Response Criticism Of There 's No Help By Michael Drayton

A distinguished sense of hollowness, and darkness is discernable in George Elliot Clarke’s poem “Blank Sonnet”. This poem expresses, the author’s difficult and awkward communication with a lover through a broken relationship. word choice and imagery is imperative to the overall effect and tone of the poem. The usage of an atypical sonnet stylization, broken sentences, forms of metaphors, symbolism, sensory language, and alliteration form strong imagery, and a sense of disconnect. The overall effect leaves the reader with a resonating feeling of emptiness.

The main theme within Clarke’s Sonnet is his distance and inability to communicate with a lover due to his alcoholism, and the way in which his coping mechanism, and alcoholism affects this relationship. In the opening octet,

This sonnet has very smooth and fluid feel to it, most of which can be attributed to the iambic pentameter and Elizabethan sonnet rhyme scheme as well as the numerous sound

Written in the form of a Shakespearean sonnet, one could hardly mistake it for anything so pleasant. Sonnets being traditionally used for beautiful, appealing topics, already there is contradiction between

The good author will leave the reader with a powerful message without straight out telling them while at the same time using very little words in portraying this message. Molly Giles’ author of “The Poets Husband” and Pamela Painter author of “The New Year” have done a wonderful job of providing a strong micro-short story. The authors use a lot of symbolism and strong short sentences that lead to an understanding of an unhappy relationship due to mistreatment. Although both stories end differently they both leave the reader to connect with the characters about feeling forgotten. Whether they have ever been in a relationship where they stayed even though they were unhappy or the reader has ever been in a relationship where they themselves have cheated and have been broken up with but continues to feel for what they could have had and through away for a quick fling. It is important to keep in mind both angles of a failing relationship and when reading both of these micro-short stories the reader will feel surprisingly more sympathetic and educated in that

“The Roman Baths at Nimes,” a sonnet, has a unique modified structure which resembeles the main purpose of the poem. Originally, a sonnet was structured as “one strong opening statement of eight lines, followed by a resolution to the emotional or intellectual question of the first part of the poem” (Strand 56). The contemporary sonnet comes in two forms, the

A sonnet is a poem of fourteen lines that rhyme in a particular pattern. William Shakespeare’s sonnets were the only non-dramatic poetry that he wrote. Shakespeare used sonnets within some of his plays, but his sonnets are best known as a series of one hundred and fifty-four poems. The series of one hundred and fifty-four poems tell a story about a young aristocrat and a mysterious mistress. Many people have analyzed and contemplated about the significance of these “lovers”. After analysis of the content of both the “young man” sonnets and the “dark lady sonnets”, it is clear that the poet, Shakespeare, has a great love for the young man and only lusts after his mistress.

The poem’s structure as a sonnet allows the speaker’s feelings of distrust and heartache to gradually manifest themselves as the poem’s plot progresses. Each quatrain develops and intensifies the speaker’s misery, giving the reader a deeper insight into his convoluted emotions. In the first quatrain, the speaker advises his former partner to not be surprised when she “see[s] him holding [his] louring head so low” (2). His refusal to look at her not only highlights his unhappiness but also establishes the gloomy tone of the poem. The speaker then uses the second and third quatrains to justify his remoteness; he explains how he feels betrayed by her and reveals how his distrust has led him

Befitting of the overall tone, the sonnet commences with uncertainty, plainly illustrated with the language of the speaker’s initial statement: “I’m not sure how to hold my face when I dance” (1), for he arranges his words to portray a feeling of vacillation. Immediately following this reflective proclamation, the speaker poses three questions, all of which allude to the contemplative tone apparent in the text. While these inquiries regard the subject of dance, the speaker also intends for them to be metaphors for the uncertainty he, as a black man, has for his place in society. His questions are rapid-fire, almost probing the audience for answers that are seemingly nonexistent. As a result of the rapidity, there is an absence of breaks for these questions to be answered, evincing the speaker’s belief that they, in fact, have no answers. These first four sentences are crucial in the sonnet’s development, as they kindle ruminations for both the speaker and the audience.

People who have been deceived or let down by those they once desired or loved, often mourn and lament their past relationships. In the poem “For That He Looked Not Upon Her,” George Gascoigne addresses the complexities of a broken relationship in his analysis of grief, the fear of being hurt emotionally again, and the captivation a woman still holds despite the misery she caused. He creates this through his tone of misery and undertones of past desires. By utilizing imagery and metaphors in the mouse, melancholy related diction, and words connoted with love, Gascoigne addresses a growth in the complex attitudes of the speakers regarding his prior adoration for a lover and current growth in the lessons of fear and doubtfulness.

In the opening lines of Millay’s poem, it seems as if she is speaking to a lover. The tone of the poem is set in the first line, “in some quite casual way” (1). Throughout the sonnet, one senses a frighteningly casual tone, something very matter of fact, as if these fourteen lines are a passing thought in Millay’s head. The alliteration of “quite casual” supports the plain-spoken tone, giving a feel of simple, everyday speech. Millay imagines that as she is on the subway, she casually glances over and notices on “the back-page of a paper, say / Held by a neighbor” (3-4) her lover is gone and not to return.

The sonnet opens with a statement of uncertainty as the speaker admits, “I’m not sure how to hold my face when I dance” (1). Immediately thereafter, the speaker poses three questions, all of which allude to the contemplative tone of the poem. While these inquiries regard the subject of dance, the speaker also intends for them to be metaphors for the uncertainty he, as a black man, has for his place in society. His questions are rapid-fire, almost probing the audience for answers that may not truly exist. An obvious lack of breaks for these questions to be answered shows that the speaker must believe that they, in fact, have no answers. These first four sentences are crucial in the sonnet’s development, as they provoke thought and contemplation so that the reader’s mind can be in the same place as the speaker.

To begin, the speaker, in a very calm manner, describes a moment in time where she and a man called Death share a carriage together as if they were in a relationship with one another. Not only does the speaker leave with Death without any questions, but also states that she is obligated to leave her household to work for her new husband Death in lines five through nine. Due to the fact that the speaker so carelessly goes along with Death, shows just how strong her connection is with him. She is completely unaware and blinded at the fact that leaving with Death is something that is forever.

     The sonnet, being one of the most traditional and recognized forms of poetry, has been used and altered in many time periods by writers to convey different messages to the audience. The strict constraints of the form have often been used to parallel the subject in the poem. Many times, the first three quatrains introduce the subject and build on one another, showing progression in the poem. The final couplet brings closure to the poem by bringing the main ideas together. On other occasions, the couplet makes a statement of irony or refutes the main idea with a counter statement. It leaves the reader with a last impression of what the author is trying to say.

The form of ‘God’s Grandeur’ is an Italian sonnet, but with some alteration. Even though Hopkins does not use sprung rhythm here, he varies his sonnet structure from the traditional iambic pentameter. Typically, a sonnet contains 3 quatrains (4 lines) and a couplet (2 lines); the Italian sonnet is characterized by having 1 octave (8 lines) and 1 sestet (6 lines). In ‘God’s Grandeur’ a similar pattern is followed, however, Hopkins presents a technique he often employs in other works as well, that of using the octet to present a personal or a sensory experience and the octet in order to provide some reflection on the topic (Gardner 221).