Exact Question: In novels and short stories, characters tend to have both "an inner life" and a "public life." both of these may be part of the fiction, if not equally so in every work. Choose examples from your reading to discuss how and how effectively these two aspects of human existence are presented.
Question in my words: Discuss how and how effectively character's having "an inner life" and a "public life" are presented in two works.
Primary Element of Fiction, Use of Language, and/or Style that you are asked to addressed: Characterization
Two part-three works: As I Lay Dying and The Bluest Eye
Exact Question: A story has to be told by somebody. Compare in detail your impressions of the "story tellers" in two or three novels or short stories you have studied. Was the "story teller" the same as the writer (implicitly or explicitly) or not? How does this question influence your reading?
Question in my words: Compare what you thought about the narrators in two or three novels or short stories you have studies. Was the narrator and the writer the same or not? How do narrators affect how you read a story?
Primary Element of Fiction, Use of Language, and/or Style that you are asked to addressed: Characterization
Two Part-Three Works: As I Lay Dying and The Bluest Eye
Sunday, May 3, 2009
Paper 1 - The Unseen Commentary Rita Dove
Introduction: Thesis = In Rita Dove's Adolescence - II, Dove uses imagery, figurative language, and personification to describe the feelings a young girl, who was raped, in order to demonstrate how life is dark and empty after innocence is taken.
Body:
A: Imagery - Dirty old men lured her into a trap (possibly kidnapped) and raped her
1) Visual
+ Seal Men: eyes round as dinner plates and eyelashes like sharpened tines
~ men look at teen girls in ways they shouldn't
~ they look at her like she's something good to eat
~ they are no good, sharp, dangerous
~ glittering like ink
+ Setting - Dark and Scary
~ "it is night"
~ bathroom
~ sweat behind knees/baby breasts alert
~ blinds/moon, tiles
~ where men are sitting and standing
~ patting bodies
+ Actions - fear, disturbing
~ Clutch ragged holes
2) Olfactory
+ They bring the scent of licorice
~ smelly old men
~ tricksters
B: Figurative Language
1) Metaphors
+ seal men
~ seals are slick, slimy, black
+ "tiles quiver in pale strips"
~ she's quivering and pale because she's scared
+ "venetian blinds slice up the moon"
~dirty old men slice up her vagina
+ "ragged holes"
~ torn vagina
2) Similes
+ "Night rests like a ball of fur on my tongue"
~ mouth feels nasty, night is disturbing and uncomfortable for her now
+ "glittering like pools of ink under moonlight"
~ men look black and dirty and slick and slimy
C: Personification
1) Venetian blinds slicing moon
~ the beautiful sight and image of the moon is now ruined
~ her innocence was lost under the light of the moon and now the moon is dead to her
2) Night rests
~ night means nothing to her anymore
~ night is dead to her
~ her innocence was laid to rest at night
Conclusion: Restate Thesis = Rita Dove's use of imagery, figurative language, and personification reveal the feelings of a young girl after her innocence is lost and demonstrate how life is dark and empty after innocence is lost.
Body:
A: Imagery - Dirty old men lured her into a trap (possibly kidnapped) and raped her
1) Visual
+ Seal Men: eyes round as dinner plates and eyelashes like sharpened tines
~ men look at teen girls in ways they shouldn't
~ they look at her like she's something good to eat
~ they are no good, sharp, dangerous
~ glittering like ink
+ Setting - Dark and Scary
~ "it is night"
~ bathroom
~ sweat behind knees/baby breasts alert
~ blinds/moon, tiles
~ where men are sitting and standing
~ patting bodies
+ Actions - fear, disturbing
~ Clutch ragged holes
2) Olfactory
+ They bring the scent of licorice
~ smelly old men
~ tricksters
B: Figurative Language
1) Metaphors
+ seal men
~ seals are slick, slimy, black
+ "tiles quiver in pale strips"
~ she's quivering and pale because she's scared
+ "venetian blinds slice up the moon"
~dirty old men slice up her vagina
+ "ragged holes"
~ torn vagina
2) Similes
+ "Night rests like a ball of fur on my tongue"
~ mouth feels nasty, night is disturbing and uncomfortable for her now
+ "glittering like pools of ink under moonlight"
~ men look black and dirty and slick and slimy
C: Personification
1) Venetian blinds slicing moon
~ the beautiful sight and image of the moon is now ruined
~ her innocence was lost under the light of the moon and now the moon is dead to her
2) Night rests
~ night means nothing to her anymore
~ night is dead to her
~ her innocence was laid to rest at night
Conclusion: Restate Thesis = Rita Dove's use of imagery, figurative language, and personification reveal the feelings of a young girl after her innocence is lost and demonstrate how life is dark and empty after innocence is lost.
