Day: January 16, 2024

Introduction: “The Flesh and the Spirit” and “For Deliverance from a Fever”

“The Flesh and the Spirit” and “For Deliverance from a Fever” by Bradstreet are similar in several ways in terms of style and theme. “The Flesh and the Spirit” was published in 1650. The poem is a dialogue between Flesh and Spirit, which Bradstreet depicts as two conflicting sisters. There is tension between these two facets of human nature, and in the poem, Bradstreet explores some of the most significant and omnipresent questions within the Puritan faith. The poem begins with Bradstreet wandering along the banks of Lacrim (a variation on the Latin word for tears, suggesting sorrow or grieving) and coming across the two sisters in heated conversation. In light of Puritan philosophy, it is clear which one of the sisters will “win” or have the metaphorical last word, but the conversation between the two raises some plausible scenarios surrounding faith. Flesh begins by asking her sister how she can subsist on examination and reflection alone. Flesh wonders if the lack of immediate results is debilitating. She also attempts to capture Spirit’s attention by pointing out various and wondrous material goods. She celebrates the pleasure of honor, wealth, precious stones – “enough of what you will.” Flesh, as critic Robert J. Richardson writes, “is not gross, disgusting, arousing, or careless.” Instead, her questions are probing and meaningful, as she is trying to mediate between the sinful self and the redeemed self – which are, as Bradstreet suggests, close kin (Ann, 12).

“For Deliverance from a Fever” is Bradstreet’s second exploration of illness after her first surviving poem, “Upon a Fit of Sickness.” Despite “Deliverance’s” strong Puritan themes, the content is highly relatable as readers can easily understand the agony of being afflicted with a terrible illness and wondering if the cause is that God is angry or displeased.

The poem begins with Bradstreet describing her pain. Her body is burning, she is sweating, filled with torment, and experiencing headaches. She tosses and turns, unable to find a physically comfortable position. Her mental anguish mirrors her physical suffering, creating intense turmoil within her soul. She fears that God is displeased with her because she can no longer find evidence of his favor. When Bradstreet speaks of “Proof,” it is likely that she is referring to the Puritan understanding of salvation. Puritans believed that one continually sought proof of his or her salvation, pursuing a conversion experience that clarified whether he or she had been saved. Those Puritans who underwent conversion experiences were known as “visible saints.” By lamenting her inability to discern “Prove,” Bradstreet suddenly begins to question the certainty of her salvation (Bradstreet et al., 10).

Differences: “The Flesh and the Spirit” and “For Deliverance from a Fever”

“For Deliverance from a Fever” in her troubled state, she calls upon God, requesting that He not avoid her. She says that exclusive He knows the genuine substance of her heart. She understands that if her body is not going recuperate, then her spirit should be spared. In the event that her body falls into clean, her spirit must be acquired before God His transcendence. This sort of point of view would have been soothing for Puritans, who trusted that their anguish on Earth was proposed to convey them nearer to God and reorient their attention on life following death. Luckily for Bradstreet, as she clarifies in the last eight lines, she recoups from her fever. God takes his “bar” from her and extras her “slight” body. He demonstrates her beauty and love, and she now offers acclaim to Him for recovering her body. Puritans acknowledged whatever difficulties occurred for them as a piece of God’s arrangement, and also, Bradstreet is diminished that God has conveyed her from her fever. Right on time in the ballad, she obviously communicates her dread of God’s dismay and promises to acknowledge her passing as a pathway to God’s greatness, she appears to be to a great degree assuaged to that He permits her to live. In this lyric, Anne Bradstreet uncovers her enthusiastic connection to her life on Earth, which is a typical subject in her work.

“The Flesh and the Spirit” continues with Soul speaking next, and her words are more grounded. Clearly, the conflict between the two will never be reconciled. Soul lashes out against her sister: “…For I have vowed (thus will do)/thee as an adversary still to seek after, / and battle with thee will and should/until I see thee laid into clean…” (17). Spirit does not take time to invalidate Flesh’s arguments but simply insists that her sister is wrong and deserving of condemnation. Soul claims to spend her time contemplating things beyond Flesh’s mental capacity and priggishly declares that she will be the victor.

Richardson notes “the crowned irony” in the second half of Spirit’s monologue, which is that “Soul describes Heaven in the very material terms she has just deplored.” She talks about her royal robes, precious stones, royal walls, and sparkling streams. Soul states that the allure of these things is not inherently wrong but that she prefers the eternal versions. The City where Spirit will eventually reside for eternity is free from “disease and sickness” and “darksome night,” but Flesh cannot go there. Soul typically “gets the last word” in the discussion between the two sisters, as it would have been unlikely that Bradstreet would have given the victory to Flesh. However, as with many of Bradstreet’s poems, the questions surrounding religion are not necessarily straightforward. “The Flesh and the Spirit” implies the inner conflicts that many Puritans faced.

