Apr. 27, 2011 “Brainstorm”—N04, A1HL Howard Nemerov’s “Brainstorm” is an odd poem in which, as so often happens in poetry, the literal and figurative elements engage in a weird dance of meaning. The title itself suggests the figurative level—that the storm described in the lines of poem is actually occurring in the solitary character’s mind. Apart from the poem’s “he,” but omnisciently aware of his experience, thoughts, and feelings, the speaker captures the momentous effects of first the literal and then the metaphorical storm. The vivid and detailed descriptions of the tumultuous weather’s effect on an old house make the plot of the poem particularly clear.
Although the rising storm is first mentioned in Part I of the story, it is not fully described in vivid detail until Part II. In this section, Chopin describes and parallels the cycle of this incoming raising storm to the growing emotional uproar brewing between Alcèe and Calixta. First, it begins to grow dark and Calixta notices the weather has grown oddly warm. These are the signs of the oncoming cyclone, and foreshadowing of the affair that is to come. An affair that is dark in its sinister nature, and warm building up to the heat of passion that will arise.
Also, the fact that the text starts off right away with implications of her hardship, further emphasises her struggle. Moreover, the writer uses the statistic '90 feet' to heighten the danger through the distance. This along with the word 'passive' in the same sentence emphasises the hazards. This is because she doesn't have full control over everything and being 90 feet above safety, it creates a sense of danger and therefore struggle also. Additionally, the pressure to get it right is reflectef by the quote 'There would be no second climb'.
Rhyme and enjambment are also used to help convey the message about how the speaker believes the world will end. Even though this poem is a short nine lines, it has a lot of emotion and meaning hidden in it. The first two lines of this poem, “Some say the world will end in fire / Some say in ice.”, (Frost lines 1-2) show an argument between two groups of people. The two groups of people are the ones that believe the world will end in fire and the ones that believe the world will end in ice. Frost has left us with only two options as to how the world will end.
As mentioned in the opening paragraph, Didion’s examples of people’s behavior around the time of this wind cycle help set a humorous, sarcastic, and playful tone to this selection. As the selection continues, it becomes more informative, especially between the second and third paragraphs. For example, in lines eighteen and nineteen, Didion writes, “The Indians would throw themselves into the sea when the bad wind blew.” Her tone is discernibly a tongue-in-cheek one here; however, when Didion goes on in the next paragraph to say, “Whenever and wherever a foehn blows, doctors hear about headaches and nausea and allergies, about ‘nervousness,’ about ‘depression’ ” (46-48), she is actually expressing true medical responses to these winds and how they affect those who live around them. This strong contrast in these two corresponding paragraphs allows Didion to still maintain her audience’s attention without being too serious but still slightly moving from her jocular disposition. She is incredibly effective in
Both of them are not meant to be together, “fated”- In a way – to never be together”. Robert frost used the metaphors wind and wind flower to show how they are worlds apart from each other and his use of metaphor brought depth and emotion to the poem. It also illustrated the narrator’s opinion in an innovative manner. We have all had times when it is really difficult to explain what we want to say and when we stumbled over words. However, a metaphor helps us get through those situations.
Using this word is enhancing the fearful mood of what is to come. Hell is a word/place that has fear associated with it. When Lennie continuously asks, “George you gonna give me hell?” (Steinbeck 81), over and over even though said eagerly, it gives the reader a sense of fear for what’s coming up in the story. “‘Go on George ain’t you gonna give me no more hell?’ [Asked Lennie] ‘no’, said George” (Steinbeck 83). Lennie expecting and eager for George to give him more hell does not get the answer he expects because George knows that he is about to end Lennies life.
In the three short stories “The Storm”, “The Rocking-Horse Winner” and “The Things They Carried”, respectively written by Kate Chopin, D. H. Lawrence and Tim O’Brien, there are some vivid examples of personification attributed to a weather event, an object and an idea. Everybody agrees there is more symbolism than personification in “The Storm”. When we look more in depth, we can see the storm plays a role of a catalyst to make the story unfold the way the storm wants it by keeping Bobinot and Bibi away from the house at the local store, the storm also draws closer together Alcee and Calixta. It seems the storm possessed an almost human intelligence with its perfect timing. That confers a type of personification to the weather event.
The poet's reference to the wreck and foliage on line 8 as 'exotic-looking gives zest to the destruction to say its anonymous appearance was quite striking. The poet seems relatively calm and composed despite the chaos. He does not seem to get hysterical nor panicky about the visual predicament before him. His expertise about Jersey, and having lived through seeing its beauty was a blessing and now a curse as he can now work out the intensity and magnitude of the damage. The poem mostly revolves around the river which has a twin personality in this case.
“ He generalizes his own view of bad parenting and wants to convince you that this happens with every child. If that were true, our world would be a really sad place to live in. We all know this is definitely not the case with most of the parents we know. “They fill you with the faults they had and add some extra, just for you. “, are the last two lines of the first stanza which add to the pessimism of the first part of the poem.