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Indigenous australia
Indigenous people of australia
Indigenous australia
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Over the course of history, poetry has been used to amuse, express feelings and provoke thought. Poetry has also been used as a powerful tool of protest to influence and change attitudes. One poet who did all these things is Oodgeroo Noonuccal. Noonuccal is an indigenous Australian woman who wrote in the 60s into 90s. She portrayed indigenous people suffering under the oppression of the European settlers in Australia. One of Noonuccal’s poems, ‘Time is Running Out’, expressed a very powerful message against mining. In this poem, she urges the indigenous people to act, defend and fight back against the oppressive and greedy European miners before the earth is destroyed. Noonuccal fulfills this purpose in several ways. Firstly, her powerful …show more content…
It has 3 stanzas with 9 lines per stanza. There is no strong rhyming scheme, but this allowed Noonuccal to express her feelings in a stronger way because she doesn’t have to worry about rhyming things and can just express her feelings. There is some rhythm coupled with rhyme which connects the stanzas, for example, in the lines 3, 14, 16, 25 and 26 there is an echo of the word ‘violent’. This put some structure into it and also brings out the theme of the miners being so violent and using their greedy power against the …show more content…
For example, she describes the "greedy trade" (line 5) and "filthy trade” (line 11) in the 'black blood', which is a metaphor for the oil trade. The use of ‘rapes’, ‘destroy’ and ‘violence’ of the land to mine the oil, are also very effective metaphors. In line 9, the words "giant tool and iron drill" are more metaphors describing the equipment. Another impact that the metaphors have on the poem is that they describe the miners as villainies for example when she calls them ‘greedy’ and filthy. The uses of these poetics techniques give heart and soul to the Noonuccal's
The author puts into light some of the daily horrors of these people. Some of these passages are horrific. The work conditions were anything but clean and safe. The poem touches on how the people were around chemicals, inhaling poison. He goes on about the dangers of going to the canning factories with no safety or labor restrictions. Even though work conditions were
Noonuccal outlines how we prejudicially alienate one another and fight over skin tone. Nonuccal mentions, "I'm for all humankind, not colour gibes, I'm international, never mind tribes," which uses regular rhyme scheme to create a sense of certainty and finality to each line which communicates her message in a determined tone. This emphasises the unjust way we quarrel against one another based on skin colour. The rhyme scheme is consistent and goes on to manifest our differences in life but how that does not mean we should fight about it. Noonuccal illustrates how we are prejudiced towards others because of race when she writes, "black tribe, yellow tribe, red white or brown" and "Black, white or brown race, yellow race or red,". Noonuccal plays with the convention of anaphora by slightly changing the phrases to outline that while we different in some ways, we are mostly the same and should not be separated in terms of race. Just as the second quote mirrors the first one we also reflect each other. Although we look slightly different on the outside, we are "all one race" hence the title. Noonuccal writes, "I'm international, never mind place; I'm for humanity, all one race,". This summarises her whole poem by using a combination of first person and inclusive language bringing together all her points about how we are all the
Davis starts by describing the workers in a unhealthy and rather revolting way; their health condition a result of the factory conditions: “..thousands of them, massed, vile, slimy lives, like those of the torpid lizards in yonder stagnant water-butt..” Davis later goes on to use a graphic lines of similes to describe the mill from a factory worker’s eyes. “Fire in every horrible form: pits of flame waving in the wind; liquid metal-flames writhing in tortuous streams through the sand; wide cauldrons filled with boiling fire, over which bent ghastly wretches stirring the strange brewing; and through all, crowds of half-clad men, looking like revengeful ghosts in the red light, hurried, throwing masses of glittering fire. It was like a street in Hell.” The author later even describes the factory from a point of view from a man of a the richer class: “One could fancy these red smouldering lights to be the half-shut eyes of wild beasts, and the spectral figures their victims in the den.”
The imagery in this passage helps turn the tone of the poem from victimization to anger. In addition to fire images, the overall language is completely stripped down to bare ugliness. In previous lines, the sordidness has been intermixed with cheerful euphemisms: the agonizing work is an "exquisite dance" (24); the trembling hands are "white gulls" (22); the cough is "gay" (25). But in these later lines, all aesthetically pleasing terms vanish, leaving "sweet and …blood" (85), "naked… [and]…bony children" (89), and a "skeleton body" (95).
Although the meter is irregular it does keep up an iambic foot throughout the poem. The first line of the poem is a tetrameter followed by a dimeter which is followed by five line of tetrameter, ending with two lines of dimeter. The division of the line lengths is to render natural interruptions in the poem causing the reader to stop and reread what they have just read in order to comprehend the meaning of the lines containing the dimeter. For example when the reader reads “ Some say in ice” they go back to the first line of the poem to reread the topic of what some are saying about the end of the world. The rhyme scheme of “Fire and Ice” is ABAABCBCB style.
