“Grass” is written in a manner that could be construed as chaotic, with three stanzas each with a different number of lines. The first stanza is a tercet, the second a sestet, and the final stanza is a couplet. Furthermore, “Grass” does not follow a rhyme scheme and is therefore written in free verse. Conversely, “At the Un-National Monument…” follows a far more structured organizational system, with two cinquain stanzas, using ABCCB and ABACC rhyme schemes respectively. Despite their structural contrasts, the two poems share some mutual literary devices.
Hurston describes the transition Janie makes from being identified by others to recognizing her self worth. “The young girl was gone, but a handsome woman had taken her place. She tore off the her handkerchief from her head and let down her plentiful hair. The weight, the length, the glory was there” (Hurston 170). The author uses the handkerchief to symbolize how people and objects have constantly covered and concealed the true beauty that Janie has never been able to embrace.
Each stanza also makes the readers question their opinions and their understanding of the poem and the street. While analyzing Kenneth’s poem we see his use of imagery , personification, metaphorical language and repetition. With the end of each stanza repeating the words “you find this ugly, I find this lovely” the use of repetition gives the audience the sense of how the poet is displaying his message with this literary technique. The repetition also gives insight in how he see’s something that everyone calls ugly as something beautiful. The readers are also always drawn back to processing their opinions with his use
Elena R, Lauren L, Abby R, Natasha O 4/28/23 “A Better Idea” Essay � Pride has long been a critical part of human culture. It has never been more apparent than in evolution. In his book Natural Acts, A Sidelong View of Science and Nature, David Quammen utilizes tone, syntax and an appeal to pathos to accomplish his contradict that humans are the epitome of evolution and knock humans off their pedestal. In the first two paragraphs Quammen uses facts and a more formal language as a way to establish his purpose that humans might not be as high and mighty as scientists claim.
A life where he too can dress how he wants and do as he desires. Therefore, the girl’s clothing might not only represent a sexual appeal, but a longing for
Her dress is also made of “chiffon,” which is an expensive, fancy fabric worn to important events, further displaying the significance of the party. Myrtle’s dress is described as being “swept” across the room, further connecting to her “costume.” “Swept” causes one to assume cleanliness, something a wife of Tom would be expected to uphold, suggesting her “costume” to be the role of Tom’s wife. Continuing with the idea of change, Myrtle’s personality is described to change from an “intense vitality” to an “impressive hauteur.” Her “vitality” is representative of her lively, animated self.
Jewett writes, she notices the feelings Jewett portrays with her diction and writes it in her own essay, “Miss. Jewett”. In Cather’s own words she writes, “One can, as it were, watch in process the two kind of making: the first, which is full of perception and feeling but rather fluid and formless; the second, which is tightly built and significant in design. The design is, indeed, so happy, so right, that it seems inevitable; the design is the story and the story is the design” (1). This passage from the essay, “Miss Jewett”, justifies how diction is used to create art in writing. Willa Cather uses words like, “design”, “full of perception and feeling” and “two kinds of making”, to justify how authors’ have the ability to express their feelings through their writing.
The author desperately wants to turn the book into something that she is not disappointed in and she would be proud to publish. In the context of the life cycle of a mother-child relationship, this part of the metaphor represents the childhood years. The mother attempts to fix her child’s flaws and imperfections but she cannot change the way the child is. Correspondingly, the speaker’s attempts at fixing her flawed writing are without success. While the speaker’s intentions are in the right place, she cannot deliver: “In better dress to trim thee was my mind/But nought save homespun cloth in the house I find” (17-18).
The success of “The Yellow Wallpaper” and Jekyll and Hyde is due to its psychological effects brought upon their main characters, due to their doppelganger. The Yellow Wallpaper and Jekyll and Hyde are two different short stories that were both written during the 19th century, which both have a similar style in which they convey a message relating to the norms during that era. The comparison between the main characters and their doppelgangers are raised by creating conflict between the two characters. The woman in the wallpaper from The Yellow Wallpaper and Hyde from Jekyll and Hyde have a psychological effect on the main characters particularly by creating havoc and aid, but affecting them in a different way. Charlotte Perkins Gilman and Louise Stevenson use the doppelgangers of the main character in order to create havoc
In “The Trouble with Poetry” the speaker touches on the same idea of how poetry is so forced, and how it has lost its meaning as an expression and has become more of an addiction among
However, this ‘beauty’ comes from the clothing and the societal class she appears to belong in. Clothing that is flattering is seen as vital to a woman’s success; while for men it is to display success and high status (i.e prince of the kingdom). The transformation of Cinderella going from rags and low class to riches and royalty is seen as ‘beauty’ because she is doing everything expected of her— keeping her physical appearance and having the ‘natural’ dependency on a male to save her from her slave-like lifestyle. All which, according to Maity, is a “socially constructed notion that physical attractiveness is one of women’s most important assets, and something all women should strive to achieve and maintain” (3). Cinderella goes from rags to riches all just for going to a ball, wearing a sparkly dress, and being pretty.
The Wanderer; A Psychoanalytical Analysis Often times when analyzing literature from past time periods, we are able to use modern theories to gain a better understanding of the underlying feelings and emotions within the text. In the poem The Wanderer, the author uses the bargaining, depressive, and acceptance stages of grief within the Wanderer’s mental thoughts and processes by describing his feelings as an exiled man when using a modern day analysis. Today, we know these five stages of grief from the two theorists Elisabeth Kübler-Ross and David Kessler. Although there are five stages (denial, anger, bargaining, depression, and acceptance), the wanderer is only experiencing three of those five stages which can be felt in any order and at any time. The wanderer talks of all of his past relationships and how he feels upset that he can no longer see or share life experiences with these individuals.
“This Above All: To Thine Own Self Be True” A Look at Shakespeare’s Hamlet through a Jungian Lens Shakespeare’s The Tragedy of Hamlet, Prince of Denmark is the longest play he ever wrote and would take an estimated five hours to perform. Viewing Hamlet alongside Jungian Psychology adds an analysis that cannot be seen otherwise.
In Phillis Wheatley’s To S.M., a Young African Painter, the reader can easily assume that Wheatley is expressing her opinion on the beauty of Scipio Moorhead’s paintings. The poem seems to discuss Wheatley’s appreciation for another African-American artist like herself. However, after looking closely at word choice, visual imagery, and deviation from the rhyme scheme one can see that there is much more going on in this poem. Wheatley addresses not only her thoughts on S.M.’s works, but also religion, immortality, race, and freedom. Looking at this poem more in-depth is important because it will allow the reader to better understand the poem’s meaning.
Furthermore, the superficial simplicity of Hughes’ poems is not meant to deceive, but to encourage readers to engage in poetry from different perspectives because there is more to the poem than meets the eye. Additional questions remain, however. Does Hughes’ experimentation with form threaten to mischaracterize or further objectify the subjects of his poetry? Does Hughes ascribe too much value to these ordinary objects and places? Are there limitations to Hughes’ experimentation?
