The diction‚ tone‚ and structure of Sylvia Plath’s poem “Edge” create disturbingly calm imagery and symbolism that illustrate the peace and perfectness found in the finality of death. The poem opens with diction emphasizing the unsettling imagery that carries throughout the poem. The detached third-party speaker looks on a “dead body” with “bare feet” “perfected” and wearing the “smile of accomplishment” under a white “toga.” This raw‚ pure and positive diction in the presence of suicide creates
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Sylvia Plath’s poem‚ ‘Whiteness I Remember’‚ and Ted Hughes’s poem‚ ‘Sam’‚ are two poems which describe an experience of Plath’s when she was a student at Cambridge. She was out on her first ride when the horse she had hired the normally-placid Sam‚ bolted. Although Ted Hughes’s is describing the experience he uses insinuations throughout the poem to let out his perception of his marriage with Sylvia Plath‚ hence infuriating‚ the conflict in perspective between the two poems. The ideas of ‘conflicting
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POETIC DEVICES IN MY PAPA’S WALTZ 1. Rhyme Scheme- a repeated pattern of rhymed words at the end of the line This poem has a simple ABAB CDCD EFEF GHGH rhyme scheme‚ meaning that every other line within a stanza rhymes. Example: The whiskey on your breath (A) Could make a small boy dizzy; (B) But I hung on like death: (A) Such waltzing was not easy. (B) The lines with corresponding letters rhyme. The B rhyme in this stanza is an example of a slant rhyme – "dizzy"
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Chimney Sweeper Style (techniques) Onomatopoeia: Use this technique in words like “weep!” and repeatedly to help depict the situation which it is describing. Rhyme: In the form of AABB‚ the rhyme in this poem works together with enjambment to help the poem flow smoothly. Foreshadowing: This technique is used through the words “And he open’d the coffins & set them free”. These words foreshadow the freeing of the enslaved children from working in the industrial factories.
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Catrin? Throughout this poem‚ Clarke uses many techniques‚ primarily the extended metaphor to strikingly depict the pain but also affection felt in the inevitable separation between a mother and daughter. The effective use of the free verse and enjambment by Clarke solely portrays this on-going separation between a mother and daughter‚ therefore fully lending itself to the first person narrative showing the naturalistic nature of the mother’s perspective. The use of the daughters name “Catrin” in
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To begin my analysis‚ when I take the scansion of it under consideration‚ I find a few instances that are interesting. In combination‚ concerning Lawrence’s use of enjambment; the opening line finishes with ’wild thing’‚ but completes the sentence on the next line. I believe this was done for a few reasons: (1) The last words are ’wild thing’ before the reader must pause momentarily to scan to the next line in the poem. I believe Lawrence intended this pause to allow for the manifestation of an image
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these feelings of hurt and anger are also expressed in In Paris with You along with the love “I’m angry and the way I’ve been bamboozled And resentful at the mess I’ve been through” Both poems have very strict‚ strong structures. Quickdraw uses enjambment in every stanza‚ this makes the poem flow and this could represent the flow of their
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Discuss Marlowe’s use of language in this passage and how it contributes to the characterisation of Faustus. After reading the passage taken from‚ Christopher Marlowe’s Doctor Faustus. I will discuss the use of language in the passage and how it contributes to Faustus’ characterisation. Doctor Faustus is a standard 5 act play typical of the renaissance period. It is a morality play with hints of a tragedy. Written in blank verse; each line contains ten syllables. It is also written to an iambic
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present in the latter of the stanza; a typical feature of Emily Dickinson poetry. ‘Neighbour’ is symbolic for connections‚ however is generalised in the expansion of its context when it is distantly addressed as belonging (‘from’) to ‘another world’. Enjambment escorts the contraction of this idea by its enervation into the confines of a ‘jar’. Contrastingly‚ a strong rhythm and alternating tetrameter rhyme are present‚ which inject a harmonious continuation. The second stanza appeals to a wider philosophical
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father has just returned home after a long hard day of work. He is in the mood for celebration and grabs his son and begins to forcefully drag him into a waltz. We know that the father was too drunk to realize that he was hurting his own son by the enjambment “the whisky on your breath Could make a small boy dizzy.”
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