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Poems by William Carlos Williams, 2005.
This paper discuss the poems "The Young Housewife" and "This Is Just to Say" by William Carlos Williams.
1,125 words (approx. 4.5 pages), 2 sources, $ 44.95
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Abstract
This paper analyzes the poems "The Young Housewife" and "This Is Just to Say" by William Carlos Williams, which reflect domestic desire and the problems of intimacy that lie hidden within American suburbia. The author points out that Williams shows an abstracted form of simile, allusion and symbolism to reflect the frustrations of couples trying to live with each other in divided homes. The paper contends that, by actively revealing his own lack of sexual fulfillment, Williams is able to convey these messages in these simply written, yet cryptic poems.
From the Paper
"This poetical analysis explores the theme of domestic desire within the two poems: "The Young Housewife" and "This Is Just to Say" by William Carlos Williams. By revealing William's poetry related to domestic desire through simile, allusions and symbolism, one can learn why these two poems reflect isolation and the romantic problems within 20th century American suburbia. In understanding William's poems through the theme of domestic desire, one can assume unfulfilled sexual and romantic energies that reside within his verse. The poem "The Young Housewife" reflects the barriers and sexuality of the suburbs in the way that Williams present both the woman and the doctor in the poem."
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William Carlos Williams' Poem "The Red Wheelbarrow", 2006.
The paper describes the way William Carlos Williams' poem "The Red Wheelbarrow" uses a simple battery of devices and basic vocabulary to convey a multitude of thoughts and images.
825 words (approx. 3.3 pages), 0 sources, $ 29.95
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Abstract
This paper explains that William Carlos William, in his poem "The Red Wheelbarrow", utilizes imagery, symbolism, simplistic structures and a free form style to illustrate the meaning of the poem in both a literal and metaphorical sense. The author points out that the meaning behind the picture created by this poem is left up to the reader to discover by looking for patterns in a deceptively simple sentence. The author underscores that, through these patterns, the readers rediscover the beauty in a simple wheelbarrow, a simple sentence and a simple poem. The paper concludes that the plain red wheelbarrow glistens by the end of the poem, in the calm following a storm, like the reader's glow of excitement after unraveling the mystery of the scene.
From the Paper
"The structure of the poem is perhaps the most interesting characteristic of it. The simple vernacular is underscored by the structure. Because the sentence is broken into four stanzas, the reader is forced to go line by line, scrutinizing each syllable, looking for meaning. Each word was carefully chosen and packs a punch, as was the author's intention. There are relatively few words, which causes the reader to notice the author's word choice more than if the poem were longer. Additionally, the pauses between each stanza allow the reader to reevaluate the mental image they are creating, as explained previously."
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William Carlos Williams' "The Use of Force", 2006.
This paper interprets William Carlos Williams' short story "The Use of Force".
860 words (approx. 3.4 pages), 0 sources, $ 30.95
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Abstract
This paper explains that, in his short story, "The Use of Force", William Carlos Williams examines the justifiable application of physical force. The author points out that all of the doctor's respect appears to go to Mathilda, the "damned little brat", who had the spunk and courage to resist him all along. The paper concludes that even an apparently mild-mannered country doctor can enjoy the passionate feeling of having a strong opponent and admire the resistance.
From the Paper
"The narrator inquires about a sore throat and both parents explain that the child says "her throat don't hurt her." The slightly exasperated doctor wonders if they have actually looked and discovers that they have not. Mathilda will not cooperate, though, and the doctor tries to reason with her. Attempting lamely to help, the mother says, "Come on, do what he tells you to, he won't hurt you." The doctor is disgusted that the mother used the word "hurt" and he says "I ground my teeth in disgust" at the parents bungling attempts."
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William Carlos Williams' Short Stories, 2001.
A look at the antinomic forces in the short stories of William Carlos Williams.
1,200 words (approx. 4.8 pages), 7 sources, $ 41.95
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From the Paper
"Critics have characterized William Carlos Williams? short stories as ?terribly real?, exhibiting both ?bitterness and compassion.? Kenneth Rexroth gets closer to the matter, categorizing the stories as ?the completely realized real.? The stories depict a antinomic reality, he suggests, consisting of a combative coexistence between what is immediately apprehensible and a force lying ?behind the colored faces of phenomena.?:
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Advancements in Childbirth during the Time of William Carlos Williams, 2000.
