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Elements Of Poetry, 2004.
This paper offers a brief examination of the use of narration and dialect in Langston Hughes' "Negro" and Gwendolyn Brooks' "We Real Cool".
904 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
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Abstract
The paper examines the use of narration and dialect in Langston Hughes' "Negro", and Gwendolyn Brooks' "We Real Cool". The paper discusses elements of poetry found in both poems. The paper also looks at differences in diction in both poems.
From the Paper
"Elements of Poetry. Poetry is created through the use of various rhetorical devices that have no inherent meaning within themselves, but when used within a poem create meaning through the feelings and emotions which they convey to the reader. Thus an examination of a couple of these rhetorical devices within two well-known poems will offer insight into that which stirs these particular emotions within the audience."
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Common Elements in Literature, 2002.
A literary comparison of "Underground", "Hedda Gabler" and "Six Characters in Search of an Author".
650 words (approx. 2.6 pages), 2 sources, $ 26.95
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Abstract
This paper identifies and discusses in detail the common element shared by Dostoevsky's underground man in "Underground", Ibsen's Hedda Gabler in "Hedda Gabler" and father of Pirandello in "Six Characters in Search of an Author".
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Death in Poetry, 2005.
Explores the theme of death in the poetry of Emily Dickinson, Edgar Allan Poe and Sylvia Plath.
1,315 words (approx. 5.3 pages), 3 sources, MLA, $ 44.95
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Abstract
Through an analysis of the poetry of these famous writers, this paper explains how each writer illustrates the diverse ways that death touches each one of us.
From the Paper
"In her poem, "I Heard a Fly Buzz in my Head," Dickinson imagines what the first few moments after death might be like. Interestingly, the speaker is looking back on her death, which forces her to write a poem that depends heavily on her senses. The first thing we realize about this poem is the fact that the poet does not see death as something magnificent that has happened to her. Instead, death is nothing if ordinary. This notion goes against the traditional idea of passing into a glorious afterlife. She hears no trumpets; instead she is keenly aware of the "stillness in the air" (Dickinson 3). At the end of the poem, the speaker becomes aware of a "blue, uncertain, stumbling buzz" (13). One of the most eerie aspects of the speaker's death is the fly and how it distracts her even from her death. The fly is probably the most important aspect of the poem, which might indicate the speaker's sees death as an insignificant event that draws flies. The speaker's mood is surprising in that she treats her own death as just another occurrence. She is clearly aware that she is dead and this in no way shocks or horrifies her. Her attitude toward death is cavalier and from this, we assume that she feels no angst over her own death, whenever it may occur."
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Death in Poetry- An Analytical Comparison, 2007.
This paper compares John Donne's poem "Death Be Not Proud" and Wislawa Szymborska's poem "On Death, without Exaggeration."
873 words (approx. 3.5 pages), 2 sources, $ 31.95
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Abstract
This paper compares and analyzes two poems about death that were written almost three centuries apart. The reviewer believes that the poems "Death be not Proud" by John Donne and "On Death, without Exaggeration" by Wislawa Szymborska demonstrate the beliefs of two different generations on the topic of death. The reviewer further describes the former as condemning death's pride, and the latter as mocking death's frailty. "Death Be Not Proud" speaks of death as a subtle reality of life, whereas the modern-day poem "On Death, without Exaggeration" criticizes the imperfection of death.
From the Paper
"Donne goes on to say that death is similar to natural rest or sleep. "From rest and sleep, which but thy pictures be" (1453) implies that every time a man falls into sleep, he is performing an innocuous practice for the experience of death; however, death remains a part of life from which no one is exempt. Death, inevitable as it may be, is an assurance of Donne's believe that there is a supreme destination after death. It is a component of humanity and causes the poem to reflect a reverence toward and optimism about death."
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Death in Poetry, 2004.
An analysis of the portrayal of death in John Donne?s ?Sonnet 10? and Emily Dickinson?s ?Because I Could Not Stop for Death?.
