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Figures of speech were used to emphasize the Jewish predicament. For instance, there was the unknown body in the mass-graves as the poets and seen on every German face. The metaphors included effectively captured and conveyed deep insights and expressions of associations, emotions and circumstances. The poem is quite short: only two stanzas. But the metaphors used spoke volumes and narrated hundreds of pages of Jewish history.
Then, of course, there was the rhythm. The cadence intimated a particular pensiveness, sadness, solitude, even guilt and finally punctuated by a grim determination. What this means is that the way lines were arranged to be spoken depicted the emotion that infects the reader. One will be reminded of an uninterrupted train of thought that contained discourses of pain, reflection and resolution. The rhythm made it easy to associate The Race with the concept of music or imagery. For the former, the race would be a song associated with odes and eulogies. And as an image, it would be that of solitude captured in black and white.
Rhyming sounds and diction also depict a clear character that is identical to the concept of bareness. Words, forms and sounds were written without any embellishments. No punctuations to emphasize points and themes, no compression and so forth. This is not unlike many poems written about the Holocaust or related themes in the wider Jewish discourse. It is effective because the understated wordings and sounds underscore the chaos, the pain, the hysteria and the tragedy. In this particular poem, rhyming and diction reinforces a kind of imagery that is not literary. It is appropriately realistic, which also highlights the poems poetic sequence, which is – again – typical of Jewish poetry. The first is a personal lament of the poet. In The Race, this is the first stanza. Here, Gershon talked about her circumstance as she was overwhelmed by her ancestry and her historical
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This is a meeting place, a place of activity, and a necessary bond between neighbors and friends. The poem tells us that walls are a necessary separation, but this wall was not Frost's wall it was only being mended for his friend.
When Frost says "Something there is that doesn't love a wall," he is telling us that it is a rare occasion that something does not like a wall.
Machine versus nature has been an epic tale of efforts and a tremendous struggle to gain supremacy, in the poem a consequence of this battle becomes visible as it lies “dead on the edge of the Wilson River road” (Stafford 11). The “voice” in the poem is representative of a persona of real life, where the speaker wishes to communicate to the audience what he sees as he travels through the dark, how he reacts to this discovery and what actions are taken by him.
He was not an outstanding student at school from the beginning but his sheer love for poetry was eminent in his writings from the very beginning. He began admiring the works of Jules Verne, Emest Hemingway, Robert Frost, and John Steinbeck as his admirers.
According to the paper, the mask that Paul Laurence Dunbar means in his poem “We Wear the Mask” is the happiness and joyous celebration that truly define the African American despite their bitter and painful suffering. In fact, the mask is personified as something that “grins and lies,” which means that the grin is actually not real.
In the poem, Robert Frost makes use of a symbolic setting to help the readers to contemplate on the importance of decision making in life. For instance, the two roads which are diverging into the woods are symbolic of choices in life. The term ‘yellow woods’, is symbolic of autumn season and nature’s readiness to accept a new season.
The author of the essay states that alliteration occurs when a number of words with same consonant sound are adjacent to each other in series. While on the other hand rhyme occurs when there is a repetition of similar sounds in words or more words most often in the final syllable of line in syllable.
This is attainable with regards to the modernist, contemporary and the post-modernism poetry and the corresponding fiction in the period ranging from 1900 through to 1939. This feature is derivable from the comparison of the Romanticism
tatement can be illustrated through a comparison of Edward Arlington Robinson’s poem, “Richard Cory” and Alden Nowlan’s “Warren Pryor.” Comparing the poems’ diction, imagery and figurative language using Perrine’s lens, readers will appreciate why “Richard
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