A look at the improvements in childbirth practices in America at the turn of the 20th century.
1,590 words (approx. 6.4 pages), 4 sources, $ 52.95
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Abstract
From the paper:
Childbirth, the natural process of how we are born, has evolved along with technological advancements to prolong lives, reduce pain, and decrease mortality rates through advancements in technology. William Carlos Williams, born in 1883 in Rutherford, New Jersey, dealt with issues of childbirth through the course of his life as a pediatrician. After becoming a pediatrician in 1910, he practiced medicine there for most of his life, and wrote poems and stories about his life as a country doctor. During the course of his life, society began paying close attention to childbirth as medicine and technology advanced.
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William Carlos Williams, 1994.
A brief biography of the poet/doctor and analysis of three of his poems "To A Poor Old Woman," "The Term" and "The Snow Begins".
1,350 words (approx. 5.4 pages), 3 sources, $ 47.95
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From the Paper
"William Carlos Williams, born in 1883 and died in 1963, was a major poet of his generation and one of the leading poets in the movement departing from traditional English practice, but Williams took his own road and tried to impart to his poetry a new substance and a violent new orientation. He began as early as 1912 by asking, "what was the measurable factor in language that can replace metrics as the basis for poetic composition?" For Williams, this question involved the whole essence of poetry:
Since he believed that experience does not objectively exist until it is embodied in language, the nature of that language--its ability to convey actuality without distorting it through the crippling biases of "literary" means--is all-important (Unger 403).
Williams had several concerns that were constant: 1) he wanted to..."
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Conflict and Irony in Williams, Carver and Baxter, 2007.
A review of conflict in the tales "Gryphon" by Charles Baxter, "The Use Of Force" by William Carlos Williams and "A Small, Good Thing" by Raymond Carver.
1,430 words (approx. 5.7 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper reviews and discusses "Gryphon" by Charles Baxter, "The Use Of Force" by William Carlos Williams and "A Small, Good Thing" by Raymond Carver. The paper focuses specifically on the use of irony to dramatize conflict in these three tales. According to the paper, conflict is the essence of all good storytelling.
From the Paper
"William Carlos William's short story "The Use of Force" also ironically depicts someone who must be cruel, only to be kind. The conflict of the story centers on a young child with a fever, and the doctor who is trying to save the little girl. The irony of the story is that the doctor must examine the child's throat, but the child regards the doctor as an intruder, and the doctor must force himself, violently, upon the child, to help her live. Irony is also manifest in the child's perspective, because the child quite reasonably sees the strange man who wishes to look at her throat as a dangerous intruder. Her parents, filled with love for Mathilda, have not forced her to open her mouth. The medical professional, in contrast, is capable of some objectivity in the situation. He tries at first, like the parents, to coax her, but to no avail. "Such a nice man, put in the mother. Look how kind he is to you. Come on, do what he tells you to. He won't hurt you."
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"The Forgotten City", 2002.
A brief analysis of this poem by William Carlos Williams.
1,783 words (approx. 7.1 pages), 0 sources, $ 57.95
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Abstract
This paper analyzes the contents and meaning of Williams' poem. It includes considering how the narrator feels about his observations of the town, the importance of the fact that a hurricane forced him to travel through the town, the suggestions that are made about the role of media in society, the significance of the title, and the meaning of the phrase "strange commonplace."
From the Paper
"The narrator of the poem refers to an experience driving through the towns of New Jersey. He passes through what he calls "extraordinary places." His experience of the towns suggests that the viewing of this world is part of the process of him overcoming his jadedness. He constantly refers to the sights of this world in positive ways. He refers to the places as "extraordinary places, as vivid as any I ever saw." He also refers to "long, deserted avenues / with unrecognized names at the corners and / drunken looking people with completely foreign manners." While this last description is not necessarily a positive one, the poem has a mood of excitement about it. The impression is that these sights have opened the narrator's eyes and allowed him to really consider what he is seeing. In short, he is finding interest in what he sees. He also states that "a large body of water / startled me with an acre or more of hot / jets spouting up asymmetrically about it." "
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Form and its Relationship to Meaning in Poetry, 2006.
