In the poem “The Silken Tent”, the poet starts the poem with the word ‘She’ which indicates that the poem is about a women. The words “she is as” indicates a use of metaphor, relating a women to that of a tent. In some interpretations this poem can refer to a special ‘she’ but in this interpretation it refers to the position of woman in society - in general. Although the poem sounds relaxed and peaceful, like ‘the sunny summer breeze’, the underlying message is about the bondage of woman in ‘silken ties’ to the family and society. The whole poem is a single sentence that is of fourteen lines. This poem is an English sonnet or more commonly known as a Shakespearean sonnet. This poem is arranged in such a way that the line endings do not coincide with natural pauses - such as the end of line two: someone reading the words "a sunny, summer breeze / has dried the dew" would not necessarily pause after "breeze", this technique is called enjambment. The poem has an iambic pentameter. In “the silken tent”, woman’s characteristics are implied being soft, smooth, strong, responsible, extraordinary, graceful, spiritual, and confidant, carefree and loves everyone and everything. The poet also points at the many responsibilities women have and how lovingly she attends to them. She is beyond the ordinary.
In lines (1, 2, 3 and 4), “She is as in a field a silken tent/ At midday when the sunny summer breeze/Has dried the dew and all its ropes relent,/ So that in guys it gently sways at ease,” ,the poet starts by using the words ‘She is as’- this indicates that this poem is going to be a metaphor; relating woman to that of a tent. The summer breeze stirs the tent and has dried the...
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..." being a warm and compassionate woman.
In line (13 and 14), “In the capriciousness of summer air/Is of the slightest bondage made aware.” , The movement of the tent in the capriciousness of summer air. As the woman does something unpredictable when warm and emotional she is sharply reminded of her responsibility as that duty calls her to go back to her place. Bondage is slavery and means you are completely owned by somebody else; here the woman is shown as owned by the man. Whilst capricious is the naughty, more frivolous or emotional, side of woman. Summer air is the passionate side of her nature. As summer air makes the tent feel that it is bound, so her marriage also reminds her that she is bound to someone. It refers to her marriage vows and her husband. Both of them are bound by religious and social and legal obligations.
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.
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 language of the poem holds five of the eight languages to poetry. Allegory, personification, symbols, figures, and metaphors. In the beginning of the poem she uses Allegory, Personification and a metaphor. “Allegory- related symbols working together with characters, events, or settings representing ideas or moral qualities” (Sporre). Paula compares the silence in the air to describe how clear the air was. Going on to using personification and a metaphor, “Peaks rise above me like the Gods. That is where they live, the old people say.” Personification is the figure of speech in which abstract qualities, animals, or inanimate objects take into many forms of literature (Sporre). Metaphors, are figures of speech by which new implications are given to words. Metaphors are implied but not explicit comparisons (Sporre). She goes on to imply that the Gods lives above us in the peaks, that’s where the old people say that they live. Using Symbols, “Which is critical to poetry, which uses compressed language to express, and carry us into its meaning (Sporre).” Ending the first line she writes “I listen and I heard”. Going on to explain how she heard the voice in the wind and by giving us the emotion of that feeling set the understanding of what the poem was all about. Following the next line Paula uses a form of Imagery. A verbal representation of objects, feelings, or ideas can be literal or figurative. figurative imagery involves a change in
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.
Our role as nursing leaders is to place a high priority on our commitment to educating ourselves, while improving the lives of patients through collaborative and transformational nursing leadership. I have chosen to pursue the Doctorate of Nursing Practice to transform and revolutionize best practice outcomes. While exploring program types, I considered the PhD, however this degree placed an emphasis on academics and research. My final decision was centered on how to affect change in nursing practice at the bedside. The decision to apply to Yale was based on the time-tested, world-class faculty and scholars available to the DNP student. Yale is a leader in higher education and I am seeking the very best.
Our belief states are determined by the external factors, for example, perceived complexity and priming ethics is an interesting subject and everyone lives by their thoughts and their ways. Everyone lives by a different code. The difference between morality and ethics is that morality is about primary making the right choices and ethics is proper reasoning. In the essay “The ethics of belief” by W. K. Clifford, he argues that if anything on insufficient evidence, then it’s unethical. In this essay I will remain undecided with what Clifford is trying to say. I agree and disagree with some of his viewpoints. Some I do have to say are unethical and some are reasonable. What Clifford is trying to portray is interesting. Especially since he comes from a religious background. And reading about his new discovery, is quite interesting.
One of the central characters in the poem is that of Alison, a woman who is married to an older man called John the carpenter, “this carpenter hadde wedded newe a wyf”. Alison's attractions are suggested primarily by animal similes and she is described as radiant “ful brighter was the shining of hir hewe”. Alison’s beauty cannot be separated from her animation and vitality. This, with a hint of naivety, is suggested by the comparisons to "kide or calf" and (twice) to a colt. Alison is soft as a “wether's wolle” and her voice is like the swallow's. A supple, sinuous quality of her figure is suggested in the sim...
