Help finding irony in this poem? (part 2)?
816958
Well, the biggest piece of irony in the whole poem is the last line!  The writer spends the entire poem talking about unlikely disasters which cause him/her great anxiety while outside the bunker the sun is shining!  Question being raised here is, do you want to spend your life hiding and worrying about things that may never happen, or would you rather be outside enjoying today in the sun?
503338
Good one :]\n\nBut one exception to your poem:\n\nI can't FORGET your funny poem.(My forgetter would become a little worse) :]\n\nHave a nice day :]
267240
I agree that <http://www.100words.net/entry/read_member_batch.cfm?entry_member=Laura%20A%20Hill&entry_batch=November&entry_year=2003> is the only site that talks about this poem.  Don't try pinkmonkey.com and the other sites.  I couldn't find the poem comments in their results.
783227
I think what you've done so far is very good, but it is really only scratching the surface.  Assuming that you have to compare the 2 texts you cannot assume that other readers will sympathise with either of the adult males, so you have to point out how the sympathy came about.  To do this refer directly to how the author's use of specific words within the text engender feelings; for example the teacher is 'pleased' and 'delighted' with the lesson however because of the 'theft' of rubbers and his inability to detect who was doing the stealing, he felt like 'a bad teacher' and thus went back on his word.  This extract shows the power struggle that goes on in a classroom and is possibly an indication that the teacher is new and unable to command respect or obedience.\n\nThe second extract shows a similar theme where a father appears to be losing the respect and (he thinks) the love of his daughters.  As they are growing up he realises that his position as ''Number one man'' will be taken by the young men who will come 'prowling'.  The author's use of this word gives the reader the impression that father thinks of his daughters as vulnerable, that they are merely unwary prey for the predatory young men.\n\nFind other examples like these, starting at the beginning of the text and work your way down.  Good luck and hope that helps.
461159
well i think is a  nice poem and i don't think it is a contradiction but a consistency through all of it . i also think that it is important for God to be chosen and not imposed this is what free will is all about . let those who chose Him to do so and let those who reject Him to do so too . i see not problem whit that . at the end we will get what we look for .\n plz let us know where u get it from .
98994
try going on to http://www.lyricsondemand.com/p/p10/html
1110161
This is 19 lines, but it is a great poem and a fantastic oral presentation!  Good luck!\n\n \nDylan Thomas. Funny-looking chap, but chicks dug him. \nDo not go gentle into that good night,\nOld age should burn and rave at close of day; \nRage, rage against the dying of the light. \n\n\nThough wise men at their end know dark is right, \nBecause their words had forked no lightning they \nDo not go gentle into that good night. \n\n\nGood men, the last wave by, crying how bright \nTheir frail deeds might have danced in a green bay, \nRage, rage against the dying of the light. \n\n\nWild men who caught and sang the sun in flight, \nAnd learn, too late, they grieved it on its way, \nDo not go gentle into that good night. \n\n\nGrave men, near death, who see with blinding sight \nBlind eyes could blaze like meteors and be gay, \nRage, rage against the dying of the light. \n\n\nAnd you, my father, there on the sad height, \nCurse, bless me now with your fierce tears, I pray. \nDo not go gentle into that good night. \nRage, rage against the dying of the light. \n\n\nDylan Thomas, 1951 or 1952 \n\n\nA Villanelle is a 19-line poem consisting of five tercets and a final quatrain on two rhymes, with the first and third lines of the first tercet repeated alternately as a refrain closing the succeeding stanzas and joined as the final couplet of the quatrain. The word is French, derived from Italian villanella, the feminine of villanello, rustic; from villano, peasant; from Vulgar Latin villanus; from Latin villa, a country house. \n\n"Addressed to the poet's father as he approached blindness and death. The relevant aspect of the relationship was Thomas's profound respect for his father's uncompromising independence of mind, now tamed by illness. In the face of strong emotion, the poet sets himself the task of mastering it in the difficult form of the villanelle. Five tercets are followed by a quatrain, with the first and last line of the stanza repeated alternately as the last line of the subsequent stanzas and gathered into a couplet at the end of the quatrain. And all this on only two rhymes. Thomas further compounds his difficulty by having each line contain 10 syllables".
517760
FIRST OFF...WHAT THE HECK IS THIS QUESTION DOING IN THE MATHEMATICS CATEGORY?!\n\ngold represents several things in this poem...\nfirst green is gold...(could be: first money (green) was based on gold, or could be that when trees sprout fresh (INNOCENT) leaves from branches they look tan/gold.)\nas autumn turns leaves to gold, they die and fall off...\nlight (as in golden sunlight) will always fall each day...\n\nbasically, it is saying that although gold (innocence) is the most precious commodity, you cannot hold onto it because it is always bound to go away...
