Summary Of Monica Ferrell

In the opening, she shares her childhood encounters with women in prose with the children’s rhyme “a little girl who had a curl”. This personal anecdote introduces the topic of the portrayal of women in literature, as well as establishes a connection with her audience.

|In the first of the following poems, ‘The Railway Modeller’, the narrator (Pugh) describes a man (her husband) and his hobby. In the second, ‘The Railway |

Style is the special way an author creates his or her work. Gabriela Mistral exploits an informal style in her poem “Ballad”. The poem discusses the poets feelings and is written in first person point of view validating its informality; “My heart’s blood.”-Line17 using ‘my’ and describing her heart confirm this. Diction contributes to style in an extensive way. Repetition is a form of diction that is heavily spread out through the poem. “Saw him pass by.”-Lines 2/6, “He goes loving.../...in bloom”-Lines1-2/11-12, and “He will go.../through eternity.”-Lines 19-20/23-24. The repetition emphasizes the authors style an diction. In this poem diction is displayed through negative connotation. Choosing to describe her emotional state as “,wretched,”-Line 5, instead of sad or unhappy, and by adding a

The use of simile in the last stanza ‘matchstick hands as pale as the violet stems they lived among’ is used to compare a frog to violet flowers, which are very delicate and easily broken. The innocence of childhood is painted through this visual technique as the narrator only sees the frogs being very delicate, but to the readers the simile also creates a vivid image of the condition of the ‘Frogs’/ the French. The use of first person helps to create a reminiscent tone about the narrator’s experiences, and further helps to stress the ideas of childhood innocence and the influence of war on children because the poem is written from a child’s perspective. The use of enjambment generates a conversational and personal tone, emphasizing to the readers the reality of the themes discussed throughout the poem. The use of symbolism of frogs as pets and also representing the French highlights the idea that adults saw ‘Frogs’ as insignificant or unworthy to speak about, whereas the children could not understand this adult thought, and they placed exemplary regard to the wellbeing of the

The books and reading materials we read and encounter can have an impact in our education and in who we are. This is because our ideas, beliefs, imaginations and way of thinking can change based off how we react to the material. In Julia Alvarez’s poem “On Not Shoplifting Louise Bogan’s The Blue Estuaries” the author uses various literary devices, such as tone, imagery and selection of detail to convey the speaker’s intriguing and suspenseful discoveries of her voice and her talents.

George Szirtes article “Formal Wear: Notes on Rhyme, Meter, Stanza, and Pattern” from the Poetry Foundation opens with opinions which focus on limitations of poetic form. As a counter to these common arguments, Szirtes claims, “Verse is not decoration: it is structural. It is a forming principle and words at depth” ("Formal Wear: Notes” 2). He then develops an argument explaining, “the constraints of form are spurs of the imagination: that they are in fact the chief producers of imagination” ("Formal Wear: Notes” 2). Taking these ideas into consideration Szirtes incorporates the idea of language explaining how language connects to memory and imagination which come together to form poetic images. Additionally, when poets use form it develops

To help Year Twelve students that are studying poetry appreciate it's value, this pamphlet's aim is to discuss a classic poem and a

To some, Billy Collins’ The Rain in Portugal may seem to be a collection of random poems that have no correlation. At first sight, an individual may be confused while skimming through this book as to what the poems mean and how they all piece together. The poems in The Rain in Portugal all have one aspect in common; there is no rhyme scheme. Not a single poem rhymes with the next, let alone within itself. By doing this, Collins breaks the normality of basic poem writing—lines having to rhyme with one another—and explores his own take on free verse writing, which leaves the audience to form their own interpretation of the work. Majority of the poems within the book correlate with the speaker either reminiscing back in time, getting lost in the thought of the present, or predicting events of the future, which somehow include his reoccurring feeling of loneliness. Though this book has three different sections, each with its own collection of poems, the theme of loneliness is inserted within each section with one or two poems solely focusing on this topic. As a whole, this book provokes the audience to think and examine more in depth what Collins is attempting to portray through his seemingly simplistic writing.

