Progression Of Images And Leitmotif By Carol Ann Duffy

One of the most difficult, yet rewarding roles is that of a parent. The relationship between and parent and child is so complex and important that a parents relationship with her/his child can affect the relationship that the child has with his/her friends and lovers. A child will watch their parents and use them as role models and in turn project what the child has learned into all of the relationship that he child will have. The way a parent interacts with his/her child has a huge impact on the child’s social and emotional development. Such cases of parent and child relationships are presented in Theodore Roethke’s “My Papa’s Waltz” and Sylvia Plath’s “Daddy”. While Roethke and Plath both write about a dynamic between a child-father relationship that seems unhealthy and abusive, Plath writes about a complex and tense child-father relationship in which the child hates her father, whereas Roethke writes about a complex and more relaxed child-father relationship in which the son loves his father. Through the use of tone, rhyme, meter, and imagery, both poems illustrate different child-father relationships in which each child has a different set of feelings toward their father.

Firstly, the metaphors show that being by yourself and thinking can be very beneficial. In the poem, it describes the light as being “frayed” (17) and “nibbling at the end of its single cord” (18-19). This demonstrates that the girl is very stressed and “nibbling at the end” (18) shows that the girl is becoming anxious, urging to get out and be alone. Later in the poem, the girl becomes more

‘Piano’ and ‘Hide and seek’ show fond, vivid memories of childhood. The writers have obviously lived a happy life as they write in a joyful tone; this reflects the sentiment of Christie’s quotation. In contrast ‘A Mother in a refugee camp’ and ‘Prayer before Birth’ describe the horror of growing up in a poor environment. ‘Prayer before Birth’ indicates that life is a lottery and it is a matter of luck whether you avoid the hardships and pain of life. However ‘If-’ tries to guide the child away from making mistakes. ‘If,’ describes growing up to be a good and happy person, rather than a fulfilled childhood.

The story is mainly comprised of comparisons, metaphors and similes that tie into the ironic situations Baby finds herself in. Comparisons and contrasts are used to illustrate the different influences in Baby’s life.

At the beginning of the poem, the speaker, a twelve-year-old girl, is instantly gripped by a strong feeling of lust toward this mysterious seventeen-year-old boy: the paperboy. She even goes on to describe him as a “gift. A fluke from God” as if she believes that she and this boy are destined to be together (2). From her vantage point, the girl instantly notices the boy’s physical characteristics, traits which the young girl appears to admire when she describes the boy’s “bicep in the twilight” (3). This intense, love-at-first-sight reaction to the boy’s arm shows how irrational the girl’s feelings are. She seems to simply lust after the idea of him. The girl has “no memory of language” from their nightly encounters, further showing how this “relationship” was merely visual and very one-sided (6). The boy, potentially, never even notices the girl; and if he does, he does not acknowledge her presence, let alone her strong emotions. The only memories the girl has are from “loitering, lingering far past curfew,” times in which she merely stares at the boy while he completes his daily paper route (7). The girl's depictions of her mother "lost in steam, stirring" and her father "asleep beside his Manhattan, the half-read mail" almost puts the reader directly into the house. The girl, meanwhile, lost her in her emotions, wanders around her yard "without knowing what I longed for" (16). The parents, both focused on other activities, leave the twelve-year-old speaker to do as she pleases in the night.

In the poem, the mother takes her daughter to a pool party composed of boys. The speaker watches the children dive into the pool and imagines her daughter working math problems to calculate the gallons of water. As she watches the young girl climb out of the pool in her hamburger and french fry print swimming suit, she notes that the other young girls are looking at the boys, and as well as her daughter, she is beginning to recognize the appeal of their masculinity. The language of the poem is associated with the childness of the young girl. The description the speaker gives of the girl leads the reader to believe she is a child. She calls her “my girl,” and describes her of having a sweet face and a sleek ponytail. “She will glisten in the brilliant air, and they will see her sweet face” (1115), the diction of Olds word choice demonstrates the innocence of a young child beginning to approach maturity. She provides detailed portrayal of the character to provide the reader with an image of the diminishing childhood innocence of the

In the beginning, there is very little light. It is almost dusk, and the speaker describes the smell as “dark” (7). Towards the middle and end there are various lights: lanterns, lamplight, fireflies, lamp (9, 11, 13, 20). This change over time depicts the storyteller’s significance to the speaker, because she brought enlightenment to his life. In this poem, light is a metaphor for knowledge, while darkness is a metaphor for ignorance. At the end, the old wise storyteller, who is the embodiment of wisdom, “was the lamplight” (20). In contrast, the two boys, who are young and ignorant, are “in one shadow” (21). The juxtaposition of light with darkness shows that the speaker and storyteller are opposites in their insight. Additionally, it is strange that she is a light before them, yet they are still shadowed. What is blocking the light from them? This metaphor illustrates that it takes time for people to become sage like their elders. As the speaker says, adulthood is “childhood’s aftermath,” which means that the knowledge people gain in childhood will lead them to be wise adults such as the storyteller