Sunday, March 29, 2009
Jewel - Character Analysis
Jewel is one of the most significant characters in the novel, even though he only has one narration throughout the story. Jewel is the only of Addie’s children who has a different father than the rest. Jewel has a deep and inexpressible love for his mother. Jewel seems to have the most violent nature of all the Bundrens. However, he is not a Bundren because he is Addie’s son who was born from an adulterous affair between her and Reverend Whitfield. Jewel is a person who feels violently and can only express himself through acts of violence. Because of this, he is unable to express his love, for his mother, in any way except violence. Also, because of his violent nature, we only observe Jewel in symbols of violence, and mostly from the narration of other characters.
Jewel is unable to face any type of reality where his mother is concerned. He refuses to believe that she is dying, and he refuses to say the word “coffin” because it is a symbol of his mother’s death. As far as Darl is concerned, Jewel is this way because Jewel doesn’t know how to express his love, and he speaks with harshness so that he can cover up the fact that he can’t say the word “coffin”. Jewel’s deep and inexpressible love for his mother is constantly the basis of Darl’s taunting. Darl finds a delight in taunting, teasing, and antagonizing Jewel, possible because he can sense the deep-founded love between Jewel and Addie. He is possible Jewel of this relationship that Jewel and his mother share. He could also be jealous of the fact that Addie is more partial to Jewel; she shows favoritism to Jewel, moreso than her other children. She does things for Jewel in secret, even though she has always felt that deceit was one of the worst sins that could ever be committed. Despite her hatred of deceit, she does things secretly for Jewel, maybe because she feels that Jewel will be her salvation, which she states. She says that Jewel will save her from the water and from the fire, which he did. Jewel saved his mother’s coffin/body form the river and from the burning barn. Also, Jewel sells his horse, the symbol of his love for his mother, so that the funeral procession can continue. This is what made Jewel be Addie’s salvation.
Jewel’s relationship with his horse is one of the central ideas in the novel. Jewel acts with violence toward his horse, but beneath the violence there is a sense of deep devotion to the animal. Because Jewel is unable to express his love for his mother, he substitutes all of his deep-rooted, violent, but inexpressible love for his mother in his horse. For this reason, Darl taunted Jewel by saying that Jewel’s mother is a horse, indicating that Jewel devotes all the love he possesses for his mother on the horse. The horse is violent and untamed, and Addie thought Jewel was conceived in violence, which could make the horse be a symbol of the circumstances under which Jewel was conceived. This could also be the reason that Jewel expresses his love for his mother in terms of violence.