Work Cited: “The Flesh and the Spirit” and “For Deliverance from a Fever”

1. Bradstreet, Anne, and Jeannine Hensley. The Works of Anne Bradstreet. Cambridge, Mass: Belknap Press of Harvard University Press, 2011. Print.
2. Stanford, Ann. Anne Bradstreet, the Worldly Puritan: An Introduction to Her Poetry. New York: B. Franklin, 2015. Print.

Relevant Questions: “The Flesh and the Spirit” and “For Deliverance from a Fever”

1. Theme of Inner Conflict:
   • Both poems, “The Flesh and the Spirit” and “For Deliverance from a Fever,” seem to explore inner conflicts, one involving spiritual aspects and the other dealing with physical suffering. How do the themes of inner conflict manifest in each poem, and how does Bradstreet use language and imagery to depict the struggles within the human experience, whether they be spiritual or physical?
2. Puritan Influence and Theological Reflection:
   • Considering that Anne Bradstreet was a Puritan, how do these poems reflect the Puritan beliefs and worldview? Analyze the poems in the context of Puritan theology, examining the portrayal of sin, salvation, and the relationship between the spiritual and physical aspects of human existence. How does the poet grapple with these theological concepts in her exploration of inner conflict and deliverance?
3. Comparison of Poetic Devices:
   • Compare and contrast the use of poetic devices in both poems. How does Bradstreet employ literary elements such as metaphor, imagery, and rhyme scheme to convey the themes of the poems? Consider the tone and style in each poem and how they contribute to the overall impact of the work. Additionally, analyze how the poetic devices differ in their application between the spiritual contemplation in “The Flesh and the Spirit” and the plea for deliverance in “For Deliverance from a Fever.”

Introduction: Jimmy McClean’s Stories Stories

Jimmy McClean’s stories in “In the Footsteps of Crazy Horse” by Joseph Marshall III and of Julia in “I am not Your Mexican Daughter” by Erika Sanchez both present teenage characters whose nature refuses to merge in the melting pot of the multiculturalism of the United States. However, when both of them revert to their past and use transformation methods of adaptation, they not only come out of their confusion and depression, but they also become important members of their adopted culture. The transformation methods both of the protagonists use to merge in the new cultural setting come from their indigeneity and a revisit to their indigenous culture. In the case of Jimmy, it comes through his journey with his Grandpa to the Lakota community and prairie while in the case of Julia Reyes, it comes from her visit to her grandma and aunts in Los Ojos in Mexico. In fact, both protagonists not only use their confusion but also their cultural shock and revisit  their indigenous culture to reshape their cultural identity and merge into the new culture.

Anxiety and Depression in Jimmy McClean’s Stories Stories

Whereas confusion, anxiety, and depression in the strange culture is concerned, Julia Reyes faces it on account of overprotective parents at home and open and liberal culture at school and in the city of Chicago. Therefore, whenever she wants to merge in the liberal cultural settings, she finds one or the other impediments in the shape of her mother Ama at home when she sees that she is not culturally connecting to her familial traditions while her elder sister Olga has won all praise at home on account of her being “perfect Mexican daughter” and labeled as “Saint Olga” (Sanchez 9). She clearly states “Ama and I haven’t had that kind of relationship since I was little” (9). Therefore, whenever she intends to cross limits, she faces obstacles and has to face accountability at home whether it is about befriending others at school or in the neighborhood. Therefore, she is fully aware that she cannot become Olga and a perfect daughter belonging to her Mexican mother. She rather wants to make a career in other fields instead of conforming to the traditions of becoming a domestic woman. Another chagrin that she feels the most and that leads to her depression is that Olga has won the approval of the family even in her death, but Julia could not follow her even after trying to do her best. This anxiety and confusion of not mixing up in either culture leads her to try to commit suicide. Jimmy McClean, the protagonist of, In the Footsteps of Crazy Horse, faces the same thing though he has been brought up by a Lakota mother and Indian-American father. His anxiety about his roots and his different culture leads him to depression when he hears his mother saying that his problem is that “you three Lakota parts are all hidden inside. Your one white part is on the outside” (Marshall III 11). That is why instead of fighting with brothers and sisters he finds refuge in the trees and by the “Smoking Earth River” where the roots of his Indian culture are lying buried. In fact, he faces alienation and depression when other boys at school make fun of his racial identification. Being only 11 years old, he has blue eyes but light brown hair, and at home, his mother has already pointed out to him his Lakota background. Therefore, he has double consciousness that he belongs to that community as well as the white community which has led to his alienation and anxiety. All this is because of the cultural shock that the protagonists feel when merging into the other culture.

