A world of poetry for cxc summary pdf download

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Pdf summary a download of poetry for cxc world milk and honey book online free pdf download

Cubase elements 10 download	He hopes to inspire some form of friendliness through this peaceable smiling. Through the misty panes of the eye-piece his gas mask and the thick green tint of the gas surrounding them, he sees the struggling man stumbling about like he is drowning under a green sea. It is obvious that they did bruise her skin, which is described as shuddering due to her fear. The persona himself is jealous of the rough children's freedom even though his social class permits him far more privilege than they have. Here, the persona continues with a tone of disgust in remarking how all of the world now has been smudged and download windows 7 lifecam vx-6000 microsoft driver by mankind. The poet uses alliteration once again with the repetition of the 'm' sound: "men marched asleep. I feared the salt coarse pointing of those boys.
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Download network driver for windows xp	The horrific image illustrated previously leads summary into the gloomy atmosphere created here. We walked away. However, the persona questions the actions of mankind in their insatiable search for self-gain and exploitation of the natural world. They were stubborn. The mother has prepared herself for the inevitable passing of her son due to his involvement in this criminal activity.
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The poet uses alliteration once again with the repetition of the 'm' sound: "men marched asleep. Thus, the drowsy way in which the men walked is communicated both with the alliteration and the line itself, as their trudging makes it seem as though they are asleep and merely sleepwalking. Many men are said to have 'lost their boots,' which may be a euphemism for losing their feet in explosions.

Nonetheless, they limp onward 'blood-shod. So, having no boots and maybe missing a foot , their feet are instead covered with blood. The soldiers are exhausted to such a point that they are losing their sense of touch, sight and even hearing as they are intoxicated with enervation and fatigue. Their reactions and senses dulled by tiresome battle on the frontlines, some are even unable to hear the gas-shells thrown out behind them.

Toxic gas, the cruel weapon of chemical warfare used by countries during WWI, begins to spew out of the shells, and they must fumble madly to fit their gas masks over their heads to survive the gas attack. The poet uses 'ecstasy of fumbling' to communicate the frenzy the soldiers are in to try get their helmets on. Not everyone is able to slimly avoid breathing the noxious gas by slipping on their helmets- one man still struggles amidst the toxic fumes.

He is yelling, stumbling and floundering about, showing distress and agony. The poet uses simile again here in 'flound'ring like a man in fire' to compare his struggling, stumbling, plunging movements to that of a man doused in flames. The poet uses vivid visual imagery to convey what the persona is seeing. Through the misty panes of the eye-piece his gas mask and the thick green tint of the gas surrounding them, he sees the struggling man stumbling about like he is drowning under a green sea.

The simile 'as under a green sea. In the same way the sea is a thick body of water surrounding the person submerged in it, the gas has surrounded them and seems as thick as the water in the ocean. This graphic image seems to haunt the persona, as he speaks about it 'in all [his] dreams. He is guttering tears streaming down his face, a symptom of inhaling toxic gas , choking and drowning- the poet paints a gloomy, disturbing image that communicates his critical view of war and its casualties.

The poet comes to the final stanza, where he intends to drive home his point. The horrific image illustrated previously leads directly into the gloomy atmosphere created here. They throw the unfortunate man in a wagon, and the poet describes his eyes using a personification: 'eyes writhing in his face. A simile in 'his hanging face like a devil's sick of sin' compares the unnatural appearance of his face to that of a devil horrified of its own evil.

The poet continues the description of the horrific state of the man. Blood gargles from his lungs, corrupted by froth from the noxious chemicals. It is described with a brief simile 'obscene as cancer,' comparing the obscenity and fatality of this blood emerging from his lungs to that of cancer. The sores on his tongue are incurable, and he is now victim to this lifelong affliction despite his innocence. The poet now concludes with the scathing remark that, if you were able to experience those atrocities, the gruesome corruption of an innocent man's lungs drowning amidst the sea of green noxious gas- you definitely would not tell children the hackneyed maxim "dulce et decorum est Pro patria mori.

The line translates: "It is sweet and fitting to die for the homeland. Birdshooting Season. Olive Senior.