Jewel is unable to face any type of reality where his mother is concerned. He refuses to believe that she is dying, and he refuses to say the word “coffin” because it is a symbol of his mother’s death. As far as Darl is concerned, Jewel is this way because Jewel doesn’t know how to express his love, and he speaks with harshness so that he can cover up the fact that he can’t say the word “coffin”. Jewel’s deep and inexpressible love for his mother is constantly the basis of Darl’s taunting. Darl finds a delight in taunting, teasing, and antagonizing Jewel, possible because he can sense the deep-founded love between Jewel and Addie. He is possible Jewel of this relationship that Jewel and his mother share. He could also be jealous of the fact that Addie is more partial to Jewel; she shows favoritism to Jewel, moreso than her other children. She does things for Jewel in secret, even though she has always felt that deceit was one of the worst sins that could ever be committed. Despite her hatred of deceit, she does things secretly for Jewel, maybe because she feels that Jewel will be her salvation, which she states. She says that Jewel will save her from the water and from the fire, which he did. Jewel saved his mother’s coffin/body form the river and from the burning barn. Also, Jewel sells his horse, the symbol of his love for his mother, so that the funeral procession can continue. This is what made Jewel be Addie’s salvation.
Jewel’s relationship with his horse is one of the central ideas in the novel. Jewel acts with violence toward his horse, but beneath the violence there is a sense of deep devotion to the animal. Because Jewel is unable to express his love for his mother, he substitutes all of his deep-rooted, violent, but inexpressible love for his mother in his horse. For this reason, Darl taunted Jewel by saying that Jewel’s mother is a horse, indicating that Jewel devotes all the love he possesses for his mother on the horse. The horse is violent and untamed, and Addie thought Jewel was conceived in violence, which could make the horse be a symbol of the circumstances under which Jewel was conceived. This could also be the reason that Jewel expresses his love for his mother in terms of violence.
Thursday, February 26, 2009
"Red Fox" Commentary
RED FOX
The red fox crosses the ice
intent on none of my business.
It's winter and slim pickings.
I stand in the bushy cemetary,
pretending to watch birds,
but really watching the fox
who could care less.
She pauses on the sheer glare
of the pond. She know's I'm there,
sniffs me in the wind at her shoulder.
If I had a gun or dog
or raw heart, she'd smell it.
She didn't get this smart for nothing.
She's a lean vixen. I can see
the ribs, the sly
trickster's eyes, filled with longing
and desperation, the skinny
feet, adept at lies.
Why encourage the notion
of virtuous poverty?
It's only an excuse
for zero charity.
Hunger corrupts, and absolute hunger
corrupts absolutely,
or almost. Of course there are mothers,
squeezing thier breasts
dry, pawning their bodies,
shedding teeth for their children,
or that's our fond belief.
But remember - Hansel
and Gretel were dumped in the forest
because their parents were starving.
Sauve qui peut. To survive we'd all turn thief
and rascal, or so says the fox,
with her coat or an elegant scoundrel,
her white knife of a smile,
who knows just where she's going:
to steal something
that doesn't belong to her -
some chicken, or one more chance,
or other life.
Commentary:
In Atwood's "Red Fox" she uses the conceit, compairing a hungry person to a fox, and imagery in order to demonstrate how poverty can cause people to make bad and desperate decisions.
Comparing a human to fox connotes that the human is sly, coniving, and a trickster. Atwood uses this conceit to demonstrate that this is what people become when they are impoverished and starving. She says, "To survive we'd all turn thief and rascal, or so says the fox," which shows how people will do whatever it takes to survive such as food, to do so. She says, "Hunger corrupts" then goes on to say "to steal somethign that doesn't belong to her - some chicken." It seems as if she is justifying the fox-like actions that humans take to survive. Using the word "corrupts" implies that the hunger takes over and makes people lose control of their inhibitions and set aside their morals to survive. Another example of people setting aside their morals for survival is when she states, "mothers...pawning their bodies."
The imagery in the poem suggests starvation, and provides reasoning as to why people are becoming sly and coniving like foxes. She says, "She's a lean vixen. I can see the ribs, the sly trickster's eyes, ... the skinny feet." These images describe the body of a fox as well as the body of a starving person, which exemplifies Atwood's conceit throughout the poem. Also, Atwood says, "Of course there are mothers, squeezing their breasts dry, pawning their bodies, shedding teeth for their children," which demonstrates the desperate measures to which a mother would turn to for her survival and the suvival of her children.
