Summary Of For That He Looked Not Upon Her By George Gascoigne

    The poem is structured as a sonnet which commonly expresses a theme of love throughout the lines. Also it is paired with the “ABAB” rhyme scheme to give an emotional view to the readers about the conflict he has. Also the sonnet and the rhyme scheme is a common usage of poem making and many people know what it is, so the poet uses this structure to let readers understand more easily and clearly. He also uses the “ABAB” scheme to separate parts that are important within themselves. In the first four lines, it talks about the poet himself and how much he tries to avoid the one she loves by “ hold my louring head so low”(Line 2). In the next four lines, it talks about the mouse and how its problems relates with the poet’s emotional pain. After that, the next four lines talks about the fly and how it relates with the author with his physical pain. Using these methods help the poet communicate with the readers easily.

George Gascoigne’s poem “For That He Looked Not upon Her” discusses the misery of love by exploring speaker’s internal conflict between the his romantic desires and his fear of betrayal. After leaving a difficult relationship, the speaker refuses to look his former partner in the eye even though he is still deeply attracted to her. He justifies his action by explaining how his desire for her will only continue to bring him distress. The speaker uses the poem’s form and diction in order to establish a dismal yet cautious tone in the poem. Furthermore, through various instances of imagery, he reveals his fear of being deceived in the future. By employing these literary devices, Gascoigne highlights the theme of human desire and how it consequently leads to the speaker’s emotional suffering.

Male seducers are represented as boys sowing their oats -- part of normal living. Seduced females are viewed as weak and treacherous --  a treachery that woman in her "frailty" is unable to avoid. This is a very bizarre message.

This poem begins with the speaker leaving his group of friends (who have been discussing sexual liaisons) for a drunken walk in St. James’s Park, to “cool my head, and fire my heart” (8), whereupon he encounters his lover Corinna being led away by three “knights.” She looks at him disdainfully. His anger towards

In “The Whipping,” the flashback gives the reader an inside look of the life of the speaker. Current happenings bring up dark memories of past atrocities. “Men” is told almost entirely through a flashback. The very first line of the poem gives the readers some insight of the age of the speaker now and when she made the memories she is flashing back to with “When I was young” (“Men” Line 1). The speaker in “The Whipping” also uses a metaphor as a Segway into his flashback: “His tears are rainy weather/ to wound like memories:” (“The Whipping Lines 11-12). The speaker of “Men” uses strategic similes throughout her story. She recalls her experience with a man as “One day they hold you in the/ Palms of their hands, gentle, as if you/ Were the last raw egg in the world.” (Men Lines 15-17). Everyone knows how delicate and fragile raw eggs are, so this metaphor really proves how the speaker perceives the gentle hands of the man. But, slowly and gradually, the she can fell grip tighten, like a boa constrictor squeezing out the breath of its prey until finally the “Air disappears,/ Your mind pops, exploding fiercely, briefly,/ Like the head of a kitchen match.” (“Men” Lines 23-25). Literary devices are useful tools the reader can use to build a full understanding of the meaning the author of the poem is trying to get

1. Marie Howe describes a sad scene of men raping a woman in the poem “In The Movies”. The poem effectively draws the picture about soldier rape a women and hole her husband at the same time because they won it. The tone of the poem is very emotional, painful. While the solider hold the husband, his is “enraged and screaming” because he cannot help his wife escape. This implies how lonely and helpless the husband feels when his wife is raped in front of him. Future, Howe questions a lot in the poem. Howe asks in the poem that “how can a woman love a man?” The question she asks interacting with her audience and also sets people

The theme of extreme censorship is conveyed through a variety of techniques including the use animal imagery and the symbolism of fire, water and the Phoenix. Throughout the novel animal and nature imagery is used to represent the force of truth and innocence. When Clarisse convinces Montag to taste the rain it changes him irreversibly showing him the enlightening power of unspoiled nature. Most of the novel’s animal imagery is ironic because even though the community is dominated by technology and disregards nature, many of the intimidating mechanical devices are modeled or named after animals for instance the Mechanical Hound and the Electric-Eyed Snake.

