Imagery is used to show Plath as an aggressive person, such as through the line “smash it into kindling”. The emotive line “The bloody end of the skein” creates the sense of abandonment and eternal suffering that by no means that one could be aware of. It suggests that Plath’s mind, the labyrinth, was something that Hughes struggled to understand, and propose that her psyche was beyond his control. He also utilises speech in The Minotaur, creating a sense of truth in Hughes’ part. While he is not seen as a saint within the poem (he remarks in a sarcastic matter to Plath in the poem), he positions the reader to empathise with him, painting the image that he is the placid one in the relationship, and the one who encourages her to embark on her creative pursuits “Get that shoulder under your stanzas/ And we’ll be away.”.
Katrina discusses the lack of control that we have in life and that death is simply another part of life that we must accept. Enter Without So Much As Knocking talks about how we take life for granted and we waste the time we have. All of the poems hold aspects of Futility, Life, Pain, Purpose, Anger and Disapproval these are the most likely things to make people rethink their position and how they behave towards others. The use of imagery both visual and aural is a powerful tool used masterfully by Dawe to get his messages across. Normally someone’s homecoming is cause for a celebration, but in Dawe’s poem, Homecoming Dawe uses this in an ironic sense.
The wide shot at the bus shelter highlighting the distance between Amanda and Richard, further symbolises Richard’s distance and dejection from society.Consequently, Richard is tasked with the struggle of developing a relationship between himself and someone society views as being on the other side of the social spectrum. Richard portrays an immense will to belong when, even though he is marginalised, he encourages Amanda and breaks down the barrier through forced and humorous conversation. Richards repetitive badgering of Amanda to contribute when he says “your turn” conveys a persistent dialogue and a tone riddled with an underlying sense of desperation, challenging cultural assumptions which breed rejection and marginalisation. He further attempts to relieve the boundary created by cultural bias through humour in his intertextual allusions to Shakespeare and pop culture literature . Irony is also evident as he is viewed by society as mentally handicapped as a result of his illness, however is able to recite famous pieces of
Furthermore, the poem’s fragmented structure, namely Langston’s prolific use of enjambment and unconventional syntax, reflects the protagonist’s dislocated sense of self, a consequence of his racist societies’ inability to embrace his cultural differences. Langston dissects the underlying assumption that communities support an Individuals development of own-identity, explored by his protagonist’s lack of stability of self, a result of his surrounding neglect, thus his sense of belonging is
He is portrayed much throughout the film as an outsider, most evident with his rejection from his first love Kay, the church, the art market, and finally fellow artist and companion (perhaps his only true companion) Gauguin. To emphasize Van Gogh’s distress with himself and
Throughout this article, Kim focuses deeply on the relationships between the Mariner and the community and also with God, due to the Mariner’s isolation and separation after his unjust treatment of one of God’s creatures. Kim believes that by the Mariner forgiving himself in order to re-establish these relationships, it implies an ‘ecotheological perspective’. (108) He emphasises the Mariner’s loneliness particularly when he quotes extracts from the poem such as ‘Alone, alone, all, alone’. Despite it being the Mariner’s fault, the reader is left to feel somewhat pity for the Mariner. Kim clearly differentiates both ecological literary criticism from Ecotheology in this piece of writing.
How has T. S. Eliot utilised specific elements of his form to engage varying audiences intellectually and emotionally? T.S. Eliot’s ‘Preludes’ and ‘The Love Song of J. Alfred Prufrock’ explore the self-consciousness caused by the intense pessimism of a toxic urban world, which leads to passivity and a lack of agency. Eliot uses varying elements of the form of poetry to present the major concepts of his modernist context, the conflict between the individual and society, disempowerment and time and the ritualistic nature of life, which also allow him to intellectually and emotionally engage a present day audience. Eliot portrays life as tarnished through urban decay, which is typical of the modernist era.
In Salinger's novel, The Catcher in the Rye, Holden Caufield makes it very clear that he does not like fake or phony people. Throughout the story Holden at times makes the reader feel like he or she should feel bad for him because of the hardships he's been through and how he has to deal with the "phonies" when he is actually one himself. As the story goes on Holden proves himself to be the real phony of the book because he never goes through with what he intends to do, he is overly concerned about sex but thinks its overrated, and he's very critical about other peoples lives. Holden Caulfield is the true phony and even more so a huge hypocrite throughout the novel. To start, All he wants to do is connect with someone but the boy has high standards.
Asef Rahman English 10H 10/15/2012 Ethan Frome: a lonely man indeed The novel, Ethan Frome, by Edith Wharton, is a story about Ethan, a man torn between the moral obligations to his wife, Zeena, and his need for a person to love. The author’s use of foreshadowing, metaphors, imagery and motifs vividly convey the overall message that man cannot simply live alone and needs somebody in his life. He has Zeena but he does not converse with her at all. The fact that Starkfield was a depressing place to live did not help his life either. Although Ethan’s overall nature was damaged by the smash up, his time spent in Starkfield had caused his overall melancholy demeanor and left him feeling isolated.
He is constantly put on a pedestal, "the agony with which this public veneration tortured him. It was his genuine impulse to adore the truth, and to reckon all things shadow-like, and utterly devoid of weight or value” (Hawthorne 145). Dimmesdale felt as though he could not let anyone know his undisclosed sin either, in a worry that the public eye would judge him negatively. Specifically,