Cultural Shock in Jimmy McClean’s Stories Stories

The cultural shock comes when a person faces another culture outside of the boundaries of his home. A home is always a protected family place where the traditions of the family, or mainly the indigenous cultural traditions, have an upper hand. Mostly, women preserve these family traditions. Ama plays an important role to instill in Olga that she is a “perfect Mexican girl” (Sanchez 9), and the same into Julia that she is not perfect as she does not conform to the family traditions. However, when Julia goes out of home and comes to know her Mexican background as strange and misfit in the school setting, she often takes a period off to cry out in the washroom. She tries to merge into that culture but again at home, she faces her overprotective mother who questions her. Even when her mother becomes a bit lenient, she “tells me I am better not act volada, which means “flirtations” Julia declares (Sanchez 78). What she means is that her mother does not let her mix up with boys, or make a boyfriend, though, she sometimes becomes lenient. However, when she goes out, she finds it entirely opposite. Her secret dating with Conner and then fear that her mother would find it out is part of the same cultural shock. The same goes with Jimmy McClean. Although he is taught at home by his mother that he is Lakota as well as white, he tells his favorite Grandpa that he is not accepted at school. He tells him “They say I’m not Lakota” (Marshall III 130). This shocks him that he is told at home that he is Lakota and out of home that he is not that. When his Grandpa Nyles asks him to follow him to the creek and up to the river, he is puzzled to go to the roots as the white cultural setting has already caused a shock. Both the protagonists try to merge in the dominant culture after revisiting their own culture to reshape their cultural identity.

Cultural Identity in Jimmy McClean’s Stories Stories

Reshaping of cultural identity lies, perhaps, in revisiting the original culture. Both the protagonists go on these expeditions alone, or with some of their relatives. Julia Reyes first does not accept her mother’s desire that she should visit her village back in Mexico to meet her grandma and aunts. However, after getting up from her failed suicide attempt, she goes to Los Ojos, her native village, and reconnects with her family members. It is her she learns about the secrets of her parents and what sacrifices they have rendered to bring her up in the best environment in Chicago. Therefore, this visit to her own culture proves beneficial for her to reconnect her present to the past and shows her how to better her fate in America. That is why when she comes to know about his father that he has been a painter, she asks and responds saying “Julia, sometimes in life you don’t get to do what you want to do” (Sanchez 226). It is here she learns that Apa has sacrificed his future for her daughters. In the same way, Jimmy comes to know about his culture when he revisits the Lakota region with his Grandpa Nyles. Grandpa narrates to him the old Indian history when animals used to be their mainstay and they used to understand each other. After hearing the narrative of Crazy Horse, he comes to know his real cultural past and feels proud of it. In other words, he does not feel shame for his being biracial but invents his identity that he has double features of both races.

Conclusion: Jimmy McClean’s Stories Stories

Cutting the argument of cultural identity short, it is fair to state that both the protagonists, Julia as well as Jimmy, first feel chagrin and depression at their being different. They do not find their true identity as they are different at home and different at school. Both people tell them that they are different from others. However, what they come to feel is that they are shocked that they are treated differently at both the places that are supposed to teach them about their cultural identity. However, when they find time to revisit their true cultural past and feel that they are different, they find their identity. It becomes very easy for them to reshape their identities and merge into the new culture with ease. Therefore, their transformative method is to revisit the culture of their past and make it feel present to reshape their identity.

Works Cited: Conclusion: Jimmy McClean’s Stories Stories

1. Marshall III, Joseph. In the Footsteps of Crazy Horse. New York: Amulet Books, 2015.
2. Sanchez, Erika L. I Am Not Your Perfect Mexican Daughter. New York: Alfred A. Knopf, 2017.

Relevant Questions: Jimmy McClean’s Stories Stories

1. How do the protagonists in Jimmy McClean’s Stories Stories “In the Footsteps of Crazy Horse” and “I am not Your Mexican Daughter” deal with their cultural identity crisis?
2. What role does the cultural shock play in shaping the cultural identity of the protagonists in Jimmy McClean’s Stories Stories?
3. How do the protagonists use their indigenous culture to adapt and merge into the new cultural milieu Jimmy McClean’s Stories Stories?

Introduction: I Have a Dream

In his famous speech, “I Have a Dream,” Martin Luther King presented his arguments using some of the most compelling figurative language ever employed in a speech. At the outset, King expresses his dream about Abraham Lincoln and the Emancipation Proclamation, portraying it as a beacon of hope for all Negroes to attain equal rights and citizenship in the United States. He proceeds to draw a parallel between the circumstances of a century earlier and the present reality as he addresses his fellow Negroes. King contends that while the situation has not significantly changed, the Declaration of Independence affirms their entitlement to equal citizenship alongside white people. Despite America having “defaulted on this promissory note” of granting them constitutionally enshrined “unalienable rights of life, liberty, and the pursuit of happiness,” King asserts that they will not accept this status quo, likening it to a bad check (553).

According to King, they have come again to claim these rights, believing that it is now the opportune moment. However, he cautions his followers against resorting to violence, emphasizing that it is a counterproductive path that would hinder their cause. Instead, he advises them to embrace non-violent methods of protest within their respective states. King then articulates his dream of witnessing white and black girls and boys walking together, united in their pursuit of equal rights for Negroes. I believe that Martin Luther King eloquently employed classical rhetorical strategies, including pathos, logos, ethos, and kairos, through his figurative language to persuade his audience against resorting to violence in their quest for equal rights with white people.

