Compare the poems 'Mid-Term Break' by Seamus Heaney and ' 'Out Out- ' ' by Robert Frost
Compare the poems 'Mid-Term Break' by Seamus Heaney and ' 'Out Out- ' ' by Robert Frost After reading the poems 'Mid-Term Break' by Seamus Heaney and ' 'Out Out- ' ' by Robert Frost I am able to point out many similarities between the poems but also a number of differences. The first of these similarities is the theme. Both poems focus on the death of a young boy. However both offer very different treatments of that theme. 'Mid-Term Break' focuses on the aftermath of a terrible accident where Seamus Heaney chooses to focus his attention on the emotional responses of his friends and family while ' 'Out Out- ' ' shows the reader the accident as it happens in almost a running commentary style. 'Mid-Term Break' offers a much more emotional outlook on such a bleak subject, emphasising on the importance of life. ' 'Out Out- ' ' is hard-hitting in a different way. The lack of emotion in the poem is used effectively to help portray the much more negative message that Robert Frost is trying to express. In 'Mid-Term Break', Seamus Heaney tries to tell the reader about everybody's rite of passage, the importance and sanctity of life. Heaney emphasises throughout the poem that his brother's life was thrown away, he was cut off in his prime. The poem starts off by describing Heaney in his college sick-bay. At this point in the poem we don't know what has happened but it is clear that
How has Duffy used classical myths in order to comment on the nature of relationships between men and women in The Worlds Wife(TM)?
How has Duffy used classical myths in order to comment on the nature of relationships between men and women in 'The Worlds Wife'? Carol-Ann Duffy wrote a collection of poems called 'The Worlds Wife' in which she mocks men and shows various Greek mythology and fairytales from a woman's perspective. She uses various literary techniques such as enjambment and cynical reference to portray and comment on the use of classical myths, in order to illustrate the nature of relationships between men and women. This essay will focus on four of these Greek myths, Medusa, Eurydice, Mrs Tiresias and Mrs Midas. The style of writing in which Duffy undertakes shows her to be very indiscreet in what she says and very orthodox, as she writes completely, almost the opposite of what many people think when it comes to characters in her poems. In the world's wife, Duffy has focussed a great deal on mythical characters, but manipulates them to the extent that she interprets them to be the opposite of what they are truly known to be in Greek mythology. Duffy, also a radical feminist, focuses on the woman's perspective, whereas Greek mythology is greatly depicted from a male's perspective, whereas Duffy looks at what the women had to put up with. Firstly, Mrs Midas, in Greek legend was the wife of Midas who wished that everything he touched be turned to gold, this wish was nonetheless granted.
Seamus Heaney's poems explore the loss of childhood and the cruel awakening into the world of adulthood. Discuss.
POETRY COURSEWORK - SEAMUS HEANEY Seamus Heaney's poems explore the loss of childhood and the cruel awakening into the world of adulthood. Discuss. Seamus Heaney has been described as 'the best Irish poet since Yeats'. He was born on April 13th 1939 and was the eldest of nine children to Margret and Patrick Heaney, at the family farm in Mossbawn. He studied English in Queen's University in Belfast, also in Saint Joseph's College in Belfast, to become a teacher. After many years of writing "Death of a Naturalist" was published in 1966. It contains poems symbolic of death of childhood, specifically Heaney's childhood as a curious young "naturalist", eager to learn about nature. Heaney's poems reveal his thoughts of his childhood and his family. His poems are filled with the images of dying, but are also firmly rooted in childhood. His poems of transition explore the journey from childhood into the adult world. "Blackberry Picking" is a reflection of adulthood and childhood. Heaney tries to tell us that we should enjoy childhood because adulthood is disappointing. He gives the message to have low expectations, therefore when we grow up we will not be let down by the adult world. The poem is written from an adult perspective, although it has many childlike phrases in it. It is about Heaney's summer ventures with his friends during which they would collect blackberries in
Wilfred Owen Poetry Comparison.
