We can then imply from this suggestion that Larkin feels time is only appreciated during the older years of one’s life. In contrast, we can see that Larkin may mock the way time is spent as he brings in such detail to such trivial things, like the way the “covers pleased her”. Within the second stanza, Larkin tells of how we have “the certainty of time laid up in store,” insinuating that we have the belief in us that we have an infinite amount of time and only when time has passed us do we
In Vegio's thirteenth book he uses the very same epithet in lines 327, 376, and 405. In his work, Virgil repeated the same few epithets a number of times. Vegio notices this trend and decides to repeat “noble Aeneas” three times in the same book. In contrast to Virgil, Vegio uses some unprecedented epithets. These unprecedented epithets could be an interpretation of the epithets that Virgil presents.
‘To His Coy Mistress’ is a comedic depiction of unrequited love, showing how love can be represented in a light-hearted way whilst communicating the deeper significance of what it means to feel this way about someone. Likewise, ‘Sonnet 43’ presents us with a serious topic, portrayed in a carefree way. ‘To His Coy Mistress’ is set into three stanzas of unequal length, each showing a new stage in the relationship. The beginnings of each stanza are a giveaway as to what we should expect from it. ‘Had we’ tells us that the persona is fantasising about what could happen, and that the images created here have in fact not happened yet.
Poetry and drama have a few key features that emphasize their per formative nature. One is the use of rhyme, rhythm, meter, alliteration, and other types of sound symbolism. For example, in Gwendolyn Brooks' "We real cool", the poet uses a strong rhyme scheme, a consistent meter, and an almost sing-song tone to demonstrate the lack of education of the narrator and his or her youthfulness. It also emphasizes the last line "We die soon.". Another is in "unity of action".
The theme of change is most obvious in the season imagery that Millay uses. The theme of loss is present throughout the majority of the sonnet but becomes most obvious in the last few lines. In this sonnet the octave has the traditional rhyme scheme of an Italian sonnet, but it is followed by a variation of the sestet and does not contain a rhyming couplet in the final two lines. The use of run-on lines cause the end rhymes to be lost in the middle of the sentences. This use of caesura and enjambment creates a flowing feeling as Millay describes her lovers.
He evokes a very bitter outraged mood in the reader, he’s thoughts and feelings produce anger and spite. Because of his negative outlook on war, Sassoon purposely creates a tone that is very synical, sarcastic, satiric and contumely. He makes it quite clear when he wants the tone to be slow by using polysyllabic syllables and when he wants it to read fast paced by using monosyllabic syllables. The effect of this is to accentuate and lengthen certain words for example the use of the word longing in the phrase “longing to go out again” because of the long ‘l’ consonant and long ‘o’ vowel the word is extended. Sassoon has used the rhyming of similar vowels that have different consonants.
Allusion (the brief reference made to a historical/literary figure, event/object) 10. Alliteration (the repetition of identical consonant/vowel sounds in closely related syllables) ex. tongue twister… used to affect sound, rhythm and flow. The repetition of similar sounds may force a reader to read more
More metaphors follow in lines three and four as Anne Hathaway recalls their lovemaking; she expresses the notion that Shakespeare would 'dive for pearls', and she describes the sweet words he said to her as 'shooting stars' that landed on her lips when he kissed her. From line five to line ten Duffy uses imagery in a fascinating way that relates directly to the fact that Shakespeare was a writer. Anne sees her body as 'a softer rhyme to his ... now assonance', assonance being a figure of speech in which the same vowel sound is repeated. Then follows the charming personification of his touch, portrayed as 'a verb dancing in the centre of a noun', giving a feeling of grace and delicacy. Anne says that she sometimes dreamed that Shakespeare had 'written' her, wishing that she herself were part of his artistic creation.
She represented victory to some, modesty and chastity, to others. In Spenser, she seems to be the traditional Venus, in her affairs with Adonis. She adopts Amoret in place of Cupid, her errant son. In truth, Amoret is the daughter of Chrysogonee, the “daughter of a faerie of high degree” (III vi 4, 1-3). Cleverly, Spenser’s use of the name Chrysogonee, which means golden-born, is already linking them
Taruna Seebaransingh Dr. Vijay Maharaj Ms. Shannon Julien LITS 2307 16th November 2012 Brewton (2005) defines literary theory as the body of ideas and methods used in the practical reading of literature. In other words, literary theory refers to underlying principles, or tools by which we attempt to understand literature. Therefore, in the novel Midnight Robber, Hopkinson spearheads a literary masterpiece through which the theories of postmodernism and post colonialism is most applicable and can be effectively read. There is no set definition for the theoretical viewpoints, but rather an assorted array of characteristics associated to the terms which can be described as postmodern or postcolonial. Nalo Hopkinson’s Midnight Robber portrays a manifestation of various characteristics of postmodernism, such as irony, the incredulity of metanarratives, temporal distortion, pastiche, technoculture, hyperreality, intertextuality, metafiction and histographic metafiction, as well as characteristics of postcolonialism such as Orientalism, pluralism, identity, double consciousness, colonization and resistance.