Classical Strategies in I Have a Dream

Pathos in I Have a Dream

Regarding classical rhetorical strategies, Martin Luther King demonstrates a particular proficiency in the use of pathos. He repeatedly employs it to passionately appeal to his audience, urging them that their pursuit of rights is a noble one that does not necessitate resorting to violence. Initially, he evokes emotions by describing the plight of Negroes a century ago, stating, “we must face the tragic fact that the Negro is still not free,” emphasizing the persistency of this condition over the past century (King 553). On the subsequent page, he continues to appeal to their emotions, acknowledging, “I am not unmindful that some of you have come here out of great trials and tribulations,” conveying his awareness of their collective suffering (555). Notably, he employs the poignant phrase, “You have been veterans of the creative suffering,” linking the experiences of other Negroes to emphasize their shared suffering and unity in their quest for rights. The repetitive articulation of his dream serves to reinforce his message, playing on the emotions of his audience and urging them to strive for their rights without resorting to violence. This speech stands out as Martin Luther King’s most adept use of pathos.

Logos in I Have a Dream

In terms of logos, Martin Luther King employs logical reasoning throughout his speech. Initially, he appeals to logos by asserting his demand for rights under the influence of the great American, President Abraham Lincoln, who signed “the Emancipation Proclamation” (553). This reference suggests that the proclamation, in principle, promises equal rights for all, yet the reality on the ground reflects a stark contrast where Negroes are not treated equally.

King further relies on logical arguments, presenting the constitutional equality as a promissory note, asserting that their “unalienable rights of life, liberty, and the pursuit of happiness” are guaranteed by both the Constitution and “the Declaration of Independence” (554). His logical reasoning extends to the assertion that they have gathered to demand the fulfillment of this promise, emphasizing that segregation and racial injustice must cease immediately. He warns that the discontent will persist as it is their unalienable right enshrined in the constitution.

Another logical point made by King is the progression from a “smaller ghetto to a larger ghetto,” illustrating that despite this progress, they have not been granted the rights they deserve (555). Therefore, his logical argument contends that everything they are demanding in terms of rights is already promised to them, except in practice.

Moreover, King utilizes logical reasoning when comparing the past with the present, emphasizing that the time has come for democracy to spread globally. He argues that they must seize this opportunity to secure their rights.

In addition to logos, King also incorporates ethos into his persuasive techniques.

Ethos in I Have a Dream

Regarding ethos, Martin Luther King’s personal credibility plays a significant role in his persuasive efforts. As a prominent “spokesman of civil rights movements during the 1950s and 1960s,” as mentioned in his introduction, his name and qualifications lend authority to his words (553). His advocacy for the philosophy of non-violence, stemming from his education in theology, adds further weight to his ethos.

In the speech, King employs ethos by expressing mindfulness of the hardships his audience has endured, acknowledging that they have come from different states across America. He specifically names each state, urging individuals to return and engage in peaceful protests. Additionally, he aligns himself with the American dream of equality and enhanced opportunities, stating, “It is a dream deeply rooted in the American dream” (555). His references to the national anthem, acknowledgment of followers from various religions and races, and constant allusions to different states highlight his awareness of his position as a rights activist.

King consistently calls for protest, emphasizing a non-violent approach, recognizing the potential consequences of spiraling out of control. This demonstrates his understanding of the delicate balance needed in the pursuit of justice.

Furthermore, King strategically employs kairos by comparing the then-and-now, frequently using the term “now.” He asserts, “Now is the time to make real the promises of Democracy,” emphasizing that these promises were not fulfilled in the past (554). This use of classical rhetorical strategies, including ethos and kairos, contributes to the effectiveness of his speech.

Figurative Language in I Have a Dream

Martin Luther King employs various figures of speech, including metaphors, similes, allusions, and references, enriching the language and impact of his speech. Metaphors are particularly prevalent, with examples like “the long night of captivity,” “solid rock of brotherhood,” “a bad check,” “sweltering summer,” and others (554). Notably, the metaphors related to weather, such as summer symbolizing torture, humiliation, and barbarism, while spring symbolizes the arrival of better days, serve as powerful symbols of hardship and hope.

Similes are used to compare the past experiences of Negroes with their present circumstances, emphasizing the lack of significant change in the situation of their rights.

King incorporates references and allusions, citing important documents like the Constitution, the Declaration of Independence, and the Emancipation Proclamation. Additionally, he alludes to common instances of police brutality without specifying particular events, maintaining a broader yet relatable context.

Repetition is a notable rhetorical device, contributing to the memorability and impact of the speech. Phrases like “Go back,” “I have a dream,” and “Let freedom ring from” are repeated throughout the speech, creating a rhythmic and emphatic cadence that reinforces key messages (555-557&558).

Overall, King’s adept use of figurative language, combined with strategic repetition, enhances the persuasiveness and eloquence of his speech, making it a compelling and memorable piece of oratory.