220559
honestly i dont think u completely understand irony there is a lot of forms of irony and i agree that some of alanis morisettes lyrics are wrong but some of completely right and she is canadian how are u going to write americans???instead of canadians we as americans understand irony very well!
231141
here you'll find analysis of this poem\n\nhttp://oldpoetry.com/ocomment/by/AndrewHide\n\nhttp://oldpoetry.com/opoem/\n\nhttp://palc.sd40.bc.ca/palc/classes/assignments.htm
400778
SONNET 29 PARAPHRASE \nWhen, in disgrace with fortune and men's eyes, When I've run out of luck and people look down on me, \nI all alone beweep my outcast state All alone I lament my fate as an outcast* \nAnd trouble deaf heaven with my bootless cries And pray to heaven but my cries go unheard \nAnd look upon myself and curse my fate, And look at myself, cursing my fate, \nWishing me like to one more rich in hope, Wishing I were like one* who had more hope in life \nFeatured like him, like him with friends possess'd, Wishing I looked like him; wishing I were surrounded by friends, \nDesiring this man's art and that man's scope, I desire this man's art and that man's range*, \nWith what I most enjoy contented least; I am least contented with what I used to enjoy most. \nYet in these thoughts myself almost despising, But in this mood almost despising myself, \nHaply I think on thee, and then my state, I think of you and then my state of sadness \nLike to the lark at break of day arising Like the lark at the break of day, rises \nFrom sullen earth, sings hymns at heaven's gate; From the gloomy earth and I sing hyms to heaven; \nFor thy sweet love remember'd such wealth brings For thinking of your love brings such happiness to mind \nThat then I scorn to change my state with kings. That then I would not change my state with kings. \nANALYSIS\n\n\n[Line 2]* - The poet's 'outcast state' is possibly a reference to his lack of work as a player due to the closing of the theatres in 1592. It also could be a reference to the attack on Shakespeare at the hands of Robert Greene (see below). \n\n[Line 5]* - Sometimes editors report that, in lines 5 and 6, the poet is referring to his friend, likely the Earl of Southampton. However, if lines 13 and 14 are addressed to the friend, then the previous reference to the friend in lines 5 and 6 seems out of place and illogical. It makes more sense to assume that lines 5 and 6 are not addressed to one person in particular, in keeping with the later references to "this man's art" and "that man's scope". \n\n[Line 7]* - "range" = "range of opportunity". \n\nSonnet 29 shows us the poet at his most insecure and troubled. He feels himself unlucky, disgraced, and jealous of those around him. What is causing the poet's anguish one can only guess, but an examination of the circumstances surrounding his life at the time he wrote sonnet 29 could help us to understand his depression. In 1592, the London theatres closed due to a severe outbreak of the plague. Although it is possible that Shakespeare toured the outlying areas of London with acting companies like Pembroke's Men or Lord Strange's Men, it seems more likely that he left the theatre entirely during this time, possibly to work on his non-dramatic poetry. The closing of the playhouses made it hard for Shakespeare and other actors of the day to earn a living. With plague and poverty threatening his life, it is only natural that he felt "in disgrace with fortune". Moreover, in 1592 there came a scathing attack on Shakespeare by dramatist Robert Greene, who wrote in a deathbed diary: "There is an upstart crow, beautified with our feathers, that with his Tygers heart wrapt in a Players hide supposes he is as well able to bombast out a blank verse as the best of you; and, being an absolute Johannes Factotum, is in his own conceit the only Shake-scene in a country." Shakespeare was deeply disturbed by this assault, feeling disgraced in "men's eyes" as well as fortune's.\n\nThe poet is so forlorn that even the passion for his profession as an actor seems to have died (8). But the sonnet ends with a positive affirmation that all is not lost -- that the poet's dear friend can compensate for the grief he feels. See the analysis of Sonnet 30 for more information.
286002
"Who will cry for the little boy, lost and all alone? \nWho will cry for the little boy, abandoned without his own? \nWho will cry for the little boy? He cried himself to sleep. \nWho will cry for the little boy? He never had for keeps. \nWho will cry for the little boy? He walked the burning sand. \nWho will cry for the little boy? The boy inside the man. \nWho will cry for the little boy? Who knows well hurt and pain. \nWho will cry for the little boy? He died and died again. \nWho will cry for the little boy? A good boy he tried to be. \nWho will cry for the little boy, who cries inside of me?"\n\n\n\nI love this poem because i went throught a very hard life as a child, and this always made me feel better.