The red fox crosses the ice
intent on none of my business.
It's winter and slim pickings.
I stand in the bushy cemetary,
pretending to watch birds,
but really watching the fox
who could care less.
She pauses on the sheer glare
of the pond. She know's I'm there,
sniffs me in the wind at her shoulder.
If I had a gun or dog
or raw heart, she'd smell it.
She didn't get this smart for nothing.
She's a lean vixen. I can see
the ribs, the sly
trickster's eyes, filled with longing
and desperation, the skinny
feet, adept at lies.
Why encourage the notion
of virtuous poverty?
It's only an excuse
for zero charity.
Hunger corrupts, and absolute hunger
corrupts absolutely,
or almost. Of course there are mothers,
squeezing thier breasts
dry, pawning their bodies,
shedding teeth for their children,
or that's our fond belief.
But remember - Hansel
and Gretel were dumped in the forest
because their parents were starving.
Sauve qui peut. To survive we'd all turn thief
and rascal, or so says the fox,
with her coat or an elegant scoundrel,
her white knife of a smile,
who knows just where she's going:
to steal something
that doesn't belong to her -
some chicken, or one more chance,
or other life.
Commentary:
In Atwood's "Red Fox" she uses the conceit, compairing a hungry person to a fox, and imagery in order to demonstrate how poverty can cause people to make bad and desperate decisions.
Comparing a human to fox connotes that the human is sly, coniving, and a trickster. Atwood uses this conceit to demonstrate that this is what people become when they are impoverished and starving. She says, "To survive we'd all turn thief and rascal, or so says the fox," which shows how people will do whatever it takes to survive such as food, to do so. She says, "Hunger corrupts" then goes on to say "to steal somethign that doesn't belong to her - some chicken." It seems as if she is justifying the fox-like actions that humans take to survive. Using the word "corrupts" implies that the hunger takes over and makes people lose control of their inhibitions and set aside their morals to survive. Another example of people setting aside their morals for survival is when she states, "mothers...pawning their bodies."
The imagery in the poem suggests starvation, and provides reasoning as to why people are becoming sly and coniving like foxes. She says, "She's a lean vixen. I can see the ribs, the sly trickster's eyes, ... the skinny feet." These images describe the body of a fox as well as the body of a starving person, which exemplifies Atwood's conceit throughout the poem. Also, Atwood says, "Of course there are mothers, squeezing their breasts dry, pawning their bodies, shedding teeth for their children," which demonstrates the desperate measures to which a mother would turn to for her survival and the suvival of her children.
Saturday, February 14, 2009
"From the Frontier of Writing" by Seamus Heaney
FROM THE FRONTIER OF WRITING
The tightness and the nilness round that space
when the car stops in the road, the troops inspect
its make and number and, as one bends his face
towards your window, you catch sight of more
on a hill beyond, eyeing with intent
down cradled guns that hold you under cover
and everything is pure interrogation
until a rifle motions and you move
with guarded unconcerned acceleration--
a little emptier, a little spent
as always by that quiver in the self,
subjugated, yes, and obedient.
So you drive on to the frontier of writing
where it happens again. The guns on tripods;
the sergeant with his on-off mike repeating
data about you, waiting for the squawk
of clearance; the marksman training down
out of the sun upon you like a hawk.
And suddenly you're through, arraigned yet freed,
as if you'd passed from behind a waterfall
on the black current of a tarmac road
past armor-plated vehicles, out between
the posted soldiers flowing and receding
like tree shadows into the polished windscreen.
Commentary:
In Seamus Heaney's From the Frontier of Writing, Heaney uses images of war to develope the conceit of comparing the process of a writer getting his or her work read by someone else to the frontier of a war battlefield.
