A Contemplation Contemplation Upon Flowers - Literature Notes BRAVE flowers--that I could gallant it like you, And be as little vain !ou co"e abroad, and "ake a har"less show, And to your beds of earth again# !ou are not $roud% you know your birth% &or your e"broider'd gar"ents are fro" earth# !ou do obey your "onths and ti"es, but I (ould have it ever )$ring% *y fate would know no (inter, never die, Nor think of such a thing# + that I could "y bed of earth but view And s"ile, and look as cheerfully as you + teach "e to see eath and not to fear, But rather to take truce ow often have I seen you at a bier, And there look fresh and s$ruce !ou !ou fragrant flowers then teach "e, that "y breath Like yours "ay sweeten and $erfu"e "y death## )tan.a /, line 01% 2his is another co"$arison between the $ersona and the $lant# 2he $ersona wishes that he could look death in the face and be cheerful, like the $lant# Again, this e"$hasi.es that he fears death# /# E34E*I)* 2his $hrase is a re$lace"ent for the word death# It softens death and "akes it a$$ear welco"ing and $leasant# 5# IR+N! It is ironic that the flowers look so fresh and alive, when they are facing their very "ortality, on the to$ of a casket# eath is a sad affair, yet the flowers are at their best when ushering $eo$le back to the earth# 1# 4ER)+NI&I6A2I+N 2he $ersona is s$eaking directly to the flowers and giving the" hu"an 7ualities, therefore, the whole $oe" is an e8a"$le of the use use of $ersonification at its its best# e even goes as far as to ask ask the flowers to teach hi" things that will allow hi" to ac7uire their 7ualities# 2+NE 2he tone tone of of the $oe" is ad"iration, because the $ersona literally ad"ires the flowers for its acce$ting attitude towards death# *++9 A2*+)4ERE 2he "ood "ood,, or at"os$here of the $oe" is a $ensive one# 2he $ersona is thinking about death, how he relates to it versus how others relate to it# 6+N2RA)2 A contrast in this $oe" is the $ersona's fear of death, versus the flowers' acce$tance of it# 2E*A2I6 6A2E:+R! eath, nature,
O'l Higue - Literature Notes
You think I like this this stupidness! gallivanting all night without skin, burning myself out like cane-fire to frighten the foolish? And for what? A few drops of baby blood? You think I wouldn't rather take my blood seasoned in fat black-pudding, like everyone everyone else? And don't even talk 'bout the pain of salt and having to bend these old bones down to count a thousand grains of rice! If only babies didn't smell so nice! And if I could only stop stop hearing the soft, soft call of that pure blood running in new veins, singing the sweet song of life tempting an old, dry-up woman who been holding her final note for years and years, afraid of the dying hum hen again, if I didn't fly and come to that fresh pulse in the middle of the night, "how would you, mother, name your ancient dread? And who to blame for the murder inside your head ? #elieve me As long as it have women women giving birth a poor ol' higue like me can never dead
LI2ERAL *EANIN: In this $oe", the +l' igue 9 soucouyant tells of her frustration with her lifestyle# )he does not like the fact that she so"eti"es has to $arade around, in the for" of a fireball, without her skin at night# )he e8$lains that she has to do this in order to scare $eo$le, as well as to ac7uire baby blood# )he e8$lains that she would rather ac7uire this blood via cooked food, like every-one else# er worst co"$laint is the $ain of salt, as well as having to count rice grains# )he e8hibits so"e regret for her lifestyle but i"$lies that she cannot resist a baby's s"ell, as well well as it's $ure blood# 2he 'newness' of the baby te"$ts the +l' igue, and she cannot resist because she is an old wo"an who fears death, which can only be avoided by consu"ing the baby's blood# )he affir"s her usefulness in the sche"e of things, however, by clai"ing that she $rovides "others with a na"e for their fears ;this being the death of a child<, as well as so"e-one to bla"e when the evil that they wish for their child, in "o"ents of tired frustration, is reali.ed# )he i"$lies that she will never die, so long as wo"en kee$ having babies#
LI2ERAR! EVI6E) 0# )I*ILE 6ane-fire has a very distinct 7uality# It burns very 7uickly and its $resence is felt through it's $ungent s"ell# 2herefore, when the +l' igue co"$ares herself to cane fire in her fireball state, it i"$lies that she uses a lot of energy 7uickly, and is very visible# /# RE2+RI6AL =3E)2I+N •
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)tan.a 0,line 1% 2his rhetorical 7uestion highlights the scant regard that the igue has for the average $erson# )he is thoroughly annoyed that she has to literally waste her energy on the"# )tan.a 0, line >% 2his highlights the fact that, again, she is annoyed that she has to e8$end so "uch energy to obtain a few dro$s of baby blood# )tan.a 0, lines ?-@% 2he +l' igue is e"$hasi.ing the fact that regular $eo$le ingest blood too, ust in a "ore $alatable "anner# "anner# )he would would not "ind if she could could ingest it in the sa"e sa"e "anner as well#
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)tan.a 5, lines //-/5% At this $oint the +l' igue is "aking e8cuses for her $resence, clai"ing that she serves an actual $ur$ose in the sche"e of life# If a child dies of unknown causes, she can be sca$egoated for it# )tan.a 5, lines /1-/>% '2he "urder inside your head' refers to the "o"ents, when out of $ure frustration and tiredness, a "other "ight wish ill on her child# 2he +l' igue is i"$lying that, again, she can be used as a sca$egoat if so"ething unfortunate ha$$ens to the child# 2he "other is relieved of bearing the burden of guilt#
5# RE4E2I2I+N 2he re$etition of the word 'soft' e"$hasi.es the fact that the call of the child's blood has ca$tured and beguiled the +l' igue'# igue'# )he i"$lies that she she cannot resist that call# call# 1# ALLI2ERA2 ALLI2ER A2I+N I+N 2his device e"$hasi.es the +l' igue's de$endence, even addiction, to the sweet blood of the baby# *++9 A2*+)4ERE 2he "ood "ood of of the $oe" is reflective# 2+NE 2he tone tone of of the $oe" is slightly bitter and resigned# )he acce$ts that the cycle of her life cannot change# 2E*A2I6 6A2E:+RIA2I+N )u$ernatural
A Stone's Throw - Literature Notes
(e shouted out '(e've got her ere she is It's her all right '# (e caught her# 2here she was A decent-looking wo"an, you'd have said, ;2hey often are< Beautiful, but dead scared, 2ousled - we roughed her u$ A little, nothing "uch And not the first ti"e By any "eans )he'd felt "en's hands :reedy over her body C But ours were virtuous, +f course# And if our fingers bruised er shuddering skin, 2hese were love-bites, co"$ared 2o the hail of kisses of stone, 2he last assault And battery, frigid ra$e, 2o co"e +f right# &or ustice "ust be done )$ecially when It tastes so good# And then - this guru, 4reacher, :od-"erchant, :od-knows-what )$oilt the whole thing, )$eaking to her ;)hould never s$eak to the"< )7uatting on the ground - her level, (riting in the dust )o"ething we couldn't read# And saw in her )o"ething we couldn't see
