1. Look up the Latin quotation from the Roman poet Horace. What does the title mean? How does the poem comment on this statement?
It means "It is sweet and right."
The poet later in the poem applies the saying to the man who had succumb to death as a result of fighting for his country in the war that is made apparent. It is stated at the end after it is expressed that the man who was hit died, but he dies serving his country.
2. List the elements of the poem that seem not beautiful and are therefore "unpoetic." Are there any elements of beauty in the poem?
Things such as "Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on haunting flares (2) we turned our backs And towards our distant rest (3) began to trudge," and "As under a green sea, I saw him drowning. In all my dreams, before my helpless sight, He plunges at me, guttering, (11) choking, drowning." They accurately depict the gore of war but are less than poetic in the purest sense.
The beauty that can be seen in this poem is only beautiful to an eye that looks for the small things that make these men different, their courage, bravery, and willingness to fight for their country.
War as a whole is not beautiful, but it takes a beautiful person to sacrifice their life for the sake of others and hope that they will benefit from their willingness.
3. How do the comparisons in lines 1, 14, 20, 23-24 contribute to the effectiveness of the poem?
They express the overall theme of the gore and gruesome nature of war and how ugly it is up close, when one would otherwise just think war is killing, these lines go into great depth in expressing the unrelenting nature of war.
4. What does the poem gain by moving from plural pronouns and the past tense to singular pronouns and the present tense? How does this shift impact meaning?
It goes from a viewpoint that would be a commonality between all the men that are there, but when the shift occurs it not only shows that the scene can change very fast, but it also becomes a personal experience since everyone processes stressful and sudden events differently.
The shift impacts the meaning by personalizing the experience to one man, which allows the reader to infer that all of the other men have their own viewpoint, further communicating the hardships of war but from a personal standpoint.
5. Identify the similes and how their purpose in the poem.
"Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares(2) we turned our backs And towards our distant rest(3) began to trudge."
"...And flound'ring like a man in fire or lime..."
"...His hanging face, like a devil's sick of sin..."
"...Obscene as cancer, bitter as the cud..."
It further describes the relentless nature of war and its effects on the soldiers. It is a cancer, cruel and deadly, it is as bitter as the smell of regurgitated cud from a cow's stomach.
TPCASTT-
Title: Without the translation, I would have no idea what the poem would entail, but if I had to take a stab at it I would probably guess that it contained something wise and official, hence the other language for a title of an English poem.
Paraphrase: Crippled, yet they are still in their youth, relentlessly trudging onward. A troubling situation arises, an urgent one, requiring a spontaneous course of action that will attempt to preserve their lives. They scramble to escape their accuser, but one man finds it inescapable. The gruesome reality of his life light's soon diminishing is visible by everyone around. The bitter and relentless nature of war snuffs out all the lives that it can. All is not lost though, because "It is sweet and right to die for your country."
Connotation: The words in this poem employ grotesque imagery and similes to paint a truthful and gruesome depiction of the true nature of war. It helps one to see the reality of war while showing the positive attitude held tightly by the soldiers even in their times of despair and pain to fight for what they believe in.
Attitude: There are two main attitudes in this poem, the more positive one only being expressed in the last three or four lines of the third stanza. The first one, present throughout most of the poem is one of solemn detestation, mainly focused on the war and its effects on strong men. The briefly depicted attitude is one of pride and prestige in reference to how the men are recognized or treated for their sacrifice that can often ask of them their lives.
Shifts: There is a shift at the end of the poem from talking about the worse effects of war to a more respectable aspect of how men who offer their service are memorialized for their willingness to fight for that which they love most, their country.
Title: The title of this poem gives personality to military men, who are often looked at as uniform and emotionless, it opens a rift and allows the true feelings and intentions of military men, showing their selflessness and defensiveness they have for their country and everyone in it.
