Religious Views Of The Hippopotamus

The second half of the poem is very different from the beginning half because the lines that follow the first sentence

Palestrina had a simple but complex way when it came to his strategic plan in this piece. The piece is text­ driven as is written as a simile. Palestrina used Aesthetic appeal, emotional power, and intellectual depth to make this piece a true masterpiece. Part of Palestrina is strategic plan was to write the piece as a simile. He used the translation from Psalm 42, “ As a deer longs for springs of water, so my soul longs for you”. First off, this line is represented throughout the motet, like a simile. The deer longing for springs of water is a simile as to how the soul longs for God. Each part is put into three sections, because Palestrina is comparing “ As a deer longs for springs of water” and “ my soul longs for you”. Palestrina also uses “so” or “ita” to put the simile together, he uses this to show what is being compared and to help show that the deer longs for water is the same as the soul longs for God. Palestrina also shows text­painting when has the notes flowing just like the flowing of water when it says water. The springs of water is a comparison to God. Also, he when it states in the piece ,” my soul longs” the notes go down because the soul is connected to Earth. This is also a connection to how the notes go higher when it reaches God because God is up in heaven. As a result, the strategic plan was to make the piece a simile and

The last sentence of the poem, ““There is still murder in your heart” (14), is a powerful claim that suggests that a routine consisting of prayer, communion, or hymn singing will not dissolve the sin of the heart. However, seeing this claim from a different standpoint, this can also suggest that this dull routine is convenient when it comes to preserving an appearance of purity and grace. There is an image in the middle of the poem, “light swords” (7), that possibly represents sharp members of the congregation trying to deceive the church authorities and God. Their comfort to the routine is remarkable because it does not really make a difference at the end; the only thing that truly matters is the masked life they are trying to keep hidden. Readers may consider the arguments presented in this poem as the truth reaching out to the contemporary church and its followers to improve their relationship with

This test does not give background information about this poem other than the title and who it was written by. There is no identifiable form in this poem. However, there are still patterns to be found. This poem contains 3 stanzas and has 7 lines each, making it 21 lines long. This poem has an open form, containing several end stopped lines. Another noticeable pattern is that despite the end stopped lines, there are full sentences formed and proper capitalization at the beginning of the sentences, and periods used at the end of them. Rhymes are used in this poem, however, it does not have a specific rhyme scheme pattern. It has the inconsistent pattern of ABBCDEF/BEGEEHH/IIFIJKK.

A satirical tone is an important aspect of the poem as it is emphasized from the start when the speaker chooses to begin by addressing the letter to the Pope. This first line “dear pope,” followed by “id ought you could do somedin’ ‘bout it” on line 4, begins the irony as the native speaker is asking the Pope, the leader of the Christian faith, to fix the culture’s position, which becomes ironic since they were in partnership for setting up the residential schools.

Free verse is not just prose written with irregular line endings. Free verse is poetry without regular patterns of rhyme, rhythm or meter. Note: free verse has rhythm and meter. The pattern, however, is irregular. Rhythm is often created through the use of other poetic devices, including repetition, alliteration, and other sound devices. Although it is "free" of metrical restrictions, it is still patterned and unified by the conventional poetic devices of repetition, assonance, and alliteration. The article "the", ordinarily disregarded, begins seven of the eleven lines and establishes a pattern that is seen on the page and heard when the poem is given voice. Alliteration lends ear-pleasing melody in

Rhyming, alliteration and repetition are all used to create an atmosphere for the poem so that it is evocative for the reader.

The structure of a poem can influence the way the reader interprets the overall tone and theme that the

Therefore, most of the Stanza and the 10th line focus on introducing the reader into the problem and the perpetrators of the violence. The use of religion is not only symbolic to the inevitable suffering of the Latin Americans at the Poets country but also is ironical to the end times which marks massive violence acts against humanity. The aspect is brought to form by the last two lines which liken the treatment of the Indian bodies being killed as rotten fruits, thrown in a pile of garbage. The words rotten and garbage bring out the ugly scene of dead bodies surrounded by flies that feed on the decomposed material, an immense feeling of empathy towards the dead.

The poem contains six quatrains, and does not follow any consistent rhyme scheme. Every line starts with a strong beat and ends up with a weak beat. The first and third lines in each stanza have iambic tetrameter, but the second and fourth lines do not contain any consistent meter. The feet generate a rhythm

Therefore we have two poems which are deliberately changing their structure from the norm in order to create effect. However, these effects have totally different intentions, which lead to the end of the similarities and the first of many differences between the two poems.

the first few lines, there seems to be similar word patterns. Not every poem needs rhyme as

Along with the irregularities in meter, neither poem has a regular line length or rhyming pattern. Dickinson’s poem contains alternating tetrameters and trimeters, with the exception of the first line, which contains 7 syllables. The poem contains some irregular rhyme; ‘heard’ in line 5 rhymes with ‘bird’ in line 7, and ‘Sea’ in line 10 rhymes with ‘Me’ in line 12. Whitman’s poem contains even more irregular line lengths. The first 4 lines of each stanza vary from 12 to 15 syllables, but the last 4 lines of each stanza vary from 5 to 8 syllables. Unlike in Dickinson’s poem, the rhyming scheme carries throughout the whole poem, although the AABBCDED rhyme pattern contains a few cases of near rhyme.

A resistant reading of the poem uncovers the idea that religion, specifically the Judeo-Christian religious tradition, is intrinsically harmful and retrogressive in nature. If the ‘snake’ is interpreted as a synecdoche for Judaeo-Christian religious tradition as a whole, a profoundly negative opinion of such an ideology is formed throughout the poem. Without the ‘snake’ that is this religion, there would be no “pain and suffering”. The poem asks, “what could bear such a weight”, interrogating the conscience of religion, implying guilt on its behalf. Furthermore, the imagery suggested in the second stanza surrounding the snake’s “shadow” evokes negative ideas concerning the nature of the religion, which is further bolstered by its ability to “separate itself” from this shadow, and to “move on

The poem begins with two lines which are repeated throughout the poem which convey what the narrator is thinking, they represent the voice in