Birdshooting season the men. All night long contentless women. In darkness shouldering. We stand quietly on the. Little boys. Little girls whispering:. Fly Birds Fly. The persona likely a young girl due to their attention to the details of the women's emotions describes the beginning of birdshooting season.

Men gather from far and wide to the house of the persona's father, influencing an atmosphere of manliness and machismo. The preparations of both the men and the women are described through the eyes of the child.

Women prepare tea and coffee for these hunters and make food for them as they set forth on this seasonal exodus, with neither thanks nor acknowledgement. The little boys all dream of becoming birdhunters like their fathers, while the little girls encourage the bids to fly away, as though hoping that they themselves, like the birds will escape the fearsome grasp of the birdhunting men and the resulting cycle.

The themes include gender roles, nature and childhood experiences. The mood is reflective. The poet uses a combination of alliteration and metaphor in "men make marriages with their guns. The metaphor 'make marriages with their guns' conveys the care and attention they give to their guns, as though actually marrying them. Thus, they prioritize the condition of their guns, doting on them like in marriage- as they are they are the primary tools they need to work in union with for birdshooting.

The persona's father's house 'turns macho' with the influx of several men. To be 'macho' is to be manly in an excessively aggressive or assertive way, so it appears that with the flocking of men from far and wide to one home, their masculinity has built upon one another's, becoming more and more assertive to the point of machismo. Tonight the men drink white rum neat. The women are describes here as 'contentless,' meaning they are dissatisfied or unhappy.

This is likely due to the fact that they must stay up all night preparing the beverages and food for these men without thanks, only for them to depart for a long period of time to shoot birds. As the men have made marriages with their guns, they have neglected care for their wives and children.

The women must stock them up with food and drink year after year without acknowledgement from their husbands. The poem alludes to a slew of traditional Caribbean drinks and foods, and it is said that the men drink 'white rum neat,' meaning white rum undiluted at full strength. This again communicates the assertive machismo of the men, showing off their masculine resistance to strong alcohol.

The men now leave in the darkness of early morning carrying the guns they so dearly cherish and the packs holding food and drink. There is no mention of acknowledging anyone other than themselves. Little boys longing to grow up birdhunters too Little girls whispering: Fly Birds Fly. Shivering in the cold morning air, boys seem to idolize the birdhunting men, hoping to become like them in the future.

By contrast, the girls hope for the birds to fly away, whispering encouragement for them to escape. This reflects a more empathetic and caring sentiment that is contrary to the aggressive masculinity of the men. This could also be because birdshooting takes their fathers away for a simple sport, and they can see themselves in the birds, being grasped by an endless cycle surrounding a ritual of birdshooting for the enjoyment of men.

My Parents. Stephen Spender. My parents kept me from children who were rough. Who threw words like stones and wore torn clothes.

Their thighs showed through rags they ran in the street. And climbed cliffs and stripped by the country streams. I feared more than tigers their muscles like iron. Their jerking hands and their knees tight on my arms. I feared the salt coarse pointing of those boys.

Who copied my lisp behind me on the road. They were lithe they sprang out behind hedges. Like dogs to bark at my world. They threw mud. While I looked the other way, pretending to smile.

I longed to forgive them but they never smiled. In the poem, the persona recalls a childhood where his parents kept him from 'rough' children. His parents hope to protect him from the derision and harassment of these children, which, throughout the poem, is shown to be true. However, it becomes evident that in keeping him from these children likely of a lower social class than he is , his parents greatly restrict his freedom, and he is jealous of the freedom that these rough children possess.

In titling the poem My Parents and then only mentioning his parents once before speaking about bullying, the persona seems to both blame his parents for his lack of freedom and him being the target of the children's abuse. But, he also seems to appreciate their protection, as the rest of the poem essentially proves his parents right. They play in the street and climb cliffs and swim in rivers with no constraint.

He feared these children and their abrasive nature; their vituperative words and seemingly insurmountable strength. Even in this fear though, there is an admiration of their strength that far surpasses his own. Nonetheless, they would tease him constantly, mocking his lisp while pointing reproachfully. The persona seems deeply troubled by their endless torment and abuse. He pretends to smile, hoping to inspire some form of peace and fraternity, but to no avail.

