Through the use of present, past and future Harwood takes us on a journey from childhood to adulthood using memory as a vehicle. She discusses the transience of life, as reflected in the pitcher of water, and the inevitable conclusion and the ultimate acceptance of death; ‘the peace of this day will shine/like light on the face of the waters/that bear me away for ever.” By using such universal themes as life’s journey and the universal emotions of pain, regret and frustration, Harwood shapes the way audiences engage to the written word. Harwood was a deeply religious person and we find her religious commitment reflected in this poem. Critic William Simon states that Harwood uses ‘religious dimensions’ in her work through the use of religious iconography and reference to both the old and new testaments.
Immediately from the start, the unknown oppressors attempt to isolate the author by “build[ing] walls higher” and “paint[ing] the windows black” so that he does not establish communication with the outside world. Subsequently, the oppressors locking of his cage represents his imprisonment (Constantakis lines16-17: 278). In lines 5-9, the author’s “heart” gets “rip[ped] open” and his life “crush[ed]”, so that he does not have any goals to live for, and so that he does not live his life as he wants. The captors describe him as “beastly and fiendish”, which serves as a mental restraint to the author’s outward attitude; while having “no passage out of hell” indicates that the author will remain stuck with his woes until he can no longer handle them. The imagery creates an idea of superiority for the oppressors over the author, and their cruelty through torture.
This passage signifies the true nature of the being call evil. The beast represents the darkness of humanity, wild and uncontrollable, rampaging through the minds of everything. The Beast asks why things are that way. The answer would simply be the greed of power.
That despair seems to only have hope of worsening, as seen by, “the first hapless victims to my unhallowed arts”, foreshadowing that the monster will continue to cause many more
Initially, the “beast” represents fear and the terror of the unknown. This is proven when the schoolboys begin to objectify evil, or “people the darkness of night and forest with spirits and demons,” (Doc. A).
A twelve year old boy a world away from his parents once wrote in a letter to his parents: “And I have nothing to comfort me, nor is there nothing to be gotten here but sickness and death.” This child was Richard Frethorne, and in “Letter to Father and Mother,” he communicates his desperation caused by the new world’s merciless environment to his parents to persuade them to send food and pay off his accumulated debts from the journey. He accomplishes this with deliberate word choice and allusions to the bible to appeal to ethos, pathos, and logos. Frethorne uses diction, imagery, and facts to create a letter to his parents which aims to garner sympathy for his state of life and to persuade them to send food and pay off his debts.
From the start of the poem, there is a post-apocalyptic and war-like tone to the writing. Levine gives descriptions of “ burlap sacks, out of bearing butter”, “ acids of rage, the candor of tar”, and “creosote, gasoline, drive shafts, wooden dollies”(Levine, 1-4). These are all characteristics of a society that is unpleasant to live in. The poem suggests that this is a result of the hatred of humans and the easiest way to “feed they lion” and make “they lion grow”(Levine 5).
Yet, in a moment, he somehow knew from the sound of that storm which rose so painfully in him now, which laid waste -forever?- the strange, yet comforting landscape of his mind, that the hand of God would surely lead him into this staring, waiting mouth, these distended jaws, this hot breath as of fire. He would be led into darkness, and in darkness would remain; until in some incalculable time to come the
In this film, Joon-ho delineates in evocative detail a recurring theme of the Christian Religion by depicting Wilford, as a God figure of the sacred engine, and in doing so, he actively portrays a reading of Christianity as dehumanizing and authoritarian. Incorporating a well-known Biblical story in his film, director Bong Joon-ho utilizes an “ark” metaphor to symbolize the story of Noah’s Ark and the great flood. In the opening scene of Snowpiercer, the film exhibits in writing “The Precious Few who boarded the Rattling Ark are humanity’s last survivors” (00:03:45). In doing so, the author sets up a comparison between Noah saving the animals from the great flood and Wilford saving humanity’s last survivors from the ice age (NIV, Genesis 8:16:17).
“Hell is a...foulsmelling prison,” James Joyce asserts in his essay Hell, “an abode of demons and lost souls, filled with fire and smoke” (295). In addition to both supporting these claims and constructing an engaging narrative, Joyce places himself in the piece as the narrator, guiding the audience through this hellscape. However, Joyce’s authoritative position alone cannot effectively illustrate the scene. As a result, Joyce relies on literary tools to elicit the intended impression of hell, immersing the reader in this environment. By employing an organized structure and a combination of different modes of description, diction and syntax, Joyce cultivates a compelling portrayal of hell that in return, evokes a visceral reaction from the reader.
Edgar Allan Poe addresses the dark and gruesome side of human nature in his writing “The Black Cat”, which during that time and even now are perceived as radical ideas. This dark human nature is displayed in Poe’s writing as the narrator recalls the happenings of a most erratic event. The narrator, a pet lover with a sweet disposition, in this story succumbs to the most challenging aspects of human nature including that of addiction, anger, and perverseness. To the Christian believer, human’s sinful flesh leads people to do wrong because that is their natural tendency.
It narrates the details of the Second Coming of Christ and the day of judgement. "Day of Doom" creates a mental picture of what it will be like on the day of judgement. The poem harshly describes God 's justice and the horrors awaiting sinners. Wigglesworth 's vivid representation children and infants characterizes the inflexible doctrine of Calvinism. Some believe, the purpose of the poem is to be a reminder to those who are not close to God anymore.
The circle became a horseshoe. A thing was crawling out of the forest. It came darkly, uncertainly. The shrill screaming that rose before the beast was like a pain… the beast was on its knees in the center, its arms folded over its face. It was crying out against the abominable noise.
In this poem Henry Longfellow describes a seaside scene in which dawn overcomes darkness, thus relating to the rising of society after the hardships of battle. The reader can also see feelings, emotions, and imagination take priority over logic and facts. Bridging the Romantic Era and the Realism Era is the Transcendental Era. This era is unusual due to it’s overlapping of both the Romantic and Realism Era. Due to its coexistence in two eras, this division serves as a platform for authors to attempt to establish a new literary culture aside from the rest of the world.
Only by having an appropriate proportion of these two forces, one can attain balance and a harmonious position in nature and life. Therefore ,while conceiving the idea of the double identity of Anashuya ,Yeats must have ruminated over the concept of dual forces striving to establish its
