As previously mentioned she uses the words ill formed and feeble to describe her unfinished writing’s fragility. In line 10, she continues by saying, “thy visage was so irksome in my sight,” to explain the shame and discomfort that she carries with her due to the fact that her “baby” was exposed to the public still so unpolished. She applies the words blemishes, flaw, and hobbling into her diction in order to express her piece as something that is not well put together, and no matter how much she attempts to polish it, she feels as if she has failed at improving it. Lastly, Bradstreet’s characterization of her work comes to life through the evident controlling metaphor of the poem, which is claiming that her writing is her “offspring”. Throughout the entire poem, the controlling metaphor becomes this idea that her writing is her child,
This is best encapsulated in the debate as to whether Annabella can claim to be part of a “wretched, woeful woman’s tragedy” if her mistreatment was indeed her own fault. The question of love and its moralities is a large one in the play, considering the taboo nature of incest. However, what causes an even bigger discussion is perhaps the representation of women in light of love. Despite preconceptions of incest, it is undeniable that at one point or another, we as an audience sympathise with the lovers Giovanni and Annabella. Though, upon closer analysis of their interactions, it becomes obvious that their filial ties are not the only issue with their relationship; Giovanni makes it clear to Annabella that she has limited choice in their union as he declares “that you must either love, or I must die.” Previously to such a statement, Annabella had not expressed her love to such a degree, but it’s almost as if he blackmails her into believing she loves him, as her sisterly love for him would mean she would do anything for him not to kill himself.
Elizabeth Browning presents an idealistic and an optimistic view towards love and hope through sonnets I, XIV and XLIII. Although composed in two different time frames, both texts have been influenced by personal contexts in their representation of love and hope. Elizabeth Barrett Browning and Fitzgerald’s texts both explore the necessity of love in order to accomplish in life, but are hopeful in achieving their respective love but are contrastingly represented. The sole foundations for Elizabeth’s sonnets arise from her ambivalent and evolving attitude towards the patriarchal values of her society and her father’s repressive restraint on love through his extreme conservatism. She however challenges and subverts the dominant patriarchal paradigms and tropes of her society as she searches for the solution to her descent into morbid conviction.
This specific passage is a turning point in the speaker’s life, as he encounters the cruel reality of a world he’ll be forced to live in and so leaves in him a terrible memory which he will never be able to forget. The author’s use of despairing diction represents the despair which the speaker so much feels within himself, being that the two are in essence a single entity. The “murdered” faith which turned dreams to “dust” and will “never” be forgotten displays the profoundly negative effect it had on him as it. It set the trail for the inner turmoil he would still have to face and stirred newfound emotions to deal with. The shock of the experience was so intense that it set his previous deep devotion and absolution faith of the religious teachings he followed into conflict.
Heyman reveals this by the personification and gory imagery of the “deep loneliness..ploughed away at me,” and “thrown,” creates an uncomfortable and inhumane atmosphere. By casting nature to be hostile it emotively conveys to the reader her overwhelming sense of isolation. The annoyed and bitter tone of the “sky..too low, the hills too close,” reflects her pessimistic outlook and suggests her sense of confinement. This lack of freedom to express her identity further manifests her as she has no connection to friends except in her “rather small, rabid company of actors.” This unsatisfactory and derogatory perception underlines her lack of connection and ironically the only thing that sustained her was “my gumleaf,” which is symbolic to the Australian landscape. Her possessive nature over this gumleaf is rather humorous, and also causes us to sympathise with her in this disappointing state.
How has the poet challenged your thinking and broadened your understanding of the concept of belonging? Support your ideas by referring to two poems? Belongingness is the human emotional need to be an accepted member of a group. Whether it is family, or friends, humans have an inherent desire to belong and be an important part of something greater than themselves. The motive to belong is a necessity for "strong, stable relationships with other people”.
They refer to this minority as diseased or sick. The second group is the hysterical haters. The “hater” envies those who are able to act out on desires that he himself has to repress. The third group is narcissistic hate where unawareness of a group leads to contempt for them. Although Sullivan feels that this definition is not the final definition of hate, but it serves to better define the word and helps understand the true meaning behind the word.
Josie realises that her heritage is a part of who she is, “I know now that what’s important is who I feel I am”. Marchetta utilises first person narrative so that we empathise with Josie’s character and appreciate that what was first an obstacle has now become an essential part of her identity. Both Josie and Peter find it difficult to feel accepted and this causes both individuals to question where they belong. Despite trying to ignore the significance of their culture they both realise that if they don’t confront this barrier they will never entirely belong. It is evident that beyond their hesitancy they yearn to understand themselves better and thus have a clearer perception of where they
Discuss madness in relation to Charlotte Perkins Gilman’s ‘The Yellow Wallpaper’. The ‘revolting’(pg 3) paper is the eponymous metaphor of the novella. The wallpaper has layers, hidden depths and intricacies which can only be seen by close examination and only understood by the narrator by her when her obsessive interrogation of it reaches its disturbing climax. This wallpaper is an allegory which represents the complications of a woman’s position in conventional marriage behind the façade, or outer ‘pattern’(pg 3) of the sanction. Throughout the text, Gilman attempts to uncover the often disturbing truths that lurk beneath the surface of something seemingly innocent with reference to her own socio-economic philosophy; that is the economics of marriage and the nature of the mentally destructive sub-ordination of women within it.
‘Elm’ finished with the disturbing line “That kill, that kill, that kill”We can see through her callous honesty and the unsettling atmosphere that she is tormented when she says “Till your head is a stone, your pillow a little turf”. Here, she is using an image of a grave and this sense of mortality is extremely personal, many poets wouldn't write about such agitated thoughts. Her startling honesty is seen when she says “I am terrified by this dark thing”. Plath is afraid, she is desperate and she is reaching out to her readers, begging for help. Her use of words in ‘Elm’ is also interesting.