LI2ERAL *EANIN: A crowd has caught a wo"an# 2he $ersona i"$lies to the reader that the wo"an is not decent# )he was beautiful, but scared because she had gotten 'roughed u$' a little by the crowd# 2he $ersona states that the wo"an has e8$erienced "en's hands on her body before, but this crowd's hands were virtuous# e also "akes a $roviso that if this crowd bruises her, it cannot be co"$ared to what she has e8$erienced before# 2he $ersona also s$eaks about a last assault and battery to co"e# e ustifies this last assault by calling it ustice, and it is ustice that feels not only right, but good# 2he crowd's 'ustice' is $laced on hold by the interru$tion of a $reacher, who sto$s to talk to the lady# e s7uats on the ground and writes so"ething that the crowd cannot see# Essentially, the $reacher udges the", thereby allowing the lady to also udge the crowd, leading to the crowd inevitably udging itself# 2he crowd walks away fro" the lady, still holding stones Dwhich can be seen as a "eta$hor for udg"ents that can be thrown another day#
LI2ERAR! EVI6E) 0# )AR6A)* 2he $ersona is "aking the $oint that the lady was in fact N+2 decent looking# /# 4ER)+NI&I6A2I+N 2his device is $articularly effective because the word 'kisses' is used# Fiss i"$lies so"ething $leasant, but it is actually utili.ed to e"$hasi.e so"ething $ainful that has ha$$ened to the ladyG she was stoned# 5# 43N
At least until e turned his eyes on us, er eyes on us, +ur eyes u$on ourselves# (e walked away )till holding stones 2hat we "ay throw Another day :iven the urge#
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2itle% 2he title of the $oe" is itself a $un on two levels# A stone's throw is used by "any $eo$le in the 6aribbean to describe a close distance# eg# H)he lives a stone's throw awayH# 2he other use of the title is to highlight the content of the $oe"# It is a figurative stoning, or udging, of a wo"an#
Line /5% 2here is a $lay on the word 'co"e'# 2he $ersona is telling the reader that the crowd is $lanning to ra$e the lady# 2his act is to co"e, or occur, in the near future# 6o"e, in this conte8t, also "eans to eaculate, the cul"ination of the act of se8# 2he ra$ists in the crowd also $lan to 'co"e'#
1# ALL3)I+N ;biblical< 2he content of the $oe" alludes to the story of *ary *agdalene in the 6hristian Bible# )ee ohn @ v >-J# 2+NE 2he tone of the $oe" is "i8ed# At ti"es it is al"ost braggadocious, then it beco"es sarcastic, "oving to scornful# 2E*A2I6 6A2E:+R! iscri"ination, religion, survival, hy$ocrasy, o$$ression, alienation#
Dreaming Black Boy - Literature Notes I wish "y teacher's eyes wouldn't go $ast "e today# (ish he'd know it's okay to hug "e when I kick a goal# (ish I "yself wouldn't hold back when an answer co"es# I'" no woodcho$$er now like all ancestor's# I wish I could be educated to the best of tune u$, and earn good "oney and not sink to lick boots #I wish I could go on every crisscross way of the globe and no $ersons or $owers or hotel kee$ers would "ake it a waste#
LI2ERAL *EANIN: 2he $oe" is about a black boy who wishes that he could have regular things in life# 2hings such as a congratulatory hug, to be educated to the highest level and to travel without harass"ent# 2he $ersona yearns to sto$ fighting for the basic right to be successful and to rise above societal e8$ectations#
LI2ERAR! EVI6E) 0# RE4E2I2I+N% I wish life wouldn't s$end "e out 2he constant re$etition of the $hrase 'I wish' $oints o$$osing# (ish sa"e way creation would have "e stand it would have "e stretch, and to a yearning, a des$eration even, for the basic things that life has to offer# 2he re$etition gives hold high, "y voice credence to the idea that the $ersona 4aul Robeson's, "y inside eye "ight believe that his wishes are actually drea"s a sun# Nobody wants to say that "ight not co"e true# hello to nasty answers# #I wish torch throwers of night would burn lights for decent ti"es# (ish $lotters in $ya"as would $ray for the"selves# (ish $eo$le wouldn't talk as if I dro$$ed fro" *ars I wish only boys were scared behind bravados, for I could suffer# I could suffer a big big lot# I wish nobody would want to earn the terrible burden I can suffer#
/# ALL3)I+N% •
)tan.a 0, lines ? and J, alludes to slavery, the state of lacking control over one's own life and destiny# 2he fact that reference is "ade to this hints to how the $ersona f eels about his life# e does not feel as if he has control over it#
)tan.a 5, lines 0K to /, alludes to 4aul Robeson, a black intellectual, who attained success des$ite difficult circu"stances# 2he $ersona yearns to be like this $erson# e wants roo" to stretch intellectually#
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)tan.a 1, lines // to />, alludes to the klu klu8 klan# Burning lights refers to the burning of crosses and the $ya"as alludes to their white outfits that look like $ ya"as# 2he $ersona wants the" to leave hi" alone, find so"ething else to do other than "ake his life difficult by contributing to his wishes re"aining in the real" of the drea"s# 2+NE 2he tone9"ood of the $oe" is one of sadness# 2he $ersona is thinking about how he is treated and he reacts to this in a sad way# e kee$s wishing that things were different# 2E*A2I6 6A2E:+R!% Racis", survival, o$$ression, desire9drea"s#
Dulce et Decorum st - Literature Notes
Bent double, like old beggars under sacks Fnock-kneed, coughing like hags, we cursed through sludge, 2ill on the haunting flares we turned our backs And towards our distant rest began to trudge# *en "arched aslee$# *any had lost their boots But li"$ed on, blood-shod# All went la"eG all blindG runk with fatigueG deaf even to the hoots +f tired, outstri$$ed &ive-Nines that dro$$ed behind# :as :as =uick boys - An ecstasy of fu"bling, &itting the clu"sy hel"ets ust in ti"eG But so"eone still was yelling out and stu"bling, And flound'ring like a "an in fire or li"e ### i", through the "isty $anes and thick green light, As under a green sea, I saw hi" drowning# In all "y drea"s, before "y hel$less sight, e $lunges at "e, guttering, choking, drowning# If in so"e s"othering drea"s you too could $ace Behind the wagon that we flung hi" in, And watch the white eyes writhing in his face, is hanging face, like a devil's sick of sinG If you could hear, at every olt, the blood 6o"e gargling fro" the froth-corru$ted lungs, +bscene as cancer, bitter as the cud +f vile, incurable sores on innocent tongues,*y friend, you would not tell with such a high .est 2o children ardent for so"e des$erate glory, 2he old Lie% ulce et decoru" est 4ro $atria "ori#
