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University Degree: Other Poets
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Funeral Rites and Punishment are just two examples out of a great group of Heaneys poems which represent the link between past events and customs, and present ideology. Heaneys main device in creating these two poems is his use of langua
"Funeral Rites" informs the reader about funeral ceremonies, hence the name Funeral Rites, which represent a process which leads to acceptance of an individual's death. But funeral procession has a further symbolic role in the poem as it also conveys a process of coming to understanding of the present situation in Ireland and the way to overcome the violence and find the path to acceptance and forgiveness. The poem is structured in three sections each portraying a different idea and yet all three together show a journey of the deceased from the house to the cemetery.
- Word count: 1101
This "eye" has to "take everything in"; which is metaphorical for the overwhelming effect life has on the patient. She pronounces, "I am sick of baggage", revealing she no longer wants to face the troubles of life. The imagery described in the first two stanzas is all white, meaning the absence of color, which is figurative for the lack of life. It is cold and quiet; the white hospital walls, the white snow outside, and the white uniforms of the nurses surround the patient. Her admittance to the hospital is metaphorical for the speaker's resigning from life: "I have given my name and my day-clothes up to the nurses/ and my history to the anesthetist and my body to the surgeons".
- Word count: 1458
The fortune-teller's words reoccur later in "Death by Water", a description of the grotesque death of "Phlebas the Phoenician." His death, symbolized by "the whirlpool," confirms that there is no regeneration; there is no return from "the whirlpool." The realization of the fortune implies that fate cannot be defeated. In "What the Thunder Said" Eliot again states that there is no escape from death: "He who was living in now dead/ We who are living are now dying" (328-329). In "The Burial of the Dead" the speaker desires to abandon memories, he describes spring as cruel; it causes sorrowful memories to resurface, while "winter kept us warm/ covering Earth in forgetful snow" (5-6).
- Word count: 1461
In this essay, I shall analyse the work of Louis MacNeice, entitled, The sunlight on the garden. It is a modern verse that offers a self-reflexive commentary on life and its key elements.
There are many social and political events that influenced MacNeice's work, the First World War being the most significant. Though the event took place decades before the poet's publication, there are strong elements of futility, death and decay in his language. The line, 'we are dying, Egypt, dying' in particular, is reflective of the dreary society that both the poet and the people lived through. The poet's reference to the Shakespearian tragedy suggests that the speaker or even MacNeice himself suffered from heartache or loss. The line, 'hardened heart' expands this idea, revealing a meta-level of vulnerability and self-consciousness of both the poem and its writer.
- Word count: 1469
The first stanza impresses readers with "death" and "cold". In the first line, "disappeared" is an euphemism for "died" and at the same time forms alliteration with "dead", "deserted", "disfigured", "dying", "day", "death", "dark" and "day", all of which give readers a sense of death and bleakness. In the last line, it seems that the nature coincidentally pities the death of Yeats'-"a dark cold day". Nonetheless, the second stanza contrasts with the first stanza. Nature doesn't seem to be concerned about Yeats' death.
- Word count: 1210
The descriptions are brief, yet seem to perfectly encapsulate a fleeting flash of transit in a tiny eco-system. Lowell's poem combines a fiercely eloquent id with a calm and graceful ego, but rejects the notion that "thinking" is of a higher order than "feeling." 2 It presents that "intellectual and emotional complex in an instant of time."3 The first stanza serves to frame the poem's primary action; the flicker of a pike in a pool. Lowell immediately uses very potent words of sensation to begin her poem. The reader can see "the brown water, Thick and silver-sheened in the sunshine".
- Word count: 1309
These lines convey the idea that for this couple, there is no numbers, time is not present. This idea is explored again in the last stanza, almost bringing the poem full circle if you like, time is an irrelevance when they have each other. The title of the poem 'Meeting Point' offers the reader the idea of a secret rendezvous or solicitous affair. On the other hand, one may assume it is going to portray lovers meeting for the first time, or a place of significance for them. However, none of these ideas are specifically followed through.
- Word count: 1166
How does Plath convey her alienation and increasing paranoia in the bee poems, focusing on "The Arrival of the Bee Box"?
