February 17- February 23

Last weeks class session was extremely refreshing. To enjoy everyone's poetry was such an eye-opening experience. I had no idea there were so many artists in one classroom! I was able to experience the poems come alive because of the use of the different poetic techniques and elements. I completely underestimated the power of alliteration until I chose to use them to bring my poems  "She Was There" and " Your'e the One That I Want" to life. In "She Was There", I used alliteration to replicate the sound of breathing in the line "... be here, hovering over her", which became a particularly powerful element to a poem that is describing the experience of feeling death linger (I didn't realize how much it added until after I finished it). Even the assonance in that line totally brings more air to the words and adds to a pattern of inconsistent breath that one would encounter when inching closer and closer to death. In "Your're the One That I Want", I used alliteration as a tool that further illustrated a sense of the speaker being mentally stuck in the same cognitive place in her mind. The line that states "hyperventilating in disbelief and disappointment and disdain and disembodied" has a lot of repetition in sound that represents her thoughts being in this continual loop that she can't move past. The stressed and unstressed syllables in the words with the "d" sound also resembles the sound of a person hyperventilating of read in one breath. I definitely learned a lot about they way different techniques can appeal to more of the senses and better allow the audience to connect and feel the work

She Was There

"She's not the same; It's not... her."

I nodded in understanding, 

He patted my shoulder and trudged into the kitchen

I looked into the open doorway for a moment, 

Needing to burn this moment into my memory.

I walked steady into the room
It was dark to the right.
To the left is where she laid, that's where the light was.
There she was.
It was almost laughable except for the fact
That it altogether was not.
She was on her back
Chin sunk into her chest, hands beautifully at her side.
The skin on her face had the full effect of gravity
Or the full effect of pain.
Phillip was at the foot of her bed.
Told me to sit, like we did this all the time.

He was talking but all I could hear was her body.
This wasn't her. Someone was wearing her skin as a costume
And it was too big for them, She was too big for them.
This was too big for me.

Life was happening but the clock was tapping.

Loudly, like a dripping faucet in a porcelain room.

An hour glass, emptying

Grain, by

Grain by

grain. 

And that’s all I could hear

That clock tick-tocking.

Tick.

Tock.

Tick .

Tock.

It was almost as if death was tapping his toe, saying

I

Am

Wai-

Ting.

If you’re going to be here, hovering over her every breath,

Don’t be a tool about it.

Let her invite you in, offer you some orange juice, bring you a brownie. 

Like she did me, like she did all of us. 

She was still there, 

a paralyzed shell.

She was still in there, banging on the brim of her brain

"I'm Still here! I am in here!"

But I stared, 

And he stared. 

And she was vacant.

Tick. 

Tock. 

Tick. 

Tock. 

You're The One That I Want

You tell me I can't have it.
But I want it.
You say I'm not ready.
But I want it.
You tell me to refocus my attention and intentions and expectations.
But I want it. And I want it more still.
 And your holding me back but I'm reaching,
until my bones reach past my skin.
Until my hands are trying to pry yours off me.
Screaming for me to stop and come to my senses and think.
But all I can hear is my voice as I claw your arms and kick your grip.
Your not ready! YOU'RE NOT READY!
BUT I AM! I'M READY! I'VE BEEN READY I'LL SHOW YOU!
Your shreds and ribbons under my fingernails,
hanging from my hands as I run from your constraints and into it. And I don't stop.
When I see this white, glass ball
I snatch it from the column and snigger with excitement.
 I knew I could, I knew I was ready.
And I grabbed tightly and it shattered. And now the blood in my hands is
Mine and now the shards in my Palm are my own.
 And I've ruined it.
 I can't even register what had happened.
 Trying to catch my breath,
 hyperventilating in disbelief and disappointment and disdain and disembodied.
My knees buckle to the floor.
I look back and see you with the stains and the tares.
The same breath, the same  pain,  the same look.

