The first image in the third and final stanza speaks once again of a skin that keeps the couple bound together. This image references one of the first images that Minty used in the beginning of her poem. This skin is a representation and image of the marriage that the couple shares. The next image that Minty uses is the strongest image the poem has to offer. “To sever the muscle could free one, but might kill the other” (lines 12-13). This image sends chills down the spine when it is read and for the first time in this poem, death becomes a prominent role. Having the muscle play the image of the marriage shows the strength and power that a marriage has over two people. When that “muscle” that joins these two companions is cut or severed, only one will be able to walk away from that situation alive, leaving the other dead. Minty uses this image to show the magnitude of the situation at hand. Having death and murder play a role in this poem, truly shows the anguish and pain that this spouse is experiencing. Minty moves from this image of death to the image of an actual man and wife. “Ah, but men don’t slice onions in the kitchen, seldom see what is invisible” (lines 13-15). These lines paint a deliberate picture of men in relationships. Minty says that men seldom see the underlying factors as they rarely see what is below the surface. In this instance, the speaker of the…
She is displayed as a bitter, hateful character who seeks revenge, shown with ‘not a day since then I haven’t wished him dead’ and ‘give me a male corpse for a long slow honeymoon’. This is almost contrasted with her loneliness and sexual frustration explored in the first stanza, with ‘some nights better, the lost body over me, my fluent tongue in it’s mouth in it’s ear then down till I suddenly bite awake.’…
‘Credulity’ opens with a couple who are together in a bodily sense but it’s implied they’re not really in love because their minds are far from reason. In the second verse Smith writes about how she “would like to know everything about convincing love to give me what it does not possess to give” indicating that she has looked for things in love or in her lover that she could not get from them, and now she wants to know how to live with the absence of these things, as she writes “and then I would like to know how to live with nothing. Not memory. Nor the taste of the words I have willed you whisper into my mouth.” This suggests that the relationship with the lover has ended and that the speaker’s lover was unable to love the speaker.…
Despite the dulcet cadence of the poem’s syntax, Roethke’s diction in certain lines of the poem disrupt the idealist dance that a son and father are participating in. With its simple ABAB rhyme scheme and trecet iambs, the true action of the poem is often lost among the sing-song quality of the lines; the rhythm almost acts as background music for the waltzing son and father. Themes of adoration and love are portrayed when the son “hung on” to his father (Roethke l. 3), implying that he appreciated the time he spent with his. The full line, however, states that the son “hung on like death”, which changes the tone of the poem from something that is cheerful to something that is violent and grim. This tone continues in the second stanza as they “romped until the pans/ Slid from the kitchen shelf” (ll. 5-6); these words used together create a scene of tumult and cacophony. The diction used in the poem creates a tone that can be rendered as both…
Personification is the bringing to life of an inanimate object in which Donne uses in order to bring the flea to life. The flea is a symbol of their two bodies coming together because the flea bit him and then her. The mixing of their blood is used as a tool for the man to let the woman know that she is no longer a part of maidenhood. This meaning that the woman, and the man, are both no longer sexually innocent; Their bloods have mingled together inside the flea. Donne, known for his use of the sacred and profane, uses this method throughout the poem. He does this by taking the flea, a putrid parasite, and using it to portray the lovely and happy emotion and feeling of love. The love serves as the sacred, which is pure, and the flea functions as the profane, the unholy and impure. Donne uses the metaphor that the flea holds onto its own life, her life, and his life. This is a direct metaphor to the creation of a new being, meaning that with their bloods mixing inside of the flea, they have a “flea baby.” John Donne uses rhyming couplets throughout his poem in his iambic pentameter. The narrator does indeed get lucky with the woman. Even though the storyteller uses a flea to persuade the lady, during the time that the piece was composed, people were not squeamish when it came to tiny bugs. Back then, it was more than likely…
John Donne’s “The Flea” is a seductive poem in which the author introduces a flea as a symbol of morals, sex, marriage and a reference to Jesus and his innocence. By the end of the poem the author has created a very convincing argument as to why sex with him should be considered. He has proved that it is not only a big deal, but that it would just show their compassion for one another. He argues that if she did not then he is worried that she will be breaking her own morals. The symbol of the flea changes throughout the poem and represents three different sides that are evidence to his argument.…
“The hair of their bodies startles up. They cry in the tongue of the last gods, who refused to go, chose death, and shuddered in joy and shattered in pieces, bequeathing in their cries into the human mouth”. Here man and woman are in their natural state and a part of nature. It's about the perfect pleasure that is possible to receive from sharing our bodies with each other. It portrays a give and take relationship between the two bodies that are enjoying the most beautiful gift of heaven which is a love making in a perfect way.…
