.... fourth passage is a simile. The passage said that everything had changed. That it had changed so fast like the tablecloths magicians pull from under stuff on the table but the gasp from the audience makes it not matter. The passage was comparing going to junior high school to a tablecloth the magicians pull because junior high school was a big change to the boys. The gasp! from the audience meant the change did not matter because in the long run everything will be O.K. The fifth and last passage is a personification. It is a personification because the passage is saying that the ar .....

.... applause. One bar, indeed, his birth and education have opposed to his fame, the language in which most of his poems are writtin. Even is Scotland, the provincial dialect which Ramsay and he have used is now read with a difficulty which greatly damps the pleasure of the reader: in England it cannot be read at all, without such a constant reference to a glossary, as nearly to destroy that pleasure. As Mackenzie states: "The power of genius is not less admirable in tracting the manners, than in painting the passions, or drawing the scenery of nature. That intuitive glance with which a wr .....

.... the poem to solely be about the life, and appearance of a 'bog woman'. However at a deeper level, Heaney looks at the very human society functions, both in ancient and present times. This us summed up at the end of the poem; "who would connive in civilized outrage yet understand the exact and tribal, intimate revenge" (Stanza 11) Heaney here, writes that he does not only feel empathy and sympathy towards the "little Adulteress", but is also able to detach himself from his emotions and look at her death as a function of an ancient tribal system. The role which the bog woman pla .....

.... Its unusual, sometimes startling juxtapositions often characterize surrealism, by which it tries to transcend logic and habitual thinking, to reveal deeper levels of meaning and of unconscious associations. Although scholars might not classify Eliot as a Surrealist, the surreal landscape, defined as "an attempt to express the workings of the subconscious mind by images without order, as in a dream " is exemplified in "The Love Song of J. Alfred Prufrock." "Prufrock presents a symbolic landscape where the meaning emerges from the mutual interaction of the images, and that meaning is enl .....

.... not well received by his fellow man. He has taken to crying about his social ostracism in line two. In an attempt to clarify for himself why he is in such a state he “ troubles” heaven with his “bootless” or useless cries. But as the poet has made clear heaven turns a deaf ear and no response is forthcoming. Again he becomes introspective and curses his fate. This first quatrain has given us an image of a grown man “down and out” if you will, who is accepting no responsibility for his life's station. By the second quatrain the poet has taken to wishing he were more hope .....

.... with the way she looks and she shies a way from her husband every time he tries to get close to her: "In the widows before us,/ as we changed her dressings," (32-33) "One morning, I pressed my lips / to her chest until, at last, / she believed / and opened up to me" (35-37). In those lines he is showing his love to and for her. By kissing her scar on her chest he showed her that he really cares for her and that he will always be there for her. Heyen uses "Matrix" for the title of this poem for its meaning of a mold, because there is a similarity between his wife's body and the turtle shell .....

.... The young Browning had before him the influences of Burns, Wordsworth, Byron, Shelley, and Keats. He began to prepare himself to soon be in their company. Byron was the first influence and inspiration to Browning’s first boyish attempts as a poet. Later after coming upon a copy of Shelly’s Queen Mab he fell under the fascination of this new poet. It was then that he started his formal career in poetry. In the 1930’s he met the actor William Macready and tried to write verse drama for stage. Macready regarded him as, “more like a youthful poet that any man I ever saw.” (Lov .....

.... of the night yet was the warmth of the persona’s life. On the other hand, in This is Just to Say, the plums were eaten already by the persona. It was not offered to the persona during that time. It was not supposed to be eaten at that instant. The sexual relation in this poem was not obviously stated. It would seem that the poem was just stating a situation in which the persona ate cold, delicious plums placed in an icebox that were not supposed to be eaten because it was probably for breakfast. There was no warmth mentioned in the poem, only the how the plums were so cold. Going d .....

.... the phrase "blood shod" shows how the troops have been on their feet for days, never resting. Also, the fact that the gassed man was "flung" into the wagon reveals the urgency and occupation with fighting. The only thing they can do is toss him into a wagon. The fact one word can add to the meaning so much shows how the diction of this poem adds greatly to its effectiveness. Likewise, the use of figurative language in this poem also helps to emphasize the points that are being made. As Perrine says, people use metaphors because they say "...what we want to say more vividly and forcefully... .....

.... not to believe the story behind the poem then they will not understand the effect of the point of the tale. Coleridge's main point in writing the story was to get people to understand forgiveness by understanding the poem. The Mariner in the poem is telling his tale to a "Wedding Guest" who has no choice but to listen and to believe. The "Wedding Guest" in the poem represents "everyman" in the sense that "everyone" is to be at the marriage of the Mariner to life. That is, the reader is to follow, live, and participate with the idea of the poem. Coleridge tells of a Mariner on a ship w .....