He always longed to forgive them for their harassment, but is denied when they do not reciprocate any desire for harmony. The persona and the children are of different socioeconomic classes; the children, lower class and the persona, middle-to-upper class. Thus, there is a divide between them, and their mockery of him is suggested to have a separate motivation other than simple childish badinage- they are jealous of his privilege. The persona himself is jealous of the rough children's freedom even though his social class permits him far more privilege than they have.

This is the implicit irony of the poem. The mood of this poem is reflective. The themes include childhood experience, parental influence and social segregation. The persona begins with a somewhat accusatory phrase. His parents restrained him from being near the 'children who were rough' as a preventative measure. They do not want him to be teased and mocked for his disabilities, and the abrasive nature of these children justifies their worry.

Describing them as rough instantly creates a contrast between the children and the persona himself, as his parents' effort to keep him from them means that he himself is not like them.

The use of the word 'kept' implies that sort of childish resentment that the persona would have felt as a child, wanting to experience the same freedom as these children but held back nonetheless. The rough children are said to throw 'words like stones. Their words, therefore, are used with the intention to harm emotionally in the same way stones are thrown with the intention of causing physical destruction.

The sharp, monosyllabic language used in the simile communicates a harsh use of words without etiquette characteristic of the lower class. The children wear torn clothes, another indicator of their less than fortunate status. Despite this suboptimal economic status, the children are able to explore and play uninhibited. They run in the street, climb cliffs and swim in streams; all things that our dear persona could never dream of doing.

His overprotective parents keep him from both these children and their carefree, unrestricted lifestyle. He is envious of them, and wishes to enjoy the same wonders of freedom as they do. An alliteration is used here in 'climbed cliffs. Their thighs are said to show 'through rags,' rags being a symbol of poverty and communicating their poorer status in comparison to the persona. Their jerking hands and their knees tight on my arms". Using hyperbole, the persona communicates how great his fear was of these boys.

Tigers are able rip a human limb from limb with sheer animalistic instinct and power, but he still places his fear of their muscles above that hence why it is an exaggerated expression.

Coupled with the use of simile to compare their muscles to the rigid strength of iron, the persona conveys a very exaggerated fear along with a possible amount of admiration of their strength.

Being of a lower working class, they would perform more manual labour and explore more, giving them physical strength far beyond the reach of the persona. We also see the harassment he is subjected to, as he is pinned to the ground during some sort of fight. He is made the victim of this torment, and it is possibly because of how different he is from them. His superior social status is a likely cause, along with his disability mentioned later on in the poem.

The persona now states that he feared their 'salt coarse pointing. The use of coarse continues the description of the children as rough, but it also gives a tangibility to the derision of the boys. The persona feels their mockery to be coarse and harsh, inflicting a near-physical abrasion that goes beyond some sort of friendly badinage. By saying salt coarse, it also alludes to a common phrase 'rub salt into the wound. The boys copy his lisp behind him on the road, showing that his speech impediment is a point which they use to mock him.

His disability is therefore one of the things that make him a prime target of these rough children. The persona continues to describe their incessant harassment of him.

They are lithe and agile, and he is not. Using simile, he compares them to dogs, "springing out behind hedges like dogs to bark at my world. In the same way, like animals, the children jump out at him and threaten him and his highly privileged world.

Throughout their mud-throwing he would pretend to smile, as though unperturbed by this torment. He hopes to inspire some form of friendliness through this peaceable smiling. Even though he wants to forgive them for the torment they cause him, they never reciprocate this desire, nor do they return a smile. The difference in their social classes causes the children to envy his fortune while he envies their freedom.

These strong societal barriers of envy and jealousy create vitriol between them that cannot easily be overcome. Little Boy Crying. Mervyn Morris. Your mouth contorting in brief spite and hurt,. The ogre towers above you, that grim giant,. You hate him, you imagine. You cannot understand, not yet,. This fierce man longs to lift you, curb your sadness. You must not make a plaything of the rain. The poem is narrating an interaction between a father and his son, who he has punished for playing in the rain.

