'Bayonet Charge' is a poem by Ted Hughes and it focuses upon the negative points of patriotism. The Structure This poem is in free verse which adds to the feeling of panic and irregularity to the poem. Hughes also uses a lot of enjambement, caesura and end stopping to control the pace of the poem. In verse 1, a lot of caesura and end stopping is used to create a slow pace and show how there is no action and that the verse is just scene setting. Contrastingly in verse 2, enjambement is used which gives the feel of panic an rush and gives you the impression of action.
The poems “The Lamb” and “The Tyger” juxtapose the innocent world of childhood to the adult world of darkness and evil. Blake concerns himself with the portrayal of how two different parts of the human soul aid the progression of humanity. This mirrors Blake’s belief that humanity would be at greater advantage of it acknowledged the balance of creation. Blake voices this idea through use of personification as shown in “The Lamb” where the narrator refers to the lamb’s bleat as a “tender voice”. The use of personification adds interest to the poem and shows how innocence, originally exclusive to childhood, aids the imagination.
Each canto consists of one heroic couplet followed by another. The use of flawless iambic pentameter and a perfect AABB rhyme scheme is consistent throughout the poem however, when Pope differs from this meter and rhyme he is emphasizing a word or idea in that line. By doing this Pope effortlessly guides the reader through the poem while allowing them to see how he perceives things. Pope summarizes the poem in the first two lines when he states, “What dire offense from amorous causes springs, What mighty contests rise from trivial things.” The powerful diction used in the first line gives the reader the idea that something huge and terrible is going to happen. This idea is taken away in the second line when Pope says that trivial things are the cause this horrible event.
Experiencing Poetry Graphic Organizer Characteristic Selected Poem Title: Initial Response: What does this poem seem to be about? This poem is about a person who says they do not love thee, but they really do. I Do Not Love Thee Words: Were the words in this poem difficult or easy to understand? The words in this poem whe easy to understand. Was there any word or phrase that was powerful to you?
* Middle stanza is long and rambling and gives the impression of a rant. It highlights that it is nonsense that a half-caste is incomplete. This is supported by the lack of punctuation which quickens the pace as if the narrator is bursting to get his view across. If you were comparing poems, how is this technique different from ‘Belfast Confetti’? * Rhyming makes it appear to be a well-planned argument rather than a rant.
The theme of transience and the enviably of death is quite a difficult idea to play with it as it can become emotional and lose its sense of clarity. However Shakespeare puts structure on this indistinct idea. His use of a straight forwarded rhyming scheme and structured meter conveys a sense of calm and peace allowing us to look t the subject more objectively. Furthermore the reassurance he offers us in his use of a rhyming couplet at the end really allows you take some comfort away at the end of the poem which resonates in your mind long after you have finished reading. This is a key feature in almost LL of Shakespeare sonnets and is often said to be one of the most enjoyable aspects of his works.
This choice of form, combined with the structural use of unrhymed iambic pentameter, or blank verse, allows the poem to adopt a rhythm that is one of the closest imitators of human speech in verse. This makes the words that Tennyson, writes and Ulysses “speaks” take on a much more personal tone and a deeper meaning, fully disclosing his character and attitude in a way that a more artificial and structured form, for example the Spenserian, simply could not achieve. This effect is added to the by the extensive and contrasted uses of enjambment and caesurae, further imitating the depth and sincerity of speech rhythms, examples being “The long day wanes: The slow moon climbs: the deep/Moans round with many voices”, the listed pauses of “wanes” and “climbs” accentuating the slowness of the day and moon, and the enjambment through the deep stressing the true profundity of said “deep”. Furthermore, the extensive use of enjambment allies with the themes of endeavour to an excessive, almost unattainably foolish level, the line “beyond the utmost bound of human thought” exemplifying this, the poem runs on to the
Discuss ways in which Hardy presents personal relationships. Refer to the poetic methods and their effects in The Darkling Thrush and In Tenebris I. Hardy presents his personal relationships as doubtful, contradictory, self-piteous, hesitant and slightly hopeful despite the hopelessness in ‘The Darkling Thrush’ and ‘In Tenebris I’, however, all of these negative remarks are honest and humble and not pretentious making his works very truthful. His works are powerfully conveyed through the use of figurative language as well as evocative language. Hardy took a leap by making himself the subject of his own poem in ‘In Tenebris I’ by the use of ‘my’, ‘me’ and ‘I’ and it is further evident that he made himself his subject through the third person narration in ‘him’ and ‘his’, after receiving criticism particularly on his novel ‘Jude the Obscure’. His views on society was quite controversial as his views were different from theirs especially in forms of religion and moral ethics, and viewing the problem as a 21st century observer, Hardy’s views and thoughts were much advanced from those in his era, thoughts that were much better suited today, and this caused him much disapproval, not only among society but also his then wife Emma which very much puts him in a dark place.
Damas' view about the substance of the poetry he was presenting, about what the poets gathered in his book had in common besides living the same colonial situation, is generally the same as Etienne Léro's, whose “Misère d'une poésie” (“Poverty of a Poetry”) he quotes abundantly. [2] In a vitalistic language that characterizes Négritude Léon Damas opposes, using Léro's language, the vitality of this “new poetry” to what he denounced as “white literary decadence” (to be contrasted with the
Lear has learned, too late, two lears (lessons): the difference of human nature and the disparity between appearance and reality. He has not learned the lear that natural justice is not equivalent to human justice. But he has learned the Shakespearean lear (doctrine) that nature is above art. In fact, in many other plays as well as in Lear, Shakespeare provides a humanist vision of nature: placing the primary, unfallen nature of innocence above the secondary, fallen nature of experience, opposing human art or nurture to divine art or nature, and making his comedies or tragedies and histories or romances according as man’s good natures or bad natures prevail in the fallen world. Meanwhile, we find this humanist vision of nature allows for the Neoclassic principles of moderation and of morality and yet recognizes the Romantic principles of change and of contrariety.