Theme: Selflessness can be seen in the gloomiest and most destructive situations, and willingness to serve in dangerous situations is not always the result of mindless ignorance to the cost of what such people are buying into.
Monday, March 9, 2015
Sunday, March 8, 2015
Mirror Discussion Questions
1. The personified mirror in Plath’s poem calls candles and the moon “liars.” What connotative information on the two might help explain this disparaging tone of the mirror?
The mirror acts as if it chooses to reflect everything that it sees. It has no choice but to reflect what it sees, and the face that it claims that it does it willingly, that it is so great and that it sees everything the way that it is elevates it above the moon and candles. The demeaning of the moon could be because of the fact that it does not give off its own light but rather reflects, much like the mirror, which in turn shows the deception or ignorance of the mirror altogether. The candle only gives off light if it is helped to become on fire, it does not emit light just by being a candle, but it requires a flame to become a source of light. The mirror is much like the candle, too. The mirror absolutely requires a light source to be able to "see" anything. In its personification it is able to have a disparaging tone toward the moon and candle because the candle and moon are not given a voice, but if they did have one, they would agree that the real liar is indeed the mirror. The mirror says that it is important to the woman, but who's to say that the candle is not the most important to her because it gives off the light so that the mirror can reflect her form, or the moon that it provides a soft, natural light?
2. Consider the metaphors and their associated verbs “meditate” and “reflect” that the human-like mirror uses to describe itself. Do you think this is the same kind of meditation and reflection that the woman does when she “bends over” the mirror and rewards it “with tears and an agitation of hands”?
No, the mirror's meditate is restricted by the amount of light that it is presented with, it has no more depth or object to ponder on if it is not allowed to see it with available light or if it is not contained between the four corners it boasts about. The woman can engage in thoughts, engage in contemplation to achieve a higher standing in terms of her spiritual awareness, therefore grasping things that are not visible to her, whether in her physical sight or contained within her own mind. Reflection takes on a primitive meaning in the context of the mirror, it can only throw back light, it can only manifest within its four corners what it is again allowed to by the presence of light. The woman is able to, in terms of reflection, think quietly and express a thought or outline something that she has experienced even when it is not tangibly in her presence. The mirror may meditate on the woman only as light would allow, and can only reflect the superficial truth of her. Respectively, the woman can meditate on deep things that are hidden from the mirror's eye, and reflect on things that require no light, things that are of though and of concern that only true humans possess, not something that a stuck up mirror thinks that it "knows" by "seeing."
3. How is the gustatory image of the mirror “swallowing” everything it sees at the beginning related to the visual one of the drowned young girl and the simile at the end of the poem?
What the girl sees is held within the mirror, nothing that she does not possess is present in her reflection, the reflection is just as she is, what she looks like. The mirror "swallowing" her could be linked to the visual image of the mirror drowning the young girl but viewing the girl, or woman, over a long period of time and not a single instance in which this mirror is speaking. The mirror is most likely noting how it is present throughout the girl's life, swallowing the fragments and pieces that it sees of her, drowning her slowly, making her older, drowning her youth if you will. Her youth waning is clearly expresses while continuing the visual image of the lake by describing her as a terrible fish, growing older and soggier as the days go by.
The mirror acts as if it chooses to reflect everything that it sees. It has no choice but to reflect what it sees, and the face that it claims that it does it willingly, that it is so great and that it sees everything the way that it is elevates it above the moon and candles. The demeaning of the moon could be because of the fact that it does not give off its own light but rather reflects, much like the mirror, which in turn shows the deception or ignorance of the mirror altogether. The candle only gives off light if it is helped to become on fire, it does not emit light just by being a candle, but it requires a flame to become a source of light. The mirror is much like the candle, too. The mirror absolutely requires a light source to be able to "see" anything. In its personification it is able to have a disparaging tone toward the moon and candle because the candle and moon are not given a voice, but if they did have one, they would agree that the real liar is indeed the mirror. The mirror says that it is important to the woman, but who's to say that the candle is not the most important to her because it gives off the light so that the mirror can reflect her form, or the moon that it provides a soft, natural light?