The little boy feels somewhat betrayed by his father, and finds no sign of remorse in him. So, he sees him as evil figure, likening him to the evil giant from the fairy tale of Jack and the Beanstalk. The poem accurately shows how the child feels in the moment- a sudden emotion of cold hate and anger towards this 'colossal cruel' who has harmed him. In the third stanza though, the poet introduces the perspective of the father, who evidently cares for his son.

Through the child's eyes, he is painted in a light of supreme cruelty and callousness due to emotionally-caused exaggeration. The father is shown to be caring because he feels guilt and remorse when he sees the tears of his son. But the dilemma within is obvious- he doesn't enjoy making his son feel this way, but he must teach him this lesson.

He wants to comfort him and show his care; but he knows that he must maintain his composure in order for his son to truly learn the lesson. The poem is written from a third person omniscient perspective. The themes are parenting, vulnerability and childhood experiences. The mood is tense. This line begins to show the little boy starting to cry. His mouth twists as shown with 'contorting' , showing not only his pain emotional and physical but also an attempt to spite deliberately annoy his father.

Contrast is introduced here, where the laughter of the child happiness metamorphoses an example of diction by the poet into howls of pain and hurt. To metamorphose means to change completely in form or nature- so, in the same way his laughter changes to howls, his happiness changes to despair and pain.

The poet continues to show contrast between his previous disposition and now- when his frame has tightened as he contracts in beginning to cry. His frame tight with 'three year old frustration,' which is sort of ironic considering that, being 3 years old, he would have very little to be frustrated about, and the harsher more oppressive concept of frustration clashes with the small non-threatening nature of a 3 year old.

This is an example of hyperbole, where the poet suggests that the child's eyes are 'swimming tears' that splash his feet. Obviously a human's eyes can't produce enough tears to literally splash upon their feet- but the poet uses this device to show the exaggerated crying of the child.

The phrase 'eyes swimming tears' suggests that the child's eyes are completely submerged in tears. Now the boy searches for any sign of remorse, empathy or guilt in this unnamed person who has hit him. Alliteration slap struck is used along with monosyllabic language 'quick slap struck,' each word is one syllable to convey the speed of the slap.

In this stanza, the little boy is now likening the evil of this unnamed person the best way he can- using fairly tales and mystical fictional evils. Using a metaphor, he refers to this person as an ogre towering over him.

Using alliteration, the boy calls this person a 'grim giant' who is cold and unfeeling, and a 'colossal cruel. He is so angered and frustrated in this moment that he compares his abuser to a giant, an allusion to the fairy tale Jack and the Beanstalk ' The boy continues with sentiments exaggerated by momentary pain, frustration and anger. The boy is said to hate this man, and imagines for him the same defeat as the giant in the tale- chopping down the stalk he climbs down. These plots correspond to the child's feelings of sadness and anger, he wants to defeat this person who has harmed him.

The speaker now considers the perspective of the father. The child doesn't understand yet what happens beyond the steely exterior of his father. He doesn't know that his tears really do harm him, and that he does truly feel remorse for hurting his son. The boy cries endlessly and without restraint or difficulty, but he doesn't know that his father feels these tears and they 'scald him' like acid or hot oil. Adding to the list of things the boy doesn't understand, he cannot guess the conflict within his father that is hidden by an unfaltering facade.

He doesn't want to hurt his son, but he cannot show the hesitation. The poet uses contrast again here, juxtaposing the description of this man as 'fierce' with the description of this man as a vulnerable, loving, empathetic one who wants to curb the boy's sadness. The father sees his son crying, and his natural reaction is to want to comfort him- but he cannot, in order to ensure that he learns the lesson. This final line conveys what was likely the reason for the father punishing the child, he was playing in the rain.

Gerard Manley-Hopkins. The world is charged with the grandeur of God. It will flame out, like shining from shook foil;. It gathers to a greatness, like the ooze of oil. Why do men then now not reck his rod? Generations have trod, have trod, have trod;. And all is seared with trade; bleared, smeared with toil;. And wears man's smudge and shares man's smell: the soil. Is bare now, nor can foot feel, being shod. And for all this, nature is never spent;.