921 words (approx. 3.7 pages), 2 sources, MLA, $ 32.95
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Abstract
Different perspectives are always interesting. This is especially true with matters regarding death. This paper examines how John Donne and Emily Dickinson offer very unique perspectives on death in their poems, ?Sonnet 10? and ?Because I Could Not Stop for Death.? It looks at how these poets look death straight in the eye and face it with a strange calmness and security. It shows how, through the techniques of personification, structure, rhyme scheme, symbolism, and imagery, each of these poems offers unique perspectives on death and how, with their unique styles, Donne and Dickinson force us to think about death in a different way.
From the Paper
"Structure is also significant in each of these poems. In ?Sonnet 10,? the form of the poem creates tension. It is written in a traditional Italian sonnet form, ending with a dramatic couplet, normally associated with Elizabethan sonnets. The poet utilizes a different rhyme scheme to demonstrate his attitude toward death. While each line in a sonnet generally has ten syllables and five metrical feet, the lines in ?Sonnet 10? do not follow this pattern. The challenging rhymes seem to emphasize the powerlessness of death. Interestingly, the first and the last lines seem to echo the same sentiment. On the other hand, ?Because I Could not Stop for Death? reads like a lyric poem and its easy rhyme scheme clashes with its complicated subject matter. It is also important to note that Dickinson?s poem is penned by an apparently deceased poet."
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Death in Renaissance Poetry, 2005.
A comparative analysis of the presentation of death in William Shakespeare's "Venus and Adonis", Andrew Marvell's "To His Coy Mistress", and John Donne's "Holy Sonnets" numbers 1 and 10.
1,448 words (approx. 5.8 pages), 4 sources, MLA, $ 48.95
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Abstract
This paper looks at the literary theme of death in a specific historical context. It examines the way death is juxtaposed and contrasted with allusions to violence, life, love and sex, building up a discussion of whether we should ultimately read death as positive or negative in Renaissance poetry.
From the Paper
"Meanwhile, Donne's 'Holy Sonnet 1' begins with death as an imminent threat. It appears as early as the first line with the word 'decay' , which, when we link it to the similar threat of death in 'To His Coy Mistress' with its 'worms shall try that long-preserved virginity' (ll. 27-28), appears almost certainly to refer to posthumous decay. Moreover, the repetition of 'now' (l. 2) twice in the same line and words like 'I dare not' (l. 5) convey the speaker's urgency and fear because of death. However, with closer reading, it may not be simply death that the speaker finds threatening. Towards the middle of the poem, Donne twists the reader's expectations by beginning to mention 'sin' (l. 8) and 'our old subtle foe' (l. 11) as a reference to the devil. "
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Death in Poetry., 2002.
A contrast of views on death in poems by various poets.
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
This paper compares and contrasts the views of death expressed in "Ode on the Death of a Favorite Cat" by Thomas Gray, "Death Be Not Proud" by John Donne and "One Day I Wrote Her Name Upon the Strand" by Edmund Spenser.
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Life and Love after Death in Poetry, 2009.
A comparison of John Donne's message of life and love after death in in his poem, "Valediction Forbidding Mourning" with that of Andrew Marvell in his poem, "To His Coy Mistress."
1,301 words (approx. 5.2 pages), 0 sources, $ 43.95
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Abstract
This paper discusses the nature of life and human love after death as discussed by 17th century poets, Andrew Marvell and John Donne. The paper compares the imagery and messages presented by Donne in his poem, "Valediction Forbidding Mourning" and by Marvell in his poem, "To His Coy Mistress." The paper also compares the language that the poets use in conveying their messages.
From the Paper
"Marvell's poem is addressed to a specific woman, a mistress unlike Donne's more vague, spiritual, androgynous and anonymous beloved. Marvell openly begs his coy mistress to come to bed with him--the poem begins as if he is rejecting a refusal she has just given him to do so. "Had we but world enough, and time, /This coyness, lady, were no crime." The poem then evolves in a series of hyperboles, or deliberately extreme statements, that make his appeal to his mistress humorous, rather than crassly sexual. To add to the humor of the poem, and to make the hyperbole even more delightfully absurd, Marvell uses religious references, like stating he "would Love you ten years before the Flood;" that he would wait for his beloved until "the conversion of the Jews," at the end of time, if it were not for his awareness that death awaits them both, and after death there is only a "desert" of "vast eternity.""