This poem is written in eleven quatrains. All of these quatrains follow an abcb rhyme scheme. An example of this from lines 1-4 are “toune” being a, “wine” being b, “salior” being c, and “mine” being b. This means that the poem was written in closed form. It also follows a meter with four beats in the a and c lines and three beats in the b lines. An example of the four beats from line 5 is “Up and spak an eldern I Knicht”. The example of three beats from line 6 is “Sat at the kings richt kne”.
Trade” are not depicted in equal ways. In this piece, Trade is seen as a monstrous entity. Johnson first describes Trade as an Octopus that has “contaminated” the workers and prevents truthfulness (Lines 16-17). In the final stanza of the poem, Trade “stalks like a giant through the land” and upholds the wealthy while crushing those who are poor (Johnson Lines 29-32). In this poem, the bourgeoisie are not to be admired, but feared. They are depicted as being violent and deadly towards the members of the proletariat, while uplifting the wealthy class. On the other hand, the proletariat is the ones meant to have sympathy in this poem. Art has no source of protection form Trade, and is left dying in his grasp (Johnson Line 19). Art’s horrid treatment is meant to invoke sympathy for the proletariats and how they are treated in a capitalist
Chaos and drudgery are common themes throughout the poem, displayed in its form; it is nearly iambic pentameter, but not every line fits the required pattern. This is significant because the poem’s imperfect formulation is Owen making a statement about formality, the poem breaks the typical form to show that everything is not functioning satisfactorily. The poem’s stanza’s also begin short, but become longer, like the speaker’s torment and his comrades movement away from the open fire. The rhyming scheme of ABABCDCD is one constant throughout the poem, but it serves to reinforce the nature of the cadence as the soldiers tread on. The war seems to drag on longer and longer for the speaker, and represents the prolonged suffering and agony of the soldier’s death that is described as the speaker dwells on this and is torn apart emotionally and distorts his impressions of what he experiences.
The stanza is composed of 15 lines, each with its own length and style. Nemerov adopted an unconventional style in writing this poem. He does not use any sort of rhyme scheme and fails to use rhyming words or phrases. This design gives the poem a different approach, making it formal and less like a creative piece. The poet also makes some innovative choices in terms of syntax which improves the message of the poem and makes it even more interesting. Nemorov adopts a style where he breaks words hiding their true meaning. He also uses different tenses, switching from present participle tense to present tense. Nemerov also varies the narrator's tone, letting it ebb and flow right through the poem. The poet also introduces conflict into the poem, as he details the opposition posed by the farmers and agriculturalists Indianapolis. In the poem, Nemerov links the issue of daylight savings time with the battle that Joshua had in the bible. In the story, Joshua asked God to extend the daylight so that he could defeat his enemies. Nemerov in his own way is stating that Daylight savings time was a similar endeavor, allowing Americans to fight their individual and collective financial battles for longer in a
One piece of the poem hints towards imagery involving slavery, this occurs when the speaker talks about the “charter’d street….charter’d Thames” and later on mentioning “The mind-forg’d manacles”. The street and Thames being described as charter’d shows the power of the government having the control of parts of the city such as a river and the streets. The use of “the mind-forg’d manacles” is symbolic by showing that their brains or minds are being controlled and limited by the government and is a symbol of enslavement. The poem seems to express a lot of imagery about death and sadness, terms such as cry, curse, plagues and hearse are used. The use of such words tells the reader that the soldiers are being forced by the government to kill. Therefore, causing the soldiers despair. Another portion of the poem uses phrases such as “in very infants cry of fear” and “how the chimney sweepers cry” to show an image of child labor. The term “appalls” is used to describe the “blackning Church” to allow the audience to realize that the church is horrified of the child labor. The chimney sweepers are a specific example of child labor. And the use of the word “blackning” suggests that a sin such as child labor is occurring. Lastly, imagery is used in the last stanza to show the horrifying cycle of living in London, England. “How the youthful Harlots curse, blasts the new-born Infants tear” describes how prostitutes are
The rhythm of the poem has no rhyme, but it has a beat that flows in a weary but it builds like a stairway, one step at a time.
Everything that the speaker is trying to express is tied together by the poem's form. The uneven rhyme is a perfect method of pronouncing the confusion that the speaker is feeling about the world. & nbsp;
The consistent pattern of metrical stresses in this stanza, along with the orderly rhyme scheme, and standard verse structure, reflect the mood of serenity, of humankind in harmony with Nature. It is a fine, hot day, `clear as fire', when the speaker comes to drink at the creek. Birdsong punctuates the still air, like the tinkling of broken glass. However, the term `frail' also suggests vulnerability in the presence of danger, and there are other intimations in this stanza of the drama that is about to unfold. Slithery sibilants, as in the words `glass', `grass' and `moss', hint at the existence of a Serpent in the Garden of Eden. As in a Greek tragedy, the intensity of expression in the poem invokes a proleptic tenseness, as yet unexplained.
The fact that there the poem has no stanza divides represents the long and painful road to sleep and the never ending fight with insomnia.
Through the poem, there is an exact rhyme such as on lines 1,3,2,4 “spent” and “bent”, “wide” and hide” with the last word of the line. The end rhymes of the fourteen lines create an ABBA ABBA CDE CDE pattern that would be consistent with