" (lines 20-21) the journalist, the activist... must be the observer and not make the news. Lastly the point-of-view of the unnamed dead, "enemy" whose ears were cut off to use an example of cruelty and to elicit fear, "Some of the ears on the floor/caught this scrap of his voice. Some of the ears on / the floor were pressed to the ground." (lines 31-33) Perhaps the ears were still listening to the messages of their cause, while others were either deaf to it, blocked by the arbitrary falling upon the floor or even listening for the future. When one places an ear to the ground, he or she is listening intently and with every shred of his or her being for coming danger or change, yet the disembodied and now personified ears could not have realistically been listening, they were symbols in a small grocery sack and now in a threatening message to interlopers of the many who had died for an unknown cause. The politics of language is clear in these two works, both global and intimate and the portrayal of the individual, voiceless and nameless carries the human message of torture. Each participant...
The legacy of human cruelty is clearly demonstrated in each work, and the causes that were described, through the violence of the aftermath rather than the issues being fought for are examples of the interplay of power and collective fear.
The message of the poem is the longing for life and youth. In this case as well the images have a strong symbolical dimension, the light must be understood as life and youth, whereas the night as death and decay. Just as the title suggests it, there are people who will not easily accept their fate. "Wild men who caught and sang the sun in flight, / And learn,
At this point, the emerging women's movement during the 1960s provided Rich with the ratification she needed. The movement articulated the very feelings of conflict she was experiencing on a personal, sexual and cultural level. This also allowed her to participate in a dialogue with her environment via the platform developed by the social movements arising during this time. Whereas her first poetry was therefore formal and unemotional, both her
Poetry is often used to express emotion at its most romantic and infatuated, but sometimes it is used to describe the pillars of life behind that romance -- the sexuality, insecurity, devotion, and fidelity. Dorianne Laux, Anne Bradstreet, and Barbara Greenberg explore their very different relationships through poetry, examining this causal underpinnings through poetry. Using careful word choice, expressive imagery, and specific audience, each poet expertly wields her tool to
Poetry by Knight and Groddeck There are facets of Etheridge Knight's poem, "A Wasp Woman Visits a Black Junkie in Prison" that both participate in a dying tradition as posited by Groddeck and which also attest to a variation of the notion of democracy -- which is far from ideal. In that respect, one can successfully defend the notion that this work of the author actually embraces more of the former
Poetry during the 17th century often shared similar themes, narratives, and messages. These topics often revolved around concepts of innocence, romance, loss, temptation, and desire, especially when it came to courtship. Andrew Marvell, a prominent English metaphysical poet and politician, whose "To His Coy Mistress," thought to have been written during the 1650s, explores themes of innocence and temptation, especially in terms of courtship. Moreover, "To His Coy Mistress" can
A common fear is incompetence, resulting in often-heard comments such as 'I can't draw,' 'I can't sing,' and 'I can't dance.' These fears are, to some extent, rooted in the mistaken belief that skills in the arts are innate and inherited rather than sets of component skills that can be learned and integrated into a whole skill" (p. 147). Notwithstanding the adage concerning old dogs and new tricks, though,
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