2. Consider the metaphors and their associated verbs “meditate” and “reflect” that the human-like mirror uses to describe itself. Do you think this is the same kind of meditation and reflection that the woman does when she “bends over” the mirror and rewards it “with tears and an agitation of hands”?
No, the mirror's meditate is restricted by the amount of light that it is presented with, it has no more depth or object to ponder on if it is not allowed to see it with available light or if it is not contained between the four corners it boasts about. The woman can engage in thoughts, engage in contemplation to achieve a higher standing in terms of her spiritual awareness, therefore grasping things that are not visible to her, whether in her physical sight or contained within her own mind. Reflection takes on a primitive meaning in the context of the mirror, it can only throw back light, it can only manifest within its four corners what it is again allowed to by the presence of light. The woman is able to, in terms of reflection, think quietly and express a thought or outline something that she has experienced even when it is not tangibly in her presence. The mirror may meditate on the woman only as light would allow, and can only reflect the superficial truth of her. Respectively, the woman can meditate on deep things that are hidden from the mirror's eye, and reflect on things that require no light, things that are of though and of concern that only true humans possess, not something that a stuck up mirror thinks that it "knows" by "seeing."
3. How is the gustatory image of the mirror “swallowing” everything it sees at the beginning related to the visual one of the drowned young girl and the simile at the end of the poem?
What the girl sees is held within the mirror, nothing that she does not possess is present in her reflection, the reflection is just as she is, what she looks like. The mirror "swallowing" her could be linked to the visual image of the mirror drowning the young girl but viewing the girl, or woman, over a long period of time and not a single instance in which this mirror is speaking. The mirror is most likely noting how it is present throughout the girl's life, swallowing the fragments and pieces that it sees of her, drowning her slowly, making her older, drowning her youth if you will. Her youth waning is clearly expresses while continuing the visual image of the lake by describing her as a terrible fish, growing older and soggier as the days go by.
Break of Day Discussion Questions
1.Who is the speaker? Who is addressed? What is the situation?
Can the speaker be identified with the poet?
The speaker is undoubtedly a lover that is parting with her beloved at the break of dawn. The situation is that the beloved is getting up, but all of the reasons to get up are invalidated by the speaker. The speaker cannot be identified with the poet since John is a man and the speaker is female.
The speaker is undoubtedly a lover that is parting with her beloved at the break of dawn. The situation is that the beloved is getting up, but all of the reasons to get up are invalidated by the speaker. The speaker cannot be identified with the poet since John is a man and the speaker is female.
2.Explain the comparison in line 7. To whom does "I"
(10-12) refer? Is "love" (15) the subject or object of "can
admit"?
Light is given the quality of being an eye which can be linked to a source of light, in this poem's case, the sun and that makes the comparison a metaphorical one linking the light to the sun that has been the source of the reason for the speaker to invalidate the protests of the speaker to get out of bed. I would refer to the woman in lines 10-12. Object, from what it looks like it is a promiscuous relationship and the fact that it would need to be admitted would suggest that it is adulterous in nature or out of wedlock.
3.Summarize the arguments used by the speaker to keep the
person addressed from leaving. What is the speaker's scale of value?
First of all she doesn't mind the fact that her and the man are sharing in the relationship, but her commitment to him makes her question or have to compete for his commitment. She is most definitely cherishing the time she has with him and does not want to share him with his business. Her scale of value has her relationship or quality time with the man somewhere near the top because she fights so hard to keep him in bed with her.
4.Are the two persons married or unmarried? Justify your
answer.
Probably not. The fact that it is mentioned that the love would have to be admitted would suggest that it is a deed done in darkness and therefore out of any form of legitimized marriage. The personification of light also indicates something that would reveal what they are doing, but since it is mute, it can only spy and reveal them in the way of sight and not hearing or telling.
