Summary Of For That He Looked Not Upon Her By George Gascoigne

The themes in “To a Mouse” developed throughout the poem to show all aspects of the hierarchy of nature: the struggles of the weak, the downside of the strong and the way these two aspects balance the hierarchy of

Even invisible creatures have a life to care about. Woolf sees the real humans’ life through this small critter and how they would fight to lasting. The author understands that suffering is part of the process of life; she doesn’t help the moth to right himself because she is aware of the fact of death and she knows that his death is approaching. Linking this story to her personal life, proves that she is a conflicted woman who suffered in the past from many painful situations that she overcame by her innate sense of survival. She is perhaps comparing the moth’s attempt to survive to her own. She knows that death is inescapable in life and that no one ever won the battle of life over death. A desperate and hopeless tone was maintained throughout the essay where it was perfectly and nicely developed which makes the reader feels the exact same pity that the author feels for the moth. The reader’s feels emotionally connected to this moth as much as the author is which makes her appeal to pathos is obvious and effective since the reader visualizes the moth’s

To begin with, Loomis uses visual imagery in lines 41-45. The poem states, " He opens the tailgate/ drags the quivering deer out by a leg/ you'd injured your head? You wanted to fix/ what you'd broken - restore the beautiful body," depicting that the poetic speaker feels regret (Loomis, 41-45). This instance of imagery contributes to the central idea because the tone of regret and sorrow, reflects on the poetic speaker's perception. In

DiCamillo provides the audience with imagery and also with the pictures she provides. Imagery can be seen through the various illustrations that are given in the novel. The illustrations show that Despereaux and Princess Pea are drawn with a glow or lightness around them symbolizing the good that they have in them. Roscuro and the other rats, however, are shaded with a dark glow around them showing how they are evil and filled with hatred. In the novel, the reader comes to find out that Despereaux’s own father has summoned him to the dungeon. Later, as the story progresses Despereaux becomes covered with flour and other ingredients and is spotted by his father, and at that point Despereaux forgives his father after seeing his watery eyes. The imagery in this section gives a vivid view on how one should always learn how to forgive no matter how wrong the situation may be. Another way that imagery is connected to the theme of forgiveness through imagery is when the Princess Pea gives Roscuro an evil look, and that evil look is what makes him not forgive her. The imagery provided is crucial to the story because by Roscuro not forgiving Princess Pea he is left with the darkness in his heart that is unrepairable. Although, Roscuro did not forgive the Pea, she in fact did forgive him at the end of the novel and at that point Roscuro is redeemed for the damage he has done. These two scenes from

The portrayal of the narrator through symbols is a prominent element in both The Black Cat and The Tell-Tale Heart. In The Black Cat the heart is a symbol of the narrator’s remorse or shame whilst in The Tell-Tale Heart is an object of the narrator 's ultimate downfall. This is demonstrated when in The Black Cat the narrator states, ‘I had so much of my old heart left, as to be at first grieved by this evident dislike on the part of a creature which had once so loved me.’ This quote displays his clear remorse for hurting Pluto. In The Tell-Tale Heart the narrator exhibits the essence of his demise with his exclamation, ‘ "Villains!" I shrieked, "dissemble no more! I admit the deed! --tear up the planks! here, here! --It is the beating of his hideous heart!" ‘. Night and darkness also portray the measures

Dreams often just bring grief and pain and not the expected joy that we hope for. In the teacher’s summary of “To a Mouse”,  Mrs.Molnar wrote, “mouse is shivering and terrified...And now her little winter house is all in a ruin. He imagines the mouse planning ahead carefully for the winter—she worked so hard to make her nice little nest, and then, BOOM”. The mouse had a dream to live in its winter house, keep comfortable, so the mouse planned out everything to strive for the dream. However, the man came and destroyed the house that was all part of the mouse’s dream, now it only leaves so much pain and grief that the mouse is shivering so much and the promised happiness had been broken. Then in the poem, “To a Mouse”  the mouse is written about

By doing so he is able to convey multiple perspectives to the reader, which helps him build a constructive argument about why him and the women should make love. Aside from the internal efforts, he uses metaphysical conceit as a tool to tell a story without actually telling a story. This poetic device is quite obvious to the reader because of his unusual analogy of love and a flea.

The poem is ultimately about the couple, in which the men tries to seduce his lover. The speaker, to fulfill his desire, uses flea as a metaphor to bend his lover’s thought towards him. However, the metaphors changes across the stanzas. The main idea of sex starts when the flea bites both of them and their blood mingles within the walls of flea. The woman denies this because she is afraid of losing his virginity and the time the poem was written, sex is considered as a sinful crime if it done before marriage. The flea, at last is killed by his lover and the person is unsuccessful in bending his lover towards

The poem begins with the speaker recalling a walk through a grassy field where a snake is scared away. The premise is simple and quite mundane, but Dickinson describes this encounter in vivid and bizarre ways. Using a beautifully intricate structure of sound and sense, Dickinson masters the art of personification to illustrate the deeper meanings of this interaction. The reader first encounters personification as she describes the snake as a “Fellow” who “rides” (L. 1-2). Dickinson never directly states in the poem who exactly the narrow fellow is, as she purposefully leaves readers to draw their own conclusion. Human-like qualities are used, personifying the subject, who the readers can infer is a snake sliding through the grass. The snake is humanized with the use of the personal pronoun “he”. In the second stanza, the "his" (L. 4) quickly becomes a “spotted shaft” ( L. 6). The use of personification is further employed when Dickinson states that the "deceptive snake" becomes a “whiplash” (L. 13) This example displays the transformation of the snake from inanimate to animate object.  Dickinson uses a simile to further her development of personifying the snake when the “The Grass divides as with a Comb—” (L. 5). This suggests that the speaker, rather than by feeling.