The first three stanzas of the poem express the speaker's feeling when his he gives his work to someone to be read and critiqued. He uses the image of someone driving through or past the frontier to represent how he feels when his work is being read. He says "when the car stops in the road, the troops inspect its make and number and, as one bends his face towards your window," which is a metaphor to how the reader reads the work. The reader gets the work and looks closely at it to pick it apart and finding literal and metaphoric meanings, as do the troops at the frontier of a battlefield when passersby come about. He also uses the image of hawks when he says, "the marksman training down out of the sun upon you like a hawk." This quotation compares critics to hawks, which implies that critics are feared creatures who swoop down and kill their prey, which are poems and writers.
This war imagery also makes it seem as if the speaker views critics as bad people because he says "eyeing with intent," meaning that the critics have an ulterior motive for reading the work because the word "eyeing" connotes suspicion and evilness, while the word "intent" means reason and motive. He also says "everything is pure interrogation." Interrogation is something viewed as annoying, menacing, and unwanted. He feels that critics interrogate a work as frontier troops interrogate those passing through.
The tightness and the nilness round that space
when the car stops in the road, the troops inspect
its make and number and, as one bends his face
towards your window, you catch sight of more
on a hill beyond, eyeing with intent
down cradled guns that hold you under cover
and everything is pure interrogation
until a rifle motions and you move
with guarded unconcerned acceleration--
a little emptier, a little spent
as always by that quiver in the self,
subjugated, yes, and obedient.
So you drive on to the frontier of writing
where it happens again. The guns on tripods;
the sergeant with his on-off mike repeating
data about you, waiting for the squawk
of clearance; the marksman training down
out of the sun upon you like a hawk.
And suddenly you're through, arraigned yet freed,
as if you'd passed from behind a waterfall
on the black current of a tarmac road
past armor-plated vehicles, out between
the posted soldiers flowing and receding
like tree shadows into the polished windscreen.
Commentary:
In Seamus Heaney's From the Frontier of Writing, Heaney uses images of war to develope the conceit of comparing the process of a writer getting his or her work read by someone else to the frontier of a war battlefield.
The first three stanzas of the poem express the speaker's feeling when his he gives his work to someone to be read and critiqued. He uses the image of someone driving through or past the frontier to represent how he feels when his work is being read. He says "when the car stops in the road, the troops inspect its make and number and, as one bends his face towards your window," which is a metaphor to how the reader reads the work. The reader gets the work and looks closely at it to pick it apart and finding literal and metaphoric meanings, as do the troops at the frontier of a battlefield when passersby come about. He also uses the image of hawks when he says, "the marksman training down out of the sun upon you like a hawk." This quotation compares critics to hawks, which implies that critics are feared creatures who swoop down and kill their prey, which are poems and writers.
This war imagery also makes it seem as if the speaker views critics as bad people because he says "eyeing with intent," meaning that the critics have an ulterior motive for reading the work because the word "eyeing" connotes suspicion and evilness, while the word "intent" means reason and motive. He also says "everything is pure interrogation." Interrogation is something viewed as annoying, menacing, and unwanted. He feels that critics interrogate a work as frontier troops interrogate those passing through.
Wednesday, January 28, 2009
John Donne's "The Bait" Commentary
The Bait
Come live with me, and be my love,
And we will some new pleasures prove
Of golden sands, and crystal brooks,
With silken lines, and silver hooks.
There will the river whispering run
Warm'd by thy eyes, more than the sun;
And there the 'enamour'd fish will stay,
Begging themselves they may betray.
When thou wilt swim in that live bath,
Each fish, which every channel hath,
Will amorously to thee swim,
Gladder to catch thee, than thou him.
If thou, to be so seen, be'st loth,
By sun or moon, thou dark'nest both,
And if myself have leave to see,
I need not their light having thee.
Let others freeze with angling reeds,
And cut their legs with shells and weeds,
Or treacherously poor fish beset,
With strangling snare, or windowy net.
Let coarse bold hands from slimy nest
The bedded fish in banks out-wrest;
Or curious traitors, sleeve-silk flies,
Bewitch poor fishes' wand'ring eyes.