Conclusion: I Have a Dream

In short, Martin Luther King’s speech possesses the qualities of a great oration. While not necessarily intentional, he effectively incorporates classical rhetorical devices such as logos, pathos, ethos, and kairos throughout the speech, making it compelling and forceful. King’s own credibility, highlighted by his significant role in civil rights movements and the awarding of the Nobel Peace Prize in 1964, adds weight to his ethos (553).

In addition to rhetorical devices, King utilizes literary devices like metaphors, similes, references, and allusions to convince his audience that non-violent strategies are more effective in achieving their rights. He strategically references the national anthem to evoke patriotism and emphasizes the importance of unity between blacks and whites in singing the song as an expression of love for their country.

The skillful use of repetition, such as the iconic phrase “I have a dream,” contributes to the speech’s memorability. King consistently refers to democracy and the Declaration of Rights to underscore the high moral ground upon which they stand.

Overall, these strategies enhance the effectiveness and persuasiveness of the speech, proving its practicality, universality, and enduring impact over several decades.

Works Cited: I Have a Dream

1. Krauthammer, Charles. “The Truth About Torture.” Models for Writers. Eds. Alfred Rosa and Paul Eschholz. 11th ed. Boston: Bedford /St. Martin’s, 2012. 553-558. Print

Relevant Questions about I Have a Dream

1. How does Martin Luther King use rhetorical devices, such as metaphors and repetition, to convey his message and evoke emotions in the audience?
2. What role does ethos play in Martin Luther King’s “I Have a Dream” speech, and how does his personal credibility contribute to the overall impact of his message?
3. In what ways does Martin Luther King appeal to the principles of democracy and the American Dream in his speech, and how does he connect these ideals to the struggle for civil rights?

Introduction: “Hello” by Adele

Termed as a panacea for the soul, sweet and unusual musical notes touch the chords of every heart, as exemplified in “Hello” by Adele. Similar to poems and literary pieces, songs and their lyrics also depict the mental states of the singer and the writers involved in crafting the lyrics. Both collaborate to synchronize their emotional makeup.

Despite some misconceptions surrounding the song “Hello” by Adele, which might suggest it reflects Adele’s past love and an apology, she clarified in an interview with Hattie Collins on November 26, 2015, that the song is not apologetic. Adele explicitly denied that it represents such sentiments. However, she remained silent about her boyfriend or former love, refusing to comment on that aspect. In response to questions, she stated, “The song is about hurting someone’s feelings, but it’s also about trying to stay in touch with myself, which sometimes can be a little bit hard to do. It’s about a yearning for the other side of me,” as conveyed in her interview with Collins. Whether this is entirely accurate remains subjective, as these are Adele’s own words.

Sung solo by Adele Adkins herself, “Hello” is an atypical song, deviating from the expected romantic or sentimental themes often found in songs about parting. Contrary to the norm, “Hello” not only conveys a sense of remorse over the singer’s past behavior but also hints at the colors of former love, intimate relationships, and the singer’s nostalgia for a youthful romantic connection.

Remorse in “Hello” by Adele

The claim of a “tinge of remorse” in the song “Hello” is substantiated not only by the introductory tone set by the singer, Adele Adkins, but also by the content of the opening verses. Adele’s delivery of the word “Hello” carries a subtle emphasis, evoking a sense of intimacy with someone she has been close to. This sentiment is further underscored by the subsequent phrase “it’s me,” suggesting familiarity with the person being addressed.

The presence of remorse in the lyrics becomes evident, as indicated by Adele’s choice of words. The repetition of the word “sorry” three times throughout the song implies a deep sense of regret for past actions. Despite the belief that time heals all wounds, Adele expresses that this universal panacea has not worked for her. Lines such as “To go over everything” and “But I ain’t done much healing” reveal a genuine sense of remorse for her past behavior, suggesting that she is grappling with the consequences of her actions (Adkins 1).

While the identity of the person being addressed remains unclear, the plea encapsulated in the line “But when I call you never seem to be home” implies attempts to reach out to this person, who, in turn, has not reciprocated or responded. Whether this person is a deceased father or a former lover is ambiguous, as Adele cleverly incorporates a layer of spiritualism by suggesting that this person is a part of herself.

Despite the ambiguity surrounding the individual, the presence of remorse is unmistakable in Adele’s admission, “I am sorry for everything that I have done” (14). This confession reinforces the overarching theme of remorse in the song, emphasizing a sincere acknowledgment of past mistakes and a desire for reconciliation.

Love and Intimation in “Hello” by Adele

The song also shows some colors of former love and intimation relationship with somebody. It could be that these feelings of love and relationship are for a family member, but it could also be that the person addressed here is the former lover. Anything is possible. However, it is clear from certain verses that feelings of former love and relationship are wrapped in remorse as discussed earlier. The first hint of this former love relationship comes when she says, “I was wondering if after all these years you’d like to meet me”, which means that both of them have been very intimate, and that she is now reminding that person that she wants to go over that period again, if he also wants (2). The second point is in the second stanza where she says, “I am in California dreaming about who we used to be” where the stress even in her tone is upon “we” (7). This shows that she has been intimate with that person during her childhood or teenage years. She has perhaps realized that during those years, she has been narcissist as she says, “It’s so typical of me to talk about myself”, which means that she has always been engaged in talking to herself and not asking what the other person thinks about her or about their relationship. Now she has, at this age realized, that their relationship was pure, and that now there is no time to make up for the past mistakes. That is why she is remembering those lovely and loving days and calling that person again to let her feel sorry before him and recall those happy days.