Saturday, March 7, 2015
Poetry Terms
Alliteration- the occurrence of the same letter or sound at the beginning of adjacent or closely connected words.
Allusion- an expression designed to call something to mind without mentioning it explicitly; an indirect or passing reference.
Assonance- in poetry, the repetition of the sound of a vowel or diphthong in nonrhyming stressed syllables near enough to each other for the echo to be discernible (e.g., penitence, reticence ).
Ballad- a ballad is a form of verse, often a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were originally "dancing songs".
Blank Verse- a poem with no rhyme but does have iambic pentameter. This means it consists of lines of five feet, each foot being iambic, meaning two syllables long, one stressed followed by an unstressed.
Caesura- a break between words within a metrical foot (a pause near the middle of a line.)
Couplet- a pair of lines of metre in poetry. Couplets usually comprise two lines that rhyme and have the same metre. A couplet may be formal (closed) or run-on (open). In a formal (or closed) couplet, each of the two lines is end-stopped, implying that there is a grammatical pause at the end of a line of verse.
Diction- the linguistic style, the vocabulary, and the metaphors used in the writing of poetry.
End Rhyme- a rhyme that occurs in the last syllables of verses.
Enjambment- the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza.
Epic- a long, narrative poem that is usually about heroic deeds and events that are significant to the culture of the poet
Foot- a basic repeated sequence of meter composed of two or more accented or unaccented syllables. In the case of an iambic foot, the sequence is "unaccented, accented".
Free Verse- poetry that does not rhyme or have a regular meter.
Imagery- visually descriptive or figurative language, especially in a literary work or poem.
Lyric- a type of emotional songlike poetry, distinguished from dramatic and narrative poetry.
Metaphor- the comparison of one thing to another without the use of like or as: “A man is but a weak reed”; “The road was a ribbon of moonlight.”
Meter- the basic rhythmic structure of a verse or lines in verse.
Ode- a lyric poem in the form of an address to a particular subject, often elevated in style or manner and written in varied or irregular meter.
Onomatopoeia- the formation of a word from a sound associated with what is named.
Repetition- the simple repeating of a word, within a sentence or a poetical line, with no particular placement of the words, in order to secure emphasis.
Rhyme Scheme- the pattern of rhymes at the end of each line of a poem or song.
Rhythm- stressed and unstressed syllables used in poetry.
Simile- a figure of speech in which two unlike things are explicitly compared, as in “she is like a rose."
Sonnet- a poem of fourteen lines using any of a number of formal rhyme schemes, in English typically having ten syllables per line.
Stanza- a group of lines forming the basic recurring metrical unit in a poem; a verse.
Stress- the emphasis that falls on certain syllables and not others; the arrangement of stresses within a poem is the foundation of poetic rhythm.
Theme(s)- the statement the poem/poet makes about its subject mainly communicated by diction and tone.
Tone- the mood a poem creates in a reader.
Verse- a single metrical line in a poetic composition. Verse has also come to represent any division or grouping of words in a poetic composition, with groupings traditionally having been referred to as stanzas.
Volta- the turn of thought or argument: in Petrarchan or Italian sonnets it occurs between the octave and the sestet, and in Shakespearean or English before the final couplet.
Allusion- an expression designed to call something to mind without mentioning it explicitly; an indirect or passing reference.
Assonance- in poetry, the repetition of the sound of a vowel or diphthong in nonrhyming stressed syllables near enough to each other for the echo to be discernible (e.g., penitence, reticence ).
Ballad- a ballad is a form of verse, often a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were originally "dancing songs".
Blank Verse- a poem with no rhyme but does have iambic pentameter. This means it consists of lines of five feet, each foot being iambic, meaning two syllables long, one stressed followed by an unstressed.
Caesura- a break between words within a metrical foot (a pause near the middle of a line.)
