In Lying in the Hammock, numerous interpretations believe the author is representing that he has wasted his life. According to Franz Wright of the Constant Critic, the meaning that Wright was trying to convey is, “You must change your life as I have wasted my life” (Wright, Franz). A popular interpretation of Robert Frosts’ Stopping by Woods on a Snowy Evening is that the author was contemplating death or suicide. According to Jeffery Meyers of Modern American Poetry the poem is implying a “subconscious desire for death in the dark, snowy, woods” (Meyers). In On His Blindness, many interpretations focus on the negative mood and resentful tone of the poem surrounding the author’s blindness.
Explore the ways Coleridge tells his story in Part 3 of “The Rime of the Ancient Mariner.” In Part 3, the poem becomes more fantastical as the spiritual world continues to punish the Ancient Mariner and his fellow sailors. Although later in the poem Coleridge reveals that a specific spirit is responsible for their demise, it seems as though the spiritual world as a whole is punishing the men, using the natural world as its weapon: the wind refuses to blow, the ocean churns with dreadful creatures, and the sun's relentless heat chars the men. The ghost ship, however, is separate from the natural world - it sails without wind, and its inhabitants are spirits. Death and Life-in-Death are allegorical figures who become frighteningly real for the sailors, especially the Ancient Mariner, whose soul Life-in-Death "wins", thereby dooming him to a fate worse than death. Even those sailors whose souls go to hell seem freer than the Ancient Mariner; while their souls fly unencumbered out of their bodies, he is destined to be trapped in his indefinitely - a living hell.
In the novel Triage written by Scott Anderson, both Ahmet Talzani and Joaquin Morales seem to embody a fatalistic view of life, one in which reasons have to be created. Triage is ultimately a novel where there is a lack of hope. After Marks incident in Kurdistan we are instantly made to feel like the worst is yet to come with the use of strong and colourful language. Hope is distinguished when the whereabouts of Colin is unknown, and throughout Marks recovery there are constantly reminders that Mark will most likely never recover. Anderson shows that war has a damning effect on war journalists as well as soldiers, and that their loved ones and families are also heavily affected.
Caesura is used within the poem, to give a sense of inconsistency; the lack of punctuation gives this uneasy feeling, where we know that something just isn’t right. The descriptive language that is used emphasizes the sheer number of casualties, and makes the reader feel disconnected from the events being described. Dawe has offered the simile, “Telegrams tremble like leaves from a wintering tree”, to help describe the misery that we as his audience, could never fully understand. War can have devastating
T.S. Eliot portrays Prufrock’s alienation and depression by using metaphors. The use of metaphors enhances the readers’ thoughts about Prufrock’s character. The reader begins to understand Prufrock as sad and lonely. In the poem Eliot writes, “I should have been a pair of ragged claws scuttling across the floors of silent seas.” This metaphor is a depiction of Prufrock and how he wished he was a crab who lived on the bottom of the ocean.
This quote from Beowulf shows how the men in Herot are at peace until the monster, Grendel, ruins the serenity of the hall. The author implies that Grendel is a true monster and the he is evil. This, therefore, introduces the clear contrast between good and evil in Beowulf. The author of Beowulf skillfully uses the theme of Good vs. Evil to depict the differences of Grendel and the humans.
When Enkidu heard glorious Shamash his angry heart grew quiet, he called back the curse a (Sandars, N. K., trans. The Epic of Gilgamesh. London: Penguin, 1972. p. 91). This essay proposes that civilization is preferable to the primitive or innocence of an untamed wild existence. On his death bed, Enkidu curses Shamhat the temple priestess or harlot who has brought him from the wilderness into the civilized world– thus leading to his eventual death by the curse of the Gods.
In the very beginning of the soliloquy Wolsey is depicted with a bitter tone speaking of how “little good” the court had done for him. He goes on to describe the stages of one’s downfall; which in this case is symbolic to the changes of seasons and the sequence in which they take place and then proceeds to elaborate his dreary tone by speaking of his lack of depth and high blown pride that now must be hidden. The shift in Wolsey’s tone happens dramatically when he claims the world to be something in which contains glory and vanity and states that he “[hates] ye!” This phrase alone depicts Wolsey’s hostility and complex feelings. He later quickly shifts to a tone which contains one of self pity by calling himself a “wretched” man that does by the monarchy. The use of shifts in tones varying throughout the soliloquy reflects Cardinal Wolsey’s struggle to cope with such shocking news.
“Grendel came gliding, / girt with God’s anger,” (637). In using these words Grendel can be pictured as in human beast. There are further points made within the poem that show he is disgusting, “slash at the flesh, /bit through bones, /and lapped up the blood/ that gushed from veins/ as he gorged on gobbets,” (665-667). With this quote it’s very vivid what kind of monster he is seen as in the kingdom. It’s very one sided as the reader will discover there is no background information on Grendel and a reason for his actions.
“The Second Coming” The speaker describes a nightmarish scene: the falcon, turning in a widening “gyre” (spiral), cannot hear the falconer; “Things fall apart; the center cannot hold”; anarchy is loosed upon the world; “The blood-dimmed tide is loosed, and everywhere / The ceremony of innocence is drowned.” The best people, the speaker says, lack all conviction, but the worst “are full of passionate intensity.” Surely, the speaker asserts, the world is near a revelation; “Surely the Second Coming is at hand.” No sooner does he think of “the Second Coming,” then he is troubled by “a vast image of the Spiritus Mundi, or the collective spirit of mankind: somewhere in the desert, a giant sphinx (“A shape with lion body and the head of a man, / A gaze as blank and pitiless as the sun”) is moving, while the shadows of desert birds reel about it. The darkness drops again over the speaker’s sight, but he knows that the sphinx’s twenty centuries of “stony sleep” have been made a nightmare by the motions of “a rocking cradle.” And what “rough beast,” he wonders, “its hour come round at last, / Slouches towards Bethlehem to be born?” “The Second Coming” is written in a very rough iambic pentameter, but the meter is so loose, and the exceptions so frequent, that it actually seems closer to free verse with frequent heavy stresses. The rhymes are likewise haphazard; apart from the two couplets with which the poem opens, there are only coincidental rhymes in the poem, such as “man” and “sun.” Because of its stunning, violent imagery and terrifying ritualistic language, “The Second Coming” is one of Yeats’s most famous and most anthologized poems; it is also one of the most thematically obscure and difficult to understand. (It is safe to say that very few people who love this poem could paraphrase its meaning to satisfaction.) Structurally, the poem is quite simple—the