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 way the poem is written, there is repetition repeatedly. One example is when the poem says “Cannon to the right of them, Cannon to the left of them, Cannon behind them.” The author says this at the beginning and the end of the poem to make it clear to the reader that they’re surrounded during the war. This is a very extreme, exciting poem. These two poems were very important and educational about the existence and history of men. “Paul Revere’s Ride” is a very well written poem and is a very extravagant poem.
Through his use of the damaged theatre Nowra provides the audience with the suggestion that failure is inevitable, living up to the stereotype that the mentally ill are not capable of many things. The powerful metaphor of ‘the burnt out theatre’ as the setting, is contrasted with the chink of daylight that is let in when Lewis enters, this symbolises a slight glimmer of hope suggesting Lewis is the character that can break through the fear and uncertainty that the audience have with the patients. We can relate to Lewis as he is also afraid, nervous and uncomfortable of what lies in the darkness with the mentally ill. But it is this slight possibility that is presented to the audience that unknowingly makes them question the depressive atmosphere of the theatre and as a result question the stereotypical view of mentally ill patients. It is sometimes the negative actions of others that make us look back upon and question our actions.
Why sit they here in twilight?”, suggests that the subject of the poem has no idea who anyone else around him is. This could be because he is either in a state of confusion, or he no longer recognises people. He notes that the other patients have “drooping tongues”, which is a stereotypical image of someone who is perceived as “mental”. The first three stanzas in “Disabled” do not have rhyming scheme, although there are the occasional lines that rhyme with each other. The first stanza contains six lines whilst the second and third consist of seven.
I was jus' foolin', Lennie. 'Cause I want you to stay with me." Here, Steinbeck uses short sentences and a hyphen to break up George's speech, indicating that George finds it difficult to admit that he does not like being alone, as he pauses repeatedly when he says it. Also, Steinbeck uses a contradiction between what George says, similarly to show how George pretends that he does not like having to go everywhere with Lennie but secretly does, as he goes from saying how easy his life would be without Lennie, but as soon as Lennie offers to actually leave, George immediately
Iago is playing on Othello’s insecurities. As he mentioned before, he is an old man; Desdemona is still yet a young girl. He feels that she may have grown bored and wanted to move on to someone younger, more handsome. In Act 3, Scene 3, opportunity presents itself in tricky situations and Iago uses these moments to fuel Othello’s fire. Cassio and Desdemona are speaking but upon Othello’s entrance, Cassio decides to leave.
William Shakespeare establishes Benedick’s character by using diction and imagery to show his changed viewpoint on marriage. Benedick is strongly opinionated and rarely ever let’s his guard down when it comes to feelings or love. After he overhears that Beatrice is in love with him, he ponders what to do. The characterization is established through diction, “And wise, but for loving me; by my troth it is not addition to her wit, nor no great argument of her folly, for I will be horribly in love with her!” (II.3.235-237). He is saying that is might not be wise for loving him, but he swears it won’t be stupid for he is going to be “horribly” in love with her.
She wanders from building to building claiming that she’s looking for Curley, when she actually just wants to have a conversation with anyone. The other men steer clear, out of fear that they may get fired by Curley’s dad, the boss, if his son happens to get jealous. Throughout the novel, the woman is dehumanized by the author, and is not even given a name. Although Steinbeck portrays Curley’s wife as a wandering harlot, her shattered dream of being a famous actress makes Curley’s wife seem utterly human, rather than the vile temptress the worker men make her out to be. “’She got the eye goin’ all the time on everybody… I don’t know what the hell she wants’” (51).
His loneliness is a more tangible expression of his alienation problem. Loneliness is what the novel revolves around, because the novel is mostly Holden going from one place to another, doing one thing to the next to find the desired friendship and love. He constantly recoils from introspection, which was the reason why he could not figure out why he was behaving the way he was. But introspection hit home with him after he met Phoebe again when she alleges that Holden “[doesn’t] don’t like anything that’s happening” (Salinger 169). This was when Holden realized his cynicism and negative outlook on life when he struggled to think of anything or anyone that he actually liked.
With that, he asks her as she ever considers wanting it removed. She reply’s “To tell you the truth it’s been so often called a charm that I was simple enough to imagine it might be so.”(Hawthorn pg 230). He then asks her if he can remove it. Georgiana at first feels hurt by her husband’s request then His obsession slowly but surely becomes her obsession to the point where she even tell her husband “The attempt be made at whatever risk, danger is nothing to me; for life, while this hateful mark makes me the object of your horror and disgust, life is a burden which I would fling down with joy. Either remove this dreadful hand, or take my wretched life!