A review of the poems "Do Not Go Gentle into That Good Night" by Dylan Thomas and "The Red Wheelbarrow" by William Carlos Williams, focusing on form and structure and its connection to meaning.
1,544 words (approx. 6.2 pages), 6 sources, MLA, $ 50.95
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Abstract
This paper examines two poems: Do Not Go Gentle into That Good Night" by Dylan Thomas and "The Red Wheelbarrow" by William Carlos Williams. The paper explains that both poems are dependant upon their form to transmit their meaning, mirroring and reflecting one another in the interplay of interpretive possibilities and authorial intentions. The paper points out that the strict formal structure of "Do Not Go Gentle into That Good Night" reflects the inevitability of death while amplifying the speaker's emotional experience, transcending the particular and engaging the universally human. The paper then looks at how "The Red Wheelbarrow" draws its formal structure from its object, re-presenting a complex image constructed from an interaction and synthesis of its components which resonates within the reader. The writer concludes that viewed as such, these poems illustrate the manner in which form is able to insinuate meaning into the events of life.
From the Paper
"The four mentioned 'types' of men in the five middle stanzas of the poem, though they have unilaterally failed to 'lighten' the 'dark' with their brands of enlightenment, are exhorted to yet rage against death and not accept it inevitability. The words of 'wise men' could not spark understanding in the masses, the deeds of 'good' men could but 'dance' a moment upon the overwhelming waters of this dark world, and the 'wild' men embraced the light of the sun to merely 'grieve it on its way' ineffectually. The fifth stanza sees those 'grave men near death' whose perceptions are cleansed by their reality also being called upon to abandon their joyful acceptance of inevitable death ( a poignant reflection of the acceptance of natural cycles the traditional pastoral would embrace) and also rage against this diminishment of life. Such an imploration asks an inversion of the traditional associations of light and darkness in that it glorifies this 'rage' as the light which dispels the darkness of death, as opposed to the calm acceptance."
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"This is Just to Say"--Analysis of Criminality, 2006.
This essay based on an unbiased opinion of William Carlos William's poem "This is Just to Say"
1,360 words (approx. 5.4 pages), 3 sources, MLA, $ 45.95
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Abstract
The author of this essay argues that the poem "This is Just to Say" seems simplistic on a first reading. The author further contends that on the contrary, with some leaps and bounds of the imagination, the reader can extract many criminal like ideas from within the text. He describes this poem encapsulating an apologetic theme, in which its verses are wrapped in many elements associated with William Carlos William's criminality.
From the Paper
"It is true that many critics over the last hundred years have theorized and disputed the ambiguities associated with the works of William Carlos Williams. On the surface, "This Is Just To Say", one of Williams' most famous works, is a simple confession of wrong doing: the poet has eaten someone else's plums. As Peter Brooks has observed, Williams' poem is deeply concerned with questions of justice and criminality. Although the poet "confesses", however insincere, and illustrates several aspects of guilt; the demeanor in which the confession is delivered resists an element of closure. In short, Williams' poem "This Is Just To Say" is hardly case closed.
With an extremely innovative and unprecedented critical analysis of this simple apology, an onslaught of criminalistic elements can be withdrawn:
This Is Just To Say
I have eaten
the plums
that were in
the icebox
and which
you were probably
saving
for breakfast
Forgive me
they were delicious
so sweet
and so cold
-1934 by William Carlos Williams
First time through this work, readers are often puzzled by the poem's simplicity. Many readers have a tough time grasping the fact that this poem, plainly read, is about somebody unsympathetically apologizing to another person for eating his/her plums. On the contrary, with some leaps and bounds of the imagination, one can extract many criminal like ideas from within the text. As previously stated, this poem encapsulates an apologetic theme; in which its verses are wrapped in many elements associated with author's criminality. As Brooks shows, Paul de Man's analysis of the circularity of confession reverses the cause/effect relationship usually associated with confession. According to de Man, it is not guilt that leads to confession, but confession that "creates the guilt that the act of confessing requires" ( Brooks 156)."
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Death in Robert Frost?s Poems, 2002.
