It is in her garden that Elisa lights up with thought of possibly, just a little more from life. Just like the chrysanthemums Elisa blossoms, while she interacts with the Tinker, a wandering salesman. As he the Tinker Tries to get Elisa to give him some work, sharpening scissors or mending some pots, “her eyes hardened with resistance”(689). “Oh, no, she said quickly” (689). “Nothing like that” (689).
Because the tea had a lot of bubble, the taste of tea liked a gum. “It’s an art street,” someone talked his friend about the Westport when I heard their speaking. Many times the Westport performs a lot of music and painting shows. I didn’t remember what day is, but few weeks ago the art festival I went was beautiful and extraordinary because a lot of artist sold their
Gwen Hardwood The emotive qualities of Gwen Harwood’s poetry resonate with her readers. She uses her own memories to illustrate love for her family, her loss of innocence and the swiftness of time passing. She demonstrates this in her poems Father and Child, The Violets and At Mornington. The poem The Violets opens with the line “It is dusk and cold,” the time of day symbolising that this persona has reached old age and is metaphorically drawing closer to nightfall or the end of her days. Death is made apparent with the negative adjective “cold.” The flowers she is picking at the beginning of this poem are clearly what stimulate her memory of childhood as they are referenced later in the poem.
Anzaldua Inquiry The text written by Anzaldua is a patchwork, “an assemblage, a montage, a beaded work, … a crazy dance.” To create this medley, Anzaldua uses a variety of culture-specific language, literature, and references. Throughout the whole piece she switches the language between a mixture of English and Chicano Spanish. When speaking about what her native tongue is, Anzaldua refers to the corridos that were popular, such as the ones about John F. Kennedy and his death; she tells how it was frowned upon to like the ethnic music, but she enjoyed the corridos very much. These reflect the dual cultural structures interlocking into one. Through stories, Anzaldua establishes herself as an outsider.
From the cake, to the dress, to learning how to dance, both weddings and Quinceaneras take a long time to prepare. Most of the preparations are done where the family puts forth the money while friends organize and coordinate the party. Each celebration has a number of participants also known as the damas or bridesmaids. This court of people is there to help and support their friends through this oncoming journey. The cake, usually great in size and color, is topped by a figure of the person whom is being celebrated.
English essay – shoe horn sonata, distinctively visual. Important issues in the world can be brought to mind by engaging visual images. There are many examples of this present in John Misto’s play the shoehorn sonata and also Siegfried Sassoon’s poem suicide in the trenches. Shoe horn sonata was written as a tribute to inform its audience of the little known history of the forgotten prisoners of World War II, focusing on British and Australian nurses, he uses two main characters Bridie and Sheila who tell their experiences from the war. Misto does this in a humorous and often confronting manner.
In your view, how have poetic techniques been used to reveal memorable ideas in Harwood’s poetry? Harwood’s widespread encapsulations of human experiences are recognised through her distinctive poetry, “The Violets” and “father and child”. Harwood explores the intrinsic forces of memories and mortality as its essence immensely influences our shaping an individual’s perspective and understanding, highlighted by the structured format. Through the nostalgic and melancholic atmospheres of her poems, Harwood journeys unto the universal themes of childhood and the penetration of time through memories, accumulated in the course of human experiences. Harwood identifies memory as a key component of human experiences through the use of ‘The Violets’ as an extended metaphor to trigger the composer’s personal recollections.
How does Tennyson tell the story in Godiva? In this poem, Tennyson retells the story of Lady Godiva, based on the ancient medieval legend, which he is reminded of when passing through Coventry. The poor were overtaxed, which leads Lady Godiva to go to her husband the “Grim Earl” to get rid of this taxation. She offers to ride naked through the town in order to get rid of the tax, which “builds herself an everlasting name.” Tennyson portrays Godiva as a heroic figure who breaks free of the stereotypes of women. At the beginning of the poem the Earl is presented to us using the adjective "grim" to create a negative figure within the story.
Poets through the ages have been esteemed as possessing the ability to perceive the ordinary in extraordinary and innovative ways. Poetry captures the essences of human emotion and experience and imbues them with further significance by the literary techniques that typify poetry as the language of art. In her poetry, Gwen Harwood explores many thematic concerns that resonate with her readers regardless of their contexts. The universality of concepts such as memory, inspiration, childhood education and the cyclical, yet final nature of death are transformed by Harwood’s poetry to create fresh perceptions of the continuity of experience and provide permanence to these transient elements of humanity through language. The poetic techniques employed by Harwood effectively communicate distinctive aspects of her themes while allowing them to remain universal.
He stumbles upon a village and meets the beautiful Kamala. He becomes her pupil and lover, but, in order to become her lover and pupil of love, he had to acquire rich clothes, gifts for her, and money in his purse. So get all these things, he works alongside a wealthy merchant. Siddhartha becomes wealthy, but he is not happy, so he leaves Kamala and his unborn child to find happiness. “I had to sink to the greatest mental depths, to thoughts of suicide, in order to experience grace, to hear Om again (pg.