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)tan.a 1, line 5K% 6ancer is a horrible disease that takes "any lives on a daily basis# 2herefore, to co"$are this dying soldiers face to this disease is to e"$hasi.e the agony that the soldier was going through, which was reflected on his face#
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)tan.a 1, lines 5K-1% 2his is another gra$hic co"$arison that co"$ares the soldier's face to incurable sores# ')ores' is a disgusting visual i"age of degradation which, in turn, highlights the soldier in the throes of death#
ALLI2ERA2I+N •
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)tan.a 0, line J% 2his device $oints to the level of fatigue that the soldiers were undergoing# )tan.a 0, lines J-K% 2his highlights not only the fatigue that the soldiers were feeling, but the fact that they were inured as well# )tan.a 1, lines /K-5% 2his device highlights a visually gra$hic death "ask# 2he soldier is in the throes of i"$ending death#
*++9 A2*+)4ERE 2he "ood of the $oe" is reflective# 2he $ersona9 $oet is thinking about his e8$eriences in ((0# 2+NE 2he general tone of the $oe" is both sarcastic and ironic# 2he $ersona9 $oet tries to $resent a visual of the realities of war while using the haunting words that contradict that reality# It is, in fact, N+2 sweet and honourable to die for one's country# 2E*A2I6 6A2E:+RIA2I+N (ar, death, survival, o$$ression, $atriotis"
pitaph - Literature Notes
2hey hanged hi" on a 1# cle"ent "orning, ># swung between the falling sunlight and the wo"en's breathing, 0#like a black a$ostro$he to $ain# All "orning while the children /#hushed their ho$scotch oy and ?#the cane ke$t growing 5#he hung there sweet and low# At least that's how they tell it# It was long ago and J#what can we recall of a dead slave or two e8ce$t when we @#$unctuate our island tale 0#they swing like sighs across K#the brutal sentences, and 0#anger $auses till they $ass away#
LI2ERAR! EVI6E) 0# )I*ILE •
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)tan.a 0, line 1% 2he swinging body of the slave is co"$ared with an a$ostro$he to $ain# 2his co"$arison is very $owerful because, in English gra""ar, an a$ostro$he re$resents ownershi$# 2herefore, it is i"$lying that the $ain of the black race is so $al$able that it is al"ost so"ething that they own# It e"$hasi.es the $ainful nature of their history# )tan.a /, line 01% 2he dead slave's body's swing is co"$ared to sighs# A sigh is an e8halation of breathe that can signal "any feelingsG relief, agitation, oy, etc#, with the "aor 7uality being brevity# 2herefore, the e"$hasis is not necessarily on the feeling that the dead slave elicits, u$on being re"e"bered, but the brevity with which he is re"e"bered# /# *E2A4+R 2his "eta$hor e"$hasi.es the fun that the children $aused, out of res$ect for the swinging body of the dead slave# 5# ALL3)I+N 2his line alludes to the Negro )$iritual ' )wing Low'# 2his s$iritual s$eaks of an individual's ourney to heaven# 2his relates to this $oe" because it carries the i"$lication that the slave's soul has gone to heaven# e hung 'sweet and low' and the chariot ca"e for hi", his soul is at rest#
*++9 A2*+)4ERE 2he "ood of the $oe" is reflective 2+NE 2he tone of the $oe" is reflective and slightly sarcastic#
2E*A2I6 6A2E:+RIA2I+N eath, racis", desires and drea"s
Forgi!e "y #uilt - Literature Notes Not always sure what things called sins "ay be, I a" sure of one sin I have done# It was years ago, and I was a boy, I lay in the 0#frost flowers with a gun, /#the air ran blue as the flowersG I held "y breath, /#two birds on golden legs sli" as drea" things /#ran like 7uick silver (ith 0#agged ivory bones where wings should be# &or days I heard the" when I walked that headland, crying out to their the", 0#2hose slender flutes of sorrow never cease, 5#2wo airy things forever denied the air I never knew how their lives Airy, and beautiful will forgive "y guilt#
Line @% 2he sand is being co"$ared to gold, the colour# It is e"$hasi.ing how beautiful the setting was# Line 0/% 2his "eta$hor e"$hasi.es the inuries that the birds sustained# 2he bones are co"$ared to agged ivory, which is a direct contrast to the s"ooth feathers that e8isted before the inury# Lines /-/0% 2he birds are co"$ared to a flute, an instru"ent that $lays beautiful "usic# 2his e"$hasi.es the sadness that is related to their death# /# )I*ILE Line >% 2he air and the flowers are being co"$ared, both are blue# Lines ?-J% 2his si"ile offers a beautiful visual i"age of the birds# rea"s are beautiful, and the birds are co"$ared to this# •
Line J% 2he s$eed of the birds is being highlighted, while also "aintaining that beautiful visual i"agery#
5# 43N 2he $un is between the words 'airy' and 'air'# 'Airy' "eans light and beautiful, while 'air' refers to the sky and flying# 2he $oet is la"enting that these light and beautiful things can no longer fl y and feel the $leasure of air rushing $ast the"# *++9 A2*+)4ERE 2he "ood of the $oe" is nostalgia and guilt# 2+NE 2he tone of the $oe" is sad# 2he $oet's res$onse to his guilt is sadness# 2E*A2I6 6A2E:+R! eath, childhood e8$eriences, nature, guilt, loss of innocence, desire9drea"s#
#o$'s #ran$eur - Literature Notes
2he world is J#charged with the @#grandeur of :od# 0#It will fla"e out, like shining fro" shook foil% 0#It gathers to a greatness, like the oo.e of oil 6rushed# /#(hy do "en then now not reck 5#his rodM 1#:enerations have trod, have trod, have trodG K#And all is seared with tradeG bleared, s "eared with toilG >#And wears "an's s"udge and shares "an's s"ell% the soil is bare now, 0#nor can foot feel, being shod#
And for all this, nature is never s$entG >#2here lives the dearest freshness dee$ down thingsG And though the last lights off the black (est went +h, "orning, >#at the brown brink eastward, s$rings Because the 00#oly :host over the bent ?#(orld broods with war" breast and with ah bright wings#
/# RE2+RI6AL =3E)2I+N 2he $ersona 7uestions why "en do not care about :od's wrath# e i"$lies that this wrath is sure because the Earth is charged, or co""anded with the grandeur of :od# 5# ALL3)I+N ;biblical< 2his 'rod' refers to the rod of correction that is found in the 6hristian Bible# )ee / )a"uel J%01# 2his line i"$lies that :od will $unish "an for being reckless with the world# 1# RE4E2I2I+N 2his device highlights the da"age that "an has done to the world# 2rodding i"$lies that one walks, or tra"$les, in order to crush or inure# ># ALLI2ERA2I+N •
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Lines 0-00% 2his device e"$hasi.es the i"$act that "an has had on his environ"ent# e has i"$acted every crevice of the world in so"e negative way, as i"$lied by words such as 's"udge'# Lines 01-0>% 2his device clarifies that the Earth is resilient, no "atter what "an does to har" it, it will bounce back# Lines 0@-0K% 2his device si"$ly re-iterates the resilience of the Earth, we can actually visuali.e the sun rising#
