Theme Of Isolation In The Caretaker By Ghilip Larkin

The atmospheric conditions may represent the hardships that the couple had to go through in their relationship, and may also be used contrast the unpredictability of the outside world compared to the steady relationship that the couple have. ‘A Youth Mowing’ is also a poem about relationships, this time it is between a younger couple. The river ‘Isar’ is a symbol of freedom, it represents the way that the men’s lives are. However, this sense of liberty is broken by the ‘swish of the scythe-strokes’ as the girl takes ‘four sharp breaths.’ Sibilance is used to show that there is a sinister undertone to the freedom that the boy has which will be broken by the news that his girlfriend is bringing. She feels guilty for ‘what’s in store,’ as now the boy will have to be committed to spending the rest of his life with her, and paying the price for the fun that they had.

Images of confinement and escape in “The Story of an Hour” by Kate Chopin. Is shown all throughout the story, Mrs. Mallard felt trapped she did not seem happy at all. The feeling of freedom seemed to take over Mrs. Mallard body. Her exhaustion seems to confine her so when Mrs. Mallard heard the news about her husband. All she could think of is being alone and confining herself in a room where she can express how she truly feels. Mrs. Mallard felt tied down and exhausted from being trapped. Instead of her

‘Up the Wall’ by Bruce Dawe and ‘In the Park’ by Gwen Harwood both utilise the structure of the poem, dialogue and imagery to explore the idea of personal limitation and the loss of identity and love that accompanies maternal and domestic responsibility. Both poems have a third person persona where the use of “She” can indicate the mother’s universal sense of alienation and drudgery, which is further emphasised through the miserable and despairing tones of the poem. The incorporation of a generalised, impersonal pronoun adds to the evident struggle of separating her maternal identity from her identity as an individual. The poem ‘In the Park’ by Gwen Harwood is constructed in the form of a Petrarchan sonnet with an iambic pentameter and a rhyme

When isolated from society, loneliness becomes a part of you. In the poems, The Wife’s Lament translated by Ann Stanford and The Seafarer translated by Burton Raffel, are two similar and different poems. The characters in these poems handle their exiles in different ways. The way the two characters reflect from their exile is based off Anglo-Saxon values and beliefs. These poems compare and contrast the exile between men and women.

The further the poem is read, the more consuming the impacts of separation becomes to the narrator until they now desire to recede from their past. The title of the poem confirms this desire through insinuating that the path of separation that they are on is perpetual and therefore, shows no clear destination. This ending consequently leaves a feeling of hopelessness for the reader that is meant to mimic the hopelessness that the narrator feels over their situation. However, in the conclusion of my personal response, I recognize the impacts of separation and the need to correct them. Whilst not wanting to vanish from society, I admit to the difficulty of returning to society due to now being accustomed to the feeling of separation and the nothingness that it creates within me.

The concept of the malign nature of the tenement is developed throughout the first stanza with Crichton Smith exploring his own role in his mother 's confinement. He tells the reader that whilst he drove away, his mother would 'wave from the window. ' Again the poet successfully employs alliterative words to draw our attention - this time to the image of his frail mother still lovingly 'waving ' from her prison 'window '. This notion is supported by Crichton Smith comparing himself to

The use of symbolism and imagery is beautifully orchestrated in a magnificent dance of emotion that is resonated throughout the poem. The two main ideas that are keen to resurface are that of personal growth and freedom. Furthermore, at first glimpse this can be seen as a simple poem about a women’s struggle with her counterpart. However, this meaning can be interpreted more profoundly than just the causality of a bad relationship.

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.

The theme of emptiness is seen throughout Thomas’ poems. The wartime poet writes of his memory of livelihood and activity in villages, such as the one described in ‘Aspens’, and then how it begins to disappear as a result of war. This is shown as the village is left with a ‘lightless pane and footless road’ causing the village to appear as ‘empty as sky’ and this simile gives a sense of vastness of the effects of the war, emphasising on the emptiness in the poem. Further, the mention of the ‘cross-roads to a ghostly room’ explicates that the village is so empty that it is leading nowhere. This metaphor is ironic as cross-roads are suggestively open gateways and a sense of choice in direction. However this connotation is altered as Thomas uses the metaphor ‘ghostly room’, to portray the vacant village and this is supported by the cross-roads as they lead to emptiness and isolation. This is also seen in ‘Old Man’ as the paradox ‘only an avenue, dark, nameless, without end’ gives a sense of no lead despite the fact that an avenue should lead somewhere. It is clear here that Thomas’ state of depression is

