In Atwood’s Power Politics poem, which initially seems to be a conservative love poem soon turns obscure and troubling. Atwood replaces the common characterization of “hook and eye” and instead, alters it with an image of cruelty and forcefulness. From the second stanza of the poem, the clause ‘a fish hook an open eye’, challenges readers initial thoughts of an optimistic image of sexuality, by stipulating the type of hook and eye. Atwood conscientiously wrote these powerful words because after reading them, women must now disregard their initial opinions on the poem. Once the reader comprehends this line, they will amend it with an altered view of violence that provokes a reaction of hurt, distaste, and fear. The poem’s fishhook which is intended to represent a penis and the vagina-shaped eye is an illustrative …show more content…
Once readers have an understanding of the discomfort of sexual domination in the poem, the female reader must rethink another premise, for this poem is not essentially a poem against sex or men. It appears that regardless of the hurt involved, the act (or fit) is accepted: the eye is open. Atwood’s poem in another similar point of view signifies the weakness and discomfort of feeling stuck in an unhealthy romantic relationship. This poem is at first positive but soon becomes dark and even embodies a new surprising tone. The speaker assures her lover is a perfect “fit” in the opening line, in order to signify a relationship that is both emotionally and sexually sustaining. The author compares this fit to that of a “hook into an eye”. This simile proposes their relationship is
Elizabeth Bishop's use of imagery and diction in "The Fish" is meant to support the themes of observation and the deceptive nature of surface appearance. Throughout the course of the poem these themes lead the narrator to the important realization that aging (as represented by the fish) is not a negative process, and allows for a reverie for all life. Imagery and diction are the cornerstone methods implemented by Bishop in the symbolic nature of this poem.
Throughout history women have learned to find a voice against men through writing. Writing has been a medium where women have learned to speak their minds and allow their ideas to be broadcasted to the world. Women have used writing to discuss issues, such as discrimination, inequality, sexual frustrations, and many more that they have dealt with. In the poem, “A Loyal Woman’s No”, written by Lucy Larcom. She gives power to women to say no to men. Her poem discusses the issues that many women face. They face issues of men taking advantage of them, men objectifying them and using them. However, Larcom’s poem shows a clear progress of women standing up against men, and being firm in saying no to them. Larcom has given women the ability to stand up to man and show the true power that women have over men. Many women fear standing up to men due to the repercussions of their actions, however, Lucy Larcom uses the symbolism of nature and her rhetoric to show a woman’s true power against men and say no and to free themselves of the rigid grasp that so many men have over women.
Imagine being in a war fighting for you life. Fighting for your country even though many other people think your the enemy and it’s tearing you apart. Your losing and your life is about to end but you notice something, something that is strange when you're captain saves your life from the doom that almost followed. Extraordinary power that you have seen before from an enemy coming from your captain, before you can comprehend anything you are out cold. You wake up and you see that your sister and your general now getting to know each other, and you have to convince her before her death awaits. In the book Bloodline by Kate Cary that is what happened. This takes place during the time period in World War l.
However, the reader must always keep in mind the time at which this piece was written and how these relationships exemplify the realities of personal relationships during this time era. Her relationship with John is dominated by him and is almost like she is the child. Without anyone to speak to about her true feelings and stresses, she writes, another thing she must hide from John and Jennie. The reader feels a sense of fear from the narrator, “there comes John, and I must put this away,—he hates to have me write a word” (Gilman 78). Yet another sign of how he does not want his wife thinking for herself and doing what she pleases. When learning about the author and her background, her feminist side shows in this piece through examples like these. The true dark sides of marriage, the loneliness, and the female role of always being superior are portrayed perfectly in this short
Autobiographies are very important pieces of literature because they give us a personal insight into events from an individual’s standpoint as a member of a certain social group. From Elaine Brown’s autobiography, A Taste of Power-A Black Woman’s Story, and Mary Crow Dog’s autobiography, Lakota Woman, we can understand that for these two African American and Native American women, motherhood had beyond a personal reason. These two women had children for the purpose of progressing their revolution and improving the lives of their people. To them, they were not giving birth to a child as simply a member of their family, they were giving birth to whom they hoped would become revolutionaries and warriors.
