Poetry Response 1 Classical Poetry Instructions Read Percy B
Poetry Response 1 Classical Poetryinstructionsread Percy Bysse Sh
Read Percy Bysse Shelly’s “Ozymandius” which is a traditional sonnet. How does the formality of a sonnet add weight to the words and despair of the erosion that Shelly is describing? “Ozymandias” BY PERCY BYSSHE SHELLEY I met a traveller from an antique land, Who said—“Two vast and trunkless legs of stone Stand in the desert. . . . Near them, on the sand, Half sunk a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed; And on the pedestal, these words appear: My name is Ozymandias, King of Kings; Look on my Works, ye Mighty, and despair! Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away.
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The sonnet form, characterized by its structured rhyme scheme and specific meter, imbues Percy Shelley’s “Ozymandias” with a sense of gravity and permanence that contrasts sharply with the poem’s themes of decay and impermanence. The formal constraints of a sonnet—traditionally associated with love and admiration—serve to elevate the subject matter, reminding readers of the enduring power of art and language even as physical monuments crumble. Shelley’s use of a sonnet emphasizes the weight of the words inscribed on the statue’s pedestal, “My name is Ozymandias, King of Kings; Look on my Works, ye Mighty, and despair!” which are ironically situated amidst the ruins of a once-grand empire. The formality of the sonnet thus underscores the hubris of Ozymandias, whose boastful claim is now rendered meaningless by time’s relentless erosion. Furthermore, the sonnet’s tightly controlled structure constrasts with the chaotic and desolate landscape described, mirroring the tension between human ambition and natural decay. Shelley employs this form to lend a weighty and authoritative tone to the poem, reinforcing the theme that even the mightiest rulers are subject to the ravages of time. The sonnet’s brevity and rhyme scheme make the message memorable and powerful, encapsulating the tragic irony of human pride versus inevitable decline. Overall, the formal structure not only accentuates Shelley’s critique of tyranny and hubris but also provides a timeless and weighty vehicle for contemplating the impermanence of human achievement.
Poetry Response #2 - Dueling Themes: Negative Argument
In Theodore Roethke’s “My Papa’s Waltz,” the interpretation of the poem as either a scene of abuse or a scene of bonding depends heavily on the reader’s perspective, but I argue that the interpretation of abuse cannot be correct based on the poem’s textual clues. While some read the poem as depicting a violent or drunken parent-child relationship, several elements suggest a portrayal of affection and camaraderie. For example, the line “We romped until the pans / Slid from the kitchen shelf” conveys a sense of rough play rather than violence. The use of the word “romped” implies energetic but playful activity, not aggressive behavior. Additionally, the phrase “hung on like death” indicates a strong attachment, which in the context of a father and son, suggests a bond rather than abuse. The imagery of “battered on one knuckle” and “scraped a buckle” might evoke roughness but can also imply a father’s rough hands developed through labor, not violence directed toward the child. Critically, the final line “still clinging to your shirt” implies enduring attachment and affection. If the poem were about abuse, one would expect more overt signs of harm or fear, yet the poem’s overall tone leans toward a fond, if chaotic, moment of paternal bonding. Therefore, the interpretation of abuse is incompatible with the evidence, making it a less plausible reading than a depiction of a tumultuous but loving relationship.
Poetry Response #3 - Subtext
Adrienne Rich’s “Aunt Jennifer’s Tigers” offers a subtle commentary on women’s repression and societal constraints, which she never explicitly states. Instead, her critique is conveyed through imagery and symbolism of the tiger motif and the contrast between Aunt Jennifer’s real life and her artistic creation. The tigers are depicted as “prance across a screen” and “do not fear the men beneath the tree,” symbolizing strength, independence, and a fearless spirit that she perhaps yearns for but cannot attain in her constrained life. The phrase “The massive weight of Uncle’s wedding band / Sits heavily upon Aunt Jennifer’s hand” signifies the oppressive burden of societal and marital expectations placed upon women. Rich’s commentary on gender roles, oppression, and suppressed desire is made obvious through keywords such as “heavy,” “terrified,” and “prance,” juxtaposing the tiger’s freedom with Aunt Jennifer’s immobilized state. The line “When Aunt is dead, her terrified hands will lie / Still ringed with ordeals she was mastered by” underscores the suffocating control that her marriage imposed. The poem’s visual imagery and the contrasting symbols reveal Rich’s critique of societal limitations on women, suggesting that the artistic expression of the tigers serves as a silent rebellion against repression and a longing for liberation—a commentary that is subtly woven into the poem’s fabric rather than stated outright.
