National personification

Timely Indulgence Often, love stories have two -if not more- sides. Both sides of this story can be seen in W.H. Auden’s poem Clocks and Lovers, in which each side has a different attitude. The attitudes of the clocks differs greatly from that of the lover, with opposite points of view. By using literary devices, the poet emphasizes both perspectives as they relate to separate groups of people and are shown simply through analysis of the poem. While the lover overzealously believes his love can

Psychoanalytic Concepts in Dylan Thomas’ Poetry A man “who [held] a beast, an angel and a madman in [him].” This accurately describes Wales-born Dylan Thomas, world renowned poet and writer. A developmental wordsmith of his time, Thomas presented the people with evolutionary compositions originated from his own personal experiences and conceptions. Although Thomas’ poetry portrays several messages involving loss of innocence and youth, his more prominent style bases itself around the Freudian concepts

was occupied when a kind gentleman named Death appears in a carriage to take her for a ride with another ride who goes by the name Immortality (“Because I could not stop for Death”) . In Emily Dickinson’s poem, Dickinson incorporates the use personification and symbols to describe her journey with/ to death. Predominantly, death is depicted as unforgiving and commonly, death is associated with the Grim Reaper who haunts its’ victims, but Dickinson’s belief is peculiar when compared to the common

poem comes across as negative, because of the comparison between the woman and the night. The impression is that this woman is dark, or scary because that is usually how night is described. The poem implies many different metaphors, imagery, personification, and comparisons involving the unnamed woman or girl. The rhythm scheme in this poem follows a consistent ABAB pattern throughout the entirety of the poem. The first stanza above shows that the rhyme scheme is ABABA, because line 1, 3, and

could not stop for Death-- He kindly waited for me.” This is personification because death cannot literally stop to wait for someone. Here, death is not associated with its usual connotations such as fear, but with peace and kindness, which is ironic. In line three, the poem reads, “The Carriage held but just Ourselves-- And Immortality.” In this line, immortality is also included in the carriage ride, contrasting death. This is personification because immortality

“Death, be not proud, though some have called thee” (Line 1), this personification is what the speaker greets Death with. The speaker pushes against Death, as if it was a real person and claims that it is not as powerful as it attempts to persuade others to believe. Death to the speaker is a weakling that has tricked others to believe that it holds the ending of one's life in its grasp. The speaker talks about how Death is an act of sleep that is one stepping stone closer to eternity, and a slave

things. On the other hand, Longfellow speaks of a regret towards his inaction for allowing time to slip away from him in his past and is at a crossroads for the ominous future that looms ahead of him. Through the use of light and dark imagery, and personification, Keats and Longfellow similarly yet also differently, reflect on their own ideas for death and the futures that lay ahead of them. The similarities between the poems lie in their abilities to utilize imagery as a means to enhance the concept of

In Macbeth, Shakespeare first builds Macbeth’s character as a courageous and capable warrior through the wounded captain’s account of his valor on the battlefield. However, this perspective is complicated as a result of Macbeth’s interaction with the three witches, in which the notion that his physical courage is accompanied with an insatiable yet empty ambition and a tendency to self-doubt becomes known. These three attributes: bravery, ambition, and self-doubt, struggle for mastery of Macbeth throughout

that are spiritually linked to the future. The inexorable passage of adulthood is established by the motif of time, indicating that life is continuously moving forward. The personification of time “guiltless minute hand” suggest that time is not responsible for our future, but we are. Additionally, the dysphemistic personification of “time was killed” foreshadows the cessation of childhood. Eventually, the

it leads Christians to a new life. The sharpness of the poem comes from the combination of the symbolic and literal use of “die” and “Death.” For example, lines 1-2 show the great use of personification along with apostrophe. Death is treated as a person who is thought of to be dreadful and mighty (personification). Donne also addresses Death directly, even though it obvious that Death cannot respond