There lives the dearest freshness deep down things;. And though the last lights off the black West went. Oh, morning, at the brown brink eastward, springs —. Because the Holy Ghost over the bent. World broods with warm breast and with ah! In this poem, the persona is adulating the incredible power of God. He compares the glory of the Lord to an electric charge present in all things- a fulminant power uncontainable and endlessly great.

However, the persona questions the actions of mankind in their insatiable search for self-gain and exploitation of the natural world. He wonders why mankind does not heed the warning of and defer to the immense power of the Lord, but rather leaves a permanent deleterious mark on the surrounding world. Even in this questioning of the deplorable acts of humanity against the world, he realizes that the ever-present innate freshness in all things continues to live on.

Nature is never completely depleted by humanity's ruthless exploitation of it. Even though the sun sets on one day, the sun rises yet again for the triumphant beginning of another, simply because the Holy Ghost, like a mother bird tending to her young, nurtures it without fail. They both speak about the wonder and beauty of nature.

And they are both Italian Sonnets. The theme of this poem is a sort of glorification of God- that is, Hopkins intends to adulate the grandeur of God and his unshakeable infusion in nature. The theme also incorporates man vs nature or man's destruction of nature. The tone is reverent overall, but shifts between disgust and hope at some points. The persona here states that the world is 'charged' with God's grandeur. The use of the word 'charged' here relates God's grandeur specifically to electricity, which is well-known to give things electrical charges.

The comparison of electromotive force with God's grandeur implies that everything is inherently imbued with it, as though filled with electricity. It is possible that the poet intends to indicate how just like how electric power drives machinery and circuits, the world is powered by the glory of the Lord.

The word charged could have a second additional meaning intended by the poet. Charge can also mean to entrust someone with a responsibility- so it could be interpreted in the context to mean that not only has the world been infused with this electrical potential energy, but the world has also been entrusted with the responsibility of the grandeur of God, in terms of ensuring that the glory of God is upheld and lauded. The poet continues with an extended metaphor comparing God's grandeur to electricity here.

He goes on to state that the charge imbued by the grandeur of God will fulminate to such an intensity that it flames out in a flashing like the reflection from the multiple facets of a sheet of foil when shook. This vivid visual imagery gives the reader the impression of a surge of awe-inspiring intense light. This line also incorporates the use of an alliteration with "shining The grandeur of God is now given a oil-like quality, gathering 'to a greatness.

This line continues from the last line, where the phrase was broken except for the last word to give the impression of urgency and an abrupt pause using a single syllable to remind the remind the reader of the stark and puzzling nature of the question about to be asked. The persona now questions why mankind does not 'reck his rod. Coupled with the use of the word 'rod,' somewhat of a metonym for God and his authority, we can understand this line to be a question of why humanity does not defer to the divine authority of God.

Given that the grandeur of God is so omnipresent and inherent within the word, he ponders why humanity would debase the natural world rather than heeding to God's unshakeable power his rod. Two alliterations are also used here, with the repetition of the 'n' sound in "now not" and the 'r' sound in "reck his rod. This line serves to show how over years of humanity's dominion, they have trampled constantly over the earth. The poet utilizes the literary device of repetition to give the impression of interminability, incessance and perpetuality a bunch of fancy words for endlessness.

This shows how generations of humans have walked upon the earth with blatant disregard for God's authority. Not only does it convey this concept, but it also acts as an effective connector between lines 4 and 6, the former questioning why man ignores God's grandeur, and the latter presenting the deleterious effects of man's obsession with commerce and self-gain.

Hence, this line gives a time period for the line it precedes. This line shows how the profit-centered, industrialist behaviour of mankind has so terribly affected and despoiled nature. The poet uses internal rhyme here, repeating that '-eared' syllable throughout the line. The earth and nature have been sullied by the selfish toil of humanity.

Here, the persona continues with a tone of disgust in remarking how all of the world now has been smudged and stained by mankind. It suggests that mankind cannot help but leave their own stench and damage the natural world with industry and economic pursuits.

The soil, the persona says, is now devoid of natural life- but humanity is even incapable of feeling this connection to the earth due to their feet being covered by shoes.

This could be considered the volta or turning point of the poem. The persona states that despite the constant destruction of nature by humanity in their egotistic pursuits, nature itself is never depleted completely or 'spent.