?# 4ER)+NI&I6A2I+N (hen one broods, they are $ondering on so"ething# 2herefore, the world $onders, but in a $ositive way, with war" breasts# 2his i"$lies that it feels good because it has $ersevered des$ite of "an's interference#
*++9 A2*+)4ERE 2he "ood of the $oe" is $ensive because the $ersona is reflecting on "an's influence on the world# 2+NE 2he tone of the $oe" is one of confidence and for"ality# 2E*A2I6 6A2E:+R! Nature, religion
%t is the Constant %mage o& your Face - Literature Notes It is the 5#constant i"age of your face fra"ed in "y hands as you knelt before "y chair the 1#grave attention of 0#your eyes surveying "e a"id "y >#world of knives that stays with "e, 0#$erennially accuses and convicts "e of /#heart's-treachery% and neither you nor I can $lead e8cuses for you, you know, can clai" no loyalty "y land takes $recedence of all "y loves# !et I beg "itigation, $leading guilty for you, "y dear, acco"$lice of "y heart "ade, without words, ?#such black"ail with your beauty and $roffered "e such dear $rotectiveness that I confess without re"orse or sha"e "y still-fresh treason to0#"y country
and ho$e that she, "y other, dearest love will $ardon freely, not attaching bla"e being your "istress ;or your "atch< in tenderness#
LI2ERAR! EVI6E) 0# 4ER)+NI&I6A2I+N •
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Lines 1, ?-J% 2he love interest's eyes constantly accuses and convicts the $ersona# 2his device highlights the e8tent to which the $ersona has hurt this $erson# Lines 0@-/% 2he $ersona ho$es that his country, his other dearest love, will forgive hi" for the treasonous act of loving another# 2his highlights the $atriotis" that defines the $ersona's relationshi$ to his country#
/# +!*+R+N 2he ter" heart's-treachery i"$lies that the heart, so"ething so vital and indicative of love, has co""itted a terrible cri"e# It highlights the heartbreak that the $ersona has caused his love interest# *++9 A2*+)4ERE 2he "ood of the $oe" is reflective# 2he $ersona is thinking about his two loves and how he is torn between the"# 2+NE 2he tone of the $oe" is sadness and guilt# 2he $ersona is guilt ridden over this love triangle and sadness $er"eates the words that he uses to describe it# 2E*A2I6 6A2E:+R! Love, guilt, $atriotis", $laces, desires9 drea"s
e oupgarou - Literature Notes A >#curious 0#tale that threaded through town 2hrough greying wo"en sewing under eaves, (as how his greed had brought old Le Brun down, 0#greeted by slowly shutting alouses (hen he a$$roached the" in ?#white linen-linen suit, 4ink glasses, cork hat and /#ta$-ta$$ing cane, 5#A dying "an licensed to sell sick fruit, Ruined by fiends with who" he'd "ade a bargain# It see"s one night, these 1#6hristian witches said, e changed hi"self into an J#Alsatian hound, A slathering lycenthro$e, hot on a scent, 0#But his own watch"an dealt the thing a wound (hich howled and lugged its entrails, trailing wet (ith blood back to its doorste$, al"ost dead#
LI2ERAR! EVI6E) 0# ALLI2ERA2I+N
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Lines 0-5% 2his alliteration gives the reader a visual i"agery of the "anner in which the gossi$ about Le Brun s$read# A thread is thin and fine and can weave itself in any crevice, so"eti"es in a very non-linear and sinuous "anner# 2his describes the way in which the gossi$ s$read# It "anaged to touch the whole village in an al"ost insiduous, and co"$lete, "anner# Line >% 2his literary device s$eaks to the results of the gossi$# Le Brun is alienated fro" the $eo$le of the town# 2heir fascination with hi", however, is evident by the fact that they slowly shut their alouses9windows# 2he lack of s$eed i"$lies that they are watching hi", while also alienating hi"# Lines 0J-/0% 2his alliteration highlights the severity of the lou$garou's inuries# !ou can al"ost see and hear the wetness of the blood, as well as see the entrails trailing wet through the use of this device#
/# +N+*A2+4+EIA 2he ta$-ta$$ing cane is a $art of Le Brun's $hysical descri$tion# e a$$ears to stand out, in ter"s of his $hysical a$$earance, down to the use of his cane# 5# 4ARA+ 2his state"ent a$$ears nonsensical at first, but actually "akes sense in the long run# 2he lou$garou is, in fact, a "an who is leading a half life as "an and beast, so he is not really 'living'# 2he fact that he can $ass on the 'gift' of beco"ing a werewolf clarifies the fact that Le Brun is actually 'licensed to sell sick fruit', or $ass on his sick 'gift'# 1# +!*+R+N 2he words '6hristian' and 'witches', $laced together, e"$hasi.es the dual nature of the wo"en in the village# 2hey are good 6hristian wo"en who "ean no har", but their fear of the 'difference' that they sense in Le Brun ;contributed by his "ode of dress<, leads the" to react in an unchristian "anner, like witches, in dealing with hi"# O IR+N! It is ironic that Le Brun's own watch"an dealt hi" a lethal blow#
*++9 A2*+)4ERE 2he "ood of the $oe" is reflective# 2+NE 2he tone of the $oe" is cal" and reflective# 2he $ersona a$$ears to be si"$ly recounting a $iece of gossi$# 2E*A2I6 6A2E:+RIA2I+N )u$ernatural
Once Upon A Time - Literature Notes(
5#+nce u$on a ti"e, son, they used to laugh with their hearts and laugh with their eyesG but now 1#they only laugh with their teeth, while 0#their ice-block eyes >#search behind "y shadow# 2here was a ti"e indeed they used to ?#shake hands with their heartsG but that's gone, son# Now they shake hands without hearts while their left J#hands search "y e"$ty $ockets# '&eel at ho"e' '6o"e again' G they say, and when I co"e again and feel at ho"e, once, twice there will be no thrice for then I find doors shut on "e#
)o I have learnt "any things, son# /#I have learnt to wear "any faces like dresses - ho"eface, officeface, streetface, hostface cocktail face, with all their /#confor"ing s"iles like a fi8ed $ortrait s"ile# And I have learned, too# to laugh with only "y teeth and shake hands without "y heart I have also learnt to say, ':oodbye', when I "ean ':ood-riddance' G to say ':lad to "eet you', without being gladG and to say 'It's been nice talking to you', after being bored# But believe "e, son# I want to be what I used to be when I was like you# I want @#unlearn all these "uting things# *ost of all, I want to relearn how to laugh, for /#"y laugh in the "irror shows only "y teeth like a snake's bare fangs )o show "e, son, how to laughG show "e how I used to laugh and s"ile 5#once u$on a ti"e when I was like you#
)tan.a ?, lines 5@-1 co"$ares the $ersona's laugh to a snakes# (hen you think of a snake, words such as sneaky and deceitful co"e to "ind# 2herefore, the i"$lication is that the $ersona is fake, ust like the $eo$le he des$ises#
