Oh god, the misery, anguish – I, I’m churning with it, going under” (1432 – 1436). He would rather die himself than to feel the loss of his family. However, Creon must suffer his fate. As he mourns the bodies of his wife and son laid out on their piers he said “Whatever I touch goes wrong – once more
When he is first introduced in Act I- Scene 2, one sees Hamlet as a sensitive young prince who is mourning the death of his father, the King. In addition, his mother’s immediate marriage to his uncle has left him in even greater despair. Mixed in with this immense sense of grief, are obvious feelings of anger and frustration. The combination of these emotions leaves one feeling sympathetic to Hamlet; he becomes a very “human” character. One sees from the very beginning that he is a very complex and conflicted man, and that his tragedy has already begun.
Owen makes this piece an elegy by portraying the battlefield as hell ‘like a man in fire or lime’ or terrible enough to make the devil feel sick ‘like a devils sick of sin’ in order to make people realise that war will only achieve loss and sadness and convey the sadness and fear the soldiers had to face every day. The title of the poem ‘Dulce et Decorum est’ originates from the Roman poet, Horace ‘Dulce et Decorum set Pro patria mori’ and can be roughly translated into English as It is Right and Fitting to die for your Country. The title is a satire and instead of writing pro-war poetry, he puts an ironic slant on the maxim challenging the historical conventions and attitudes towards war. The reader is also able to
Armitage regularly refers to the harmonium as a ‘he’ supporting the fact that it could be his father. The word ‘sorry’ could represent strong feelings due to its many connotations. In the poem, the speaker is saying sorry as the harmonium is leaving. This could show the reader that the speaker feels he has disappointed him or perhaps could show regret from the speaker about previous treatment of the harmonium. In addition, it could show that the speaker feels he didn’t spend enough time with the harmonium.
“Maud: A monodrama” is a complex exploration of love, death and society, conveyed through an erratic narrative with a near-schizophrenic speaker who laments the death of his lover, Maud. Received badly by most contemporary critics, the idea of “Maud” being both “mad” and “mud” shall be examined in this essay and the reasons why certain critics may have regarded it in such a way. The speaker’s madness, delusion and cynicism pervade the poem. The neurotic, frantic and exasperated speaker may have led to certain critics regarding the poem as “Mad”. In the first stanza, the environment in which the speaker’s father committed suicide is personified as having “lips” that are “dabbled with blood-red heath” and “red-ribb’d ledges”.
He described the men as being weak and not as strong as they were expected to be. He says “all went lame” which refers too many of the men having lost their boots during battle. By “haunting” he means that they were suffering shell shock from the explosions and sights that they endured. In stanza two the pace changes by the poet using exclamation marks and repetition in the first line “Gas! GAS!
By Andrew Carling 10Q By Andrew Carling 10Q Hate in Shakespeare Shakespeare used Hate themes in a lot of his sonnets, especially in Sonnet 90, the Sonnet, ‘Then hate me when thou wilt, if ever, now’ Shakespeare uses a lot of hate throughout this sonnet, here it is: Then hate me when thou wilt; if ever, now; Now, while the world is bent my deeds to cross, Join with the spite of fortune, make me bow, And do not drop in for an after-loss: Ah, do not, when my heart hath 'scoped this sorrow, Come in the rearward of a conquer'd woe; Give not a windy night a rainy morrow, To linger out a purposed overthrow. If thou wilt leave me, do not leave me last, when other petty grief’s have done their spite But in the onset come; so shall I taste At first the very worst of fortune's might, And other strains of woe, which now seem woe, Compared with loss of thee will not seem so. This shows us a lot of hate that Shakespeare used in his sonnets along with many other sonnets to back this up. Hate in Shakespeare Shakespeare used Hate themes in a lot of his sonnets, especially in Sonnet 90, the Sonnet, ‘Then hate me when thou wilt, if ever, now’ Shakespeare uses a lot of hate throughout this sonnet, here it is: Then hate me when thou wilt; if ever, now; Now, while the world is bent my deeds to cross, Join with the spite of fortune, make me bow, And do not drop in for an after-loss: Ah, do not, when my heart hath 'scoped this sorrow, Come in the rearward of a conquer'd woe; Give not a windy night a rainy morrow, To linger out a purposed overthrow. If thou wilt leave me, do not leave me last, when other petty grief’s have done their spite But in the onset come; so shall I taste At first the very worst of fortune's might, And other strains of woe, which now seem woe, Compared with loss of thee will not seem so.
stoicSonnet 30 tells us that the speaker is a person who has long been disspationate , whose tears have for a long time been unused to flow. In the situation sketched in the poem, he begins by deliberately and habitually making these tears flow again; he willingly--for the sake of an enlivened emotional selfhood--calls up the griefs of the past. In receding order, before the weeping "now", there was the "recent" dry-eyed stoicism; "before that," the frequent be-moanèd moan of repeated grief; "further back in the past," the original loss so often mourned; and "in the remote past", a time of achieved happiness, or at least neutrality, before the loss. This time-line is laid out with respect to various lacks, grievances, and costs, as we track the emotional history of the speaker's responses to losses and sorrows. The initial, habitual "now" of weeping, is at the end surprisingly transformed into a final, actual "now", which resembles the remote happy past when one had love, precious friends, and the full enjoyment of those vanished sights, before sorrow entered, extended itself in mourning moans, and (even worse) hardened the soul into stoicism.
In “Dulce et Decorum Est”, Owen is revealing that the idea of going to war for glory and honor is a lie because it is truly a painful and tragic way to die. Throughout the poems entirety, the tone of the poem is horror, melancholy and at times almost completely hopeless. This is Owen stating that the image of war is much more glamorized than it truly is. At the beginning of the poem, Owen introduces the reader to a platoon of soldiers, tired, war torn, and almost pathetic: Bent double, like old beggars under sacks, Knock kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs And towards our distant rest began to trudge (Owen, lines 1-4) With these four lines, Owen uses metaphors to show the weariness of the soldiers. The first two lines represent this the most, with the usage of phrases such as; “...like old beggars under sacks”, and “knock kneed, coughing like hags,”.
In the opening of the Iliad, it talks about how the rage of Achilles costs the Acheans many losses in the war. The first scene of the poem is a fight between Achilles and Agamemnon, two warriors that are supposed to be on the same side. Both of them are short-tempered and quick to anger. In this scene another flaw is revelead. Agamemnon behaves childishly when the prophet, Calchas, told him why Apollo was angry with the Acheans.