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how do sonnets share similarities and differences
how does social structure affect lives
Nature of sonnet
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Breath in Poetry: In search of self-pleasure
Gwendolyn Brooks’ “First Fight. Then Fiddle” is a sonnet with ten syllables in every line, rhymes as abba in Shakepearean’s. As an old form of poetry that follows the structure and rhyme, “First Fight. Then Fiddle” mimic a rhythmic melody in semantic stanzas. And “First Fight. The Fiddle” rhymes better than Sylvia Plath’s “Lady Lazarus” which requires deeper exploration in dimension. Although, different style in the writing, they share some common ideas. Both poems talk about death and survival and about the darkness of evil that lurks inside the snatched lives. In “First Fight. Then Fiddle”, Brooks addresses that life can be intimidating with many turns, enjoyment of it can be captivating. Brooks
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The intimate encounter with death brings her depth of erroneous to the sanity realm. On the contrary of “First Fight, The Fiddle” where life is celebrated and cherished, despite all calamities transpired in life. No matter how hard the life could get, to any individual, any race, any society, life will prevail as always. Even in the most violent times, when hope has strayed, the will to survive …show more content…
Then Fiddle” which comes in more structure. Nonetheless, “Lady Lazarus” is written in three-line stanzas. Although, a poem usually contrives metaphorical form, a poem also can be understood in its narration. The art of reading these poems depends on how they are asserted by the readers. “First Fight. The Fiddle” is more like a song, just like the meaning of most words in the poem that relate to music, and “Lady Lazarus” is supposedly a voice of the uprising. “Lady Lazarus” is meant to be read aloud. To heighten the aural effect, the speaker’s, voice modulates across varying levels of rhetorical intensity.” (Rosenblatt). Both poems bring pleasure on how they resonate and on how they are interpreted. The depth of pleasure from reading a poem emerges through the meaning, the beat, the harmony of word structure, the rhyme, or the history or a message behind every poem that the poet tries to recount. Poetry ignites the emotion of its reader and sometimes arouses its reader. (Norton
I selected Ralph Ellison’s short story “Battle Royal”, as this assessment illuminates the struggles of both race as well as issues oppression within society, in which many must continue to endure. The narrator, a young black teenager has attended an event absent of both law and order as a guest speaker only to be severed up as just another entrée for the prominent group of southern white ringmasters to feast upon. Subsequently, he now realizes “that it was on the occasion of a smoker, and I was told that since I was to be there anyway I might as well take part in the battle royal to be fought by some of my schoolmates as part of the entertainment.” Forced to fight for a right to speak, the young man is in the midst of an alcohol induced and cigar smoke filled circus of violence and sexual misconduct, which is fueled of force intimidation. Many of the symbols used in this story resonances of both race and inequality within a regime lacking integrity, where one is neither protected nor served fairly. Moreover, it is with this view of hopelessness, despair as well as mistrusts that offer a seed of change in society, in which the invisible becomes the visible.
First To Fight begins with Krulak engaged in a conversation with a Gunnery Sergeant who was asked how the Marine Corps got the reputation of having one of the world’s greatest fighting formations. The GySgt replies “Well lieutenant they started telling everybody how great they were and pretty soon they started believing it”. The story goes on to talk about how there nearly wasn’t a Marine Corps.
... seeing and feeling it’s renewed sense of spring due to all the work she has done, she was not renewed, there she lies died and reader’s find the child basking in her last act of domestication. “Look, Mommy is sleeping, said the boy. She’s tired from doing all out things again. He dawdled in a stream of the last sun for that day and watched his father roll tenderly back her eyelids, lay his ear softly to her breast, test the delicate bones of her wrist. The father put down his face into her fresh-washed hair” (Meyer 43). They both choose death for the life style that they could no longer endure. They both could not look forward to another day leading the life they did not desire and felt that they could not change. The duration of their lifestyles was so pain-staking long and routine they could only seek the option death for their ultimate change of lifestyle.
The interpretations of what comes after death may vary greatly across literature, but one component remains constant: there will always be movement. In her collection Native Guard, Natasha Trethewey discusses the significance, permanence and meaning of death often. The topic is intimate and personal in her life, and inescapable in the general human experience. Part I of Native Guard hosts many of the most personal poems in the collection, and those very closely related to the death of Trethewey’s mother, and the exit of her mother’s presence from her life. In “Graveyard Blues”, Trethewey examines the definition of “home” as a place of lament, in contrast to the comforting meaning in the epitaph beginning Part I, and the significance
The father’s experience in When The Emperor was Divine and the narrator’s experience in “Battle Royal”, both portray the hardships minorities go through when trying to fit in with a bigger population and how much they change from being put through these hardships. The first connection that is seen between the two characters is the the start of their journey’s. The father begins his journey by being taken away by the FBI, “She knew exactly where her husband was. He was sleeping on a cot-a cot or maybe a bunk bed-somewhere in a tent at Fort Sam Houston where the weather was always fine.”(Otsuka 19). The father in Emperor was taken away to an internment camp because since he was Japanese, he was suspected to be a part of the bombing of Pearl
Life and death are two opposing states of being. The man was originally incorporated the desire for reform activities, to overcome death. The proximity of death increases the value and the sweetness of life; it opens up unexplored depths, making sense of life more keen saturated. Facing the death, a person is differently look at life, unusually acute experiencing its value, clearly separating the fundamental fact of life on the chance it worldly forms. This sensation is usually morally cleansing sense connects life and dignity in an inseparable whole. The current paper will address the moral dilemma and commonalities between “The Twilight
In Smith’s fiction, ‘petite mort’ is a more complex motif than the French metaphor for sexual climax. In her stories the trope of love and death does not refer only to the erotic sphere of love. In fact, because of its close relationship to liminality, the traditional topic acquires a more metaphysical twist throughout Smith’s fiction. The coexistence of love and death questions the boundaries between life and death, overcomes the threshold of the physical world to reach beyond this limit, and explores all the possibilities in between. In fact, death often seems to be a paradoxical vehicle through which life and love are manifested and asserted. The notion that death may overcome the borders between life and afterlife suggests a deeper analysis of the concept of liminality.