Couplet- a pair of lines of metre in poetry. Couplets usually comprise two lines that rhyme and have the same metre. A couplet may be formal (closed) or run-on (open). In a formal (or closed) couplet, each of the two lines is end-stopped, implying that there is a grammatical pause at the end of a line of verse.
Diction- the linguistic style, the vocabulary, and the metaphors used in the writing of poetry.
End Rhyme- a rhyme that occurs in the last syllables of verses.
Enjambment- the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza.
Epic- a long, narrative poem that is usually about heroic deeds and events that are significant to the culture of the poet
Foot- a basic repeated sequence of meter composed of two or more accented or unaccented syllables. In the case of an iambic foot, the sequence is "unaccented, accented".
Free Verse- poetry that does not rhyme or have a regular meter.
Imagery- visually descriptive or figurative language, especially in a literary work or poem.
Lyric- a type of emotional songlike poetry, distinguished from dramatic and narrative poetry.
Metaphor- the comparison of one thing to another without the use of like or as: “A man is but a weak reed”; “The road was a ribbon of moonlight.”
Meter- the basic rhythmic structure of a verse or lines in verse.
Ode- a lyric poem in the form of an address to a particular subject, often elevated in style or manner and written in varied or irregular meter.
Onomatopoeia- the formation of a word from a sound associated with what is named.
Repetition- the simple repeating of a word, within a sentence or a poetical line, with no particular placement of the words, in order to secure emphasis.
Rhyme Scheme- the pattern of rhymes at the end of each line of a poem or song.
Rhythm- stressed and unstressed syllables used in poetry.
Simile- a figure of speech in which two unlike things are explicitly compared, as in “she is like a rose."
Sonnet- a poem of fourteen lines using any of a number of formal rhyme schemes, in English typically having ten syllables per line.
Stanza- a group of lines forming the basic recurring metrical unit in a poem; a verse.
Stress- the emphasis that falls on certain syllables and not others; the arrangement of stresses within a poem is the foundation of poetic rhythm.
Theme(s)- the statement the poem/poet makes about its subject mainly communicated by diction and tone.
Tone- the mood a poem creates in a reader.
Verse- a single metrical line in a poetic composition. Verse has also come to represent any division or grouping of words in a poetic composition, with groupings traditionally having been referred to as stanzas.
Volta- the turn of thought or argument: in Petrarchan or Italian sonnets it occurs between the octave and the sestet, and in Shakespearean or English before the final couplet.
Tuesday, March 3, 2015
Shall I compare thee to a summer’s day? (Sonnet 18) Discussion Questions
1. Based on this poem, what does the speaker think about the recipient?
They are very fond of the person in whom they speak of, to them there is nothing like them.
2. Do you notice any connections between the comparisons the poem makes or are they just things to say about a summer's day?
There are comparisons that are somewhat negative when pertaining to the summer, but when it is in reference to the person being compared to it, they are everything good about it, but a never fading version of it.
3. What are the specific points of comparison between the recipient and a summer's day, and how does the recipient stack up in the comparison?
"...Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date. Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed;
And every fair from fair sometime declines, By chance, or nature’s changing course, untrimmed; But thy eternal summer shall not fade..."
All of the other details are expressed while telling of their flaws or short life during the course of the summer season while preserving the image of the beloved on who is being compared as timeless and unchanging, not effected by time, their beauty is eternally the beautiful parts of summer.
And every fair from fair sometime declines, By chance, or nature’s changing course, untrimmed; But thy eternal summer shall not fade..."
All of the other details are expressed while telling of their flaws or short life during the course of the summer season while preserving the image of the beloved on who is being compared as timeless and unchanging, not effected by time, their beauty is eternally the beautiful parts of summer.
4. Does the poem have a purpose? Does the speaker want something from the recipient? Does he want to say something special to him or her?
The poem's purpose is most likely to express some deep feelings toward the recipient, most obviously feelings of awestruck wonder in relation to their beauty.