In the fourth, fifth, and sixth stanza, it talks about the aspect of the sister of the light side. In this few stanzas, the speaker is pictured in a very happier place. This other sister is a vibrant, nature-connected woman whose surroundings clearly show that she has a happy life. "Bronzed as earth, the second lies, Hearing ticks blown gold Like pollen on bright air." to me I interpreted as the writer saying that she is always out with nature that she become bright tan. She is so close to nature that hears the ticks sucking on the pollen. As she is lying next to some poppies, she see how the plant blossom as it let sunlight into it petal. This sister is married to the sun. Soon after that she and her husband have a child.…
There has been a district hint of winter in the London air over the past few weeks. The days are becoming visibly shorter, and the temperature is dropping rapidly. The beginning of December is fast approaching, thus, we are only a few weeks away from the Winter Solstice - the time of the longest night and the shortest day. It is at this point in the year where the dark triumphs, but only briefly. For the Solstice is also a turning point. From then on, the nights begin to grow shorter and the days grow longer. The dark reluctantly wanes and the sun grasps at its chance to show us its true wonders. Christmas is just a little over a month away, with London surrounded by the crisp, frosty air that dances throughout our streets and nips at our toes. Christmas lights appear to be floating in the sky as we stroll along the bustling streets – seemingly hidden by the daylight and yet come alive against the darkness of the night sky. Despite all this, modern British winters in London are far from the winters that London experienced between…
Lines 7–8, “’Twere profanation of our joys / To tell the laity our love,” mean —…
The opening phrase of the second stanza, 'He is with her,' suggests that the narrator has asked for poison to be concocted because she is jealous. It would seem that her lover has deserted her for another woman. She says that they think she is crying and has gone to pray in 'the drear / Empty church'. The couple, meanwhile, are making fun of her, stressed by the repetition of 'laugh' in line 7. The stanza closes with the brief phrase 'I am here', emphasising the setting of the laboratory which is in such sharp contrast to the church.…
In John Donne’s poem, The Flea, an extended metaphor of a flea is utilized to persuade a woman, a woman whom the speaker lusts after, to sacrifice her purity and her innocence to him. We learn of the speaker’s intentions through the first person voice of a young man. The speaker ventures to persuade his lover to spare the life of both herself and of the flea in the line, “ /O stay, three lives in one flea spare/ ” (Donne 10) - the three lives representing his, hers and the fleas. Essentially he is preaching that if she were to kill the flea she would be not only kill the parasite, but her lover and herself as well. In contrast, this line could also be interpreted as making a nod to the Christian ideal of three beings…
John Donne was an English poet, satirist, lawyer and priest. He is considered the pre-eminent representative of the metaphysical poets. His works are noted for their strong, sensual style and include sonnets, love poetry, religious poems, Latin translations, epigrams, elegies, songs, satires and sermons. His poetry is noted for its vibrancy of language and inventiveness of metaphor, especially compared to that of his contemporaries. Donne's style is characterised by abrupt openings and various paradoxes, ironies and dislocations. These features, along with his frequent dramatic or everyday speech rhythms, his tense syntax and his tough eloquence, were both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques. His early career was marked by poetry that bore immense knowledge of British society and he met that knowledge with sharp criticism. Another important theme in Donne’s poetry is the idea of true religion, something that he spent much time considering and theorising about. He wrote secular poems as well as erotic and love poems. He is particularly famous for his mastery of metaphysical conceits.…
In verse 2 the narrator speaking and commenting on the clod as weak and “trodden with the cattle’s feet” which gives the image of the Clod being walked all over and easily pushed around, also like a “door mat” which will take anything from the pebble. He then goes onto write that the Pebble is the opposite of the Clod and is “Warbled out these metres meet” which means that the Pebble is very opinionated. This verse shows the contrast of the two types of lovers and shows that the narrator does not agree with either of these views from the Clod or the Pebble and that neither of their relationships are truly going to work.…
John Donne 's position as a revered and respected poet is not unjustified. The depth and breath of literary works written about him along with the esteemed position he held among his comtemporaries is evidence of his popularity. As a metaohysical poet his poetry was frequently abstract and theoritical and he utilised poetry to display his learning and above all his wit. He was most certainly an innovative love poet who moved away from the Shakespearian focus on form intensely literary style. He was an expert in argument and often used exr=tended conceits to put forward these arguments. The drama in his poetry and his use of language all serve to highlight his skills as an innovative and creative poet. In order to examine Donne 's innovative style I will discuss five of his poems, A Nocturnal Upon St. Lucy 's Day, The Flea, A Valediction: Forbidding Mourning, The Sunne Rising and The Anniversarie.…