Moreover, Neruda’s visual imagery within these lines typifies how, without the leaves’ willingness to die in winter, they could not resurrect for the glorious spring. Because the leaves welcome their dependent origination and impermanence, they have no existential fears. Nevertheless, as prey to the ego’s trap, the Egoist remains ensnared by its enslaving powers, and cannot shatter his delusions to attain a similar tranquility.

Due to his relationship with ego, the Egoist at first ignores actuality. Only upon harmonizing with nature, and subsequently renouncing the personal ego, can he enjoy life. Neruda introduces The Egoist’s narrator with the passionate lamentation, “O heart lost / inside me, in this man’s essence, / what bountiful change inhabits you!” (22-24). Neruda introducing a persona and first-person perspective establishes a shift for the poem; it now contemplates the self’s effects on a personal rather than universal level. Although one might expect losing their separateness to traumatize, Neruda once again subverts expectations by expressing the loss’ beauty as bountiful change. Moreover, Neruda’s enjambment separates this passage into three distinct sections: the cause, the ego’s death, and its liberating effects. Before losing his self, the Egoist embodied “the culprit / who has fled or turned himself in” (25-26). The Egoist’s past highlights the illusory self’s ultimate folly; the inevitable self-absorption accompanying it. Some, like the Egoist, spend their entire lives trying to inflate their egos via fruitless activities like crime, believing they will

When you read a long poem, sometimes as a young ready, you lose interest. The longer the poem, the faster a reader gets over it. I believe Neruda does not want his readers to lose interest. He wants his readers to understand the meaning behind his art. The reason I say this, is because of his word choice in his poems. The

One of the first complexities that "The Dead Woman," a poem written in the first person by Pablo Neruda, exhibits can be clearly seen in the first three lines: "If suddenly you do not exists, / if suddenly you no longer live, / I shall go on living" (Neruda, "The Dead Woman," YEAR, 1-3). Neruda talks about someone or something that is in existence right now in the moment but he speculates on the death of this thing. Because he writes, "I shall go on living," the reader immediately wonders about the kind of relationship that Neruda has with this thing that might die. Is this an ordinary love? The lines would seem to imply that it is not, that there is something, in fact, unordinary about it something beyond special. Why would this thing die suddenly as well? Wouldn't that be a bigger shock to someone to have something taken away from him suddenly? This poses a paradox from the beginning. The theme of the poem seems to be about giving up old things, people and ways. It also seems to have an element about dealing with the unconscious mind. Neruda is speculating on death and what life will be like for him after the fact of this thing's death. There is a spiritual element to this poem and an overall theme of getting on with life after a major loss. The poem carries this element throughout the entire poem, which adds unity and fluidity at the same time.

This simile that Neruda included connects to the meaning of the verse as in the poem affects the reader emotionally like dew in the morning on the pasture. The comparison connects because it is inevitable for dew to be on the pasture in the morning just like it is inevitable for the poem to connect to the reader emotionally. Poetry For Students Found a metaphor that compares the sky to the relationship which agrees with my meaning of the poem, One thing that Poetry for students picked up on and I didn’t is when on, the eighth line, the speaker remembers kissing his love “again and again under the endless sky”—a sky as endless as, he had hoped, their relationship would be.(4)” Neruda also uses repetition of the words “tonight I can write the saddest lines” (1, 5, 11).

The poet of “Identity” has created a way of utilizing personification. An example of personification is in these lines: “If I could stand alone, strong and free,/ I’d rather be a tall, ugly weed.” (Julio Noboa Polanco Lines 21-22). “The Road Not Taken” has also created a high example of personification, hidden to find it confusing. Personification is hidden within these lines: “And both that morning equally lay/ In leaves no step had trodden back.”

Neruda’s second anthology of poems 100 Love Sonnets was, again, completely devoted to Urrutia. In the book’s dedication, Neruda tells his precious Urrutia: “I made these sonnets out of wood; I gave them the sound of that opaque pure substance, and that is how they should reach your ears… Now that I have declared the foundations of my love, I surrender this century to you: wooden sonnets that rise only because you gave them life.”

These stanzas also illustrate the importance of time. Neruda states “if little by little you stop loving me/ I shall stop loving you little by little.” The repetition is used to show that his feelings will mirror the one he loves. The use of a periodic sentence creates suspense and accents the gravity of his lovers actions. The next stanza uses “suddenly” and “already” similarly. When taken together these two stanzas show the mirroring of his feelings in an abrupt cessation as well as a gradual distancing. If they don’t love him, he doesn’t love them, and thus the relationship ends. Neruda uses “on that day,/ at that hour,” to make it clear that the exact moment he is forgotten, his lover will be forgotten as well, assenting that when in love, the feelings felt toward oneself should be reciprocated, for if the attachment can be neglected, the relationship isn’t what it should be.

Neruda begins his sonnet in a most unusual manner. He states in the first few lines ways in which he does not love his companion. He does not love her as if she were “the salt-rose, topaz, or arrow of

Similies and Imagry help to convey the message that Neruda is writing. Similies convey a similarity within Neruda's poetry, using words Like or As. These similies such as the ones found within "Leaning into the Evenings" convey more so emotions to that of a more comonality that the reader may understand.

The selected poems use repeating natural images alongside similarly recurring romantic emotions. For example, Tonight I Can Write the Saddest Lines portrays the speaker’s feelings of loss and poignant longing (Karmakar, 2015 p3) in the descriptions of the fractured night, with the “night wind”, “infinite sky” and blue stars continuing the image of an lonely evening. The hopeful reflection of morning is indicated with the lines that “fall on the soul like dew on the grass”. Alongside this, the subject whom the speaker is referring to is mentioned as having a ‘bright body” as well as describing “her huge, still eyes”. Longing is a constant theme in Neruda’s poems, his is the same with the poem’s view on love, with finality in the relationship as well as uncertainly with this poem ending in closure saying, “these are the last verses I write for her”.