A focus on the theme of death. The poems analyzed are: ?Home Burial,? ?After Apple- picking,? and ?Fire and Ice.?
1,434 words (approx. 5.7 pages), 0 sources, $ 47.95
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Abstract
Robert Frost, an American poet, has a group of poems that use the theme of death. Three of these poems are analyzed as examples of Frost?s dark meditation-themed poems, with death the primary focus of the poem narrative. However, despite the similarities in theme in these poems, Frost uses various kinds of situations and concepts of death for the subjects of each poem. This paper discusses the theme of death in the following manner: The discussion of fear and sorrow of death in ?Home Burial,? the fear of death because of unaccomplished tasks here on earth in the poem ?After Apple-Picking,? and life after death in the poem ?Fire and Ice.? Passages from the poems are used as evidence of the themes.
From the Paper
"The poem ?Home Burial? illustrates the grief and sorrow that a couple feels and experiences after they had lost their child. The poem is a dialogue between the man and the woman, who are also arguing with each other over the death of their child despite the fact that they grieve (especially the woman) and felt sorrow over the death of the young child. The first part of the poem started with the man asking his wife what she?s doing, and the woman displaying a look of fear. In this part of the poem, one would think that the woman is afraid of the dead, especially since they?re in a graveyard. However, a further scrutiny of their dialogue will reveal that the woman is actually afraid of the man, and she?s afraid because the man had caught her in the act of looking over an object, which is actually the ?mound,? wherein her dead child had been buried. The part wherein the man asked the woman about what she?s doing/looking at, and the discovery of the ?mound? where the woman?s child lies gave out a sorrowful cry from the woman: ?Don?t, don?t, don?t, don?t.? The reiteration of the ?don?ts? is Frost's way of expressing the woman?s grief and inability to accept her child?s death. Further into the poem, the conflict between the two, and the woman?s anger on her husband gave out as she pointed the blame to the man for his somewhat indifferent behavior about their child?s death: ?You can?t because you don?t know how/ If you had any feelings, you that dug/ With your own hand how could you??his little grave?? This accusing statement by the woman shows how she was unable to accept her child?s death. Also, the man?s gradually developing fear about the woman?s condition (too much sorrow and grief) had made him also feel fear in a different way, and he acknowledges his wife?s accusations in an effort to calm her and relieve her of her sorrow (towards the child) and grief (towards him). The poem finds resolution in a very uncomfortable and sad way, and the couple does not reach the point of reconciliation when the poem neared its end. In fact, the woman was in the act of leaving the man behind, leaving the man whom she thinks is totally indifferent and does not share with her the sorrow that she feels over their child?s death. The man becomes powerless and defeated, as his wife had left him despite his threats and protests."
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Mary Oliver?s Poems, 2004.
This paper analyzes Mary Oliver?s poems, ?Seven White Butterflies" and "West Wind 2?, and includes the entire poems as the sources.
1,230 words (approx. 4.9 pages), 2 sources, MLA, $ 41.95
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Abstract
This paper explains that Mary Oliver, a Pulitzer Prize-winning poet, like most Romantic poets, creates a boundary between nature and man and attempts to explain through examples. The author points out that, in her poems, ?Seven White Butterflies? and ?West Wind 2?, the poet demonstrates that humans need to learn from nature a life free from struggle for materialism or dejection. The paper relates that, in ?Seven White Butterflies?, the butterflies represent nature as always being free from threats because nature enables them with the wisdom to extricate themselves from captivity or death.
From the Paper
"As far as rhythm in "West Wind 2" is concerned, Oliver seems to adopt a style that is free from any formal rhythm. This is what makes "West Wind 2" even more interesting because in four stanzas she manages to first establish trust as evidence in these words "Without fanfare, without embarrassment, without/any doubt, I talk directly to your soul. Listen to me" and then delves straight to the issue of cautioning the youth. There is no formal rhyme or rhythm to the terms used yet one gets the distinct image of a boat rower's dilemma rowing downstream. And the last line, in one smooth stanza, she presents and, at the same time, advises the youth what to do. This gives the finality of the obvious and the reason why she wants to caution one in the first place. Unlike in the poem "Seven White Butterflies", she does stick to syntax but no rhythm is established."