Nostalgia in in “Hello” by Adele

The essence of the song “Hello” appears to be more rooted in nostalgia than a straightforward expression of love or remorse. As previously discussed, feelings of remorse and love often intertwine with a sense of nostalgia for the past, and this sentiment is recurrent throughout the song. Adele repeatedly refers to bygone times, using phrases such as “after all these years,” “time’s supposed to heal,” “When we were young and free,” and “There is such a difference between us” (2-8-10).

Nostalgia is further emphasized by the desire to revisit the past and mend relationships, even though Adele acknowledges the challenges in doing so. The line “At least I can say that I’ve tried” signifies her attempt to reach out and reconcile, even if the other person does not respond (17). Despite the lack of a receptive audience, she expresses her remorse and provides a reason for the call, stating, “To tell you I’m sorry for breaking your heart.” However, she acknowledges that it may no longer matter to the person, as the past actions may not “tear you apart anymore” (18-19).

Adele skillfully conceals the depth of her emotions, blending them into the verses and tones of the song. The interview with Hattie Collins, as mentioned earlier, also reflects Adele’s reluctance to explicitly reveal the personal aspects of the song, maintaining a certain level of secrecy and mystery. The interplay of remorse, love, and nostalgia paints a nuanced picture of a past relationship, with Adele choosing to express these complex emotions through her lyrics and tone while leaving certain details veiled in metaphorical language.

Conclusion of in “Hello” by Adele

In short, the interpretation of a poem or song can be multifaceted, and its true meanings are often shrouded in various analyses. The uniqueness of “Hello” lies in its departure from the conventional expression of heart-wrenching breakup emotions; instead, it serves as an attempt at reconciliation. Adele Adkins seems to have recognized and regretted her mistake, evident in her repeated apologies for her actions.

Moreover, the song reflects the natural tendency to reminisce about better days when one realizes their mistakes and feels remorse. This aspect is underscored by Adele’s references to the past in lines like “after all these years,” “time’s supposed to heal,” and “When we were young and free,” as discussed earlier.

In situations where resolution seems unlikely, nostalgia often surfaces. The song captures this sentiment as Adele attempts to mend fences and reflects on a past relationship. Despite her attempts to conceal her emotions, the interview with Hattie Collins reveals that the song serves as a post-breakup reflection meant to speak to herself, indicating genuine remorse.

While Adele may have chosen to be elusive about specific references in her interview, this ambiguity contributes to the song’s complexity, turning it into a masterpiece with multiple layers of meaning. Ultimately, “Hello” appears to be more than just a post-breakup song; it is a poignant expression of remorse, intertwined with reflections on the past and a desire for reconciliation.

Works Cited: “Hello” by Adele

1. Adkins, Adele. “Hello.” 25. Greg Kursten, 2015. CD.
2. —————–. Interview by Hattie Collins. I-D Magazine. I-D Magazine. 26 Nov. 2015. Web. 04 Apr. 2022.

Relevant Questions “Hello” by Adele

1. How does Adele’s use of nostalgic references in the lyrics contribute to the overall emotional tone of the song “Hello”?
2. In the context of the interview with Hattie Collins, how does Adele navigate the balance between maintaining the mystery of the song’s inspiration and providing insights into her personal emotions?
3. The theme of remorse is prominent in “Hello” by Adele. How does Adele convey her regret and apology through both the lyrics and the tone of the song, and how does this contribute to the song’s emotional impact?

Introduction: Bei Dao’s Broken Images

Influenced by both Chinese and overarching English styles of writing, Bei Dao’s broken images taken from his poems liberated from the constraints of grammar and punctuation showcase his skill. He writes in one continuous flow, imbuing his work with a natural sense of rhythm. Inspired by the Chinese style, he expresses admiration for those in exile, ancient places, and eccentric beauty. Bei Dao does not feel compelled to adhere strictly to punctuation even in his English-translated works, as they are perceived to be free of unnatural anomalies. His portrayal consists of broken and surreal images, along with fragmented thought bursts. Bei Dao not only experienced but also excelled in conveying these elements. Both of his poems, “Ramallah” and “Morning Song,” manifest his love for survival, fragmented imagery, and a fractured style.

Darwish and Bei Dao’s Broken Images

He was a close friend of the Palestinian poet Darwish, which is why he fled from tyrannical rule to see for himself how his friend was surviving. His love for surviving against all odds stems from the frustration and injustice he observed around him. He composed this poem in Ramallah, where the living style is simple. He expresses appreciation for the simplicity of nature, stating, “the ancients play chess in the starry sky” (Ramallah 2), and then he draws attention in a broken fragment to the flame of the candle, saying, “the end game flickers” (3).