5# RE4E2I2I+N 2his $hrase is re$eated at the beginning and the end of the $oe"# 2his usually signals the beginning of a fairy tale# 2herefore, it is i"$lied that the $ersona is nostalgic about the $ast# *++9 A2*+)4ERE 2he "ood of the $oe" is nostalgic# 2he $ersona is re"e"bering how things used to be when he was young and innocent, like his son# 2+NE 2he tone of the $oe" is sad# 2he $oet's res$onse to his nostalgia is sadness# 2E*A2I6 6A2E:+RIA2I+N eath, childhood e8$eriences, hy$ocrasy, loss of innocence, desire9drea"s# O It is IR+NI6 that the $ersona is behaving in the e8act wa y that he des$ises# owever, and there is an
i"$lication that things cannot go back to what he re"e"bers, due to the influence of societal e8$ectations#
Orchi$s - Literature Notes
I leave this house 5#bo8 $ieces of the five week life I've gathered# I'll send the" on to fill s$aces in "y future life# +ne thing is left a s$ray of orchid so"eone gave 1#fro" bou7uet one who "akes a ritual of flower-giving sent# 2he orchids have no fragrance but $ur$le $etals draw you to look at the /#$ur$le heart# I watered the" once when 0#the blosso"s were full blown like $olished $oe"s# I was sure they'd wilt and I would toss the" out with the five week litter#
2hey were stubborn# I starved the"# 2hey would not die# 2his "orning the bud at the stalk's ti$ >#unfurled# I think I'll $luck the ?#full-blown bloo"s $ress the" between J#$ages of "e"ory# 4erha$s in their thin dried trans$arency I'll discover their @#$eculiar $oetry# /# 43N 2he $ur$le heart literally refers to the s$lash of color in the center of the orchid's bloo", but it could also refer to the bravery of the flower# 2his is so because a $ur$le heart, in the ar "y, is a "edal that a soldier receives for bravery# *++9 A2*+)4ERE 2he "ood of the $oe" is $ensive, or thoughtful# 2he $ersona is thinking about the lack of value that she $laces in the orchid# 2+NE 2he tone of the $oe" is one of al"ost bored "using# 2E*A2I6 6A2E:+R! eath, nature, survival, desire9 drea"s#
Sonnet Compose$ Upon )estminster Bri$ge* Septem+er ,* ./0
Earth has not anything to show "ore 1#fair% ull would he be of soul who could $ass by A sight so touching in its >#"aesty% 0#2his 6ity now doth, like a gar"ent, wear 2he beauty of the "orningG silent, bare, )hi$s, towers, do"es, theatres and te"$les Lie o$en u$on the fields, and to the skyG All bright and glittering in the s"okeless air# /#Never did sun "ore beautifully ?#stee$ In his first s$lendour, valley, rock, or hillG Ne'er saw I, never felt, a cal" so dee$ 5#2he river glideth at his own stee$ will% ear :od 1#the very houses see" aslee$G And all that "ighty heart is lying still
LI2ERAL *EANIN: 2he $ersona in this $oe" is reflecting on the $erfection of the city# e believes that there is nothing on Earth so beautiful as the city in the "orning# +nly a dull $erson would not a$$reciate such a "aestic sight# e is awed by the cal" of the city#
LI2ERAR! EVI6E) 0# )I*ILE 2he $ersona co"$ares the "anner in which the beauty of the "orning settles over the city, to that of a gar"ent on a body# 2his e"$hasi.es the $erfection of the beauty of the "orning, ust as a gar"ent flows s"oothly over a body#
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Lines K-0% 2he sun is referred to as a "ale who rises shar$ly and beautifully# 2his e"$hasi.es the beauty of the city in the "orning# 2he use of this $ersonification also hel$s the reader to $ersonali.e this beauty# Line 0/% Like the sun, the river is $ersonali.ed as well# 2his allows the reader to see the river as real, instead of a thing# It co"es alive and we can visuali.e it's "ove"ent, gliding, as beautiful# Line 05% (hen so"e-one is aslee$, they are usually $eaceful# 2herefore, when the $ersona describes the houses as slee$ing, he is e"$hasi.ing the $eace that e8ists in the city in the "orning# 2he inhabitants of the houses are aslee$, therefore the houses are 7uiet and $eaceful# *++9 A2*+)4ERE 2he "ood of the $oe" is $ensive, or thoughtful# 2he $ersona is e8$ressing his thoughts, and reaction to, the city in the "orning# 2+NE 2he tone of the $oe" is one of awe# 2E*A2I6 6A2E:+RIA2I+N Nature, $laces#
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South - Literature Notes
0#But today I 1#reca$ture the islands bright beaches% blue "ist fro" the ocean rolling into the fisher"en's houses# 0#By these shores I was born% sound of the sea ca"e in at "y window,/# life heaved and breathed in "e then with the strength of that turbulent soil# >#)ince then I have travelled% "oved far fro" the beaches% ?#soourned in stoniest cities, walking the lands of the north 0#In shar$, slanting sleet and the hail, crossed countless saltless savannas and co"e to this house in the forest /#where the shadows o$$ress "e and the only water is rain and the te$id taste of the river# J#(e who are born of the ocean can never seek solace
in rivers% 5#their flowing runs on like our longing, @#re$roves us our lack of endeavour and $ur$ose, K#$roves that our striving will founder on that# (e resent the" this wisdo", this freedo"% $assing us toiling, waiting and watching their cunning declensions down to the sea# Bright waves s$lash u$ fro" the rocks to refresh us, 0#blue sea-shells shift in their wake and 0#there is the thatch of the fisher"en's houses, the $ath "ade of $ebbles, 00#and look )"all urchins co"bing the beaches look u$ fro" their tra$s to salute us% they re"e"ber us ust as we left the"# 2he fisher"an, hawking the surf on this side of the reef, stands u$ in his boat and halloos us% a starfish lies in its $ool# 0#And gulls, white sails slanted seaward, fly into li"itless "orning before us# Brathwaite, F# ')outh' in A (orld of 4rose# Edited by *ark *c(att and a.el )i""onds *conald# 4earson Educatio
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)tan.a 1, line 55% 2his device gives the reader a visual i"age of the scene# It is si"$le i"age that highlights the $ersona's e8cite"ent at being ho"e and seeing scenes, even see"ingly inconse7uential ones, that he knows and loves# )tan.a >, line 15% 2his alliteration gives the reader a visual of what the $ersona sees as $leasant and cal"ing, as o$$osed to the alliteration in stan.a /# 2he sound that the alliteration illicits is a cal" one, i"$lying that the $ersona is at $eace#
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)tan.a 0, lines ?-J% 2his device gives a beautiful i"$ression of the effect that the island had on the $ersona# e felt whole when he was there, at $eace# )tan.a /, lines 0?-0J% 2he shadows, in this conte8t, re$resents his $ast life and e8$eriences on the island# 2he "e"ories of his island illicits feelings of sadness, even ho"esickness# 2hese "e"ories cast an o$$ressive shadow over his life in the north#