I will discuss the similarities by which these poems explore themes of death and violence through the language, structure and imagery used. In some of the poems I will explore the characters’ motivation for targeting their anger and need to kill towards individuals they know personally whereas others take out their frustration on innocent strangers. On the other hand, the remaining poems I will consider view death in a completely different way by exploring the raw emotions that come with losing a loved one.
In the first instance, death is portrayed as a “bear” (2) that reaches out seasonally. This is then followed by a man whom “ comes and takes all the bright coins from his purse / / to buy me…” This ever-changing persona that encapsulates death brings forth a curiosity about death and its presence in the living world. In the second stanza, “measles-pox” (6) is an illness used to portray death’s existence in a distinctive embodiment. This uncertainty creates the illusion of warmth and welcomenesss and is further demonstrated through the reproduction of death as an eminent figure. Further inspection allows the reader to understand death as a swift encounter. The quick imagery brought forth by words such as “snaps” and “shut” provoke a sense of startle in which the audience may dispel any idea of expectedness in death’s coming. This essential idea of apparent arrival transitions to a slower, foreseeable fate where one can imagine the enduring pain experienced “an iceberg between shoulder blades” (line 8). This shift characterizes the constant adaptation in appearance that death acquires. Moreover, the idea of warmth radiating from death’s presence reemerges with the introduction to a “cottage of darkness” (line 10), which to some may bring about a feeling of pleasantry and comfort. It is important to note that line 10 was the sole occurrence of a rhetorical question that the speaker
Gwendolyn Brooks' "First fight. Then Fiddle." initially seems to argue for the necessity of brutal war in order to create a space for the pursuit of beautiful art. The poem is more complex, however, because it also implies both that war cannot protect art and that art should not justify war. Yet if Brooks seems, paradoxically, to argue against art within a work of art, she does so in order create an artwork that by its very recognition of art's costs would justify itself.
“Death, the end of life: the time when someone or something dies” (Merriam-Webster, 2014). The definition of death is quite simple, the end of life is inescapable. I chose to write about death and impermanence because it is something we all must inevitably face. People often deal with death in a number of different ways. Although it is something that we must eventually face, it can be hard to come to terms with because the idea can be hard to grasp. Some of us fear it, others are able to accept it, either way we all must eventually face it. In this essay I will look at two different literary works about death and impermanence and compare and contrast the different elements of the point of view, theme, setting, and symbolism. The comparison of these particular works will offer a deeper look into words written by the authors and the feelings that they experiencing at that particular time.
The idea that something exists after death is uncertain in this poem, saying this, it is important that the point of view is that of the observer. The ...
Jumping right into the first line of the poem one sees that it begins by stating, “Because I could not stop for Death”. Since this line was selected for the title of the piece, it can be inferred that it must hold some strong significance. Over the course of this poem the reader is drawn to the concl...
In summary, Vivian Bearing’s different perspectives of life and death in various periods convey the tension between life and death. Vivian’s confidence collapses step by step with the threat of death. She once became scared and just wanted to hide away from the world. However, finally, she accepts her death peacefully rather than frustrated and scared. People do not usually think about death until they get the last moment of their lives. In this play, “Wit” indicates that death is not a fearful thing, but a natural and serious thing. People shall not be afraid of death. Wit inspires audiences to consider the true meaning of life. With the clear organization and successful antithesis, Wit is a great play that not only demonstrates the interesting plots but also inspires us to ponder over the real connection between life and death.
In the New Testament of the Bible, Lazarus is a man who rises from the dead at the command of Jesus Christ (John 11:38). The title of this poem, "Lady Lazarus"(the "Lady" without a doubt referring to Plath herself, as this is an example of confessional poetry; the "Lazarus" being an allusion to the biblical figure) is an accurate indicator of the content of the poem. "Lady Lazarus" is about Plath's third attempt at suicide, and her subsequent 'resurrection'. In lines 65-79, Plath develops the speaker's contempt for the doctors who brought her back to life. Through this, Plath develops the character's paranoia.