If anything, the speaker would only want to invoke or recite their feelings to the recipient in order to provoke a response that might be leading up to a marriage proposal.
The speaker most definitely wants to say something special to the recipient because of the emotion poured into the descriptions and comparisons.
If anything, the speaker would only want to invoke or recite their feelings to the recipient in order to provoke a response that might be leading up to a marriage proposal.
The speaker most definitely wants to say something special to the recipient because of the emotion poured into the descriptions and comparisons.
5. According to the speaker, exactly what is it about the recipient that makes him or her so wonderful?
Their eternal beauty will never fade, they will never lose possession of how fair they are.
6. Can we tell from the poem whether the speaker or the recipient is a man or woman? How can we tell, or why can't we?
If the time period were taken into consideration, a conclusion can be drawn that would mean that the most likely gender to speak in such a way would be a man trying to woo his beloved mistress.
We can tell because a woman would not usually make such a comparison or use such words to describe a man, but would more describe woman, rough winds and all.
We can tell because a woman would not usually make such a comparison or use such words to describe a man, but would more describe woman, rough winds and all.
7. Is the poem one continuous statement, or can it be broken into parts? If it can be broken up, where are the breaks and what happens in each part?
It could effectively be broken up into parts but when stated as a continuous statement it conveys a sense of overall overwhelmed state of emotion that would otherwise be fragmented if the poem was to be separated into parts.
8. The poem begins more or less literally comparing the person being addressed to "a summer's day," but shifts at line 9 from the possible to impossible. Consider the reader impact and what the poem gains by this shift in meaning; interpret and explain.
As cliché as it may sound, love makes the impossible possible, it overwhelms the senses and causes an unrealistic quality to be attributed to the object of the affection. The impact that it has is that there are not enough reasonable and possible things to compare the recipient to so the speaker has to resort to more unrealistic comparisons and descriptions to try and put his feelings into words.
Glory TPCASTT
Title: This title could be analyzed to mean that the following poem contains the works or achievements of someone that has renown them renown or honor, and is simply titled "Glory" to express a lack of any other word to describe what the poem encompasses.
Paraphrase: When the glory comes, it will be theirs, when the war is won, they will be sure.
Their hands are lifted to the heavens, no weapon formed against them, the glory is destined to come. The glory makes men and women legends and sets them free from sin by making them blessings. Rosa sat on the bus as defiance to that "sin" and King pointed to the mountain and they began to run. The war is not over and the victory is not theirs, they will fight until the finish and when the war is done they will have the glory and praise (God) for the victory. The place called Selma is now a free place, they rose from the dark and became heroes. They remained peaceful and still managed to win the war, the wrongs are righted and they did it together. The glory is theirs now that the war is won.
Connotation: The use of religious imagery is used as a way to express the way that they felt about how the fight against inequality was going. Rosa, along with King are patronized for their peaceful war against the inequality of America, and King being renowned for his fight until the end.
Attitude: Throughout the poem only positive attitudes are expressed whether it be confidence, reflection, or an attitude of aspiration and thankfulness for the deeds of these influential people who fight for the equality of African Americans.
Shifts: The first shift occurs around the second chorus, the war is not over and their battle isn't won, the previous statements in the second stanza are more explanatory of the course of action that had been taken thus far, however effective thus far, and then the introduction that the war is still not won brings one back from any ignorance of their progress and the glory it may have achieved. It shifts again shortly after that chorus to introduce more that would be considered part of the achievement of glory and ends with a hopeful statement of how they will act then it is all said and done.
Title: This title is more readily recognizable as how they will see glory after all their "fighting" is done. It speaks of what is to come instead of what already is, even though some glory has already been achieved on some level by the events mentioned briefly in the poem.