I’ve explained that Fish used humor, but he did so through exaggeration and irony. In the first stanza, the speaker uses a hyperbole that the weatherman burst into flame because it was so hot. Later, s/he rants “[third-graders] are out there having full on sex!” (16). Are eight-year-olds actually having sex? Probably not. In the next line, s/he juxtaposes “innocent” and “blowjob” (17), as if blowjobs are in any way innocent. Each of these instances makes the reader pause and think, “Yeah right,” along with a head shake or a laugh. “Cotton- / candy pink panties” (18-19) and “corn on the cob” (27) are examples of alliteration which help the flow of the poem, especially when read aloud. The speaker also ends with a simile and a metaphor suggesting “you’ll feel like you’re / swimming in who you were, and you’ll cautiously dive into who you’re / becoming
This poem is written as a narrative monologue with the assumption that the writer is also the narrator. There is only the conclusion that a woman is telling the story since the phrase “my” hook from the narrator (Bishop, 1946, p. 968). There is an interesting relationship created by Bishop when she writes “my” hook in “his” mouth, which indicates that the fish is a male (Bishop, 1946, p. 968). The narrative tells a story by presenting event in some logical orderly way (Kirszner & Mandell, 2012). The narrator brings in the imagery of the poem in the writing.
...e speaker’s “true” feelings about her existence, that it is merely an imprisonment, due to unwanted beauty. Yet, the speaker then states “…come closer…,” and suddenly the reader knows that her lament was only an extension of her deadly craft. The last line: “It is a boring song but it works every time,” is satirical in nature and is somewhat hilarious. It shows the speaker shrugging off her actions, a distinct comment made by Atwood about the negative opinion of women.
She tells the girl to “walk like a lady” (320), “hem a dress when you see the hem coming down”, and “behave in front of boys you don’t know very well” (321), so as not to “become the slut you are so bent on becoming” (320). The repetition of the word “slut” and the multitude of rules that must be obeyed so as not to be perceived as such, indicates that the suppression of sexual desire is a particularly important aspect of being a proper woman in a patriarchal society. The young girl in this poem must deny her sexual desires, a quality intrinsic to human nature, or she will be reprimanded for being a loose woman. These restrictions do not allow her to experience the freedom that her male counterparts
The submission of women is demonstrated in the text through the symbolic colors of the couple’s bedroom. Indeed, as the young woman’s husband is asleep, the wife remains wide-awake, trying her best to provide the man with comfort, while enjoying her newlywed life. As she opens her eyes to contemplate “the blue of the brand-new curtains, instead of the apricot-pink through which the first light of day [filters] into the room where she [has]
The poem demonstrates the two side of her upbringing wherein she is clearly acquainted with classical allusions and poetical devises that might have been strange to other puritans. It also reflects the conventions that she defies in trying to balance the role of women in puritan society while writing, and even publishing, poetry. This is something that is set up in almost defiance of other’s expectations.
One can cry out in a voice clearly false and alien, “I love…” In the dominating arms of a man, one can be a beautiful, healthy female. The narrator mocks women for allowing themselves to be dominated by men and lying to self that they are in love. In fact, these women are no more in love than the sun is shining outside the curtained windows of their homes.
Often in literature, there is a certain motivation to control through a female’s sexuality. These desires are used to drive a woman’s sense of power over a man to dominate, manipulate, and destroy. Others are eaten alive by the control it takes over them. Some become dependant on sex and do not know how to interact with men without giving themselves up.
In Margaret Atwood's poem, then, the troubled man-woman relationship is symptom and symbol of a greater alienation within humanity. Man's past and present curelties to human, natural and spiritual life are expressesed metaphoricall in terms of a cowboy "winning the West" on a movie set, against a backdrop "supporting" his heroism. "Backdrop Addresses Cowboy" offers a vision that is both desolate and conscious-expanding but it does not present answers.
This is the epitome of confessional poetry: unflinchingly raw, shamelessly honest. To me, these three poems display what sets Sexton aside from other poets of her era: bravery. She emotionally undresses herself through each line, exposing her naked mind with each stanza. The poems all include diction that implies an intense tone, and the atmosphere created by the language Sexton chooses is simultaneously grotesque and intriguing. Sexton personifies unique objects: a dismembered limb, a wooden vessels, a metropolitan expanse. By doing this, she highlights the lack of humanity she felt without the existence and affect a lover. I would like to further explore the root of this impression Sexton has–to discover what inspired this outlook on herself–and why it is so prevalent throughout her