5#)I*ILE 2he $ersona co"$ares the flowing of the rivers, which re$resents the north, to his longing for his island ho"e# 2his co"$arison indicates that his longing is an intense one, he is ho"esick# *++9 A2*+)4ERE 2he "ood of the $oe" is reflective# 2he $ersona is thinking about his island ho"e, as well as $laces that he has visited in the north# 2+NE 2he tone of the $oe" goes fro" being reflective, to being elated#
2E*A2I6 6A2E:+RIA2I+N 4atriotis", $laces, desires and drea"s
Test "atch Sa+ina 1ark - Literature Notes
4roudly wearing the 1#rosette of "y skin I >#strut into )abina 5#England boycotting e8cite"ent bravely, ?#so"ething badly a"iss# 6ricket# Not the ga"e they $lay at Lords, the crowd - 0#whoever saw a crowd at a cricket "atchM - are caged J#vociferous $artisans, 7uick to take offence# @#England si8ty eight for none at lunch# 0#'(hat sort o battin dat "anM de" kaaan $lay cricket again, $ra$s de" should-a-borrow /#Lawrence Rowe' And on it goes, K#the wicket slow as the batting and the crowd restless# 0#'Eh white bwoy, how you brudders de" does sen we slee$ soM *e a $ay "onies fe watch dis foolishnessM 6ho )o I try to e8$lain in "y a"$shire drawl about conditions in Fent, about 0#sticky wickets and "uggy da ys and the "onsoon season in *anchester but fail to convince even "yself# 2he crowd's 00#loud 'busin drives "e out
0/#skulking behind a tarnished rosette so"ewhat frayed now but unable, 7uite, to conceal a 05#blushing nationality# Brown, )# '2est *atch )abina 4ark' in A (orld of 4rose# Edited by *ark *c(att and a.el )i""onds *conald# 4ear
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)tan.a 5, line 0% 2his 7uestion re$resents the general frustration of the (est Indians in the crowd# 2hey are annoyed that the cricket "atch is $rogressing so slowly# )tan.a 1, lines 0?-0@% 2hese 7uestions i"$ly that the (est Indian crowd's level of fr ustration has escalated#
/# ALL3)I+N 2he allusion to Lawrence Rowe, a very colourful and successful (est Indian cricketer, e"$hasi.es the fact that the "atch is slow and boring# 5# )AR6A)* 2o 'boycott' is to abstain fro", or to sto$, doing so"ething# 2herefore, the $ersona is being sarcastic because e8cite"ent is a good thing# 4eo$le usually boycott for so"ething negative, therefore the $ersona is, again, highlighting the slow and boring $ace of the cricket "atch# O2here is a distinct 6+N2RA)2 between the beginning of the $oe" when the $ersona is $roud, and 'struts'# owever, by the end of the $oe", he is e"barrassed and 'skulking' V+I6E) 2here are two distinct voices in this $oe"# 2he English "an's and the (est Indian's# *++9 A2*+)4ERE 2he "ood of the $oe" is tense# 2+NE 2he tone of the $oe" is one of frustration ;(est Indian< and e"barrass"ent ;English "an<# 2E*A2I6 6A2E:+RIA2I+N iscri"ination, $laces, culture and s$orts
The )oman Speaks to the "an )ho Has mploye$ Her Son
er son was first known to her as a sense of unease, >#a need to cry for little reasons and a "etallic tide rising in her "outh each "orning# )uch signs "ade her know that she was not alone in her body# )he carried hi" ?#full ter" J#tight u$ under her heart# 0#)he carried hi" like the $oor carry ho$e, ho$e you get a break or a visa, ho$e one child go through and re"e"ber you# e had no father# 2he "an she "ade hi" with had "ore like hi", /#he was fair-"inded he treated all his children with e7ual and unbiased indifference# )he raised hi" twice, once as "other then as father, @#set no ceiling on what he could be doctor earth healer, $ilot take wings# But now he tells her is working for you, 5#that you value hi" so "uch you give hi" one whole sub"achine gun for hi" alone# e says 0#you are like a father to hi" she is wondering what kind of father would 1#give a son hot and e8$loding
LI2ERAL *EANIN: 2he $ersona in this $oe" is telling the story of a "other who loved her son# 2he "other beca"e aware of the child's $resence when she e8$erienced "orning sickness# )he $laced all her ho$es in the child and raised hi" as a single $arent because his father was indifferent to the child's e8istence# 2he "other had set no barriers on what the child could beco"e, but is told that he has an e"$loyer who values hi" so "uch that he is given his own sub"arine gun# 2he son tells his "other that his e"$loyer is like a father to hi", but the "other wonders at the father figure who $ur$osefully endangers his child# )he $re$ares for her son's death by going downtown to buy funeral a$$arel# 2he "other feels $owerless, so she $rays for her child and says $rotective $sal"s for hi"# +n the other hand, she reads $sal"s of retribution for the e"$loyer and wee$s for her son# er situation does not look good and is likened to a $artner syste" in which she draws both the first and the last hand#
LI2ERAR! EVI6E) 0# )I*ILE
death, when he asks hi" for bread# )he went downtown and bought three and one-third yard of black cloth and a dee$ crowned and veiled hat for the day he draw K#his bloody salary# )he has no $ower over you and this at 0#the level of earth, what she has are $rayers and a "other's tears and at 00#knee city she uses the"# 1#)he says $sal"s for hi" she reads $sal"s for you she wee$s for his soul her 0/#eyewater covers you# )he is throwing a 05#$artner with 1#udas Iscariot's "other the thief on the left hand side of the cross, his "other is the 01#banker, 0>#her draw though is first and last for she still throwing two hands as "other and father# )he is $re$ared, she is done#1#Absalo"#
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Lines 0-/% 2he $ersona e"$hasi.es that the "other $laced all her ho$es in her son# (hen you are $oor, generally, you have no $ros$ects, you only drea" and ho$e# 2herefore, the $ersona uses this "eta$hor to e"$hasi.e the "other's de$endence on her son's success# Line 0J% 2he e"$loyer is being co"$ared to a father figure# 2his i"$lies that this $erson fills a ga$ in the son's life#
/# )AR6A)* 2he $ersona a$$ears to $raise the child's father b y referring to hi" as 'fair-"inded'# )he is, however, chastising hi" for not only ignoring his son, but all of his other children# 5# IR+N! ;situational< 2he son innocently tells his "other that his e"$loyer values hi" so "uch that he gave hi" a whole sub"achine gun for hi"self# 2he irony in this situation is that if you really care about so"eone, you do N+2 give the" a gun due to the negative results that are bound to occur# 1# ALL3)I+N ;biblical< •