Wilfred Owen Poetry Comparison In this essay, I have decided to analyse two poems by the war poet Wilfred Owen, taken from his writings on the First World War. Both of these poems ('Dulce et Decorum Est' and 'Anthem for Doomed Youth') portray Owen's bitter angst towards the war, but do so in very different ways. Owen developed many of his poetic techniques at Craiglockhart Military Hospital, where he spent much of the war as an injured soldier, but it was only through the influence of fellow soldier and poet, Siegrfried Sassoon, that he began capturing his vivid visions of the war in the form of poetry. Many would argue that it was while writing his war poems, that Owen felt most able to express his ideas on paper, and he certainly was one of the greatest war poets to have ever lived. Arguably his most famous poem, 'Dulce et Decorum Est', is a fine example of his narrative, first-person poems, written through his own eyes and based on his own experiences and views of the war. Using four clear stanzas, the poem uses standard, alternate rhyming lines. A slow, painstaking rhythm is established at the beginning of the poem through Owen's use of heavy, long words and end-stop lines, in order to illustrate just how slow and painstaking the war was. The pace then quickens during the final stanza (a rhythm achieved by the use of lines with fewer syllables and run-on endings), so
Comparison between John Donne and Emily Dickinson's poems: How each of them expresses himself/herself on a problematic subject such as death?
Comparison between John Donne and Emily Dickinson's poems: How each of them expresses himself/herself on a problematic subject such as death? John donne- Holy sonnet 10 "Death be not proud, though some have called thee" Death be not proud, though some have called thee Mighty and dreadful, for thou art not so; For those whom thou think'st thou dost overthrow, Die not, poor death, nor yet canst thou kill me. From rest and sleep, which but thy pictures be, Much pleasure, then from thee, much more must flow, And soonest our best men with thee do go, Rest of their bones, and soul's delivery. Thou art slave to Fate, Chance, kings, and desperate men, And dost with poison, war, and sickness dwell, And poppy, or charms can make us sleep as well, And better than thy stroke; why swell'st thou then? One short sleep past, we wake eternally, And death shall be no more; death, thou shalt die. Emily Dickinson "Because I could not stop for Death " Because I could not stop for Death He kindly stopped for me The Carriage held but just Ourselves And Immortality. We slowly drove - He knew no haste And I had put away My labor and my leisure too, For his Civility. We passed the School, where Children strove At Recess - in the Ring We passed the Fields of Gazing Grain We passed the Setting Sun Or rather - He passed Us The Dews drew
With specific focus on Wilfred Owen's Futility, Anthem for Doomed Youth, Dulce et Decorum est, and Mental Cases evaluate the methods the poet uses to bring across his convictions, feelings and ideas.
With specific focus on Wilfred Owen's Futility, Anthem for Doomed Youth, Dulce et Decorum est, and Mental Cases evaluate the methods the poet uses to bring across his convictions, feelings and ideas. "Who longs to charge and shoot, Do you my laddie." This jingoistic wartime poem by Jessie Pope ignites Owen's anger at these false impressions of war. This is evident in such poems as Dulce et Decorum est, originally penned towards Pope, hence the initial title, To a Certain Poetess. Owen's "senses were charred" at the sight of the "suffering of the troops", such accusations about the nature of warfare fuelling the malice of his work. Owen never openly retaliates, instead opting to include his resentment towards writers like Pope in his poems. Owen frequently conveys his convictions of lost youth in Anthem For Doomed Youth by referring to "the hands of boys", evidently refusing to acknowledge the maturity of the men. Owen's numerous references to religious symbols heightens the effects of his poems. In Anthem, we hear the "demented choirs of wailing shells." Angelic choirs are ironically reversed as Owen negates Christian ritual as being unfitting for those who die amid screaming shells. In Mental Cases, we also bear witness to Biblical images, asking if we are: "Sleeping, and walk hell But who these hellish?" Owen often compares war to Hell, comparing soldiers to creatures
An analysis of the poetry of Wilfred Owen with specific reference to language used.