For thee, thou need'st no such deceit,
For thou thyself art thine own bait:
That fish, that is not catch'd thereby,
Alas, is wiser far than I.
Commentary:
In John Donne's "The Bait," Donne uses the metaphors of bait compared to women and fish compared to men to symbolize the relationship between man and woman, demonstrating the power women have over men and the weakness men have when it comes to women.
The comparioson of bait to women demonstrates women's power over men because bait is used by fishermen to lure, trip, trap, and catch the fish who are foolish enough to be pulled in by its glamour. In reference to the women in the poem, Donne says, "Each fish, which every channel hath, will amourously to thee swim, gladder to catch thee, than thou him." These three lines mean that men from all over are often lured by women's natural charm and beauty, even though the women don't want them. This shows the natural power that women have. He also states that women do not need anything to enhance their charm or glamour because just being a woman gives them natural charm, in the last stanzas.
Donne's comparing men to fish demonstrates men's weakness when it comes to women because fish are constantly tricked by bait all the time, over and over again, yet they never learn. This is exemplified in the second to last stanza when he says, "Or curious traitors, sleeve-silk flies, Bewitch poor fishes' wand'ring eyes." This means that pretty, glamourous women lure in men with wandering eyes and catch them in the women's natural charm trap.
Come live with me, and be my love,
And we will some new pleasures prove
Of golden sands, and crystal brooks,
With silken lines, and silver hooks.
There will the river whispering run
Warm'd by thy eyes, more than the sun;
And there the 'enamour'd fish will stay,
Begging themselves they may betray.
When thou wilt swim in that live bath,
Each fish, which every channel hath,
Will amorously to thee swim,
Gladder to catch thee, than thou him.
If thou, to be so seen, be'st loth,
By sun or moon, thou dark'nest both,
And if myself have leave to see,
I need not their light having thee.
Let others freeze with angling reeds,
And cut their legs with shells and weeds,
Or treacherously poor fish beset,
With strangling snare, or windowy net.
Let coarse bold hands from slimy nest
The bedded fish in banks out-wrest;
Or curious traitors, sleeve-silk flies,
Bewitch poor fishes' wand'ring eyes.
For thee, thou need'st no such deceit,
For thou thyself art thine own bait:
That fish, that is not catch'd thereby,
Alas, is wiser far than I.
Commentary:
In John Donne's "The Bait," Donne uses the metaphors of bait compared to women and fish compared to men to symbolize the relationship between man and woman, demonstrating the power women have over men and the weakness men have when it comes to women.
The comparioson of bait to women demonstrates women's power over men because bait is used by fishermen to lure, trip, trap, and catch the fish who are foolish enough to be pulled in by its glamour. In reference to the women in the poem, Donne says, "Each fish, which every channel hath, will amourously to thee swim, gladder to catch thee, than thou him." These three lines mean that men from all over are often lured by women's natural charm and beauty, even though the women don't want them. This shows the natural power that women have. He also states that women do not need anything to enhance their charm or glamour because just being a woman gives them natural charm, in the last stanzas.
Donne's comparing men to fish demonstrates men's weakness when it comes to women because fish are constantly tricked by bait all the time, over and over again, yet they never learn. This is exemplified in the second to last stanza when he says, "Or curious traitors, sleeve-silk flies, Bewitch poor fishes' wand'ring eyes." This means that pretty, glamourous women lure in men with wandering eyes and catch them in the women's natural charm trap.
Sunday, January 25, 2009
The Good Morrow
I wonder by my troth, what thou, and I
Did, till we lov'd? Were we not wean'd till then?
But suck'd on countrey pleasures, childishly?
Or snorted we in the seaven sleepers den?
T'was so; But this, all pleasures fancies bee.
If ever any beauty I did see,
Which I desir'd, and got, 'twas but a dreame of thee.
