Compare how poets use language to present feelings in “The Manhunt” and one other poem (Nettles) In ‘Manhunt’, Simon Armitage uses rhyme to reflect the togetherness of a relationship. He says “After the first phase, after passionate nights and intimate days.” As the poem goes on, the reader can start to recognise that the un-rhymed cuplets show how fragmented their relationship has become. In ‘Nettles’ Vernon Scannell uses elements of nature, the nettles, to portray his keen anger towards the pain his son is going through. At the beginning of the poem, Scannell uses soft ‘s’ sounds to emphasise the soothing of his injured son who has fallen in a nettle bed. The child is presented using emotive language.
Singh Song is a first-person love song by a young man about his wife. He manages his father's shop but keeps sneaking upstairs to see her instead. He paints a colourful picture of their love and lives, challenging stereotypical ideas about Indian culture. Form and structure As it says in the title, this poem is a song - it has a strong lyrical voice, and depends on rhyme and rhythm, as well as repetition to create a sense of a refrain or chorus. The structure does not stay the same throughout, but cycles through a number of different stanza patterns, finishing in four two-line stanzas that follow a conversation between the narrator and his bride.
The novels Ethan Frome and Catcher in the Rye by Edith Wharton and J.D.Salinger, respectively, are two great works that depict two characters’ struggles in life. Three themes that both novels share are the need for companionship, regret over lost potential and immersion in a fantasy world. Ethan Frome and Holden Caulfield are both very lonely characters in desperate need for companionship and compassion. They both search for human contact of sorts to prevent the onset of loneliness. Frome marries Zenobia Pierce prematurely, only to obviate “the mortal silence of…long imprisonment.” (Wharton, page 61) He wanted “the sound of a …voice” to fill the void on his farm.
By using these moods, Burns allows the reader to appreciate the central morals of the text; to not drink till you’re delusional, to be faithful to your wife, and your god. Near the start of this poem, Burns creates a humorous mood by using Tam’s wife, Kate, to show her view on her husband’s behaviour: “She tauld thee weel thou was a skellum, A blethering, blustering, drunken blellum;” Burns’ use of alliteration and sound makes Kate’s rant humorous, as it imitates the noise Tam would be making as he returns home after a late night at the bothy. Kate then lists offences at Tam, showing her extreme dislike of his late night drinking: “That ilka melder wi’ the Miller, Thou sat as lang as thou had siller; That ev’ry naig was ca’d a shoe on The Smith and thee gat roarin fou on;” By using repetition of the “th” sound at the start of each line, Burns emphasises Kate’s distress at Tam, and helps to drive home the list of Tam’s wrong doings. The humorous tone created allows us to distinctly recognize how much Kate is against Tam’s drinking, and how she tries her very hardest to prevent him from going out again, or atleast from drinking so much. The mood changes from a humorous to a jolly one, with Tam at the pub, drinking happily with his friends: “And at his elbow, Souter Johnie, His ancient, trusty, drouthy crony:
‘The Farrand Chapelette was gathering dust’, this evokes an image of something old and forgotten, possibly the first time someone’s been looking back on it and reflecting. This could be interpreted as a description of the relationship between father and son shown in this poem. The strained conversation towards the end of the poem also sows the fading relationship, and
- No doubt or confusion in her mind, this can be contrasted to skrzynecki doubtful expression in “migrant hostel” even though both poets explore culture. - Easy to see whom’s perceptions change and who’s stay the same. Migrant hostel This poem depicts the many hardships and emotional challenges that beset migrants struggling to adjust to new cultural environments. Changes that are physical, personal, social and economic overwhelm those who have exchanged their worlds on one side of the world for another seem foreign. Culture has been sacrificed for dreams of new opportunities and new beginnings.
While there are similarities between Gu Cheng’s grey world and Bei Dao’s doubt-filled landscape, there exists a small difference that radically changes them. Bei Dao’s pessimism is ever growing; as he searches for faith he finds only worse deception. Gu Cheng lives in a pessimistic world, one not attempting to hide behind a false screen of joy, that is just beginning to break free. The difference between the two is Gu Cheng’s glimmers of hope. “All is fate” begins Dao’s poem “All.” All is an attempt to describe the nondescript life.
The elusive Dreams of men A great dream can permeate one’s ever thought; it can latch on like a parasite never letting go. If left unanswered, the dreamer shall soon become an empty shell, void of emotion. In F. Scott Fitzgerald’s novel, The Great Gatsby, we see three types of people. People who have achieved their dreams, people who have yet to reach their dreams, and people who are crushed under the weight of their dreams, becoming a casket full of despair. Tom and Daisy Buchanan are two characters who have reached their dreams; a great house, a beautiful child, and plenty of money.
His dream seems to be of acceptance and freedom. In the novel, Crooks begins to ridicule Lennie about his plans on the farm. Although Crooks becomes bitter, he feels he is realising his dream of being accepted whilst talking to Lennie. However, just like all dreams, his are crushed too, when Curley’s wife enters the scene and reminds him ‘to keep [his] place, Nigger’. Through this, the composer enables the reader to understand how dreams usually do not come true and when they seem so close, they slip away.
The poet draws the reader's attention to the meaning and concept of life. He compares life to a play of passion or a short comedy. Man's happiness is compared to interlude between long periods of struggle and suffering. He continues his image by saying that the embargo in his mother's womb is like the actor who gets ready in the dressing room to appear on the stage. This actor gets dressed to come on the stage.