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The Theme Of Death In Three Works Of Poetry, 2000.
1,495 words (approx. 6.0 pages), 2 sources, $ 49.95
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Abstract
This paper compares and contrasts three poems: two by Emily Dickinson "My Life Closed Twice Before its Close", and "Because I Could Not Stop for Death", and John Donne's "Death Be Not Proud Though Some Have Called Thee", analyzing how the personification of death and abstract, powerful words are used to grab the reader?s attention, but the uses of tone and structure create three very different ideas and different poems.
From the Paper
"In the first poem by Emily Dickinson, death is implied by the word ?Immortality?. The first stanza, lines three and four, ?If Immortality unveil a third event to me?, is where personification appears. The second poem by the same author uses personification for three different things. The very first two lines, ?Because I could not stop for Death? He kindly stopped for me-??, introduces the audience to the driver of the carriage. In the fourth stanza the speaker talks about passing the sun, but then says, ??Or rather-He passed Us-?(13), bringing the sun to life. I should also mention that throughout this journey ?The Carriage held but just Ourselves?And Immortality.?(lines 3-4), personifying an idea. In the third poem by John Donne, the entire piece is addressed to Death as a person. It begins, ?Death be not proud, though some have called thee Mighty and dread?ful, for thou art not so;?(lines 1-2). By using person?ification, each author transforms his work into a powerful statement. Bringing this abstract concept into the tangible, concrete world makes far more ominous and more frightening."
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?Common Sense? and Common Language, 2006.
An examination of the impact of Thomas Paine's "Common Sense," which pushed for America's independence from England.
1,833 words (approx. 7.3 pages), 5 sources, MLA, $ 58.95
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Abstract
This paper details the main themes in Paine's renowned pamphlet "Common Sense", written and published in 1776. It discusses Paine's main goal, which was simply to convince the people of America that a revolution was needed, which would result in the establishment of an independent nation. Paine's publication was generally met with considerable interest by its audience and more than a little ill-humor by academics who considered his writing style to fall far short of the neoclassical ideal. It examines the main themes in "Common Sense" as well as the author's unique method of appealing directly to the highest sentiments of the most common people and the simplest convictions of the most literate. It also discusses the views of various critics who found and continue to find fault with the content and style of writing in Paine's work.
From the Paper
"The original publication of Thomas Paine's work was generally met with considerable interest by its audience, and more than a little ill-humor by academics who considered his writing style to fall far short of the neoclassical ideal. One contemporary said that his style was"so coarse, that you would think he meant to degrade the language as much as the government." Even a relatively sympathetic colonial magazine, The Monthly Review, recorded in 1791 that Paine was "desultory, uncouth, and inelegant. His wit is coarse, and sometimes disgraced by wretched puns, and his language, though energetic, is awkward, ungrammatical, and often debased by vulgar phraseology."
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"The Metamorphosis" and Poetry, 2002.
Discusses Franz Kafka's "The Metamorphosis" within the context of elements of poetry
650 words (approx. 2.6 pages), 1 source, $ 26.95
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This paper compares specific aspects of Franz Kafka's "The Metamorphosis" to aspects of poetry. This allows Kafka's text to be seen in terms of both epic poetry and lyrical poetry, where the format and the content of the story are compared.
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Pain Transformed by Humor and Poetry, 2002.
A look at how the use of humor and poetry transforms an otherwise miserable childhood in "Angela?s Ashes" by Frank McCourt and "The Liars? Club" by Mary Karr.
894 words (approx. 3.6 pages), 2 sources, $ 31.95
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Abstract
The paper discusses two memoirs of childhood, "Angela's Ashes" by Frank McCourt, set in Ireland, and "The Liar's Club" by Mary Karr about a girl's childhood in East Texas. The paper shows how these two memoirs share many common elements-- poetry, savage humor, great emotional pain, bad weather, the wonder of books, the joys and terrors of sex, and ultimately, the redemptive power of love. Above all, it shows that it is the humor that renders the unbearable both readable and even inspiring.
