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The Ruined Maid was written in 1866 by Thomas Hardy. This poem is a quatrain, meaning that it has four lines in every stanza. The Ruined Maid has six stanzas and it is structured as a dialogue between two ladies, who used to work together on a farm. In the first five stanzas, the lady who is still working on the farm speaks the first three lines and 'Melia, the “ruined” lady, replies in the fourth line. In the sixth stanza, the farm lady speaks in the first two lines and 'Melia replies in the last two lines. In the first stanza, the farm lady happened to meet ‘Melia in town (2). The farm lady was surprised to find how different 'Melia looked and she asked her where she got the “fair garments” (3), which symbolized wealth. 'Melia explains she has “been ruined” (4), meaning that has become a prostitute. In the second stanza, the farm lady remembers ‘Melia’s look while she left the farm and her reasons for leaving. She says that 'Melia left the farm “in tatters” (5) and she left because she was tired of digging potatoes and docks (6).The farm lady then contrasts 'Melia’s previous appearance to the “ruined” one. She says that 'Melia has “gay bracelets and bright feathers three!” (7).The exclamation mark shows that the farm girl was surprised and admired the accessories that 'Melia had. 'Melia then explains that she has to dress that way for her profession. In the third stanza, the farm lady says that 'Melia used to speak like a country girl when she was at the farm. The farm lady gives examples of words such as ‘thee,’ which were used in rural areas as an alternative for ‘you’ (9). 'Melia had already used the word ‘you’ in the previous stanza and the farm lady says she now speaks like someone of a “high company” (11). This indicates ... ... middle of paper ... ...ses a regular “aabb” rhyme scheme in every stanza. The poet also heavily uses anapestic sounds whereby two stressed syllables are followed by a stressed syllable such as “You left us in tatters”. This gives the poem a song like rhythm. In addition, Hardy uses alliteration by repeating speech and consonants in a sequence such as 'you'd sign, and you'd sock;” (18), and “megrims or melancholy” (19). Also, the rhymes of the third and fourth lines are similar and at the end the third line in some stanzas, the poet hyphenates the last word such as prosperi-ty (3), compa-ny (11), la-dy (15) and melancho-ly) (19), in order to separate the final syllable that rhymes with the fourth line. The fourth sentence of every stanza ends with the word “she.” Finally, the poet matches the rhymes of the first and the last stanza as a way of creating balance or uniformity in the poem.
The alliteration used is to emphasize rhythm in the poem. On the other hand, the poet also depicts a certain rhyme scheme across each stanza. For example, the first stanza has a rhyme scheme of this manner a, b, c, d, e, a. With this, the rhyme scheme depicted is an irregular manner. Hence, the poem does not have a regular rhythm. Moreover, the poet uses a specific deign of consonance, which is present in the poem (Ahmed & Ayesha, p. 11). The poet also uses the assonance style depicted in the seventh stanza, “Seven whole days I have not seen my beloved.” The letter ‘o’ has been repeated to create rhythm and to show despair in the poem. On the second last line of the seventh stanza, the poet uses the style of consonance, “If I hug her, she’ll drive illness from me. By this, the letter ‘l’ is repeated across the line. The poet’s aim of using this style of Consonance is to establish rhythm in the poem and add aural
First of alll, the poem is divided into nine stanzas, where each one has four lines. In addition to that, one can spot a few enjambements for instance (l.9-10). This stylistic device has the function to support the flow of the poem. Furthermore, it is crucial to take a look at the choice of words, when analysing the language.
Roethke’s poem has a regular rhyme scheme that can be expressed as “abab”. The only exception to this scheme would be the first stanza as the words “dizzy” (2) and “easy” (4) are slant rhymes. Only the end syllables of the two words sound the same. As a result, the use of a consistent “abab” rhyme scheme allows the poem to reflect the
the poem then progresses to talking about how the baby when it grew up it was “was healthy,tested intelligent possessed strong arms and back … everyone saw a fat nose and fat legs” in this section of the poem we see how marge piercy tries to indicate that although this girl was “healthy, tested intelligent, possessed strong arms and back” that is not what society saw in her all they saw was “a fat nose and fat legs”. In order for this girl to feel as though she is able to be accepted in the society that she lives in she decided to “cut off her nose and her legs and offered them up…. doesn't she look pretty everyone said consummation at last”. this lastly proves the toll that society continues to have on people especially women the girl in this poem decide to mutilate herself so that she could be accepted into the society where at the end it says that “doesnt she look pretty everyone said consummation at last” this shows the sickness that is society in this
In order to completely grasp exactly how the old maid appears to the woman on the sidewalk and the love she feels for the man walking with her, Sara Teasdale uses personification to describe the characters in the poem. One would be, “Her soul was frozen in the dark/ Unwarmed forever by love’s flame.” Obviously, a person’s soul cannot be frozen, but the meaning is that the old maid had never felt a heated intensity between herself and someone special to her which could give her a cold outlook on life. Another time the poet uses personification is when the speaker states, “His eyes were magic to defy”. Eyes cannot be magic. By saying that his eyes were magic the reader can get the notion that when the speaker looks into the eyes of her lover she feels awed, happy, or even entranced. Sara Teasdale also uses a metaphor in her work, “Her body was a thing growing thin,” In that line the speaker is comparing the old maid’s draining body to something that can get thinner. The poet uses a rhyme scheme of rhyming the second with the fourth line and there are four lines in every stanza. Finally, in this narrative poem there are eight syllables per line of the poem.