Time and Desire: Central Themes of Andrew Marvell’s “To His Coy Mistress”

Time and Desire:

Central Themes of Andrew Marvell’s “To His Coy Mistress”

Andrew Marvell's "To His Coy Mistress" is a poem in which the speaker is slyly seducing a nameless women. He walks his "coy mistress" through the kind of courtship that they could have if time wasn't of the essence. Being that there is no time to waste, the speaker proposes that he and the mistress should make the most of the time they have and engage in more intimate, physical embrace. In this poem, Marvell uses allusions, metaphors, and imagery to heighten the experience of the passing of time and carnal lust.
            Marvell uses references and allusion to show the passing of time. He references walking down these two flowing bodies of water, the Indian Ganges and the Humber, to pass the day (Marvell 5-7). The Indian Ganges is a river in India that runs approximately 1,560 miles through India and is the third largest river in the world. The Humber is a large estuary on the east coast of Northern England. To walk along side these two bodies of water would take weeks, which is time that, theoretically, would spend if he and his mistress had that kind of time. He also alludes to "the Flood" and "conversion of the Jews", which are both stories found in the Christian bible (7-10).  The flood that’s described in the book of Genesis, took place hundreds of years before the Jews were converted in the New Testament book of Romans (New International Version, Gen. 6-9, Rom. 9-11). Again, the long, drawn out courtship would be a beautiful endeavor, but time is of the essence.

There imagery used to describe the mistress' body and the birds in the air are also used to illustrate the speakers’ carnal lust for the mistress. In lines 17-18, the speaker is describing his mistress’ body and pays close attention to mention her most prominent assets. While admiring her physique, he would love to spend one hundred years gazing upon her eyes, which is quite romantic and sweet. But when he mentions her breast, he wants to spend two hundred years admiring these specific womanly features (14-15). In comparison to her bosom, the other body parts seem to be of almost no importance to him. He doesn’t even bother to name them, saying “But thirty thousand to the rest” (16).

Later on in the poem, the speaker predicts that if their slow courtship continues, they will both be laid to rest before they have the opportunity to lay with one another. He goes on to mention that in the grave, there will be no time for long endeavors and the only thing that will penetrate her are the lowly worms:

Thy beauty shall no more be found
Nor, in thy marble vault, shall sound
My echoing song: then worms shall try
That long preserved virginity,
And your quaint honour turn to dust,
And into ashes all my lust (25-30)

The speaker is attempting to depict the squandered sexuality that could be brought about by essentially wasting time by trying to wait for a proper time that will never come.  The mistress is cherishing her virginity until she can give it to someone at right time in the relationship but when she dies, the only thing that will be penetrating her is the worms in the ground. He speaks of her dead body and the worms in a mocking way, but it also has a hint of jealousy; these worms might get to enjoy his mistress’ flesh before he does. Her “quaint honor” will be nothing but dust in a casket and all of the speaker’s sexual desires will have been absolutely wasted. The speaker unveils his sensual appetite and, according to this passage, the very real possibility that it may never be satisfied.

In lines 38-44, the speaker is convincing his mistress that instead of regretting the many possibilities of what could have been, they should lay with each other and let their desires devour one another. Marvell uses the phrase “amorous birds of prey” to describe the way they should make love and in this process should “tear our pleasures with rough strife” (43). Birds of prey, also known as raptors (no, not the dinosaurs from Jurassic Park), prey and eat other animals. Some examples of raptors are eagles, hawks, and owls (Bureau of Land Management) When hawks, for example, are attracting new mates they use methods such as nibbling and “courtship fights”, which involve both birds fighting in the air (SeaWorld Parks and Entertainment). Their courtship is violent and dangerous, the very opposite of the courtship that the speaker and his mistress have.

