John Donne
The most interesting dialogue about this poem in class to me was when we discerned to which part of God do these metaphors belong: knock, breathe, and shine as well as break, flow, burn. I thought that knock/break referred to Jesus, breathe/blow referred to God as a parental figure, and shine/burn referred to the Holy Spirit. In religious literature, from Christianity to Hinduism, the image of God breathing over the waters or the deep, or in some translations chaos is very common. God initiated the universe coming into existence by God's breath. I think shine/burn is the Holy Spirit (from a Christian perspective) because of the story of Pentecost in the Bible. Those present received tongues of flames over them, and they were able to communicate to many peoples. As for knock and break, Jesus seemed the most likely to me because according to Biblical Theology, Jesus rose the third day after his crucifixion, the stone was moved away from the tomb and Jesus walked and was alive again. I think this is parallel with "break" as some force broke away the stone.
Thursday, March 28, 2013
Wednesday, March 27, 2013
3. Sorting Laundry
Elisavietta Ritchie
The speaker uses an extended metaphor of sorting laundered clothes and folding them as she seems to put meaning to them through her relationship with her spouse. Each of these pieces of laundry resemble qualities or occurrences in their relationship. All of these parts make up the speaker's life, and without them, she would just have a pile of her own clothes on the bed beside her. Her life isn't made up of only what she has collected, but also of what her spouse has brought. She recalls first of her king-sized sheets, which lead her to her pillowcases on which she has dreamed and shared her dreams with her partner. The most surprising part of the poem is when the speaker alludes to apparent indiscretion, "if you were to leave me". She also speaks of a "strangely tailored shirt left by a former lover..." Despite these faults, she still holds onto the relationship, because she would not be herself without them.
The speaker uses an extended metaphor of sorting laundered clothes and folding them as she seems to put meaning to them through her relationship with her spouse. Each of these pieces of laundry resemble qualities or occurrences in their relationship. All of these parts make up the speaker's life, and without them, she would just have a pile of her own clothes on the bed beside her. Her life isn't made up of only what she has collected, but also of what her spouse has brought. She recalls first of her king-sized sheets, which lead her to her pillowcases on which she has dreamed and shared her dreams with her partner. The most surprising part of the poem is when the speaker alludes to apparent indiscretion, "if you were to leave me". She also speaks of a "strangely tailored shirt left by a former lover..." Despite these faults, she still holds onto the relationship, because she would not be herself without them.
2. I Taste a Liquor Never Brewed
Emily Dickinson
In the poem, the two things being compared in the extended metaphor is the feeling the speaker gets from nature and drunkenness. This humorous approach to nature speaks of their drunkenness from the dew. They also speak of an "inn" which is likely comparable to a bar, is put next to "Molten Blue". The feeling of being drunk in a bar is like looking at the splendor of a summer sky. In the last stanza, the allusion to "Seraphs" and "Saints" give the speaker's awe with nature almost a holy standing. It is surprisingly the opposite image of being huddled in a dark bar drinking with alcoholic companions, because it has an visage of innocence.This image of a "debauchee" carries on as the speaker leans against the sun, as a drunk would lean on something to keep them from falling. This powerful conclusion has a sense of happiness, as if this kind of drunkenness is okay.
In the poem, the two things being compared in the extended metaphor is the feeling the speaker gets from nature and drunkenness. This humorous approach to nature speaks of their drunkenness from the dew. They also speak of an "inn" which is likely comparable to a bar, is put next to "Molten Blue". The feeling of being drunk in a bar is like looking at the splendor of a summer sky. In the last stanza, the allusion to "Seraphs" and "Saints" give the speaker's awe with nature almost a holy standing. It is surprisingly the opposite image of being huddled in a dark bar drinking with alcoholic companions, because it has an visage of innocence.This image of a "debauchee" carries on as the speaker leans against the sun, as a drunk would lean on something to keep them from falling. This powerful conclusion has a sense of happiness, as if this kind of drunkenness is okay.
1. The Convergence of the Twain
Thomas Hardy
What I noticed initially in this poem was the phrase in parenthesis underneath the title, "Lines on the loss of the Titanic". This tells the readers that the tone is likely going to be that of loss and solitude. At first, the speaker builds the ship up to seem strong, almost immortal. It's "steel chambers" show strength, the "salamandrine fires" are a symbol of immortality. The ship is then described in terms of materialism. "Over the mirrors meant to glass the opulent". The ship (and likely its people) are very inward focused, hence the mirrors. Throughout VIII and IX and through its imagery there is an overwhelming sense of pride. Its "vaingloriousness" takes over. Then, in XI, the speaker asserts that the combination of the iceberg and the ship was almost a destiny, as they combined into one, "And consummation comes, and jars two hemispheres". They combine like they were meant to be together.
What I noticed initially in this poem was the phrase in parenthesis underneath the title, "Lines on the loss of the Titanic". This tells the readers that the tone is likely going to be that of loss and solitude. At first, the speaker builds the ship up to seem strong, almost immortal. It's "steel chambers" show strength, the "salamandrine fires" are a symbol of immortality. The ship is then described in terms of materialism. "Over the mirrors meant to glass the opulent". The ship (and likely its people) are very inward focused, hence the mirrors. Throughout VIII and IX and through its imagery there is an overwhelming sense of pride. Its "vaingloriousness" takes over. Then, in XI, the speaker asserts that the combination of the iceberg and the ship was almost a destiny, as they combined into one, "And consummation comes, and jars two hemispheres". They combine like they were meant to be together.
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