In all, the misogyny presented in these two poems is not restricted to the time period they were written. Just as in medieval literature, it is still common for today's woman to be recognized only for her physical attributes. I believe that in order to have equality of the sexes and to help overcome the objectifying of women, it is necessary for women not to use the misogynistic views placed against them to their advantage.
The rhyme and meter of “To Virgins” is fairly simple, just like the message the poem conveys. The rhyme is ABAB format. In each stanza, the final words of the first and third lines rhyme, and the final words of the second and fourth lines rhyme. For example, the final words “may” and “today” rhyme from lines one and three, respectively, and this pattern carries on throughout the poem. The simplicity of the rhyme pattern is fundamental to the message. Herrick does not complicate the poem with tricky phrasing or word-play to create rhymes, but keeps the rhyme clean and to the point, making his message memorable. Herrick uses seemingly opposite rhyming words to highlight his ideas like “a-flying” and “dying” or “marry” and “tarry”, while maintaining cohesiveness and simplicity.
The poem 'The Ruined Maid' is about a woman who used to be a country
The poet expresses her hurt and through the quote "wore me like a silken knot" this shows The Lord used the cottage maiden as a trophy and used her for his pleasure, he had no feelings for her whatsoever. The word "silken" is interesting as it is normally associated with white which signifies purity, innocence, which the narrator has now lost after sleeping with The Lord out of marriage. The poem also tells us how people viewed unlawful relationships during Victorian
The first literary device that can be found throughout the poem is couplet, which is when two lines in a stanza rhyme successfully. For instance, lines 1-2 state, “At midnight, in the month of June / I stand beneath the mystic moon.” This is evidence that couplet is being used as both June and moon rhyme, which can suggest that these details are important, thus leading the reader to become aware of the speaker’s thoughts and actions. Another example of this device can be found in lines 16-17, “All Beauty sleeps!—and lo! where lies / (Her casement open to the skies).” These lines not only successfully rhyme, but they also describe a woman who
The structure of the poem is that of a free verse. In the 1970s, free verse was considered a rebellion against traditional poetry, you could say it was out of the norm. The use of this poem has a fascinating underlying meaning. Rich may have used this form for an explicit reason, and that is to rebel against the patriarchal society that she, and all women, are trapped in. Rich is rebelling against not only traditional poets and authors of her time, but of the society that she is a part of, and against the group of ‘others’ that she and many women have been placed in. Along with the free verse form, she has an interesting choice of sentence structure throughout the poem. If you refer to the passage above, there is not a single period, but the passage (and the rest of the stanza) are one entire sentence instead, chopped into lines. This use of enjambment makes the reader read the passage in a hastier fashion, and in some cases in an awkward, and chopped way. There is a purpose behind this, and I believe that the reader is meant to read this passage and feel a sense of urgency to get through it. That sense of urgency can be reflected in the urgency that women’s rights should be fought for. Society should feel that the inequality in the social world is not right, and that equality should be sought after with persistence and hastiness. In
The Ballad is not written in a traditional ballad form. There are 109 stanzas (total of 654 lines), which are grouped 6 parts or with term which is used by Ezra Pound, this poem is grouped into six “cantos”. Every part has different numbers of stanzas; the third part is the longest part with thirty-seven stanzas. The first part has sixteen stanzas, the second part has thirteen verses, the forth part has twenty-three lines, the fifth part has nine and the sixth part has three stanzas. Wilde further uses iambic tetrameter, which has four repetitions of the pattern of stres...
...ur lines each. Each line ends with a vertical line that marks the feet. The rhyme isn't but there is rhyme in this poem like "Me" rhymes with "Immortality" and, farther down the poem, with "Civility" and "Eternity." This poem repeated the phrase, "We passed," which is changed a bit in the fifth stanza to, "We paused." This repetition of a word or phrase throughout a poem is called anaphora. The use of these poetic elements allows the words to flow as they describe an event.
...za there is personification in the line, “the vapors weep their burthen to the ground”. There is also a sense of irony with, “man comes and tills the field and lies beneath” because its humans working the land for crops that help them survive, only to be buried beneath it when they pass away. In the second stanza, the God granting his wish is described by the smilie, “Then didst thou grant mine asking with a smile, like wealthy men who care not how they give”.
The ABAB rhyme scheme is a pattern that can be recognized by many individuals; therefore, it relates to the message that motivation is needed by everybody. Two ABAB rhyme schemes make up each stanza, which symbolizes the positivity and negativity that battle throughout the poem. Guest breaks the rhyme scheme once by rhyming “failure” with “you”. This strategic action emphasizes the different methods that negative individuals use to destroy a person’s ambition. Internal rhyme is included in many lines of the poem to create fluidity and sound pleasing to an audience. The poem is composed of a qualitative iambic meter, giving the syllables a sound of da DUM. A pleasing flow is observed through the fairly consistent line length and line syllable number. The lines throughout the poem end in both stressed and unstressed syllables, referencing the battle between discouragement and