Marvell has used allusions, metaphors, similes, and vivid imagery to better capture the passing of time and the carnal lust that he has pent up inside of him. His allusions, metaphors and similes are robust and full of passion that paints a vivid picture for the reader. The use of these elements helps the readers better understand the emphases that the speaker places on how fleeting time is along with the his need to utilize every moment possible to satiate his sexual appetite.  

Works Cited

The Holy Bible: New International Version. Colorado Springs, CO: International Bible Society, 1984. Print.

"Reproduction." Seaworld.org. N.p., n.d. Web. 10 Feb. 2014.

Smith, Philip. "To His Coy Mistress." 100 Best-loved Poems. New York: Dover Publications, 1995. 17-18. Print.

"What Makes a Bird a Raptor?" What Makes a Bird a Raptor? N.p., n.d. Web. 11 Feb. 2014.

February 3-February 9

Analyzing poetry can become a mirror in which we can better understand and see ourselves. Poetry is a living and active work that is applicable to the struggles of the time it was composed as well as conflicts of the time it is being experienced by it's readers. We examined the works of classic poets, such as Yeats, Frost, Whitman, and Arnold (some more well known than others). Robert Frost's "The Road Not Taken"  is a poem that I have had to explicate in every English class since I was in 8th grade. When we examined it as a class I thought "How much fresh juice are we going to be able to squeeze out of this already pressed fruit?". To my surprise, my colleagues we able to draw meaning from the diction and metaphors of the poem that I had never explored. New themes of identity were unearthed and made me think about which "roads" I am choosing or have already chosen to travel down . My colleagues also helped me see the simple language is a great first poem for middle school students to analyze. The theme and purpose of the poem is easy to understand and can give them confidence when attempting other poems in the future.

EXTREMELY rough Draft

Andrew Marvell's "To His Coy Mistress" is a poem in which the speaker is slyly seducing a nameless women. He walks his "coy mistress" through the kind of courtship that they could have if time wasn't of the essence. Being that there is no time to waste, the speaker proposes that he and the mistress should make the most of the time they have and engage in more intimate, physical embrace. In this poem, Marvell uses allusions, metaphors, and imagery to heighten the experience of the passing of time and his carnal lust.

Marvell uses references and allusion to show the passing of time. He references walking down these two flowing bodies of water, the Indian Ganges and the Humber, to pass the day. The Indian Ganges is a river in India that runs approximately 1,560 miles through India and is the third largest river in the world. The Humber is a large estuary on the east coast of Northern England. To walk along side these two bodies of water would take weeks, which is time that, theoretically, would spend if he and his mistress had that kind of time. He also alludes to "the Flood" and "conversion of the Jews", which are both stories found in the Christian bible. The imagery used to describe the mistress' body and the birds in the air are also used to illustrate the speakers carnal lust for the mistress

Jan 27-Jan 31

The content of poetry is where freedom of expression can be best utilized, but the tools that are used to make  senses, feelings, and images come alive are more static. The use of iambic pentameter, for example, aids in the rhythmic pattern of words so commonly admired in William Shakespeare's Sonnet 18. When looking at literature, specifically in poetry, looking at the context of which the work was composed enhances the readers experience and understanding of the writing. When looking at Sonnet 18, knowing that England is usually cloudy, dark, and rainy helps readers to understand how a English native views a summer day compared to how a native of Southern California experiences it. To someone from England, a summer day is a rare occasion of beauty. So to compare someone to a summer's day is a compliment, but to tell someone that their beauty exceeds that of a summer's day is a high form of flattery.


 I am a person who likes to have definitive understandings of a work of literature. On the contrary, poetry can have different meanings depending on the one who is analyzing it. When discussing "the meaning" of a work, I can get frustrated with the different responses that are given and the lack of clarity when it comes to deciding which interpretation is "correct". When looking at poetry I actually like hearing the way that my colleagues receive a poem and how they come to their various conclusions. My understanding can be very narrow, so being able to hear the knowledge that others have about a poem helps me explore different points of views and analyze poems from different standpoints.