... constitutes much of the contents in her poems including “No Loser No Weeper”. In, this poem Angelou describes how she “just hate[s] to lose some-thing”(Angelou 12). Moreover,this poem is directed towards a female; whom Angelou wanted to make clear to her to avoid touching her “lover-boy”(Angelou 12).Furthermore, when she states, “I hate to lose something…….even a dime, I wish I was dead”(Angelou 12), we gather that something as small and worthless as a dime would make Angelou wish that she was dead. This remark signifies that the trauma in her life just bought thoughts of suicide. According to Compton’s Interactive Encyclopedia most suicides oc-cur when the bonds b ...

... 29-30, 1941. There is no memorial to the thirty thousand, but fear pervades the area. Fear that such a thing could occur at the hands of other humans. The poet feels the persecution and pain and fear of the Jews who stood there in this place of horror. Yevtushenko makes himself an Israelite slave of Egypt and a martyr who died for the sake of his religion. In lines 7-8, he claims that he still bars the marks of the persecution of the past. There is still terrible persecution of the Jews in present times because of their religion. These lines serve as the transition from the Biblical and ancient examples he gives to the allusions of more recent acts of hatre ...

... an upcoming storm. Different images can be seen from the decayed hole in the moonlight, the empty chapel without windows, and the rooster's crows as the lightning and black clouds arrive. In line 386, “In this decayed hole among the mountains,” probably refers to an empty grave that brings images of death and the end of life, or possibly the beginning of a new life to mind. The grave is lit by moonlight, possibly referring to the white light many people see when they have near-death experiences. You get a creepy feeling when the wind blows and makes the “grass sing” in line 387. In these first three lines it talks of tumbled graves, possibly disturbed by natur ...

... is establishing that there can be no wavering where love is concerned. This establishes a sense of permanency which will linger through out the sonnet. "O no! it is an ever-fixed mark/ That looks upon tempests and is never shaken" (Shakespeare 5-6). Again, Shakespeare reinforces the importance of his theory. Love must not be taken lightly or trifled with, in its truest form it is a blazing seal upon the hearts of those who know it. Once someone is in love, they can not move on or change the object of their affection. Similarly, someone who is not in love is unable to fabricate the kind of devotion which such passion demands. It is this sense of definite ...

... “How It is”, she puts on a blue jacket that belonged to her recently deceased friend, whom played a major role in her life. By putting on the jacket, she tries to relive the past by, “...unwind(ing) it, paste it together in a different collage...”. In this poem, Maxine Kumin, uses plants to describe her feelings, as in; “scatter like milkweed” and “pods of the soul”. These similes show what she sees and feels. “The Longing to be Saved”, is a dream, where her barn catches fire. “In and out of dreams as thin as acetate.” She visualizes herself getting the horses out, but they “wrench free, wheel, dash back”. In, “Family Reunion”, she writes that “nothing is cost e ...

... out back. The duke immediately draws attention to a fresco of his former wife. He has a new appreciation for the work since her passing. He likes her better this way; in his complete control. The designer was a monk who perfectly captured her heartfelt expression in but one day, showcasing her for all eternity. He directs his guest to look upon the painting. There is limited access to the art since the duke keeps it covered by a curtain, and only permits those to his liking to look at her. He states that in the past, those he has let see the fresco, have asked where such an expression on her puss originated. He goes on to admit that it was not him a ...

... into its shell to hide from him. He uses his experiences with the turtle to compare it to his wife's sickness. His wife, who is a middle-aged woman, is having a hard time getting over losing one of her breast due to an operation. It also seems that she feels she might die. His wife is not comfortable with the way she looks and she shies a way from her husband every time he tries to get close to her: "In the widows before us,/ as we changed her dressings," (32-33) "One morning, I pressed my lips / to her chest until, at last, / she believed / and opened up to me" (35-37). In those lines he is showing his love to and for her. By kissing her scar on her chest he showed ...

... of the passage reveals quite a visual oil-soaked picture. This is created in large part by the oily sounds themselves. When spoken out- loud the diphthong [oi] in oil creates a diffusion of sound around the mouth that physically spreads the oil sound around the passage. An interesting seepage can also be clearly seen when looking specifically at the words "oil-soaked", "oil-permeated" and "grease-impregnated". These words connect the [oi] in oily with the word following it and heighten the spreading of the sound. Moreover, when studying the [oi] atmosphere throughout the poem the [oi] in doily and embroidered seems to particularly stand out. The oozing ...

... and opinions to the degree where the reader is left to incorporate personal meanings in order to make sense of the obscurity found in most poems. By describing the creation of a picture or ornamental love-knot, the poet is able to limit the multitudinous meanings found by the reader, allowing the poet to further implicate his or her beliefs and situations. Thus, the use of physical artifacts provides a freedom to express that which the characters in each poem lacks in their lives. Though unable to grasp the images that they create, each character in the poems gains a sense of self awareness. These utopian moments expressed by the creations are froz ...

... The theme of oneness can be derived from the numerous instances and forms of the number '1' throughout the poem. First, 'l(a' contains both the number 1 and the singular indefinite article, 'a'; the second line contains the French singular definite article, 'le'; 'll' on the fifth line represents two ones; 'one' on the 7th line spells the number out; the 8th line, 'l', isolates the number; and 'iness', the last line, can mean "the state of being I" - that is, individuality - or "oneness", deriving the "one" from the lowercase roman numeral 'i' (200). Cummings could have simplified this poem drastically ("a leaf falls:/loneliness"), and still conveyed the same ...