For example, he begins by addressing the listener as “dear” in a heavily sarcastic tone we feel is bitter and angry. However, in ‘The Clown Punk’ we never hear the voice of the punk. The effect of
He wonders why he is so mean with Hassan and although he regrets, he cannot stop being like that, and in some instances he even justifies himself. The phrase “He’s only a Hazara” said by Amir after not helping Hassan when he is sexually attacked, is an evidence of that. As stated at the beginnig, betrayal is also the main theme in the poem of the same name written by Frank P. Whyte. This theme is developed through it as it occurs
The punk of this poem appears to conform to expectation in terms of his behaviour: he ‘slathers his daft mush on the windscreen’ presumably with the intention to shock and frighten. He is an outsider – not only to the car but also to established society. Yet the title of the poem brings together two equally visually striking figures: the clown and the punk. Armitage uses a simile to suggest that the punk is a figure to be subtly mocked (‘like a basket of washing that got up and walked’). He assumes that we will immediately laugh and, instead, describes a rather pathetic image of the man as he ages, looking ridiculous with his ‘deflated face and shrunken scalp’.
In the Clown Punk the imagery, “the deflated face...” the Narrator uses descriptive language for the reader to picture what this ‘Clown Punk’ could look like this is underline by the use of the word ‘deflated ’this is a real feel of ‘Clown Punk’ and gives the reader some sympathy toward him. In
Like many of Armitage's darker poems this also has a hint of macabre, his use of juxtaposition doesn't lessen the impact but makes it stand out as all the more terrible. If we look closer we see that the third stanza starts with a direct question to the onlooker, 'so when will you come?' which I read as a desperate plea for help, hence the comparison between shaking crumbs and fighting for life. The repetition of 'trying' and use of end-rhyme in the fourth stanza add further emphasis to this sense of impending doom and anxiety. The heat of the fires behind him are 'bullying' him towards his death, 'driving' him, although he is not yet ready to surrender.
In this passage, Golding continues to present Piggy as an outsider. Through the use of simple and short sentence Golding powerfully portrays, ‘Piggy lost his temper’ as a strange occurrence which symbolises that their democracy is not working. The single line paragraphing exhibits the pace of this passage and demonstrates how quickly their primary ideals have fallen apart. Through this, Golding powerfully portrays and suggests that other ideals will similarly fall apart just as quickly, as well as hinting to the reader that the boys’ situation will get worse. Golding uses the verbs ‘tucked’ and ‘crouched’ to suggest that Piggy is putting himself in a protective position as he is the only one who grasps the direness of their situation.
Attitudes/themes/ideas either frightening or comic narrator warns, "don't laugh”. poem creates a pathetic figure, who will be "deflated” by the years. dismissive tone - suggested in descriptive phrases like "basket of washing” and "daft mush” ^ used to make the punk seem less threatening to the children in the car? Comparisons Give Each of the main characters in these two poems is someone who is not a part of conventional society: Both characters make a scene by getting too close to an audience. Horse Whisperer Both poems bring us face to face with an unusual character and let us learn something about them: focus on physical detail in both poems: suggestion of a change over time, in the main
Sonnet 29 This sonnet, which introduces notes of disquiet and despondency, follows on from two which recount the pain of separation. In the first line, the poet assumes himself to be "in disgrace with fortune," as having bad luck. He also feels in disgrace with "men's eyes," implying that the general public looks on him unfavourably which is is enforced in line 2, when he bemoans his "outcast state." Lines 3-4 make allusion to Job of the Old Testament in the Bible, who was cast out onto a dung heap and called to a God who didn't listen. The poet finds himself in the same situation: Heaven personified is God, and in this case he is "deaf," making the poet's cries "bootless," or useless.
Larkin`s pessimistic view of the world is so deep, that it is almost impossible to find a single positive line in his dreary poems. Pessimistic poems usually have a ray of hope in the end. This is clearly not the case when it comes to Philip Larkin. In his poem, “This be the Verse”, he starts with one of the most depressing lines I have ever read: “They fuck you up, your mum and dad. “ He generalizes his own view of bad parenting and wants to convince you that this happens with every child.
Shakespeare had to make recourse to a wholly artificial device in order to show Hamlet in action, or inaction – the soliloquy. Another strain that goes through Hamlet, and a disturbing one, is the abuse by Hamlet of his former beloved and his mother, Ophelia and Gertrude. In his scenes with Ophelia, Hamlet is relentlessly cruel, charging her with a lustful nature, a dishonest heart, a dissembling appearance, and so on. He builds up, in scene three, to an utterly misogynistic rant, beginning, “I have heard of your paintings well enough.” Men in the English Renaissance were obsessed with women’s make-up, which they took to be a symbol of feminine wiles, excuses, manipulations, artifices, and hypocrisies. Shakespeare, especially, has a long rhetorical history with this line of vitriol; it shows up in many of his plays and features strongly in his Sonnets.