There are many devices used in this poem to emphasize the emotions going through the mind of a parent when sending their child off into the world. Of such device used is imagery, the use of imagery is used abundantly in the

Roethke's usage of poetic devices place emphasis on the conditions in which the speaker experiences as a young child. Although the whiskey on the father of the speaker's breath is very strong, the speaker continuously " . . .hung on like death" (3) and candidly states that "Such waltzing was not easy" (4). The usage of simile by comparing the speaker's clinging of his father's shirt to death places emphasis on the feelings and emotions that are present in the household. Knowing that his " . . . mother's countenance could not unfrown itself" is an example of imagery that further adds to the turmoil and negative events that exist in the speaker's home by allowing readers to visualize the facial expressions that are present (7-8). Not only do the poetic devices contribute to the meaning of the poem, but it also contributes to the tone as well.

Linda Pastan made this poem include various forms of figurative language to hide the literal message that it's trying to portray. Figurative language is using figures of speech to make the text be more powerful, persuasive, and meaningful. Figures of speech such as, similes and metaphors, go beyond the literal meanings to give the readers a new way of looking at the text. It can come in multiple ways with different literacy and rhetorical devices such as: alliteration, imageries, onomatopoeias, and etc. With the usage of the literary devices Pastan has used, it introduced the relationship between the mother and the daughter. It shows the memories of how the mother helped her daughter grow from a little girl to a young adult getting ready to go her own way in life.

As the poem progresses and his ill-behaviors become increasingly unacceptable, the audience can gain insight that there must be more to his actions than just immaturity. Residing in an impoverished area, requires children to develop characteristics to stand out from the rest; furthermore, adolescent’s involved in violence filled neighborhoods tend to act out to gain attention or even utilize poor manners to appeal as stronger than their other older peers. The boy begins with he “[kicked] over trash cans” and “[flicked] rocks at cats;” however, this is substantially less significant than his inadmissible profanity near the end of the poem utilized to validate his strongest provocative beliefs. He continuously commits various defiant behaviors: kicking fences, shooing pigeons, and frightening ants with a stream of piss; however, he does receive any punishments from these behaviors. The audience validates the conclusion that the boy is not highly supervised, and gets away with poor manners due to the lack of authority. Furthermore, as his grandma comes into the alley “her apron flapping in a breeze,” the audience confers she must be upset due to the urgency she simulates. Even though the audience can sense her anger, the grandma surprises the audience along with her grandson by asking, “Let me help you” and delivers a punch right between his eyes. Superficial readers can easily comprehend his immature behaviors as result from seeking attention from older peers; moreover, a closer reading proves that he is seeking attention from a significant impact in his

In this stylistic analysis of the lost baby poem written by Lucille Clifton I will deal mainly with two aspects of stylistic: derivation and parallelism features present in the poem. However I will first give a general interpretation of the poem to link more easily the stylistic features with the meaning of the poem itself.

The relationship between a parent and child is potentially one of the most influential in a child’s life. A positive interaction often yields admiration, love or a sense of support. A negative relationship may yield distrust, animosity or a sense of solitude. Theodore Roethke’s poem, “My Papa’s Waltz,” describes the admiration of his hardworking father. The speaker, a young boy, depicts roughhousing with his father in the form of a waltz; expressing his desire to stay up and spend more time together though their relationship is detached. Seamus Heaney’s “Digging,” instills a sense of respect, pride, and a slight affliction for the speaker’s choice of the pen over the spade. The speaker has chosen a different path in life than that of his father and grandfather. Although written at different stages in life, both Roethke and Heaney write a poem about their families utilizing vivid imagery to demonstrate the love and pride they felt for these men.

An analysis of poems discussing the different ideas of infancy and what infancy and childhood means to different people. The ideas of infancy vary across the poems from being a curse to the family to being a blessing from the heavens or even a key to break out of the boundaries set by reality. The poets use various literary devices such as metaphors, similes and different poem structure to convey the message that they carry. Each poem has its own viewpoint on infancy. On the whole four of the poems, “Infant Joy” –William Blake, “You’re” – Sylvia Plath, “Once upon a time” – Gabriel Okara and “Piano” by D.H. Lawrence all have a more positive view towards infancy whereas, “ Infant Sorrow” – William Blake and “Prayer before birth” – Louis MacNeice show a more pessimistic side towards infancy. Despite the fact that each poem has its own different point of view on the subject of infancy, they all seem to share one thought which is the fact that infancy represents innocence and in some cases a fresh start.

Perhaps the most complicated symbol within the poem "Out of the Cradle Endlessly Rocking" is that of