One is left only to imagine why he wanted to kill himself. All of the above attributes come together in Olds' poem successfully (Field & Locklin, 1992, xvii)
As J. Charles Washington notes, there is a prophetic significance to Walter that drives the play and gives us clues as to the deeper meanings (Washington, 1988, 112)
Inserted at the end of Act 11, Scene 2, the scene shows a brief moment between Walter and his young son, Travis. Walter, who has just been entrusted with the remaining $6,500 by his mother and who sees his dream of economic success within his grasp, speaks in a tender tone not heard before from him (Wilkerson, 1986, 445-446)
We did what we could, / And all we could do was / Turn on each other. How the fat kids suffered! / Not even being jolly could save them" (Eady, 5-8)
For example, Swift uses imagery in her song as well, though she employs similes rather than metaphor. The first lines of her song are, "You, with your words like knives / And swords and weapons that you use against me" (Swift, 1-2)
McKay is at war with it. But so was Hughes, who rejected the support of a wealthy patron when she suggested he stick to African-American stereotypes in his poetry: "Be stereotyped, but don't go too far, don't shatter our illusions about you, don't amuse us too seriously" (Hricko, 2013, p
McKay would later in his life convert to Roman Catholicism, a religion in which race played less of a role than in the WASPy religion of America. But by that point, McKay was out of fashion and his religious experience was of no use to those WASPs who were primarily interested in "fashion" -- as Langston Hughes put: "Negro was in vogue" (Sayre, 2012, p
The setting of the poem is clear. It begins "Two roads diverged in a yellow wood," making it clear that the narrator is standing in a yellow wood (Frost, 1916)
Phallic imagery including "The act sprouted an obstinate fifth column" enhances the theme of patriarchy as a metaphor for Britain's role in the conflict. Britain is also likened to a brutal, bellicose "battering ram," which causes a "boom burst from within," referring to the Troubles," (Heaney, "Act of Union," Stanza II)
This is especially apparent with poets of the younger generation Thus, poetry has a political dimension and the poet possesses responsibility for representing the voice of the people. Montague says, often the poet serves "as the conscience of his race" and "part of the poet's job" is "to warn and try to heal," (Kearney, Hewitt, and Montague p
In "The Albert Chain," McGuckian uses the word "terrorist" to anchor the poem squarely within a more modern context using words laden with propaganda and political meaning. "Like an accomplished terrorist, the fruit hangs / from the end of a dead stem, under a tree / riddled with holes like a sieve," (McGuckian, "The Albert Chain")
Like Heaney, Muldoon does not shy away from grander commentary on colonialism, using metaphors of rape and patriarchy to describe the British actions in Northern Ireland. There is, for instance, is gross "lemon stain on my flannel sheet," (Muldoon, "Aisling")
" Longley's obsession with death repeats itself in "The Stairwell," in which he contemplates his funeral music. John Hewitt has been hailed as a "tolerant but heroically isolated figure working courageously at the margins of a savagely divided society," (Walsh 341)
But he is not trying to tell nature stories nor animal stories. He is always using these metaphorically implying an analogy to some human concern" (Frost and Nature)
Social support refers to social interactions that are perceived by the recipient to facilitate coping and assist in responding to stress. Social support is thought to reduce the total amount of stress a person experience as well as to help one cope better when stressed (Landau, J
" Indeed, "Harlem" the poem is created to give black Americans a chance to reflect on their history of marginalization and discrimination, and, drawing strength from the poem, the poet successfully achieves awareness, and perhaps, incites his readers to take positive and constructive action that shall pave the way for true emancipation to occur. True emancipation in the Harlem Renaissance tradition, and in Hughes' terms, means taking part in cultivating attitudes of "optimism, pride, and confidence in black culture" (Barker, 1997)
Trees, leaves, bushes, and grass become individual aspects of the speaker's choice as he examines the roads. He looks "down one as far as I could / to where it bent in the undergrowth" (Frost the Road Not Taken 4-5), looking for some kind of clue or sign
Ice is equated with hate. Fire and ice are born in the dark reaches of inner space, in the smoldering, ice-sheathed human heart" (Hansen)
The sight reminds the poet of his youth and here the poem explores what exists in our mind and what lives on earth. Louis Untermeyer agrees, claims "fact and fancy play together" (Untermeyer 88) in this poem
…critics have long described her as a writer who practices "restraint" (in the sense that her work is concerned almost as much with what it conceals as it is with what it reveals), and it certainly is the case that may of her poems feel distant, emotionally, from the reader's immediate presence…Bishop frequently features poetic subjects that do not or cannot fit in to their environments in some peculiar way. (McAlpine, 333, 2013) Bishop, for example, is able to connect with emotion and experience without directly naming or speaking to it