This disappointment could suggest that Larkin writes in a negative way, if he has even at the begging a different opinion than the majority has while expecting a lovestory or an intimate scene in setting of a bed, but definitely not a confusing, stressful scene as Larkin explores. While Larkin is saying “easiest…honest”, he is using the terminology of contrast. The suggestion of his as a negative writer is now proved. On top of it is confusing for the audience, who tries to get over the first stanza of the poem an impression of what you will be expecting and again Larkin disappoints them. It might also suggest that Larkin criticse the society for thinking in the boxes and expecting everytime the usual as thinking ‘talkinf in bed ought to be easiest’.
Browning uses a number of different narrative techniques to tell the story in Porphyria’s Lover. The poem is written in first person, in past tense, from the perspective of our narrator who is unnamed but as the title suggests is “Porphyria’s Lover”. This means that the telling of events is not completely reliable and can be assumed to be biased. The narrator’s first line of speech, “I listened heart fit to break” suggests he is waiting for someone, maybe even longing. Browning structured this poem as a dramatic monologue and has included structural features such as enjambment which makes the poem sound less like a crafted speech and more like a casual conversation, which may be seen as eerie considering the events later on in the poem.
The Haunter Imaginatively, and most pathetically, Hardy writes this plaintive and moving poem from the point of view of Emma. It is written in the first person, with her as the imaginary narrator. It is almost as if, in putting these words in the mouth of Emma (who, in the poem, sees Hardy as oblivious of her presence) Hardy is trying to reassure himself that she forgives him and continues to love him. Detailed commentary Though Hardy does not know it, Emma's phantom follows him in his meanderings, hearing, but unable to respond to, the remarks he addresses to her in his grief. When Emma was able to answer Hardy did not address her so frankly; when she expressed a wish to accompany him Hardy would become reluctant to go anywhere - but now he does wish she were with him.
When the dreamer in Skrzynecki’s poem says “That hang over you in a dream”, he is talking about his distinct sense of separation between himself and the shadows that are surrounding him. This use of enjambment explains to us how the shadows are haunting him and that his poor link to his family heritage - that he doesn’t know – demonstrates that his heritage is an unknown. There is also the use of the second person pronoun “you” invites us as the reader to belong and become positioned in the text and see from the personas point of view. There is also the use of the rhetorical question “why do they never speak”, the emphasis and emotive language demonstrates the personas frustration with the lack of verbal communication and therefore their importance in his life. To represent the growing sense of alienation to the shadows there is also the use of “they” as he becomes further and further disconnected from the shadows.
This alone is an example of pathetic fallacy because the uproarious and aggressive weather can be seen as a representation of the nature of the characters in the novel (such as Heathcliff or Hindley Earnshaw). The title therefore gives an isight into the workings of the characters the readers will soon get to know. As well as the title itself, there are examples of pathetic fallacy amongst the novel such as in Chapter 9 when Heathcliff overhears Cathy telling Nelly how she could never marry Heathcliff as it would “degrade” her. At this moment a powerful storm breaks out as he leaves Wuthering Heights; “About midnight, while we still sat up, the storm came rattling over the Heights in full fury. There was a violent wind, as well as thunder, and either one or other split a tree off at the corner of the building; a huge bough fell across the roof, and knocked down a portion of the east chimney-stack, sending a clatter of stones and soot into the kitchen fire.” In this passage the “violent wind” clearly represents the anger and hatred he feels towards not only Cathy for saying that she could never marry him but also towards Wuthering Heights.
The most powerful image of the poem comes when she says; “it’s finally having a man reach out for you then caving in around his fingers” (17-20). This demonstrates wanting or needing any kind of love you can get and staying attached to it and despite abuse. In this quote the speaker not only alludes to finding someone but also domestic abuse. The narrators desire to fit in and be socially accepted comes at a price of losing her self image as well as her control. She is not comfortable in her skin and that leads to her dependence on others to fill that void.
The narrator comes off as disturbed and as if he feels hopeless. Within the first few lines, he quotes Dante's “Inferno”, this is a bit of foreshadowing for the reader. Depicting a hell-like atmosphere for the rest of the poem. This seems to request that the reader understand that what they are fixing to read was not intended to be shown to the living world, just as Dante is exposed to the abhorrences of the Inferno that also were not intended for world of the living. This analogy is both intriguing and frightening, and breathes an eeriness into the narrator and the poem before it has even begun.
He does so to keep her his forever, reliving his story to justify his actions and preserve the moment of her death. And while his portrayal of the situation is designed to show that his actions are justified, it becomes apparent that he is not so certain of this. In this poem Browning offers a complex psychological study of an insane man who uses reason and argument to explain and make sense of his actions. The poem opens by setting the scene — it is raining, and a storm is raging outside — and with it establishes the tone of the action that follows. The storm is described in simple, direct language: it sets in early, it tears down tree limbs, and its force disturbs the calmness of the lake.
It can hinder things a relationship because one can really be in love and one could just be faking love for the pleasure, which means they have no feelings for the person at all. With this being said, Sharon’s poem “Sex without Love” frames a strong message on how harsh sex without love can be to women who are doing it out of love. Good Introduction As the poem beings begins, Sharon Olds asks a question that everyone thinks they have an answer to but no one really knows which is “How do they do it, the ones who make love without love?” That question alone already tells us that she’s not happy with people having sex if there not in love. She also uses objects that seem normal to the eye, such as the ice skaters, new born babies, religion, and runners, unfortunately these images mean more than just what they are said to be. You have to go deep in meaning.
How does Robert Browning reveal the theme of Love in ‘My Last Duchess’ and ‘Porphyria’s Lover’? The ‘love’ that is demonstrated in both ‘Porphyria’s Lover’ and ‘My Last Duchess’ is very far from a stereotypical portrayal, while the moods of the poems are very different. They are similar in that they were both written by the poet Robert Browning during the 19th century in the style of a dramatic monologue, and they both show contrasting themes and interpretations of love. In ‘My Last Duchess’, the Duke’s cold reflective monologue reveals the loveless circumstances under which his wife was murdered (instead, it was caused by his jealous and controlling nature); whereas the passion that the speaker in ‘Porphyria’s Lover’ feels for Porphyria is evident from the first few lines of the poem, and ironically is the cause of her death. Another obvious similarity in the way the poems are written, other than the style of a dramatic monologue, is in the subject characters; that they are both female and have been murdered (whether directly or indirectly) by their male counterparts highlights the silencing of female voices during the 19th century .