And now good morrow to our waking soules,
Which watch not one another out of feare;
For love, all love of other sights controules,
And makes one little roome, an every where.
Let sea-discoverers to new worlds have gone,
Let Maps to other, worlds on worlds have showne,
Let us possesse one world; each hath one, and is one.
My face in thine eye, thine in mine appeares,
And true plaine hearts doe in the faces rest,
Where can we finde two better hemispheares
Without sharpe North, without declining West?
What ever dyes, was not mixed equally;
If our two loves be one, or, thou and I
Love so alike, that none doe slacken, none can die.
Commentary:
In John Donne's "The Good Morrow," Donne uses diction/structure and repetition to express his deep love and feelings for his lover.
Donne's use of the word "soul" demonstrates his deep love for his lover because when one speaks of souls, it shows that what they feel goes past mind and body. When one referrs to a soul connection, it means that they feel a deep, strong, everlasting bond to the other because a soul lives on forever. Donne also uses many commas within his sentences, which signify pauses or breaks in his speech/thinking. It is always hard for people to express their love and feelings for other people, which causes nervousness and shyness. His many breaks (structure) within his sentences show that it is hard for him to get his words out and fully express himself, which shows that he is in love.
Donne frequently repeats the word 'love" and different forms of the word "we," such as "our" and "us". The repetition of the word loves demonstrates how deep his love runs for her because it's almost like he can't say it enough. It seems as if, by repeating the word "love" he is trying to convince his lover of how deep his feelings are for her. His repetition of the words "we", "our", and "us" demonstrate that he feels that him and his lover are one. This ties in to his use of the words "love" and "soul" because it demonstrates that his love is so deep that he feels him and his lover have a soul connection that make them one person, one being, one life force. It shows that he would not be whole without his lover because without her he would only be half of a person and not "one."
Did, till we lov'd? Were we not wean'd till then?
But suck'd on countrey pleasures, childishly?
Or snorted we in the seaven sleepers den?
T'was so; But this, all pleasures fancies bee.
If ever any beauty I did see,
Which I desir'd, and got, 'twas but a dreame of thee.
And now good morrow to our waking soules,
Which watch not one another out of feare;
For love, all love of other sights controules,
And makes one little roome, an every where.
Let sea-discoverers to new worlds have gone,
Let Maps to other, worlds on worlds have showne,
Let us possesse one world; each hath one, and is one.
My face in thine eye, thine in mine appeares,
And true plaine hearts doe in the faces rest,
Where can we finde two better hemispheares
Without sharpe North, without declining West?
What ever dyes, was not mixed equally;
If our two loves be one, or, thou and I
Love so alike, that none doe slacken, none can die.
Commentary:
In John Donne's "The Good Morrow," Donne uses diction/structure and repetition to express his deep love and feelings for his lover.
Donne's use of the word "soul" demonstrates his deep love for his lover because when one speaks of souls, it shows that what they feel goes past mind and body. When one referrs to a soul connection, it means that they feel a deep, strong, everlasting bond to the other because a soul lives on forever. Donne also uses many commas within his sentences, which signify pauses or breaks in his speech/thinking. It is always hard for people to express their love and feelings for other people, which causes nervousness and shyness. His many breaks (structure) within his sentences show that it is hard for him to get his words out and fully express himself, which shows that he is in love.
Donne frequently repeats the word 'love" and different forms of the word "we," such as "our" and "us". The repetition of the word loves demonstrates how deep his love runs for her because it's almost like he can't say it enough. It seems as if, by repeating the word "love" he is trying to convince his lover of how deep his feelings are for her. His repetition of the words "we", "our", and "us" demonstrate that he feels that him and his lover are one. This ties in to his use of the words "love" and "soul" because it demonstrates that his love is so deep that he feels him and his lover have a soul connection that make them one person, one being, one life force. It shows that he would not be whole without his lover because without her he would only be half of a person and not "one."
Subscribe to:
Posts (Atom)