From the Paper
"Liars? Club opens with a singularity rather than a mythic overview: ?My sharpest memory is of a single instant surrounded by dark.? That frozen instant only unfolds over time??it took three decades?to unfreeze??so that we realize that seven-year-old Mary, nicknamed Pokey, has been raped by a neighbor and at that moment is being examined by the family doctor. And yet the details of this girl?s upbringing in a swampy Texas town (which, like Ireland, is beset with hurricanes and bad weather), with a drinking, lying, fabulating, mad, loving family also takes on a quality of the mythic, and achieves its power through humor and poetry."
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Middle Eastern Poetry, 2008.
This paper discusses Middle Eastern poetry, noting that such poetry tends to concern the conflict experienced around the poets.
2,056 words (approx. 8.2 pages), 7 sources, MLA, $ 64.95
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In this article, the writer notes that Middle Eastern poetry is often peppered with honest assessments of the physical and emotional turmoil of conflict. The writer discusses that poetry in the Middle East tends to be a voice of record, in stylistic descriptions of the conflicts of mind, body and spirit that demonstrate a life or many lives in the turmoil of conflict and change. The writer maintains that many Middle Eastern authors feel a fierce obligation to write not only about the joy and struggle of writing poetry but also the trails and conflicts of their nations and the people whom they have known and whom they have imagined to have been deeply affected by all. The writer concludes that in the works of Ozkan Mert (Turkish) Taha Muhammad Ali (Palastinian) Eliaz Cohen (Israeli) and Aharon Shabtai (Israeli) one can locate the human drama of living in strife as well as the pleasure of poetic expression, without any real difficulty and with a great sense of wonder that is expressed through poetry and the wondrous human mind.
From the Paper
"Each of these writers are expressing the nature of self, the body of self and the nature of political and social upheaval, as it is expressive of the self and the whole. Each may be writing from an opposing side, but clearly their views are not opposing. Their voice is one that asks those who would choose to subvert them to listen to their voice as the voice of the individual seeking individual reconciliation in the face of conflict. The Middle Eastern conflict is a constant point of discussion in every arena, those offering solutions and those offering greater strife, and the words of these poets exemplify that the voice rarely heard is the voice of the people, the individual bodies and souls who live every day facing the results of conflict and the candor of legislative results.
"Ozkan Mert probably best exemplifies the passion and power of poetry, as a simple form that can convey a meaning beyond the nature of it length or even it s breath. Mert in his poem Whose on the Side of Poetry expresses the fear that some have of poetry, as a tool used by people to express the nature of strife, often when many wish that such strife not become public knowledge."
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Emily Dickinson's Poetry, 2006.
An analysis of the theme of death as a leitmotif in Emily Dickinson's poetry.
4,954 words (approx. 19.8 pages), 10 sources, MLA, $ 125.95
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Abstract
The following paper concentrates on the variety of ways Emily Dickinson's expresses her thoughts and feelings about death in her poetry. One central focus of the analysis is to point out Dickinson's originality and creativity emerging from a gloomy topic. It looks at how Dickinson does not only reflect on death, she presents the intrepid self experimenting with the idea of its own cessation. The paper also provides short comments on some stylistic devices in order to clarify the interdependence between Dickinson's ideas and her use of language.
Outline:
Introduction
Death Understood as Eternal Sleep
Between Life and Death: Death from the Perspective of the Dying
Death as Emphasis on Love
Conclusion
Bibliography
From the Paper
"Emily Dickinson is recognized today as one of America's greatest poets. Her reputation rests partly on a body of poems that forcefully portray death. Dickinson's death-poetry is marked by both the poet's enthusiasm and her willpower to face, grasp, and describe the circumstances of dying instead of evading the dreadful theme that often eludes language. Moreover, exploring the theme of death from various viewpoints, Dickinson appears to transcend a boundary that is impossible to penetrate in reality. Notwithstanding, she managed to remain the observer and recorder of her considerations and emotions."
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