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Lines /@-/K% 2his line alludes to a $articular verse in the 6hristian Bible, Luke 00 vs 00# 2he verse 7uestions what the actions of a good father should be# Lines 5@-5K% 4sal"s is a $articular cha$ter in the 6hristian Bible# In this cha$ter there are verses for $rotection, the "other uses those for her son, as well as verses for retribution and rebuking# It is i"$lied that the "other chooses those for the e"$loyer# Lines 15-1>% In the 6hristian Bible, udas Iscariot betrayed esus# 2herefore, it does not bode well for the "other if she is in a '$artnershi$' with this $erson's "other because she "ight also be betrayed# 2he banker in the '$artnershi$' also ha$$ens to be the thief on the left hand side of the cross' "other# 2his also does not bode well for the "other if the a$$le does not fall far fro" the tree# Line 1K% Absalo" is the son of avid, in the 6hristian Bible# Absalo" betrayed his father, which i"$lies that the "other feels betrayed by her son because she has $laced all her ho$es in hi"#
*++9 A2*+)4ERE 2he "ood of the $oe" is reflective# 2he $ersona is thinking about a "other's res$onse to her son's life choices# 2+NE 2he tone of the $oe" is $rag"atic and $essi"istic# 2he $ersona is telling the tale as it is, with no $ositive energy# 2E*A2I6 6A2E:+R! eath, love, survival, desires9 drea"s, childhood e8$eriences#
Theme For nglish B - Literature Notes 2he instructor said, Go home and write a page tonight. And let that page come out of you Then it will be true. 0#I wonder if it's that si"$leM I a" twenty-two, colored, born in (inston)ale"# 5#I went to school there, then urha", then here to this college on the hill above arle"# I a" the only colored student in the class# 2he ste$s fro" the hill lead down into arle", through a $ark, then I cross )t# Nicholas, Eighth Avenue, )eventh, and I co"e to the !, the arle" Branch !, where I take the elevator u$ to "y roo", sit down, and write this $age% It's not easy to know what is true for you or "e at twenty-two, "y age# But I guess I'" what I feel and see and hear, arle", /#I hear you% hear you, hear "e - we too - you, "e, talk on this $age# ;I hear New !ork, too#< 0#*e - whoM (ell, I like to eat, slee$, drink, and be in love# I like to work, read, learn, and understand life# I like a $i$e for a 6hrist"as $resent,
LI2ERAL *EANIN: 2he $ersona's lecturer gave hi" an assign"ent to write a $age that reflects 'hi"', or his character# 2he $ersona wonders if this is a si"$le task, and begins to think about his life# 2hings like his age, $lace of birth, race and $lace of residence# Based on these "usings, he sur"ises that he is confused due to his youth# e guesses that he is what he feels, sees and hears, which is arle", New !ork# e continues his "using about what he likes, and concludes that he likes the sa"e things that $eo$le of other races like# +n this basis, he 7uestions whether or not his $age will be influenced by race# e concludes that it will not be white# e ad"its that his instructor, as well as the fact that this instructor is white, will have so"e influence on his $age# e states that they both influence each other, that is what being A"erican is about# e believes that both of the" "ight not want to influence each other, but it cannot be hel$ed# e concludes that both of the" will learn fro" each other, des$ite the fact that the instructor has the advantage of being older, white and '"ore free'# All of these "usings and conclusions beco"e his $age for
English B# or records - Bessie, bo$, or Bach# I guess being colored doesn't "ake "e not like the sa"e things other folks like who are other races# 0#)o will "y $age be colored that I writeM Being "e, it will not be white# 1#But it will be a $art of you, instructor# !ou are white yet a $art of "e, as I a" a $art of you# 2hat's A"erican# )o"eti"es $erha$s you don't want to be a $art of "e# Nor do I often want to be a $art of you# But we are, that's true >#As I learn fro" you, I guess you learn fro" "e although you're older - and white and so"ewhat "ore free#
LI2ERAR! EVI6E) 0#RE2+RI6AL =3E)2I+N •
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2his is "y $age for English B#
)tan.a /, line ?% 2he $ersona $onders the ease of what he is asked to do# 2his 7uestion, in turn, actually highlights the difficult nature of the task# )tan.a 5, line/1% 2his 7uestion highlights the $ersona's confusion as to who he is, or his character# e is unsure# )tan.a 1, line 5/% 2he $ersona is wondering whether his race will affect what he writes on the $age# 2his is des$ite the fact that he concludes that race does not hinder $eo$le, in general, liking the sa"e things#
/# RE4E2I2I+N 2his re$etition e"$hasi.es the $rofound i"$act that arle", New !ork, has had on the $ersonality of the $ersona# O It is interesting to note that the $ersona's '$age for English B' beco"es a ourney of self discovery that actually does not end# e for"s no conclusion as to who he is because his $ersonality is still 'in $rocess' *++9 A2*+)4ERE2he "ood of the $oe" is reflective# 2+NE 2he tone of the $oe" is also reflective# 2E*A2I6 6A2E:+RIA2I+N Racis", $laces
)est %n$ies* U(S(A - Literature Notes LI2ERAL *EANIN: 6ruising at thirty thousand feet above the endless 2he $ersona is travelling in a $lane, looking down green 0#the island see"s like dice tossed on a at )an uan, 4uerto Rico, as the $lane descends# e casino's bai.e, so"e co"e u$ lucky, others not# is saying that this island is the wealthiest in the 4uerto Rico takes the $ot, /#the allas of the (est 6aribbean because it has won the ack$ot, it has Indies, /#silver linings on the clouds as we descend co"e u$ lucky# e then $oints out that he, and are hall-"arked, 0#)an uan glitters like a others, had travelled to "any 6aribbean islands "averick's gold ring# and received a hint of the flavour of each island All across the 6aribbean we'd through it's calling card, - its air$ort - all of which collected ter"inals - 0#air$orts are like calling fail when co"$ared to $lush )an uan# As they cards, cultural finger$rintsG the hand written signs land, they are instructed to stay on the $lane if their at 4ort-au-4rince, 4iarco's slea.y tourist art, the destination is not )an uan# 2he $ersona takes lethargic conte"$t of the baggage boys at 'Vere offence and states that A"erica does not want Bird' in )t# ohns #### blacks in )an uan, i"$lying that they "ight be a And now for 1#$lush )an uan# disru$tive force# e notes the efficiency with But the $ilot's bland you're which things flow, enabling the" to take to the drawl crackles as we land, '3) skies once "ore# uring the ascent, the $ersona safe in my hands regulations de"and all $assengers not notes the contrast between the influences of the dise"barking at )an uan stay on the $lane, I 6aribbean and A"erica# e likens )an-uan to a re$eat, stay on the $lane#' 5#)ubtle 3ncle )a", broken 2V, it Iooks good on the outside, but afraid too "any >#des$erate blacks "ight re broken on the inside# enslave this I sland of the free, "ight u"$ the barbed electric fence around LI2ERAR! EVI6E) ?#'A"erica's back yard' and clai" that vaunted 0# )I*ILE sanctuary ##### 5# 'give "e your $oor #####' 2hrough