Laura Harvey 4Ng 15th January 2004 Wilfred Owen.[1893-1918] The Last Laugh. The Send Off. The Anthem for Doomed Youth. An analysis of the poetry of Wilfred Owen with specific reference to language used. Wilfred Owen was an English poet who specialised in writing about the war. Owen was born on 18th March 1893 in Oswestry. He was the son of a railway worker and the eldest of four children. Owen started his education at the Birkenhead Institute and then continued his education at the Shrewsbury Technical School. Wilfred Owen then started work as a pupil-teacher at Wyle Cop School while he prepared for his matriculation exam for the University of London. After failing to win a scholarship, in 1913, he found work as an English teacher at the Berlitz School in Bordeaux. In October 1915 he joined the army. The next he knew was that he was fighting at the Somme. He returned to England and was put in hospital only two years after he joined up in 1917 because of shellshock. Explosions from nearby shells and the content of the war caused the shellshock in general. Owen was send to Craiglockhart Hospital, in Edinburgh, and met Siegfried Sassoon, another war poet. In August 1918 Owen was declared fit and returned to the Western front. He fought at Beaurevoir-Fonsomme, where he was awarded the Military Cross.
Commentary on 'The Wasps Nest'
Commentary on 'The Wasps Nest' Rosenberg's 'The Wasps Nest' is a poem that on a literal basis tells the tale of a pair of wasps building their nest in a persons mailbox and the struggle of that person about whether to destroy the nest. Yet Rosenberg uses the idea of the nest as a microcosm of the human reality to explore the fragility of our existence in a world where we think ourselves masters of all that we survey. Rosenberg uses a sharp sense of contrast to crate a struggled tone within the poem. This is intended to examine Rosenberg's juxtaposition of strength and weakness, his strong sense of setting and powerful onomatopoeic description in the body of this essay. Rosenberg's key technique is his use of contrast between strength and weakness to expose our inherent fragilities. This contrast is tellingly revealed when he talks of "the fragile cradles of love", a metaphor which sums up the entirely of Rosenberg's poem. There is a sense of strength in the image conveyed through the word "cradle"- it brings to the reader's mind an idea of castles and physical strength that the walls and stone bring. Yet this "cradle" is "fragile" - a word more commonly used to describe a glass object than stone, but which highlights that within this bastion of strength, where people appear to be in control of their own destiny, they are instead at their weakest. This idea is reinforced as
A comparison between Seamus Heaney's
In both the poems "Digging" by Seamus Heaney and "Catrin" by Gillian Clarke the main theme is that of parent child relationships. "Catrin" relates to the inner thoughts and feelings of a mother giving birth whilst "Digging" shows a son's admiration for his father. In "Catrin" we first see the title, one that could possibly be addressed to a real daughter or exploring the relationships between mother and daughter in general, whereas "Digging" simply states the subject matter. In "Catrin" the author is initially quite cold and impersonal as she addresses child before birth, waiting for her arrival; "As I stood in a hot, white room at the window watching", possibly showing this as being her first child, so she is unsure of what to expect, and unsure of her feeling towards the child. This phrase seems very clinical and resembles a hospital ward. However from the very beginning of "Digging" we are greeted with warmth in the form of assonance such as the words "snug as a gun", which in addition are references to the way a gun is crafted for a person, so also the pen (and thus poetry) is perfect for Heaney, or vice versa. These comforting semantics are built upon with words such as "clean" and the sibilance; "spade sinks" and alliteration; "gravely ground." These phrases just roll of the tongue, easy top speak so easy to accept. By contrast Clarke has begun to create a semantic
Porphyria's Lover Analysis
'Porphyria's lover' by Robert Browning is the description of an intimate night-time meeting between a man, the lover and narrator, and a woman, Porphyria. The word Porphyria itself is a medical disorder which involves painful symptoms - this suggests that something painful will happen to the girl sometime in the poem. Within the first couple of lines Browning set the mood for the poem, 'the sullen wind was soon awake, it tore the elm-tops down for spite,' It's a description of the elements battling it out in the dark of the night, which is perhaps a metaphor for a prior argument between lovers. The timing of the meeting, in the middle of the night, may suggest that this was a secret assignation, something that was always going to happen, like it was fate. At the start of this poem, Browning suggests that Porphyria was once blinded by her pride and vanity and rejected the lover; however he suggests that she gave in to her passions and pursued him. Porphyria then 'shut the cold and the storm' out as if the lover had been sitting in the cottage with doors and windows open, exposed to the weather, and she comes to close the doors and window. This imagery may represent a desire to stop arguing, to calm the storm. She then proceeds into the warm cottage and take off her sodden clothes, 'withdrew the dripping cloak and shawl.' She then speaks to her lover however he doesn't respond