She refuses to submit to the hard working drudge of a society, and believes she is more than that, perhaps even a "queen" as she is independent and resentful towards her adulterous husband Ted Hughes, as he is "the engine that killed her", but a previous weak Plath not this new Plath, that has risen above his cheating ways, and doesn't need a man to make her strong, taking a feminist attitude towards the situation. In "The Arrival of the Bee Box", the introduction of the bee box instantly presents the reader to Plath's conflicting feelings toward the contents inside including Plath's heightening paranoia.
- Word count: 1553
The poem consists of four descriptions of urban life at different times of the day. Within this day the monotony and futility of human existence is highlighted. Prelude I depicts a rainy windswept evening that seems to have that dreary feel of the day's end. The movement is that of 'wind and rain', 'withered leaves' and 'discarded newspapers' in an ugly world of 'broken blinds and chimney pots.' The 'lonely cab horse' portrays a deserted street, which is further emphasized by the impersonal "lighting of the lamps."
- Word count: 1232
The alliteration provides the responder with an unpleasant hissing sound which further adds to the distasteful nature described. Furthermore through the assertion of "Burnt out ends of smoky days," Eliot illustrates that the fire, the sense of life in these people's world, has gone out, and is left with only the dirty smoke to remind them of the possibilities life once held. The streets are full of "scraps," the leaves are "withered," and their lives are "vacant," "lonely," and "broken."
- Word count: 1453
It is evident from works of the epoch by poets such as Rossetti and Aguilar that Victorian society was clerical. The critic Bristow J. (2000) holds that indeed there was an "intrinsic connection between poetic and religious concerns," and this goes to show the importance of the Christian belief in this period. The dictionary definition for ?Windhover? is quite simply a ?British dialect name for a Kestrel? (Collins Dictionary, 2015) It is a bird renowned for its aerial presence and predatory instincts.
- Word count: 1703
The third line ?He bade me out into the gloom,? in a sense can mean that there is an attempt to accomplish something. Literally bid means to make a proposal and in the context of the poem, ?bade a person out into the gloom? can mean that there is an effort to complete a certain action. The action is then understood in the fourth line. Line 4 shows the physicality of the relationship. By depicting one of the most intimate parts of the human body, line 4 is able to show how the woman?s immature love also depends on physical aspects.
- Word count: 1339
Fatherhood. We start out by Thomass Do not go gentle into that good night, moving to Plaths Daddy, and eventually arriving to Roethkes My papas waltz.
The fact that he is not concerned whether his father curses him or blesses him before his death or not shows that he is not necessarily concerned with what his father wants to say, but that he wants him to ?rage against the dying of the light?. So, the father-son relationship that happens here is intimate. Thomas maybe upset about his father?s closeness to death ??sad height??but fighting death would unburden him a bit. In fact, Thomas wants to maintain the hero-father image he has of his father to the end.
- Word count: 1288
Discord in Childhood, by the British poet D. H. Lawrence (1885-1930), is a poem at least as interesting for its sound effects as for its content.
This is a poem, after all, that will begin by focusing on the ?Outside? (the world of nature) and then move into the interior of a ?house? (the world of human beings). Yet neither world, as it turns out, is especially appealing or attractive, and the poem can in fact be seen as anti-Romantic in realistically depicting an absence of beauty and a lack of love. In poems such as this, Lawrence and other twentieth-century ?modernist? authors were reacting against the naively optimistic writing sometimes associated with the Romantic and Victorian periods of the nineteenth century. Nature provides no consolation in this poem, as it often did in works by the Romantics and Victorians, nor does human love serve a reassuring function.
- Word count: 1045
As he explored the riverbanks that surrounded his home, he collected ancient arrowheads left behind by Native Americans, all the while dreaming of the stories that each piece held. He also roamed the game sanctuary that the family maintained. Allan Seager mentions in his book that Roethke once stated, "I had several worlds to live in, which I felt were mine. One favorite place was a swampy corner of the game sanctuary where herons always nested" (23). Many of his poems include references to the greenhouses and riverbanks which he explored.
- Word count: 1217