toughened, tinted glass J#the contrasts tantaliseG 3) $atrol cars glide across the shi""ering tar"ac, containered baggage trucks unload with @#fierce efficiency# )o soon we're cli"bing, low above the $ulsing city streetsG galvani.ed shanties overseen by condo"iniu"s $olished 6adillacs shi""ying with $ushcarts and as we cli"b, )an-uan's K#foolsglitter calls to "ind the shattered innards of a 2V set that's fallen off the back of a lorry, all $ainted valves and circuits 0#the road like twisted wires, the bright cars, "icro-chi$s# 0#It's shar$ and agged and dangerous, and belonged to so"e-one else#
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Line /% 4uerto Rico is co"$ared to dice that is tossed on a casino's bai.e, it can either co"e u$ with winning nu"bers, or losing nu"bers# 4uerto Rico co"es u$ with winning nu"bers in the ga"e of chance, as reflected in its wealthy e8terior, which is su$$orted by A"erica#
Lines J-@% )an uan's glitter is co"$ared to a "averick's gold ring# 2he word "averick i"$lies non-confor"ist, an individualist# 2his i"$lies that )an uan, 4uerto Rico is in the 6aribbean, but not a $art of the 6aribbean# It belongs to A"erica# Lines 0-00% Air$orts are co"$ared to calling cards# 2his "eans that, like a calling card, the 7uality of the air$ort gives you an idea of the island's econo"ic status# 2he air$ort is also co"$ared to a cultural finger$rint# A finger$rint is an individual thing, therefore the air$ort gives the traveler an idea of the island's cultural landsca$e# Line 5K% 2he road is co"$ared to twisted wires# 2his "eans that the roads, fro" above, look both $lentiful and curvy# 2his does not carry a $ositive connotation, but i"$lies confusion#
/# ALL3)I+N Line >% allas is an oil rich state in A"erica# 2herefore, "any of its inhabitants are wealthy, and the state itself, is wealthy# By stating that )an uan is the allas of the (est Indies, it i"$lies that it is a wealthy island in the (est Indies# •
Lines >-J% An allusion is being "ade to the well known clicheG 'every cloud has a silver lining'# It "eans that behind everything that is see"ingly bad, there is good# In the conte8t of this $oe", it "eans that the good, the silver lining, has a "ark, or sta"$, that authenticates its good 7ualityG it is hall"arked# 2his i"$lies that it will always have its silver lining showing#
5# )AR6A)* Line /% 2his state"ent "eans the e8act o$$osite of what is stated# 2he $ersona is disgusted that 3ncle )a" ;A"erica< would have such a regulation# 2his regulation bars anyone fro" ste$$ing a toe on 4uerto Rican soil, if it is not your intended destination# !ou ust have to re"ain in the air craft, no "atter the waiting $eriod, until it is ti"e for takeoff# 2he $ersona believes that the A"ericans are being blatantly discri"inatory, and are atte"$ting to ca"ouflage it through the use of regulations# e does not believe that they have achieved their goal of subtlety# •
Line /?% 2he $ersona i"$lies that A"erica is all talk and no action# 2hey really do not want the $oor because they bar the" fro" entering and e8$ediently sends the" on their way when they enter their air$ort# 2he state"ent is sarcastic because it is loaded with an alternate "eaning, due to the contrast in state"ent and action#
6+N2RA)2 2he contrast in this $oe" is found in stan.a ># 2he A"erican cars etc, against the $ushcarts# 2he A"erican culture versus the 4uerto Rican culture# *++9 A2*+)4ERE 2he "ood of the $oe" is sarcastic# 2+NE 2he tone of the $oe" is slightly bitter, which is fueled by the sarcastic at"os$here# 2E*A2I6 6A2E:+RIA2I+N iscri"ination, o$$ression, $laces, culture#
Balla$ o& Birmingham - Literature Notes '*other dear, "ay I go downtown instead of out to $lay, 0#and "arch the streets of Bir"ingha" in a freedo" "arch todayM 0#'No, baby, no, you "ay not go, for the dogs are fierce and wild, and clubs and hoses, guns and ails ain't good for a little child#' 'But "other, I won't be alone# +ther children will go with "e, 0#and "arch the streets of Bir"ingha" to "ake our country free#' 0#'No baby, no, you "ay not go, for I fear those guns will fire# But you "ay go to church instead, and sing in the children's choir#' )he has co"bed and brushed /# her night dark hair, and /# bathed rose $etal sweet, and drawn white gloves on her s"all brown hands, and white shoes on her feet# 2he "other s"iled to know her child was in the sacred $lace,
but that s"ile was the last s"ile to co"e u$on her face# &or when she heard the e8$losion, her eyes grew 1#wet and wild# )he >#raced through the streets of Bir "ingha" calling for her child# )he ?# clawed through bits of glass and brick, then lifted out a shoe# '+, here's the shoe "y baby wore, but, baby, where are youM
5# IR+N! ;situational< 2he overwhel"ing irony that e8ists in this $oe" is the fact that the "other was so ada"ant about N+2 sending her child to the freedo" "arch, because she considered it to be so dangerous# !et it is while in church, the $lace that she thought was sacred and safe, that the child got killed# 2E*E eath is the overwhel"ing the"e in this $oe"# A "other's over $rotectiveness does not, and see"ingly cannot, $revent this tragic event fro" occurring#
The ynching - iterature 2otes is s$irit in s"oke ascended to high heaven# 0#is father, by the cruellest way of $ain, ad bidden hi" to his boso" once againG 2he 5#awful sin re"ained still unforgiven# 0#All night a bright and solitary star ;4erchance the one that ever guided hi", !et gave hi" u$ at last to &ate's wild whi"< ung $itifully o'er the swinging 1#char# ay dawned, and soon the >#"i8ed crowds ca "e to view 2he ?#ghastly body swaying in the sun% 2he wo"en thronged to look, but never a one /#)howed sorrow in her eyes of J#steely blueG And little lads, lynchers that were to be, anced round the dreadful thing in @#fiendish glee# Claude McKay A (orld of 4oetry ;/>< /# ALLI2ERA2I+N 9 *E2A4+R •
2he alliteration serves the $ur$ose of drawing the readers' eye to this $articular $assage in the $oe"# 2his line also doubles as a "eta$hor# In this case, the "eta$hor tells the reader that the wo"an is white, because blue eyes are a feature of the 6aucasian race# It also highlights the level of racis" in the society# 2his is the case because if wo"en, who are su$$ose to be nurturing and caring, show steel ;unfeeling, clinical< in their eyes, then it is an echo of the views of the society#
2E*E !acism 2he $oe" confronts a ti"e in history when Black $eo$le were not viewed as hu"an# +n this $re"ise, they could be lynched without it causing a ri$$le in the "oral fiber of their society# 2he fact that wo"en and children could view the charred re"ains with little or no feeling s$eaks volu"es about the e8tent to which racist values were entrenched in the society#