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
Fahrenheit 451 is a book about a society which is dependent on technology to a great extent. In the early 1950s, Bradbury, who was only germinating the idea for Fahrenheit 451, remarked of his anxiety about the role radio and television played in refining short attention spans. This is a story which alerts us of the multitasking danger.
This, in fact, is an example of “dynamic decomposition” of which the speaker claims she understands nothing. The ironic contradiction of form and content underlines the contradiction between the women’s presentation of her outer self and that of her inner self. The poem concludes with the line “’Let us go home she is tired and wants to go to bed.’” which is a statement made by the man. Hence, it “appears to give the last word to the men” but, in reality, it mirrors the poem’s opening lines and emphasises the role the woman assumes on the outside as well as her inner awareness and criticism. This echoes Loy’s proclamation in her “Feminist Manifesto” in which she states that women should “[l]eave off looking to men to find out what [they] are not [but] seek within [themselves] to find out what [they] are”. Therefore, the poem presents a “new woman” confined in the traditional social order but resisting it as she is aware and critical of
Stanzas one and two of the poem are full of imagery. The first stanza sets the scene for the poem “in a kingdom by the sea” (Poe 609) which makes you feel as if the story is going to have a “romantic” (Overview) feel to it. Then Annabel Lee comes into the story with “no other thought than to love and be loved by me” (Poe 609); This sentence is full of imagery in the sense that it makes you feel the immense capacity of love Annabel Lee had for the speaker if that was her only thought. In the second stanza the imagery takes a turn that shifts from loving and inviting to pain; The love between Annabel and the speaker was so strong that
The Civil Procedure Rules recognised in Wales and England imposes a positive duty on the court to encourage parties to use an alternative dispute resolution (ADR) procedures if the court considers it appropriate, from the forgoing it could be inferred that achieving unbiased and objective dispute resolution is no longer the exclusive claim of the adversarial legal process as hitherto claimed by liberal societies. In addition, exact practices of adversarial legal system scarcely exist, since the daily life of court now involves routine departures from its original fundamental ideals. Nonetheless, growing evidence depict that mediated outcomes are more likely to be complied with than court decrees contrary to the position of pro adversarial advocates.
The first thing that strikes me about this poem is the structure. The poem is very ordered written with 4 lines a stanza and a total of 6 stanza’s. This looks like a professional poem created by an adult, showing experience right away. The syllables are normally 7 per line but there are exceptions to this rule as all of stanza 5 has 8 syllables a line. The first stanza and the last stanza are nearly the same apart from the last line of each differing by a word. This poem uses many poetic devices well to create a vivid picture in the readers mind. There are rhyming couplets, alliteration, repetition, rhetorical questions as well as many biblical and egotistical references to the artist and poet himself. Now we will look at the poems meanings.
This poem speaks of a love that is truer than denoting a woman's physical perfection or her "angelic voice." As those traits are all ones that will fade with time, Shakespeare exclaims his true love by revealing her personality traits that caused his love. Shakespeare suggests that the eyes of the woman he loves are not twinkling like the sun: "My mistress' eyes are nothing like the sun" (1). Her hair is compared to a wire: "If hairs be wires, black wires grow on her head" (3). These negative comparisons may sound almost unloving, however, Shakespeare proves that the mistress outdistances any goddess. This shows that the poet appreciates her human beauties unlike a Petrarchan sonnet that stresses a woman's cheek as red a rose or her face white as snow. Straying away from the dazzling rhetoric, this Shakespearean poem projects a humane and friendly impression and elicits laughter while expressing a truer love. A Petrarchan sonnet states that love must never change; this poem offers a more genuine expression of love by describing a natural woman.
The first stanza is full of vivid imagery; descriptions of the urn itself. Comparing the urn to a “still unravish’d bride of quietness” serves two purposes; the scenery inscribed on the urn is forever unchanging, unravished, like a bride before consummation of her wedding (Patterson 48). The word “still” also suggests the motionless, silent nature of the urn; it is pure, untouched, perfection, similar to a bride (Bai). Keats crafted his poem in an articulate manner, using point of view to further deepen the poem’s meaning; in the first stanza, the speaker is standing apart from the urn, they are physically only gazing at it, connected only by what they see; a “sylvan historian” speaks from the past, telling of the “leaf-fring’d legend” of gods and mortals. The urn itself is silent, an inanimate object, however, it conveys a detailed account of life and beauty to the speaker. As would anyone, the speaker questions the urn’s depictions and thus Keats introduces the second stanza, where the point of view changes. Now, the speaker is not gazing at the urn from afar, rather engulfed in its beauty, imaginatively encompassed into the scene itself.