In prayer before birth, Louis MacNeice uses a baby to convey his thoughts and emotions on the current state of the world. MacNeice wishes to emphasize how harsh and ruthless the world is, and how it can strip away a young unborn baby of its innocence. The poem, ‘Prayer Before Birth’ is a dramatic monologue giving voice to a child in the womb, as yet unspoiled by the ways of the world he is about to enter, and a clean slate on which the world will write his fate. The poem is set out like an appeal, a cry for help. The title itself, using the word "prayer" shows that the baby is trying to get help for something which troubles him- which raises a question; why would a soon-to-be born fetus that has its whole life strewn in front of it be worrying about ‘sins’ that he hasn’t even gotten the chance to commit. We find it strange that a fetus has the ability to think or even ‘narrate’ such a poem, suggesting how even though he isn’t yet subjected to it, the evil omen outside is so intense that he could sense it from within his mother’s womb. The poem flows from stanza to stanza in a rapid incantation of all the possible dangers the child may face beginning with the creatures of fable and nightmare, and moving on rapidly to include the horrors created by humanity. The most relevant technique that MacNeice uses is the irregular structure of the poem. Although it is presented as a prayer, the subject matter is contrasted to be vulgar, morbid and violent, heightening the effect all the more. The varied length of the stanzas and lines is a mere reflection of the chaos in the world. The deterioration of humanity is effectively brought out through the cascading lines in the poem – we are left with the feeling that with every second that pas... ... middle of paper ... ... breathless sentence and the repetition of words and sounds show the agitation of the speaker. At this point, the reader has had the catalogue of possible evils given to him - and now the child prays to be taught how to cope with the worst that the world may throw at him or he will end up a man totally undone, completely lost. Overall, by the end of the poem, we are filled with disdain and disapproval of the state our world has come to. Louis MacNeice has brought us face to face with the undeniable reality through the eyes of an unborn baby. Moreover, as the child is not yet part of the world, the truth is delivered without bias and we come to grips with the actual state of things. The poet has suitably used language to depict a world of corruption and to open our eyes to the horrific truth we shield ourselves from. Works Cited prayer before birth - louis macneice
Baby narrates her story through her naïve, innocent child voice. She serves as a filter for all the events happening in her life, what the narrator does not know or does not comprehend cannot be explained to the readers. However, readers have reason not to trust what she is telling them because of her unreliability. Throughout the beginning of the novel we see Baby’s harsh exposure to drugs and hurt. Jules raised her in an unstable environment because of his constant drug abuse. However, the narrator uses flowery language to downplay the cruel reality of her Montreal street life. “… for a kid, I knew a lot of things about what it felt like to use heroin” (10). We immediately see as we continue reading that Baby thinks the way she has been living her life is completely normal, however, we as readers understand that her life is in fact worse then she narrates. Baby knows about the impermanent nature of her domestic security, however, she repeatedly attempts to create a sense of home each time her and Jules move to another apartm...
When the poem is read aloud, the explicit rhyme and rhythm of the lines becomes extremely obvious. In fact, the bouncy rhythm is so uplifting, it occasionally makes the audiences feel like it is too predictable and straight-forward. An example would be “bright with chrysolite”, the word “chrysolite” feels like it is forcefully implemented for the sake of the rhyme. This is somewhat similar to a children’s tale. Most children’s tale as we know it, conveys messages straightforwardly and are easily understood by children, it also has an amiable tone and a merry mood that engages the children 's attention. Similarly, the rhyme and rhythm of this poem is very obvious and explicit, creating a delightful, casual mood that appeals to a young audience. Even though the legend dealt with deep insights about parenting that are intricate and puzzling, the father delivered it in such a gratifying, simple manner that made even the most dark and dreadful matters: like the description of precarious beasts and vicious monsters to sound like a blissful adventure of friendly animals. The sole purpose of this contradiction between the tone and message is to make this seemingly strong and serious topic more tolerable and captivating to the son of the father. Unsensible, impulsive youth is very similar to restless children, a long insipid lecture about deep insights is very difficult for them to buy into. In the same time, a harsh, threatening warning will only make them obey unwillingly, and creating a doubtful relationship will make them uncomfortable to communicate or appeal to their parents. Clearly, the percipient father recognized the ineffectiveness of these unsuitable parenting methods. Instead, he conveyed the message in a uncomplicated, friendly way that made his son to accept his teachings more comfortably. A
On the second stanza, the woman was haunted by the voices of her child in her mind. She said that under the circumstance she is right now, she has no choice but to have a abortion. Then she express her feeling and felt sorry about what she had done. “And your lives from your unfinished reach, If I stole your births and your names, Your straight baby tears and your games” (Gwendolyn Brooks) she show remorse that she stolen her child life and her child would get to experience the first tear and games. So now her baby already going through death.
Therefore, Oliver’s incorporation of imagery, setting, and mood to control the perspective of her own poem, as well as to further build the contrast she establishes through the speaker, serves a critical role in creating the lesson of the work. Oliver’s poem essentially gives the poet an ultimatum; either he can go to the “cave behind all that / jubilation” (10-11) produced by a waterfall to “drip with despair” (14) without disturbing the world with his misery, or, instead, he can mimic the thrush who sings its poetry from a “green branch” (15) on which the “passing foil of the water” (16) gently brushes its feathers. The contrast between these two images is quite pronounced, and the intention of such description is to persuade the audience by setting their mood towards the two poets to match that of the speaker. The most apparent difference between these two depictions is the gracelessness of the first versus the gracefulness of the second. Within the poem’s content, the setting has been skillfully intertwined with both imagery and mood to create an understanding of the two poets, whose surroundings characterize them. The poet stands alone in a cave “to cry aloud for [his] / mistakes” while the thrush shares its beautiful and lovely music with the world (1-2). As such, the overall function of these three elements within the poem is to portray the
The poem is written in the father’s point of view; this gives insight of the father’s character and
The mother, however, refuses to acknowledge the child as anything but a child is a major conflict in this poem. Because she refers to her as ?child? and calls her ?baby,? it is clear that the mother does not take the child?s pleas seriously. The mother is certain that she kn...
