The Haunter Imaginatively, and most pathetically, Hardy writes this plaintive and moving poem from the point of view of Emma. It is written in the first person, with her as the imaginary narrator. It is almost as if, in putting these words in the mouth of Emma (who, in the poem, sees Hardy as oblivious of her presence) Hardy is trying to reassure himself that she forgives him and continues to love him. Detailed commentary Though Hardy does not know it, Emma's phantom follows him in his meanderings, hearing, but unable to respond to, the remarks he addresses to her in his grief. When Emma was able to answer Hardy did not address her so frankly; when she expressed a wish to accompany him Hardy would become reluctant to go anywhere - but now he does wish she were with him.
Let me count the ways.” (Line 1 Sonnet 43) The use of first person, authenticates that both poems are written for a personal response, this however cannot be seen in ‘Romeo and Juliet’ apart from when the characters speak. The use of alliteration in ‘Sonnet 43’, confirms that the poem was written for Browning’s lover. The repetition of “I love thee...” Shows it’s a personal poem for her true love. However, ‘Valentine’ could be interpreted as an open poem to allow the readers to understand the experiences Duffy has faced. The use of “...we are, for as long as we are.” (Line 16 and 17) Shows that Duffy is inviting her readers into the poem to help reflect upon how she feels.
The narrator explains in the first line that he “may cease to be” and rushes to include he is afraid to die “before [his] pen has glean’d [his] teeming brain”. It almost seems as though Keats was unable to fit his ideas neatly into spaced lines, with punctuation marks because he is afraid to lose valuable time while he is still living. In Longfellow’s poem, however, pauses, punctuation and composition of multiple sentences produce a relaxed tone and overall feel of the poem. The poem is filled with caesuras that decrease the entire speed of the poem. “Half of my life is gone,” the comma allows for a pause and a deep breath to continue on to say “and I have let the years slip from me”.
The use of the term “I do not” as opposed to the abbreviation “I don’t” is very successful as it creates a harsh monosyllabic rhythm and a hollow, eerie tone. Moreover, the Pugh poem can help us to illuminate Duffy’s presentation of childhood as a loss of innocence as Pugh writes “snow unbroken and not long to crunch… it”. Pugh’s use of a metaphor shows how childhood
“Not a day since then I haven’t whished him dead”-Havisham This is very effective as the aggressive tone shows “Havisham” has been rejected and her love is causing her pain. Similarly in “Valentine” “Carol Ann Duffy” uses a very forceful tone with words like “here” and “take it” which tells us her lover is not being very co-operative and like “Havisham” suggests a degree of pain within there love. The theme of love is taken to a deeper level by “Carol Ann Duffy” when she shows through literary techniques that the pain of love can be dangerous. The theme of love is contrasted by violent metaphors in both poems. “Ropes on the back of my hands I could strangle with”-Havisham This is another example of the pain of love and it is particularly effective as it shows the extreme physical tension within “Havisham” and describes the pain of love as a driving force of murder.
In order to emphasise Larkin’s outlooks onto time and it’s passing, one can highlight the similarities and differences between Larkin and Abse’s poetry. In ‘Love Songs In Age’, Larkin illustrates the view that time and it’s passing merely leads to many disappointments. The enjambment he uses amongst all three stanzas, “and stood/relearning” in the first and second and “more/the glare” between the second and third; this implies the suggestion that love cannot stop the passing of time and the instances that happen within it, for example the death of the woman’s husband. During the first stanza, Larkin uses imagery to create a memoir of the music sheets that the woman has found, “one marked in circles”, “and coloured”, suggesting that the joy of life, love and happiness isn’t appreciated until age shows what one has missed during their youth. We can then imply from this suggestion that Larkin feels time is only appreciated during the older years of one’s life.
‘Maude Clare’ has an intrusive narrator who tells the story of a wedding day and a rejected lover. This omniscient narrator actually only gives us three stanzas and the rest of the poem is speech. The narrative voice starts with the mother, Maude Clare, Thomas, Maude Clare again and finally Nell. The effect of this dialogue is that it is like watching a scene in a play rather than reading a poem. In this conversation the poet uses colloquial language to bring the characters alive.
But although it is the shortest it is also the most important part, because that is the first time you get a sense on what Biss actually feel. She expresses her own feelings to the subject, and it is also the passage that moves you to Biss’s thoughts and ideas behind the essay. Then she goes on telling the story her dad had passed on to her about her grandfather falling from a telephone pole and breaking his back. The innocent stories from her childhood and how she thought the poles were beautiful. “Now, I tell my sister, these poles, there wires do not look the same to me.
More toward the end of the musical, Leo and Lucille both sing a song called, All The Wasted Time. The song starts out slow and melodious, then it speeds up and shows the resolution of Leo and Lucille's marriage. Admitting that they both "never knew anything at all" (page 236) implies that they each have a better hold on their relationship. Conclusively, Leo realizes that he needs his wife as much as she needs him. The second issue of social justice I'm going to address is this prevalent one of Anti-Semitism; it is well depicted in 'You don't Know This
In the first stanza of the poem, the young man is attempting to persuade the young woman to stop coyly refuting his advances, desperately explaining that there is not enough time for such an act. “Had we but world enough, and time, this coyness, lady, were no crime.” (230) He explains to her that in a perfect world, neither time nor space would weaken his affections for her. “I would Love you ten years before the Flood, and you should, if you please, refuse till the conversion of the Jews.” (230) In this passage, he is remarking that he would love her from the beginning of time until the end. The young man then goes on to describe a world free from the constraints of time, a world where they will live forever, and they will be able to enjoy each other for eternity. ”An hundred years should go to praise thine eyes and on thy forehead gaze, Two hundred to adore each breast, but thirty thousand to the rest.” (231) In this perfect dream world, time does not exist.