When writing about the natural course of life, even then, he incorporates elements of life, time, and age, such as “the sun climbs over the wall like an old man” (7). This illustrates how even the sun is weary and must make an effort to cover the land filled with despair with hope. Another descriptive image, “death blossoms” (14), speaks to us in absolute helplessness. His prose “is an exercise in survival, a battle of voices, and a strategy of mapping out the vanishing self against all antagonistic forces in contemporary societies, real or imagined” (Li). Evidence for this can be found in all of his work.

Meanings and Bei Dao’s Broken Images

He enjoyed projecting broken images and using comparisons to illustrate his points. In “Ramallah,” he employs a simile involving an old man and the sun, symbolizing the effort required to survive in a harsh land. Another example is found in the line, “a bird locked in a clock jumps out to tell the time” (Ramallah 4-5), where the irony lies in the bird being set free only when it is time to announce the hour. Similarly, when he mentions “death blossoms” (14), he conveys a somber yet evolving concept. All these broken images collectively reinforce the overarching concept of an “exercise in survival” (Li).

Even in “Morning Song,” he combines two unconventional concepts, presenting them boldly in capitals: “Words are the poison in the morning song” (Morning Song 1). A testament to his enigmatic style and disjointed word arrangement is evident in this stanza: “I hover in the birdcalls / crying never” (13-14) (Li, Unreal Images: Bei Dao’s Dialogue with the Real).

Conclusion and Bei Dao’s Broken Images

The reason why he is so irresistible to read lies in his constant defiance of the usual writing style. With little regard for syntax, his work is spontaneous, bringing together stark comparisons and sharp contrasts. These elements infuse his poems with energy, provoking readers to contemplate the meaning behind the bold words they have just encountered. His fragmented descriptions of images and undeniable affection for unconventional similes add an interesting and fresh flavor to his work, blending it with lessons on survival and a love for exile.

Works Cited: Bei Dao’s Broken Images

1. Dao, Bei. Poems. n.d. 14 February 2014 <http://www.poetryfoundation.org/bio/bei-dao>.
2. Li, Dian. The Chinese Poetry of Bei Dao, 1978-2000: Resistance and Exile. 2006. 14 February 2014 <http://mellenpress.com/mellenpress.cfm?bookid=6599&pc=9>.
3. —. “Unreal Images: Bei Dao’s Dialogue with the Real.” Concentric: Literary and Cultural Studies 32.1 (2006): 197-218.

Three Relevant Questions Bei Dao’s Broken Images

1. How does Bei Dao’s broken images contribute to the overall impact and interpretation of his poetry in “Broken Images”?
2. In “Broken Images,” Bei Dao intentionally avoids traditional punctuation rules. How does the absence of punctuation enhance or alter the reader’s experience of the poem?
3. How does Bei Dao’s innovative approach to imagery and the absence of punctuation in “Broken Images” reflect his broader themes of survival, exile, and unconventional beauty?

Introduction: “The Eagle” and “Hawk Roosting”

“The Eagle” by Tennyson and “Hawk Roosting” by Hughes present the same theme of power and strength a bird of prey is asserting. However, whereas a third person observer sees the eagle, the hawk is engaged in describing his power in the form of a dramatic monologue. It is also that whereas “The Eagle” is an epitome of brevity, presenting the setting in figurative language, “Hawk Roosting” presents the hawk’s situation through his own language, which is direct and without a lot of uses of stylistic devices. As compared to the former, the latter has six stanzas, with each stanza having four lines but not a particular metrical pattern. However, the theme of strength and power and its assertion is the central point of both the poems. For clarifying the theme of power and strength through the use of language, and style “The Eagle” surpasses “Hawk Roosting”. However, both the poems present a bird of prey in a different setting, where the former shows an eagle’s power through the eyes of an observer, highlighting his majestic posture, the latter presents a hawk engaged in a direct monologue, demonstrating his arrogance and megalomania.

Language in “The Eagle” and “Hawk Roosting”

The language in “The Eagle” is highly figurative and condensed. Its phonological and syntactic qualities intensify the theme of power and strength, shedding off worse qualities associated with them, such as arrogance and pride. This effect is achieved through the use of sounds such as the “k” sound and assonance, coupled with the strategic placement of adverbials at the beginning of each line, giving the description greater muscular strength. The personification of “crooked hands” and “he stands” elevates the eagle from the brutality of a bird of prey to a majestic creature with greater strength and power. The simile of a thunderbolt in the last line illustrates the eagle’s speed, which, when coupled with strength, further epitomizes its status.

On the other hand, the language of “Hawk Roosting” is simple and direct, presented in a monologue. Although Ted Hughes wrote it in free verse to maintain flow, he also employed other devices such as the alliteration of the “k” sound and enjambment in lines 6 and 7. However, these techniques could not conceal the brutality and bloodthirstiness in the hawk’s monologue. Additionally, the use of adverbials, verbs, iambic tetrameter, and a strict rhyme scheme (aaaabbb) in only two stanzas of “The Eagle” sheds further light on the majestic posture of the eagle. In contrast, the use of free verse, the absence of a regular metrical pattern, and the lack of a rhyme scheme in “Hawk Roosting” heighten the sense of a chaotic presentation of power, in contrast to the order found in “The Eagle.”