Stanza two shows us how the baby is well looked after, yet is lacking the affection that small children need. The child experiences a ‘vague passing spasm of loss.’ The mother blocks out her child’s cries. There is a lack of contact and warmth between the pair.
The poem is about the early stages in the narrator’s pregnancy. The doctor gives her news that the baby may be unhealthy. In a state of panic, we see the narrator turning to the methods of her homeland and native people to carry her through this tough time, and ensure her child’s safe delivery into the world. Da’ writes, “In the hospital, I ask for books./Posters from old rodeos. /A photo of a Mimbres pot /from southern New Mexico /black and white line figures—/a woman dusting corn pollen over a baby’s head/during a naming ceremony. /Medieval women/ingested apples/with the skins incised with hymns and verses/as a portent against death in childbirth” (Da’). We not only see her turning to these old rituals of her cultural, but wanting the items of her cultural to surround her and protect her. It proves her point of how sacred a land and cultural is, and how even though she has been exiled from it, she will continue to count it as a part of her
Infant Sorrow by William Blake is about the birth of a child into a dangerous world. The meaning behind this poem is that when a baby is born, they are entering a place that is unfamiliar to them and is full of hazardous circumstances and then seeks for safety and comfort by sulking on the mother's breast. Instead of blatantly telling the reader, Blake uses several poetic devices to deliver the meaning of Infant Sorrow. Some of the devices he uses are images, sound, figurative language, and the structure to bring out the meaning of his poem.
The year was 1952; the place was Emory University Hospital in Atlanta Georgia. After 35 hours of breathing, pushing and exhaustion a seven-pound baby is placed into the arms of a new mother. Moments before, the doctor had exclaimed, “ It’s a girl!” The second the mother heard the proclamation her mind began to wonder. Who will she be? Will she be smart? Will she be gentle? Will she be strong? Will she be proper? Will she be liked? Will she be beautiful? Will she be a wife? Will she be a mother? The mother looked into the eyes of her new daughter and felt, amidst the overwhelming joy, fear. Would her baby’s cohort be the one to spur on change? Will her opportunities forever be limited by her sex? Will she too be susceptible to everyday health issues that women endure? The mother took a breath, “ Her name is Emma.” She looked back into the eyes of the baby and thought; her life will be fraught with challenge and beauty. She will take it in stride and I will guide her as best I can. She will be a woman like any other but she will make a difference, no matter how small, in this world.
In the last half of the poem (lines 20 to 33), she changes who she is addressing. Instead of telling the mother what she is missing she is now talking to the "child" .When she does this it expresses other emotions. These new emotions are ones of sorrow, love, searching for forgiveness etc. The arrangement of the poem, going from talking to the mother to talking to the aborted child, is appropriate in my opinion. It helps the poem to flow easily and makes it simple to follow. I find most poems hard to picture in my head , but as I read "The Mother" I can imagine the whole situation happening.
Blake, William. “Infant Sorrow.” Songs of Experience. The Literature Network. The Literature Network, n.d. Web. 19 Jan. 2014.
Not only the words, but the figures of speech and other such elements are important to analyzing the poem. Alliteration is seen throughout the entire poem, as in lines one through four, and seven through eight. The alliteration in one through four (whisky, waltzing, was) flows nicely, contrasting to the negativity of the first stanza, while seven through eight (countenance, could) sound unpleasing to the ear, emphasizing the mother’s disapproval. The imagery of the father beating time on the child’s head with his palm sounds harmful, as well as the image of the father’s bruised hands holding the child’s wrists. It portrays the dad as having an ultimate power over the child, instead of holding his hands, he grabs his wrists.
To begin, the sound of this poem can be proven to strongly contribute an effect to the message of this piece. This poem contains a traditional meter. All of the lines in the poem except for lines nine and 15 are in iambic tetrameter. In this metric pattern, a line has four pairs of unstressed and stressed syllables, for a total of eight syllables. This is relevant in order for the force of the poem to operate dynamically. The poem is speaking in a tenor of veiled confessions. For so long, the narrator is finally speaking up, in honesty, and not holding back. Yet, though what has been hidden is ultimately coming out, there is still this mask, a façade that is being worn. In sequence, the last words in each of the lines, again, except for lines nine and 15, are all in rhythm, “lies, eyes, guile, smile, subtleties, over-wise, sighs, cries, arise, vile...
Clearly, Plath’s poems take a profoundly different approach to the concepts of pregnancy and motherhood, which are usually looked upon as rewarding and fulfilling stages in a woman’s life. Instead, her poems define them by the pain and stress they lead to as well as the deterioration and eventual obliteration they cause to the mother, both as an individual and in the physical sense. This new perspective brings to light the often hidden darkness and restrictions associated with pregnancy and motherhood that many women are unaware of yet end up experiencing at some point in their lifetime.