In the blank space before the third stanza we infer that the woman has killed the flea. He is upset at the woman because she killed the flea and wants to know how this flea was guilty. The tone of the poem changes in this stanza because now, he is chastising her for her sins. He is even cool and harsh when he says, “Just so much honor, when thou yield’st to me, /Will waste, as this flea’s death took life from thee” (26-27) He then concludes by explaining that having sex with him would be just as trivial as killing the flea.

She says that the "child" had been by her side until "snatched from thence by friends, less wise than true" (line 3). Basically she is saying a trusted person “snatched” her work from her without permission to take them to England to be printed. Had it not been for her brother-in-law taking her work back to England and getting them printed they may have never been known. The intimacy and feeling she shares with her work is like that of a mother and child and that bond was infringed upon when her work was "exposed to public view" (line 4). The intrusion of her brother-in-law getting her work printed is the cause of feeling that follow. Ironically the next thing she talks is the shame she has been thrust upon her by not being able to perfect the work before it was published. This is illustrated in line five where she writes, “Made thee in rags,” as to say her work is like a child dressed in rags.

Before the 20th century women stayed home took care for their kids and kept the house spotless they were forced to depend on there husbands for everything. Those years are over, it was time for us to become dependent not fanatically but in the way that we no longer had to be discriminated or seen as the weaker gender. We wanted to work in a well paid job and prove to those who had no faith in us that we are capable of doing what man can do. In this century we have changed the way they look at women with great effort they have succeeded. Women in the past have made an impact, today the number of jobs for women has increased especially in fields that are traditionally for men like in aviation. With all the issues in the

The small strip across the top of the visual, presents us with an alternate world that is natural and heaven-like where numbat-like creatures are suspended upon tree branches. The gaze of the numbat-like creatures leads us to the quote, “They didn’t live in trees like we did”. Through the inclusion of text Tan portrays that the numbat-like creatures don’t understand the rabbits. This quote does not show any strong emotions, but instead the blatant tone bestows a ‘clueless’ feeling to us, the responders. This section is very small in contrast to the rest of the image showing the rabbits. This symbolically represents the unprecedented manner in which the rabbits came and quickly “made their own houses”. At observing the picture more closely, we can conclude that where the numbat-like creatures are sitting, the sky is lighter compared to where the rabbits are placed; implying that the lighter colour is the time the numbat-like creatures were familiar

Dillard also accomplishes to draw a strong parallel between herself and the symbol of this essay. As Dillard reads by candlelight, a “golden female Moth, a biggish one” flies into her candle, bringing itself to its own demise. Dillard closely analyzes this majestic Moth that has suddenly flapped itself to the center of her world. In paragraph five, after she has witnessed the Moth burn into bits and pieces, Dillard says “that candle had two wicks, two winding flames of identical light, side by side”. Dillard then begins to draw similarities between herself and the ill-fated moth. The moth was “golden” and “biggish” before she had flew into the fire, much like the writer that Dillard was like before she became a victim of writer's block. Dillard also draws a connection to religious figures in paragraph six, when she says “She burned... like a hollow saint, like a flame-faced virgin gone to God.” A parallel that can be

The tone of this poem effects the internal message as it starts off somewhat calm then takes a sadistic turn. Even though Gretel had achieved the life she essentially wanted, the remembrance of the witch makes it unbearable for her

The young speaker is infatuated with his friend’s sister. He believes that if he brings her a gift from the bazaar than she will love him back. The speaker’s time at the bazaar is nothing like he thought it would be. It is a horrible experience and he fails to buy a gift for his crush. The speaker says “Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.” He realizes that he wasn’t actually in love with his friend’s sister. His desire for her was only a vain wish for something new and different. She would never live up to his expectations. The speaker’s dreams about romance are shattered when he faces the reality of

With the speaker’s use of metaphors and Greek allusions, the idea of constancy in failed relationships is reworked to combat the misogynistic conception of female inconstancy. In Joan Kelly’s “Early Feminist Theory and the ‘Querelle des Femmes,’ 1400–1789,” she claims that female querelle writers “reject[ed] the distorted image of women” (Kelly 20) in religious texts and amatory poetry because women were often depicted as capricious “creatures” that men could not trust to be