The rhyme scheme is AABB; meaning that the first two lines of each quatrain rhyme as do the second two lines. This rhyme scheme creates a very simple and easy to follow flow for the poem. The poem is told from the point of view of an ambiguous narrator. Withholding the identity and all personal details of the speaker, makes readers able to place themselves into the poem. The first quatrain explains that the narrator at one time became angry with a friend.
The second line of ‘The Yellow Palm’ says, ‘I watched a funeral pass.’ The word ‘watched’ shows us that the poem is in the past tense. Robert Minhinnick was a Welsh poet who knows Baghdad very well and even though we notice that the poem is told in first person, this doesn’t necessarily mean that the character speaking is Robert. The final word of the line rhymes with the final word of the fourth line, ‘glass’ describing what the coffin was made of. This is significant because everyone can see into the coffin and is metaphorical to the fact that everyone can see and if affected by the urban war. The final phrase of the first six-line stanza is ‘poison gas’, which describes the brutality of the death caused by this urban war.
aspects and devices. Creativity in the English language is evident through use of text speech, occurring due to the lack of paralinguistic features in addition to the mere selection of the 136 available characters, and shown by the nuances and idioms of spoken language. In text speech, via the use of a meagre emoticon, we can instantly add facial expression to the otherwise featurelessness, of text speech. The paralinguistic device of expression is extremely important in all forms of communication, adding emotion and depth to a statement. However, an emoticon can also be used to show sarcasm, a feature of language usually only available by use of nuances, as the only method of detecting sarcasm is via tone, pitch and body language.
It’s describing the process of human life and how Dickenson finally encountered death. With the help of narrative codes and my procedures in breaking down the poem, I was able to understand “Because I Could Not” much more clearly than when I first read it. The first line, “Because I could not stop for Death, (1)” really puzzled me as I began to read this poem. Then Dickenson says, “He kindly stopped for me, (2)” which personifies death. The third line states the word carriage, which is where Dickenson used a connotative code.
The first line is “Twas brillig, and the slithy toves did Gyre and gimble in the wabe.”(Carroll, line 1-2) This gives the reader an image of the setting. “Brillig” and “slithy” toves sounds very gloomy and gross. This poem is great at giving imagery, so many people see different things. This is part of the reason he writes such weird words. With these words that no one really knows, besides the author, he gives different readers separate viewpoints of the poem.
Unlike Heaney’s translation, Raffel’s translation uses a capital letter at the beginning of every line. His use of these capital letters can be assumed to be for his unique style; however, only more confusion is created. On top of capital usage for sentence beginnings and proper nouns, his overuse of capital letters can be sometimes frustrating for the reader because it makes the last line seem as it is a complete thought, when grammatically it is not. In the end, his usage of capital letters does not pose a significant problem, but only a slight impediment. The most obvious difference between the two translations of Beowulf as the story continues is the length.
Within his works, Shakespeare writes with elaborate language but carefully includes contextual clues in the prose to aid readers in understanding. In The Tempest, Shakespeare uses poetic elements, primarily end rhyme, to draw attention to certain scenes that contain significant insight and alone have the power to affect the plot's development throughout the play. End rhyme is a powerful poetic element that sharply contrasts normal prose. Because people don't normally talk in rhyme, it stands out from everyday dialogue; a technique writers can use to their advantage to ensure the reader takes notice of significant scenes where end rhyme is used. In those scenes, end rhyme changes the tone of what the characters are saying and stresses the importance of it.
Through the uses of imagery, enjambment, and line breaks, Amabile creates a poem that flows with all three of these methods intact. The revisions of Catch And Release shows that it had evolved from a short, seven-line poem, to a full twenty-nine-line poem and through revisions, lines were added and line breaks were changed. From the second revision to the final completed poem, there is only a one-line difference, but many new line breaks were added and modified to create a better impact. In line four of the second revision, the phrase “strictly by the rules of catch and release – a cutthroat” (Revisions, 1) was removed completely because the line break appears and slows down the poem’s flow. The line break here doesn’t work because of the last word it ended on and thus creates an unwanted, jagged sense.
One of these elements of poetry is very apparent while reading some of these poems and that is element is metaphor. Metaphor is a figure of speech that compares two things that don’t have anything in common in a way that gives it commonality. Many poems throughout the book uses metaphors to help compare complex issues by tying it to an object or something that is very familiar to most people so that the once complex issue can now be understood by most. A poem that stands out a lot through the use of a metaphor is Niggerlips written by Martin Espada. The poem itself is talking about racism and how throughout generations racism has been felt in some way or form.
A verse is a poem when rhyming is involved, and the lines all clearly rhyme. All the elements work together to portray Tiberius. He was cruel, but calm