Theme: This poem addresses inequality in the past, in the time of MLKJ, it is mentioned about their works and actions that are in effort of fighting for equality of African Americans and Whites. The poet wants the reader to walk away with a better understanding of the mindset of these great historical leaders. Wars, especially ones concerning social issues are not always won by brute force, and is not clouded by arrogance but clarified by humility and perseverance to the set goal to achieve.
Paraphrase: When the glory comes, it will be theirs, when the war is won, they will be sure.
Their hands are lifted to the heavens, no weapon formed against them, the glory is destined to come. The glory makes men and women legends and sets them free from sin by making them blessings. Rosa sat on the bus as defiance to that "sin" and King pointed to the mountain and they began to run. The war is not over and the victory is not theirs, they will fight until the finish and when the war is done they will have the glory and praise (God) for the victory. The place called Selma is now a free place, they rose from the dark and became heroes. They remained peaceful and still managed to win the war, the wrongs are righted and they did it together. The glory is theirs now that the war is won.
Connotation: The use of religious imagery is used as a way to express the way that they felt about how the fight against inequality was going. Rosa, along with King are patronized for their peaceful war against the inequality of America, and King being renowned for his fight until the end.
Attitude: Throughout the poem only positive attitudes are expressed whether it be confidence, reflection, or an attitude of aspiration and thankfulness for the deeds of these influential people who fight for the equality of African Americans.
Shifts: The first shift occurs around the second chorus, the war is not over and their battle isn't won, the previous statements in the second stanza are more explanatory of the course of action that had been taken thus far, however effective thus far, and then the introduction that the war is still not won brings one back from any ignorance of their progress and the glory it may have achieved. It shifts again shortly after that chorus to introduce more that would be considered part of the achievement of glory and ends with a hopeful statement of how they will act then it is all said and done.
Title: This title is more readily recognizable as how they will see glory after all their "fighting" is done. It speaks of what is to come instead of what already is, even though some glory has already been achieved on some level by the events mentioned briefly in the poem.
Theme: This poem addresses inequality in the past, in the time of MLKJ, it is mentioned about their works and actions that are in effort of fighting for equality of African Americans and Whites. The poet wants the reader to walk away with a better understanding of the mindset of these great historical leaders. Wars, especially ones concerning social issues are not always won by brute force, and is not clouded by arrogance but clarified by humility and perseverance to the set goal to achieve.
Suicide's Note TPCASTT
Title: This title almost gives a personified quality to suicide that is sinister yet inviting.
Paraphrase: The calm and cool face of the river is inviting.
Connotation: Despite the title, the words used in this poem are not negative but rather express a more inviting and captivating.
Attitude: The attitude is not quite somber when considering the title but rather mellow and calm. It personifies the river and portrays it as inviting with imagery.
Shifts: If there is a shift in this poem it has to be the third line, the point where the realization of how the title and the poem fit together becomes apparent, the person who "kisses" the water is really going to drown themselves.
Title: The title depicts the way that suicide lies to the victim when paired with the poem. Its note to the victim is seemingly innocent and inviting, it will help them out of their troubles, but the price to pay is their life.
Theme: The quick fix to a problem can seem inviting, but the answer to a permanent problem does not have to be a permanent solution.
Paraphrase: The calm and cool face of the river is inviting.
Connotation: Despite the title, the words used in this poem are not negative but rather express a more inviting and captivating.
Attitude: The attitude is not quite somber when considering the title but rather mellow and calm. It personifies the river and portrays it as inviting with imagery.
Shifts: If there is a shift in this poem it has to be the third line, the point where the realization of how the title and the poem fit together becomes apparent, the person who "kisses" the water is really going to drown themselves.
Title: The title depicts the way that suicide lies to the victim when paired with the poem. Its note to the victim is seemingly innocent and inviting, it will help them out of their troubles, but the price to pay is their life.
Theme: The quick fix to a problem can seem inviting, but the answer to a permanent problem does not have to be a permanent solution.
Subscribe to:
Posts (Atom)