... total confrontation. Many veterans of the American Civil War praised Stephen Crane for his uncanny image, to envision and replicate the essence of actual combat. Stephen who had not witnessed any warfare brilliantly accomplishes this in his book. Crane thereafter, got a real taste of combat, when he covered the Greco-Turkish War in 1897 and the Spanish-American War in 1898 as a war correspondent for The New York Journal newspaper. It was during these two conflicts that he perhaps drew the conclusion that war was not a glorious thing and only the purveyor of the slaughter of young men. His graphic description of a soldier shot from his mount in the first stanza sho ...

... the speaker continually uses the word "Daddy" and also repeats herself quite often. The last two stanzas of the poem, especially, portray a dismal picture of life for women who find themselves under a dominating male figure. The passage seems to show that the speaker has reached a resolution after being kept under a man’s thumb all her life. In lines 71-80 the speaker compares her father and her husband to vampires saying how they betrayed her and drank her blood--sucking her dry of life. She tells her father to give up and be done, to lie back" (line 75) and in line 80, she says, "Daddy, daddy, you bastard, Plath’s attitude towards men is expressed in this passag ...

... show the reader the perspective of the dead. The vivid imagery in this poem functions to enhance the reader's perception of the poem. The following passage conveys a resplendent physical sense of coldness as someone is frozen to death: "This is the Hour of Lead-- Remembered, if outlived, As Freezing persons, recollect the Snow-- First--Chill--then Stupor--then the letting go--" The innovative diction in this passage creates an eerie atmosphere all by itself. The effect of this passage is reminiscent of the famous macabre monologue at the end of Michael Jackson's Thriller. Dickenson also excellently portrays the restlessness of the mourners in this followin ...

... feeling of avenging had never left the people. After all of the “Great Awakenings” and religious revivals, the people of New England began to question the old ways. What used to be the focal point of all lives was now under speculation and often doubted. People began to search for new meanings in life. People like Emerson and Thoreau believed that answers lie in the individual. Emerson set the tone for the era when he said, “Insist on yourself; never imitate” (McMichael 691). Emily Dickinson believed and practiced this philosophy. When she was young, she was brought up by a stern and disciplined father. In her childhood she was shy and already different from ...

... them down in verses for people to read for generations to come. By doing so, both of the poets are preserving the beauty of the subjects, which are the young friend of Shakespeare and Keats' "Grecian Urn." Beginning with Sonnet 18, and continuing here and there throughout the first major grouping of sonnets, Shakespeare approaches the problem of mutability and the effects of time upon his beloved friend in a different fashion. Instead of addressing the problem of old age, he emphasises his friend's attributes: "Shall I compare thee to a summer's day? Thou art more lovely and more temperate... (lines 1-2)" Though time and death work together to rob man, ...

... The theme of oneness can be derived from the numerous instances and forms of the number '1' throughout the poem. First, 'l(a' contains both the number 1 and the singular indefinite article, 'a'; the second line contains the French singular definite article, 'le'; 'll' on the fifth line represents two ones; 'one' on the 7th line spells the number out; the 8th line, 'l', isolates the number; and 'iness', the last line, can mean "the state of being I" - that is, individuality - or "oneness", deriving the "one" from the lowercase roman numeral 'i' (200). Cummings could have simplified this poem drastically ("a leaf falls:/loneliness"), and still conveyed the same ...

... This symbolizes Flood’s apparent isolation from friends and society. In the third stanza (line 1) Robinson’s reference to the harvest moon and the bird on the wing are both symbolic references to the passage of time. At this point Flood appears near the end of his rope. The jug Robinson refers to in line 14, “The jug that he had gone so far to fill,” is symbolic of Flood’s life accomplishments. Robinson also speaks of “A valiant armor of scarred hopes outworn,” stanza 4, line 18 symbolizing his once strong-willed ambitions and how they now appear lost to him. The reference to Roland’s ghost in line 20 and its comparison to Flood’s struggle symbolizes his loneline ...

... is inescapable. The home, in disrepair, has roaches coming out of their colonies in the moldings and grimy window panes. Society dictates that she must take on the domestic drudgeries of life. In the male dominant society, she alone must fulfill the role of housekeeper. With the absence of her lover, the woman takes sole responsibility for maintaining a pleasant household; she alone makes the bed, dusts the tabletop, and sets the coffee on the stove. The portrait of her miserable life contrasts sharply with that of her lover. While she struggles with the endless monotony of house chores, he loafs around, carefree and relaxed. During her monotonous morning r ...

... I understand: it is not the stones, But the child’s mound--- “ During this passage he is being so cruel. He is just sort of rubbing it in that they had lost so many children. It’s almost like it was his fault that all of this was happening. The husband seems to not be phased by the great loss that they have endured. Later on in the poem the husband begins to talk again, stating: “We could have some arrangement, By which I’d bind myself to keep hands off, Anything special you’re a-mind to name. Though I don’t like such things ‘’twixt those that love. Two that don’t love can’t live together without them. But two can not live together with them.” Right here he is ...

... for him. As Bobby Joe Leggett defines at this point, the athlete is "carried of the shoulders of his friends after a winning race" (54). In Housman's words: The time you won your town the race We chaired you through the market place; Man and boy stood cheering by, And home we brought you shoulder-high. (Housman 967). Stanza two describes a much more somber procession. The athlete is being carried to his grave. In Leggett's opinion, "The parallels between this procession and the former triumph are carefully drawn" (54). The reader should see that Housman makes another reference to "shoulders" as an allusion to connec ...