In Gwen Harwood’s poetry, the changes in an individual’s perspective and attitudes towards situations, surroundings and, therefore transformations in themselves, are brought on by external influences, usually in the form of a person or an event. These changes are either results of a dramatic realisation, as seen with shattering of a child’s hopes in The Glass Jar, or a melancholy and gradual process, where a series of not so obvious discoveries produces similar reformation. An example of the later case would be Nightfall, the second section of Father and Child, where the persona refers to her forty years of life causing “maturation”. For the most part these changes are not narrated directly but are represented by using dynamic language

In Cate Marvin's poetry collection, Oracle, bleak themes of abuse, death, and a strident view of reality are experienced in an unconventional world masqueraded in poems of female independence, high school, adolescence, failed relationships/marriages, and specific imagistic narratives focused on trying to put the pieces of one’s life together post disaster; all hysterically filtered through a contrasting rhythmic blunt, yet raw, and shameless, diction. Marvin's focus on syntax displays an elite use of emphasis evident in her fast paced and imagistic loaded lines that could be a potential overload for the reader. Such a quarrel is avoided due to Marvin’s perfectly structured form and deliberate slow pace making such loaded content digestible, resulting in the reader understanding the text while continuously being invited to visits one own past. Such uses of theme, diction and syntax can be identified in Marvin's poem, "Yellow Rubber Gloves," in which an unnamed female narrator gender preaching to her "Sisters," saying, "I once fancied myself a centaur, sweeping/floors with my tail as my arms sunk deep/into dishwater, half lost, indeed, looking/almost as if they'd been clean lopped off" her unapologetic blunt diction exposing itself in the second to last stanza, "My advice: yellow rubber gloves/will save your hands, young bitches, awful/twats who think you'll never be me. Trust/me as I never trusted myself" and ends with an exit from fantasy and introduction back to reality,

With so many rules in the English language, it is easy for one to wonder how they were created. The dictionary, for example, was only created a few hundred years ago by people who thought that was how language was supposed to be. Many artists have had the mission to go forward and break these “rules.” Gertrude Stein’s Tender Buttons, bill bissett’s “text bites,” and John Agard’s “I Ain’t No Oxford Don” question rules of grammar and synaptic normality. By the way, these poems disrupt words, use non-standard prose, and have ambiguous interpretations they break the rules of grammar and disrupt the formal laws of language, inducing new ways of about the how one produces meaning.

First of all, the author points out that punctuation in Stein's work makes her passage difficult to follow by readers. Nevertheless, the lecture challenged this point by arguing that punctuation is not necessary for assessing poetry. Without much of those conventional techniques, Stein's work also won many awards and became literary influential.

Monica Ferrell’s, “Of the Irresoubleness of Diamonds," “Harmless, As Recalled by a Fairy Tale," “Gerburt des Monicakinds," and “Beautiful Funeral” each employ four different grammatical issues such as attributive adjectives, finite-verb strings, non-finite verb strings, active voice and the known-new contract throughout her poems. By incorporating these grammatical issues into her work, Ferrell intends to develop a clear and sharp image to ignite the imagination of her readers. The poems “Of the Irresoubleness of Diamonds," “Harmless, As Recalled by a Fairy Tale," “Gerburt des Monicakinds”and “Anatomy ” were written by poet and novelist Monica Ferrell. Ferrell’s poems are raphsodic she uses pathos to convey her emotions related

There was a frequent reference to “a poet” whose work was widely respected in this novel. The Count de Satigny (who was Esteban Trueba’s ‘suitable’ choice of a husband for Blanca) referred to the work of the poet as “the best poetry ever written, and nothing could compare to it”. When Jaime and Nicholas became adults, the poet became more widely accepted as Clara had formerly predicted the first time she heard him recite in his ‘telluric voice’ in one of her literary soireés. It was evident that the poet lived and wrote about the right of the citizens to live their lives the way they wanted to, making their own decisions and expressing their own opinions without being controlled. For this reason, the funeral of such a poet became “the symbolic burial of freedom”.

In this essay, I will be exploring how the theme of humanity is presented in the poems The Tyger, Prayer Before Birth and If- and how it affects the portrayal of characters through language.