Bird in “The Eagle” and “Hawk Roosting”

Even in the portrayal of the birds, Tennyson has excelled. While Hughes presents his hawk at the top of a tree in the woods, with its eyes closed, Tennyson provides his eagle with a superior view of the world by placing it very high, “Close to the sun in lonely lands” (The Eagle 2) – a deliberate use of hyperbole to enhance the majestic nature and the expansive reach of the eagle. The eagle benefits from this height, allowing it not only to survey the entire world but also to observe the ripples on the sea. The eagle’s speed is depicted as swift as a bolt when it descends to strike its prey. Presented in a third-person view by an observer, this perspective enhances the magnitude of the eagle’s power.

On the contrary, the hawk’s view is confined to a wood, limiting its sight to what flies above the trees and nothing more. While the eagle has an extensive view of the sea and “lands” (The Eagle 2), enabling it to keep a vigilant watch and strike like a thunderbolt, the hawk’s vision is constrained to the “convenience of the high trees” (Hawk Roosting 5), restricting its observations compared to the eagle. The hawk’s limited perspective also constrains its understanding and behavior, as evident in the statement, “My manners are tearing off heads” (Hawk Roosting 16). In contrast, the eagle’s view encompasses the entire world, and its actions are limited to its descent, not involving the tearing of bodies or heads. The distinction in setting is emphasized through the varying use of power influenced by the difference in perspective.

Speaker in “The Eagle” and “Hawk Roosting”

“The Eagle” by Hughes is presented in a third-person tone, elevated in manner, resembling a documentary in which the poet observes the bird and conveys his impressions. This third-person presentation accentuates the majestic posture of the eagle as it perches atop the world near the sun, offering insights into how it views the world beneath. In contrast, “Hawk Roosting” features the hawk engaging in a monologue, sharing its perspective on where it sits and what it can accomplish from such a height. The hawk’s view is limited, and its language is direct, aligning with the narrative style of the speaker. In “Hawk Roosting,” the speaker is the hawk itself. Consequently, the difference in the manner of presentation, even though both poems explore the theme of power and strength, sets them apart. The third-person observer in “The Eagle” emphasizes grandeur in power, while the first-person narrative in “Hawk Roosting” appears to be a self-centered proclamation from a megalomaniac bird that sees only itself in the vast expanse of the woods.

Conclusion: “The Eagle” and “Hawk Roosting”

In short, both poems depict a bird of prey showcasing power and strength, but they do so from different perspectives. While the eagle is portrayed with grandeur and benevolent power, the hawk presents itself in full ferocity and bloodthirstiness. The significant contrast extends beyond figurative language to encompass style and metrical patterns, with “The Eagle” showcasing mastery in brevity, while “Hawk Roosting” exhibits command over direct free verse.

The choice of language is closely tied to the speaker, with the poet acting as an observer in “The Eagle,” and Ted Hughes placing his words in the hawk’s mouth to create flow in “Hawk Roosting.” Ultimately, the language, style, manner of presentation, and the unique perspective make “The Eagle” excel over “Hawk Roosting” in portraying the same bird of prey. Therefore, it can be concluded that although terse and brief, “The Eagle” surpasses “Hawk Roosting” in every aspect, offering a more compelling portrayal of the bird.

Work Cited: “The Eagle” and “Hawk Roosting”

1. Hughes, Ted. “Hawk Roosting.” “An Introduction to Fiction, Poetry, Drama and Writing”. Ed. Kennedy X. J. & Dana Gioia. 3rd ed. Vol. 10. New York: Pearson Longman, 2007. 1960. Print.
2. Alfred, Lord Tennyson. “The Eagle”. “An Introduction to Fiction, Poetry, Drama and Writing”. Ed. Kennedy X. J. & Dana Gioia. 3rd ed. Vol. 10. New York: Pearson Longman, 2007. 1851. Print.

Relevant Questions about “The Eagle” and “Hawk Roosting”

1. Theme and Imagery:
   • How do the themes of power and dominance manifest in both “The Eagle” and “Hawk Roosting,” and how does Ted Hughes use vivid imagery to convey the majesty and authority of these birds of prey?
2. Narrative Perspective:
   • Compare and contrast the narrative perspectives in “The Eagle” and “Hawk Roosting.” How does the choice of a first-person perspective in “Hawk Roosting” contribute to the portrayal of the hawk’s mindset and its perception of the world, while the third-person perspective in “The Eagle” provides a more distant observation?
3. Natural World and Human Interaction:
   • In what ways do “The Eagle” and “Hawk Roosting” explore the relationship between the natural world and human intervention? Consider how the poems present the birds as symbols of both autonomy and captivity, and examine any commentary on the impact of human presence on the lives of these powerful creatures.