In Laurence Ralph’s Renegade Dreams, the citizens in Eastwood are susceptible to isolation due the physical injuries and social injuries. My main argument is, the physical injuries and social injuries have impacted their daily lives and have made some residents isolated from others around them. The theme of isolation plays a role in throughout the book as the residents use isolation to motivate themselves and pursue their dreams. This dream is curated from different residents such as Justin Cone, Blizzard, and the gangs (Divine Knights). In the essay, the topics covered are the stories of the characters and the context of isolation in motivating residents to achieve their dreams. This idea can be explained through the ethnographic data, in text citations, and the stories of the characters.

The speaker refers to the night as his acquaintance. This implies that the speaker has a lot of experience with the night, but has not become friends with it. Thus, because even the night, which has been alongside the speaker in comparison to anything or anyone else, is not a companion to the speaker, the idea of loneliness is enhanced. In addition, “rain” (2) is used to symbolize the speaker’s feelings of gloom and grief, because there is continuous pouring of the rain, which is unlikely to stop. In line 3, “city light” is used to convey the emotional distance between the speaker and society. Although the speaker has walked extensively, he has not yet interacted with anyone – thus distancing himself even further from society. Moreover, the moon, in lines 11 to 12, is used as a metaphor of the speaker’s feelings. The speaker feels extremely distant from society that he feels “unearthly.” The idea of isolation and loneliness in this poem is used as the theme of the poem; and the use of the setting and metaphors underscores the idea that the speaker feels abandoned from society.

As the speaker casually calls their parents, a setting of calm expectations is established. While greeting the speaker, the mother’s decision to “run out and get” (1) the father highlights the lack of urgency that is present. The mother is calm and fetches the father in an expected and relaxed fashion, further establishing the calm expectations of the ongoing call. The mother additionally states that “the weather here’s so good” (2). Heaney’s use of the word “good” reflects the setting of the mother and father’s home; the atmosphere of where they live is pleasant and unperturbed. The “weather” serves as a projection of the father’s own state, implying that the father is in good health and that death is not yet looming over him. The last spoken words in the poem reveal that the father was conducting “a bit of weeding” (3). The word “weeding” highlights the capability of the

The children are the ‘we’ of the first half of the poem. They “loved it” (5) when the mother kicked out their father and were “glad” (1) at the result of divorce. When their father lost his job they “grinned” (4) and were “tickled” (line 7) with pleasure as they watched their father’s world crash down around him. The sympathy conveyed through the narrative sits with the mother and children during the first half of the poem. As the daughter begins to speak in present terms, and the “you” (1,3) suddenly is now “father” (17), the poem undertakes a dramatic shift. Sympathy begins to surface, from the reader, for the “bums in doorways” (18) who begin to take on a victimized persona with their hands depicted as useless “flippers” (21) attached to their “slug” (19) bodies. It is not to say that the speaker has forgotten the cruel insensitive man that she recalls in the first part of the poem, but the father is now not the only villain and the mother and children are not the only sufferers.

By examining the poetic devices and how Whitman uses them to heighten the sense of death and different facets of grief it becomes obvious that while both poems intimately explore death, grief, and morbidity, When Lilacs last in the Dooryard Bloom'd presents a more generalized, transcendental, mournful representation of grief, the poem Out of the Cradle Endlessly rocking confronts the reader with the stark pain and reality of death

Judith Wright extensively uses the structure of her poems to convey many ideas and themes. The structure of a poem is crucial to delivering its key message as it determines both the tone and how the poem is read. She shows the reader throughout the poem how the dust, which is symbolic of the barren emptiness that has “overtaken… dreams” of beauty and comfort as well as financial dependence, will consume the earth if the current environment is not conserved and protected. Wright’s use of title emphasizes this point in the clearest way she can and re-enforces her major concept to the audience. Another example of how structure is used in this poem is juxtaposition. The first and second stanzas are strategically placed next to each other because of their greatly opposing descriptions. In stanza one, the new world of dust and wind, many negative adjectives are used, such as “harsh”, “grief” and “steel-shocked”. Stanza two, which talks about the past, contains a wide range of positive adjectives such as “good”, “kinder” and “beautiful”.