In modern day thought, such an obsession that results in the speaker going to the grave to lay by her side could be viewed as a form of necrophilism, or morbidity. In the traditional vein of gothic/romantic fiction, or poetry, such behavior is considered to be a sign of ardor to one's true love. Element of Rhythm One aspect that makes this poem unique, from prose, is the element of rhythm. The rhythm of Annabel Lee is fairly fast paced. In the opening lines, the language flows in such a way that the rhythm is established with the syntax alone.
The poem points to the paradox of naming: while naming is creative and powerful, it is also limiting. Once named, an object snaps into focus. But the name interferes as well: it comes between us and the object. We can think of the object now only through the name that has been attached to it. The opening line of the poem, “By naming them he made them,” connects “naming” with making (Page line 1).
When reading both poems, readers are placed on edge, feel unnerved and experience uncertainty for the poets and feel equally helpless. In ‘The House’, it states ‘To leave the house dark’ which gives the impression that the vicious and energetic wind is no longer in motion because the sudden stop in the line creates a dramatic and abrupt pause to the energy which was being portrayed by the wind before. This dramatic stop could be mirroring the sudden darkness falling over the house, again, creating a dramatic sense of insecurity as the comforting light fades away. In both poems, caesura or lack of caesura creates a specific affect; in ‘The New House’, on line four, the winds energy is dramatically halted for the account. This lack of caesura conveys the winds, but also the poets, thoughts and the progression of thoughts.
These symbols throughout the story include the old mans eye, the heartbeat and the contradiction between love and hate in which I will be talking about in this paper. When reading Edgar Allan Poe’s, “The Tell-Tale Heart”, it is more easily understood as a figurative text rather than a literal text. A literal reading of this story would make it very difficult to understand the details. By taking this story literally it is not easy to understand the entire meaning and representation of the story. In the beginning of the story, the narrator describes the old man’s eye.
The form of Thomas’s poem, “Do Not Go Gentle into that Good Night,” provides rhyme, repetition, and length that present the concealed theme to fight death. For one thing, adding rhyme to his poem, “Do Not Go Gentle into that Good Night,” Dylan Thomas uses this technique of form to offer the dominant idea, fighting death. When Thomas uses rhyme in his poem he provides the audience with words that define the theme. For instance, in addition to rhyming, Thomas uses words metaphorically in each stanza of his work. Metaphoric words are used as a figure of speech to compare two objects, but not taken literally.
Porphyria’s Lover – Beginnings / Endings The poem opens up at night and with the first few lines sets up a sense of a cold, brooding almost wild discontent that mirrors the Lover’s mood in the beginning of the poem (weather mimics the mental state of the lover) through the use of pathetic fallacy (up to line 5) and personification (‘the sullen wind was soon awake’). Although there is a doubtable feeling of the ominous and that somehow, right from the beginning, the poem won’t have an exactly happy ending, there is an air of Melancholy and desperation about the lover (‘I listened with heart fit to break’) that seems to invite our sympathy. The whole setting is suddenly changed when Porphyria ‘glides’ in and brings in a warmth (‘made the cheerless grate blaze up’) and consequently this changes the whole mood as she ‘shuts out the storm’. The very beginning is more poetic (up to line 5) and when Porphyria walks in there is a large use of imperative verbs (e.g. ‘she shut out’, ‘she rose’).
His sense of longing for his partner is clearly depicted via the enjambment used between stanzas three and four, perhaps to prolong the memory of his wife. In contrast in “All Legendary Obstacles” it is unknown whether the relationship is based on fact or fiction. The four-six lined stanzas tell of the narrator waiting for the arrival of his lover. However there do seem to be some flaws in this relationship as the full stops between each stanza not only break the continuity of the poem, but also makes the relationship seem disjointed. Throughout Montague’s poem the tone is quite pessimistic and nervous as he awaits and it causes the reader to wonder whether Montague
There is a storm raging outside so she sets out to make one “blaze up”. As a reader you get the sense that she is forceful but also that the speaker is passive and in a depressed state, as he has been sitting alone in the cottage and hasn’t even bothered to warm the place up with the storm outside. When Prophria is done making the fire the speaker says, “she rose from her form/withdrew the dripping cloak and shawl, /and laid her soil’d gloves by, untied/ her hat and let the damp hair fall”
Robert Browning attains a reputation for “oddness”, as the novelist Henry James termed it, for his difficult and obscure written poems. Browning’s poems are written in Dramatic Monologue. The nature of this monologue is almost as if you are ease dropping on a conversation between two people. According to Anderson et al. (2011:97) Dramatic Monologue is a device whereby the poet invents a character to provide the voice and opinion represented in the text.
He begins writing at night, a time when darkness will match his mood. The night sky filled withstars offers him no comfort since they "are blue and shiver." Their distance from him reinforcesthe fact that he is alone. However, he can appreciate the night wind that "sings" as his verseswill, describing the woman he loved. Lines 5–10 Neruda repeats the first line in the fifth and follows it with a declaration of the speaker’s love for an unnamed woman.