803519
hm..\nthis poem sounds pretty straightforward, but yes i think there are deeper meanings.\n\nThe impact that parents can have on their children is heavily emphasized -- The speaker feels this strong need to be cared for and held by her mother. In turn, she expresses some inherent dependence on parental figures, especially by her last thoughts (which we are supposed to believe are her last thoughts, although it could actually just be due to her panicked state of mind). \n\nAnother more overarching message I see in this poem is that everyone's actions affect everyone else in some way. This girl is losing her life at the expense of another's senseless enjoyment.  In the girl's case, her father's advice influenced herself so that she would make the "healthy choice." It's implied that the drunk guy may have been influenced to do the same (not drink and drive)-- had his parents told him or even so, had he listened. In the end, it's clear that his choice affected her own life by taking it away.
331249
Swift talks about the poor and i remember that he proposes that they eat babies.  Irony and Satire is like saying a very extreme opposite of something to get the actually idea intended across.
296213
O.K.    I have searched and searched for this poem...Is there possibly a different title??? I ADORE and LOVE Leonard Cohen but I am at a loss on how to help you....I was hoping that someone else would step up because I was dieing to know the answer myself!!! I'm so sorry.
632817
shakespearean allusion is common in the text (look at the title: “Oh brave new world that has such people in it...” from The Tempest), also utopian irony ... try that for starters
414318
Wow, I love searching for answers on questions like this- this is a tough one!\n\nThis was the ONLY thing I could find, a comment someone wrote...\n\nIt could be a man controlling her life--her father, Wadsworth, Higginson?--but it makes more sense to identify the "He" and "Whom" with god. The belt is some kind of sign of office, the one who puts the belt on the speaker is a "Duke" with "imperial" stature. Once belted, the speaker becomes a member of the elite and ethereal "Cloud." (If you wanted to you could read this a some kind of kinky bondage thing--The Story of E--but that would be inappropriate and less than tactful.)\n\nWith the second eight lines in place, I see the poem as a wry and witty, even slightly rueful, comment on ED's famous reclusivity. There might not have been a train she wouldn't take as it lapped up its miles, but in fact she did take very few, and she did care where they were going!\n\nAnd of course, like most of ED's other poems, you can sing it to the tune of "The Yellow Rose of Texas" or "Amazing Grace," or any other song in psalm meter.\n\nCiarog from United States \n\n\nAlternatively, I guess maybe background on Dickinson's usual themes might help?\n\nEmily Dickinson is such a unique poet that it is very difficult to place her in any single tradition—she seems to come from everywhere and nowhere at once. Her poetic form, with her customary four-line stanzas, ABCB rhyme schemes, and alternations in iambic meter between tetrameter and trimeter, is derived from Psalms and Protestant hymns, but Dickinson so thoroughly appropriates the forms—interposing her own long, rhythmic dashes designed to interrupt the meter and indicate short pauses—that the resemblance seems quite faint. Her subjects are often parts of the topography of her own psyche; she explores her own feelings with painstaking and often painful honesty but never loses sight of their universal poetic application; one of her greatest techniques is to write about the particulars of her own emotions in a kind of universal homiletic or adage-like tone (“After great pain, a formal feeling comes”) that seems to describe the reader’s mind as well as it does the poet’s. Dickinson is not a “philosophical poet”; unlike Wordsworth or Yeats, she makes no effort to organize her thoughts and feelings into a coherent, unified worldview. Rather, her poems simply record thoughts and feelings experienced naturally over the course of a lifetime devoted to reflection and creativity: the powerful mind represented in these records is by turns astonishing, compelling, moving, and thought-provoking, and emerges much more vividly than if Dickinson had orchestrated her work according to a preconceived philosophical system.\nOf course, Dickinson’s greatest achievement as a poet of inwardness is her brilliant, diamond-hard language. Dickinson often writes aphoristically, meaning that she compresses a great deal of meaning into a very small number of words. This can make her poems hard to understand on a first reading, but when their meaning does unveil itself, it often explodes in the mind all at once, and lines that seemed baffling can become intensely and unforgettably clear. Other poems—many of her most famous, in fact—are much less difficult to understand, and they exhibit her extraordinary powers of observation and description. Dickinson’s imagination can lead her into very peculiar territory—some of her most famous poems are bizarre death-fantasies and astonishing metaphorical conceits—but she is equally deft in her navigation of the domestic, writing beautiful nature-lyrics alongside her wild flights of imagination and often combining the two with great facility.\n\nTo be perfectly honest, I think your best bet is to borrow a book from the library with criticism...\nAll the best, hope that helps somehow!