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The Definition of Womanhood through Five Poems, 2001.
An analysis of five poems with the theme of womanhood.
2,930 words (approx. 11.7 pages), 5 sources, $ 86.95
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Abstract
This paper is an anthology analysis: a collection of poems bound together by a common theme---womanhood. The five poems are womanhood poems written by Erica Jong, Maya Angelou, Anne Sexton, Genny Lim and Elma Mitchell. All the poems talk about womanhood and the differing perspectives of what a woman really is. After selecting these poems, the author analyzes them and relates the common threads they share as well as the differences.
From the Paper
"The first poem is ?Phenomenal Woman? by Maya Angelou. ?Phenomenal Woman? explores the enigma of womanhood at the most basic level---- a woman?s natural charm. After all, this continues to be a puzzle for all of us. What makes a woman click? What makes her so special? Angelou pieces the puzzle together through her poem. Her view on this puzzle is this: the appeal of women does not necessarily come from appearances. It goes deeper than that. In the first stanza, she says, ?Pretty women wonder where my secret lies. / I?m not cute or built to suit a fashion model?s size.? With these lines, she contradicts the age-old myth that women have to be externally beautifully to have that certain factor. ?It?s in the reach of my arms,? she says, ?The span of my hips, / The stride of my step, / The curl of my lips.? If you think about it, these are universal attributes of women. What makes the difference, however, is the confidence that all these features present. The ?stride,? the ?span? of the hips: these are all features of confidence."
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Donald Justice's "New and Selected Poems", 2008.
A review of the poetry book "New and Selected Poems" by Donald Justice.
1,353 words (approx. 5.4 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper analyzes a selection of poems by Donald Justice. Most of the poems that the writer analyzes are in the villanelle format and the writer suggests that it is the required repetition of this format that brings out the emotion of the poem. The writer also notes that Justice's poems pay attention to the detail of craft and work with restrained expertise. The writer further discusses a few poems in detail, and points out that even though we find Donald Justice's poems objective and admirable, they are lacking in self as if he is standing on the outside of them.
From the Paper
"Upon reading Donald Justice's book New and Selected Poems, I am reminded of Eudora Welty's quote, "Virtuosity, unless it moves the heart, goes at the head of the whole parade to dust." Justice's poems work with restrained expertise. The poems pay attention to the detail of craft, but the detachment of feeling in the verse leaves out the passion of poetry."
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Ambiguity in Three Modernist Short Stories, 2006.
A look at "A Worn Path" by Eudora Welty, "Hills Like White Elephants" by Ernest Hemingway and "The Use of Force" by William Carlos Williams.
2,072 words (approx. 8.3 pages), 3 sources, MLA, $ 65.95
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Abstract
This paper reviews three modernist short stories and looks at how ambiguous work is a significant mode of modernist art. The three stories this paper reviews are "A Worn Path" by Eudora Welty, "Hills Like White Elephants" by Ernest Hemingway and "The Use of Force" by William Carlos Williams.
From the Paper
"Eudora Welty wrote her short story "A Worn Path" in 1941. It centers on "an old Negro woman" (795), as she makes her way slowly across the rural countryside toward the neighboring town of Natchez. It is a simple story, and told in a straightforward, matter-of-fact style. This simplicity however, is merely a veneer spread over innumerable underlying ambiguities. The canvas Welty paints at the outset is one of a stark frozen rural landscape. The only color that interrupts this cold early morning picture, is the bright red rag tied about the head of the main character: Phoenix Jackson. What is this old woman doing hobbling back and forth along a rural path in the middle of winter, in the early morning? This is a central question that essentially remains unanswered in any complete way.
Welty allows us to understand that there has been identical earlier journeys made by the old lady, as when Phoenix says to herself: "Seem like there is chains about my feet, time I get this far [...] something always take hold of me on this hill - pleads I should stay" (795). This is the first of many passages that are conversations with herself. The author gives only the character's inner thoughts about things, thus leaving us deprived of any comfort in an objective reality. Phoenix is not a dependable witness by any means. She sees things symbolically, or historically or biblically, but rarely as things really are. Just as she has troubles finding her way through this landscape, so the reader also has trouble finding the truth or meaning of the narrative. "
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