She denies the seriousness of loss and the sadness it brings by highlighting the commoness of loss and depicting its nature not as a process but as an “art”, evading its disastrous nature. However the poet eventually comes to the realisation of the disastrous effect of losing a person and seems to waver in her opinion. In the first half of the poem Elizabeth Bishop portrays the nature of loss as a common occurrence on a everyday basis and argues that it is not as bad as people claim it to be. The poem’s title “One Art” subtly takes away the pejorative connotation associated with loss and emphasizes that people should accept loss as it is. The poet’s indifference to loss is revealed in the statement “so many things seem filled with the intent to be lost that their loss is no disaster”, highlighting that loss occurs commonly, like any other daily activity, and should not be allowed to let it upset ourselves.
Edgar Allen Poe demonstrates in his written works of “Lenore”, “Annabel Lee”, and “To Helen” an element that seemingly attempts to give the reader exceptional emotional sadness. Poe does this by telling the poem in a point of view where a man tells the story of the death or remembrance of a young love or woman. He also puts a sense of gloom in each of his poems. This allows for the reader to create a mental image if the setting, without him having to directly point it out. As well, the gloominess of his poetry could also be due to his longing effect of sadness that he attempts to express.
This is demonstrated in the poem, “Red” by Hughes, where his perspective of Plath as a passionate but tortured individual contradicts the view of her gentle and happy persona. Hughes uses the colour red to symbolise Plath’s torment such as “poppies thin and wrinkle-free as the skin on blood” where Hughes connects Plath to poppies which have connotations of blood and death. The effect of this compounds the symbolism of the colour red, ultimately depicting Plath as a tortured soul. However, in contrast, Hughes reflects that at times Plath was untroubled by her psychological issues, such as when “kingfisher blue silks from San Francisco/ folded your pregnancy”. The poet’s use of the kingfisher uses the bird in flight as a symbol for the freedom which Plath occasionally experienced when separated from her obsession with her father.
This is the reason it is evident with Herr Keller the rejection of types of music and composers in the text. In Maestro, allows a deeper understanding of secondary characters as well as the main characters. Herr Keller’s past is important as it enables us to understand him as a character, with music being a key symbol in his life. The maestro’s preference for certain eras of music allows the reader to recognise the pain he suffers when listening to specific composers, due to the suffering experienced in his past. Mozart and Bach represent the music Herr Keller uses to seek refuge of the romantics.
Like the bell which “jette fidèlement son cri réligeux” the poet’s soul “veut de ses chants peupler l’air froid des nuits”, indicating a desire to express himself and to spread his words and creativity, yet “il arrive souvent que sa voix affaiblie”. His weakened voice is then described as “le râle épais d’un blessé”, which heightens the idea that his soul is broken by showing that he has also been wounded physically. The opening scene describes the warmth of the “feu qui palpite”, acting as a protection against the “amer” winter chill. The use of “palpite”, i.e. the fire metaphorically beating or pulsing like a heart, makes the fire alive.
We can tell that he is hurt psychologically as it says ‘unexploded mine buried deep in his mind’ and physically as it says ‘the rungs of his broken ribs’ these are both effects of his traumatic experience at war. The distribution of each stanza could also show the distance that she now has with the subject because of his lack of understanding of his painful experiences and emotions. As a reader, it sounds like she is writing the poem the way she would be saying it, this emphasises the shortness of each stanza and the small steps she has to take to his recovery, which is also shown in the tone of the poem as she sounds in pain, which makes the reader feel sorry for her. However, in ‘Hour’, the poem is separated into four stanzas, which all have four lines each apart from the last stanza which has two lines. Each stanza has emotive language of the writer’s feelings, we know this as it says things such as ‘we are millionaires, backhanding the night’ this gives the reader the impression that their relationship is stable and strong unlike the fragmented relationship in ‘The Manhunt’.
You get a real sense of Owen’s tiredness of the war in this stanza. His personification of the enemy bombs is a really effective way of giving the enemy, unseen in this poem, a face. And that face is fearful and never-ending, but also, like Owen, weary of the war. The rhyming scheme in this stanza is also significant, giving a sense of slow marching, of dreariness, however due to the more formal structure a sense of purpose and organisation is also felt. To the reader it appears to be a formal and proper poem, this confirms my idea that this poem was written to Owen’s educated peers.
Death is the main theme of both sonnets but the tone may differ a little. The tone of Sonnet 71 is a sad but at the same time concern and apologetic, in the other hand the tone of Sonnet 73 is only sad. In both poems the writers are embracing death and are trying to say goodbye to their love ones. In Sonnet 71 we see it more accurately “Nay, if you read this line, remember not the hand that writ it; for I love you so that I in your sweet thoughts would be forgot if thinking on me then should make you woe”; as well we see how the tone is because even though he is sad he is going to die he is more concern about his beloved, he doesn’t want her to suffer when he is gone “Lest the wise world should look into your moan, And mock you with me after I am gone..” In Sonnet 73 we may think the writer is sad and is only trying to say goodbye, but in lines 13 and 14 _“ This is thou perceives, which makes thy love more strong. To love that well which _thou must leave ere long” there is a twist in which we may observe he is talking to his beloved and how their love is going to live forever.
The effect of the free verse can create continuity, as this is all about one particular event, as well as emphasizing the anguish and pain of the boy. The title ‘Out, Out–’ has a violent tone as “Out” is a short and harsh sound. “Out” is repeated twice, separated with a comma which creates a pause. The dash at the end highlights the shortness and suddenness of life. The title is an allusion to the soliloquy in “Macbeth”, where Macbeth soliloquizes about the insignificant, bitter, fragile, and futility of life after he finds that his wife had committed suicide.
As a consequence, this world becomes known through “experience”, a state of being marked by the loss of childhood optimism and enthusiasm, by fright and inhibition, and by social and political corruption. William Blake considered that without contraries there is no progression and, indeed, some of his works are built on oppositions, like The Marriage of Heaven and Hell, Ideas of Good and Evil or, of course, the volume Songs of Innocence and of Experience. Two of Blake’s famous collections of poetry are Songs of Innocence and Songs of Experience. The two collections go together-that is, many of the poems in Songs of Innocence have corresponding poems in Songs of Experience. Many of the poems are religious and a prime example of contrasting two poems is 'The Lamb' from Songs of Innocence and 'The Tyger' from Songs of Experience.