This poem gracefully illustrates how love can heal and wipe the tears of sorrow off one’s cheek. In the first of three quadrants, Kooser describes the moth as if it was a deer drinking from a pool of water, coincidentally immersing the reader in a fantasy like dream. Although it seems as if the dreamer can not get out of a disdainful sleep, a “moonlit figure” appears to relieve the sorrow that disturbs the sleeper’s mind. In quadrant two, Kooser writes, “The two of you talk long into the night,/but by morning the words are forgotten” (9-10). The sleeper is relieved from sorrow and wakes up refreshed, as if there was no trouble in the night. Kooser uses the distinct tear sipping characteristic from the Lobocraspis Griseifusa to illustrate a simple yet refreshing moment. Kooser makes the poem more personable by repeatedly using “you” when describing the dream, especially in quadrant four. “You awaken serene, in a sunny room,/rubbing the dust of his wings from your eyes” (11-12). Kooser swiftly engrossed the reader as if he or she were the sleeper, awakening their sense of serenity with delicate words that touch the heart.

By observing a woman’s eternal beauty, Wordsworth successfully conveys his discovery of what makes his wife truly beautiful. Beginning with a distant view that offers an illusion, he closes up to a more realistic and spiritual appreciation of his wife. The poem is well organized because it has a clear structure which gives us correct understanding. In my opinion the poet wants to depict each and every detail of the lady from the day he met her till now when they are happily married. The beauty which the poet describes about her is eloquent but at the same time it is very calm and soft, something delicate. The sound of the poem is mesmerizing and melodic. The poem’s overall tone is of admiration and respect. This poem shows how their relationship grows and how he comes to appreciate her for many different reasons. The poem has a logical order and the analysis makes us capture the main ideas of the poet. But being a romantic description it is also a profound and realistic one. Other aspects I want to talk about are the rhetorical devices and figures of speech. I think they are so interesting in the sense we need to understand them to understand the correct meaning of the

Anna writes through poem that this act is unjust and should not happen to such a creature. Through the use of the poem she tries to tell the scientist “Beware, lest in the worm you crush, a brother's soul you find.” (Barbauld, l.35-36) Barbauld relates that killing a mouse is not morally different from taking the life of a fellow man. The poems theme is effective and pushes the reader to feel sorrow for the poor mouse. In “To a Mouse” by Robert Burns, the ongoing themes are guilt and fear. Burns knows what mice are up to, stealing his food from his crops and ruining his walls within his home to make homes of their own. Burns however, does not care because he himself feels guilty for the little mice. Burns feels like even though they may be a nuisance to some humans, the mice have no choice but to do these things to live to see another day. “I doubt na, whiles, but thou may thieve; What then? Poor beastie, thou maun live!” (Burns l.13-14) Burns explains why he is not bothered that the mice steal his food. Burns also has the theme of fear in his poem. The mice fear men, and for good reason, Burns is aware of this and makes minimal effort to scare the mice while they are at work. “An’ justifies that ill opinion which makes thee startle,” (Burns, l.9-10) Burns discusses how the fear mice have for men is due to the brutes who have no patience to understand what the mice go through. While the two poems have different themes, one

The very start of the poem begins already with the speaker comparing his “mistress” to something that could be considered very beautiful. However, instead of saying

Gascoigne describes how, as a result of past issues, and having been “burned” before, the person the speaker loves does not love him. The poet says that once a fly has already been “scorched”, it won’t play with fire again. “The scorchèd fly, which once hath ’scaped the flame, Will hardly come to play again with fire, ” (Gascoigne). The person the poem is addressed was clearly “burned”, or hurt by the relationship before, and is thus unwilling to enter a relationship again, even though the speaker does love them. This shows unrequited love. Using the metaphor of a fly being burned, Gascoigne describes unrequited

In the second stanza, after she is accepted and conformed by one of the prestigious member of the community—“the secretary of bees” (7), she is relieved as “they [the bees] will not smell [her] fear, [her] fear, [her] fear” (10) which is concealed under “veils tacked to ancient hats” (5), presumably evoked by the sight of the oppressive community in the first stanza. As the poem flows on, the community increasingly becomes more fearsome to her. They become “knights in visors” with “square black head[s]” (13) whose “smiles and voices” (15) changed and frightened her. Thus, she continually appears as meek frightened poet vulnerable to negative emotions such as fear and depression—a fact especially clear in the line “is it blood clots the tendrils are dragging up that string?” (19). The “blood clots” dragged up by “the tendrils” seemingly represent the hurts and depression she buried in the very core of her heart. However, she still entertains hope that they will be overcome in the future, for she deems them as “scarlet flowers” which will one day be “edible” (20) as opposed to being threatening and