Poetry Response #4 - Worldview
Langston Hughes’ “Theme for English B” remains profoundly relevant today as it explores themes of identity, race, and connection in a diverse society. Hughes’ reflection on the racial and geographic divides—“I am the only colored student in my class”—mirrors ongoing societal issues of racial segregation, inequality, and cultural belonging. The lines “I guess being colored doesn't make me not like the same things other folks like who are other races” challenge stereotypes and affirm shared human experiences, emphasizing that race does not define individual preferences or capacities. Hughes’ assertion “And yet, also, I guess, that the same black man who doesn’t speak with a white accent or read the same books is also a part of the American fabric” highlights the complexity of racial identity within a national context. Today, these themes resonate as society continues to grapple with racial disparities, cultural integration, and the importance of understanding and empathy across racial boundaries. The lines “You are white— yet a part of me, as I am a part of you” encapsulate ongoing dialogues about inclusivity and shared humanity, emphasizing that racial identity is intertwined with national identity. Hughes’ reflection remains relevant because it advocates for acknowledgment of individual identity and mutual understanding within multicultural communities—an ongoing challenge and necessity in contemporary society.
Poetry Response #5 - Inaction
T.S. Eliot’s “The Love Song of J. Alfred Prufrock” explores the theme of inaction rooted in self-doubt, insecurity, and paralysis. Prufrock’s hesitation is driven by fear of judgment and a sense of inadequacy—“dare I/disturb the universe?”—which prevents him from fully engaging with the world. His introspective nature and obsession with trivial details reflect a desire to avoid meaningful participation, as he perceives himself unworthy or incapable of making a difference. The line “Till human voices wake us, and we drown” signifies that reality and social engagement are elusive; Prufrock remains trapped in his introspective bubble until external forces force him to confront the world. His reluctance to participate may also stem from fear of rejection or failure, as evidenced by his concern about “the overwhelming question” and his anxieties about aging and insignificance. Ultimately, Prufrock’s disconnection and passivity suggest a desire to remain an observer rather than a participant—content to watch life pass by—because engagement requires courage he feels he lacks. The closing line, “we drown,” emphasizes that awakening to life is often painful and overwhelming for him, and he prefers the safety of inaction over the risk of failure or humiliation. His paralysis reflects a broader human tendency to avoid vulnerability and confrontation, making his inaction a tragic but understandable consequence.
Poetry Response #6 - Suicide Note
Janice Mirikitani’s “Suicide Note” employs spacing and indentation as powerful visual techniques to create multiple voices and interruptions within the poem. These visual breaks mimic the fragmented thought process and internal dialogues, emphasizing the emotional turmoil and listening to different facets of the speaker’s psyche. The scattered spacing and uneven indentation symbolize the fractured state of mind—alternating between despair, resignation, and tentative hope—allowing readers to experience the internal conflict more vividly. For instance, the interruptions and abrupt shifts convey the voices of the speaker’s internal critic, the desire to end pain, and possibly alternative perspectives, such as family or hope. These visual cues make the poem’s emotional landscape more tangible, compelling the reader to interpret the multiple voices as representing the conflicting thoughts within the speaker’s mind. Mirikitani also uses repetition and variation in spacing to emphasize certain ideas, such as the repeated mentions of “goodbye” or “peace,” underscoring the desire for release. The visual disjointedness not only enhances the thematic impact but also invites the reader into the speaker’s internal experience—highlighting their sense of isolation and the complexity of their emotion. Overall, these editing techniques serve to deepen the understanding of the speaker’s internal struggle and make the poem’s message more immediate and visceral.
Poetry Response #7 - Structural Poetry
Charles Jensen’s “Poem in which words have been left out” is an innovative critique of the justice system, created by editing and rearranging the well-known “Miranda Rights.” Jensen modifies the rights to highlight inconsistencies and potential injustices, using omissions and alterations to underscore problems within legal procedures. For example, the line “You have the right to remain anything you can and will be” replaces the standard “You have the right to remain silent,” which emphasizes the silencing of individual voice and autonomy in the legal process. Similarly, “An attorney you cannot afford will be provided to you” rearranges the phrase “an attorney will be provided,” illustrating the disparity and economic inequality entrenched in the justice system. Jensen’s edits, such as “You cannot afford one” and “The right can and will be against you,” reveal the underlying power imbalance—implying that legal rights are often illusory and serve to oppress rather than protect. These modifications suggest that the justice system may manipulate language to obscure its true function, which is often to maintain control and uphold authority rather than dispense true justice. Jensen’s deliberate removal and rearrangement of words serve as a visual and linguistic critique, exposing the hidden realities behind legal rhetoric and emphasizing systemic flaws.