Rainer Maria Rilke Panther

| The poem also portrays the agony and grief of the giraffe confined in captivity suffers, the poet dramatises the loneliness the giraffe experiences by using metaphors such as "She languorously swings her tongue," this metaphor implies the giraffe is tired and weary and has become lazy, complacent and bored

This is good news for elephant lovers everywhere, but for the lions, tigers, monkeys, and bears it’s not something to celebrate. Although the big, colorful tents and cheery music may draw a crowd, circuses are notoriously known for the treatment of their animals, and for good reason, too. According to DoSomething.org, “virtually 96 percent of a circus animal’s life is spent in chains or cages” (“11 Facts”). These cages have no separate area for eating, sleeping or defecating, which can lead to sickness, irritability, and even death. When not performing, the time spent out of these cages is to teach the animals to perform outlandish tasks, using training methods such as whipping, food deprivation, and electric prods (“11 Facts”).

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).

However, the poem is not uninteresting as the words used to create such tone are emotive and effective to stir up the reader to experience the pain of not being able to express them. Sound devices are also a great contribution to the overall theme as well. They are particularly effective as they help to create both the meter and tone of the poem. Alliteration is used such as "black bars" to emphasize the restrictions placed on the poem. Consistent rhyme in every stanza such as "page" and "rage" also suggests that the limitations on the poet's poetic inspiration are constantly there and cannot be broken

3. A guy sets alone out here at night, maybe readin’ books or thinkin’ or stuff like that. Sometimes he gets thinkin’, an’ he got nothing to tell him what’s so an’ what ain’t so. Maybe if he sees somethin’, he don’t know whether it’s right or not. He can’t turn to some other guy and ast him if he sees it too. He can’t tell. He got nothing to measure by. I seen things out here. I wasn’t drunk. I don’t know if I was

The sonnet focuses on two main accounts of imagery, each having to do with vermin. The speaker describes himself as, “The mouse which once hath broken out of trape” who is “seldom ‘ticed with the trustless bait” (5-6). In the sonnet, metaphors assist the speaker, hinting at how the speaker is affected by the “trustless bait” the woman has given him. Each of these metaphors holds different connotations to the speaker. “Trustless” can refer to the betrayal that the speaker has experienced in the past.

In the National Geographic article, “Why all of Americas circus animals could soon be free”, it talks about the stress animals endure from being on the road, being forced to perform, and traveling in confined spaces. The President and CEO of the Humane Society of the United States, Wayne Pacelle, says “Wild animals, even if they are born in captivity retain all their natural instincts, which are thwarted when they’re trapped in small cages”. Therefore, they are prevented from being able to use their natural instincts and are forced to perform natural physical acts like balancing on a tightrope and chairs. When the animals don’t cooperate, they may be hit or disciplined in some way, whipped, or deprived of food. Elephants are struck with sharp metal poles beginning at an early age until they learn to

Atwood uses simple, but effective imagery to engage the senses of the reader, for example: ‘[…] that is a fish, blue and flat’ (l. 4). These images grow more elaborate and it becomes clear that she uses metaphors and simile to convey more intricate ideas. As the speaker confesses that there is more to the world than they let on, the use of enjambment, repetition and punctuation directs the focus on certain words and gives the poem certain acuteness and urgency as the pace increases: ‘Once you have learned these words | you will learn that there are more |words than you can ever learn.’ (l. 21-23).

Think about how we will look back on our cruel forms of entertainment in the future. Will we be proud of the way we treated these great animals, with abuse as neglect? Today we turn our heads away from reality and what happens behind the scenes of animal entertainment. However, we can’t turn our heads forever. Around the world, there is so much more to animal entertainment than what meets the eye. These animals have been torn away from their beautiful, natural homes and brought to a prison of concrete. In these prisons, they are beaten, starved and tortured all for our money and entertainment. These animals lives should not be taken from them for us. Our money and happiness should not be worth these animal’s lives. Circus, theme park and zoo animals all suffer from aggression towards trainers, mental disabilities and physical injuries. These animals should not have to suffer any longer.

The composition of the poem is very loose with only two stanzas and a lot of verse lines, some of which only consists of one word. The verse lines with only one word suggest that the reader also has to interpret the way the poem is read; not only the message and theme. Bluebird also has an unusual graphical look that confine, just like Bukowski’s

According to PeTA , The tricks that animals are forced to perform—such as when bears balance on balls, apes ride motorcycles, and elephants stand on two legs—are physically uncomfortable and behaviorally unnatural. The whips, tight collars, muzzles, electric prods, bullhooks, and other tools used during circus acts are reminders that the animals are being forced to perform.

Notice in the passage how each expression becomes increasingly captivating, sucking you in like a black hole. Golding’s silky and succinct use of stern language being the main sources of this vacuum, drawing you into the novel.

Training is another concern. Physical punishment has long been the standard training method for animals in circuses. These methods are simply cruel. They include the use of electric prods, whips, and even some animals especially large cats, have their teeth removed. Bears balancing on balls, apes riding motorcycles, elephants standing on two legs are acts that are physically uncomfortable and behaviorally unnatural. Such “performances” do not teach audiences about how animals behave under normal circumstances. Instead, they are often portrayed as ferocious and stupid.

The short stanzas containing powerful imagery overwhelm the readers forcing them to imagine the oppression that the speaker went through in

“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.”