There is an alliteration used here, with "nature is never. The persona continues with this tone of hope, by saying that the 'dearest freshness' lives on deep within all things.

This shows that even though nature is trampled upon in humanity's labouring for self-gain, this dear freshness- a reinvigorating, refreshing and inspiriting influence- remains inherent within nature.

This completely opposite influence to humanity Hopkins relates as an innate spiritual energy that excites all things. There is another alliteration here with "deep down" things. The persona here continues to highlight the replenishing quality of nature.

He notes that even though the sun fades into darkness, setting in the west upon the completion of one day, morning springs forward again as the sun rises in the east for the beginning of another day. He lauds this constant cycle of regeneration that happens irrespective of humanity's actions, showing his confidence in the longevity and infinite regenerative ability of nature. The persona now compares the Holy Ghost to a bird brooding and nurturing her egg.

Thus, the Holy Ghost is a bird-like protector who guards this 'bent world' in its protective care. A Stone's Throw. Elma Mitchell. We shouted out. Here she is! It's her all right '. We caught her. There she was -. A decent-looking woman, you'd have said,. They often are. Beautiful, but dead scared,. Tousled - we roughed her up. A little, nothing much. And not the first time. By any means. She'd felt men's hands. Greedy over her body -.

But ours were virtuous,. Of course. And if our fingers bruised. Her shuddering skin,. These were love-bites, compared. To the hail of kisses of stone,.

The last assault. And battery, frigid rape,. To come. Of right. For justice must be done. Specially when. It tastes so good. And then - this guru,. Preacher, God-merchant, God-knows-what -. Spoilt the whole thing,. Speaking to her. Should never speak to them. Squatting on the ground - her level,. Writing in the dust. Something we couldn't read. And saw in her. Something we couldn't see. At least until. He turned his eyes on us,. Her eyes on us,. Our eyes upon ourselves.

We walked away. Still holding stones. That we may throw. Another day. Given the urge. The poem alludes to the story of Mary Magdalene in the Bible John , highlighting themes of religion, violence, sexism and hypocrisy. The persona is addressing some sort of unknown audience who he either wants to convince or shares his point of view. He appears to be a misogynist, objectifying the woman who is the subject of the poem and the victim of the abuse of the persona.

The persona stereotypes the woman as a harlot, and considers his assault of the woman to be righteous as a result.

The recounting of this tale of violence by the persona is laced with glee, self-righteousness and sexual overtones. As the members of the village 'rough her up,' the persona notes callously that she had felt men's hands greedy over her body before. There is a sense of irony throughout the poem due to the assertion of the persona that they, assaulting this woman are more virtuous than the woman herself or any man with whom she had been with.

He sees a sort of humanity within the woman which the persona cannot and judges them, letting the woman judge them, and therefore triggering introspection in the surrounding crowd. They now leave, still holding stones- and their judgements against her- which they hope to throw another day given the urge. The tone of the poem is nonchalant, callous and condescending.

The mood is violent. The persona begins with the use of the pronoun 'we' to show that he was accompanied by at least one other person. This could be in an attempt to share accountability, but it is more likely a display of the involvement of multiple pursuers in search of this woman. The subsequent lines are punctuated with exclamation points to show their excitement. The persona evidently sees the woman as physically attractive, but uses the phrase 'you'd have said' to somewhat distance himself from admitting to the idea of finding her attractive.

He continues to say 'they often are' showing that he simply classifies her as part of a group rather than as an individual. She is made to be only a stereotype. The persona again reaffirms the fact that the woman looks beautiful even though she is obviously deathly afraid. The word tousled here suggests that her clothing is slightly ruffled or her hair is disheveled, as though playing around.

The persona goes on to say that they 'roughed her up a little, nothing much', a euphemism, insinuating that they didn't use any excessive force in capturing her. His version of the tale is obviously a lie. These lines show that the men took the opportunity to let their hands roam around the woman's body.

The persona makes a point of expressing that it wasn't the first time something like this would have happened to her, so it wasn't out of the ordinary. This also insinuates that she was a prostitute or a adulteress given to such promiscuity. The use of the word 'greedy' suggests a violent ravaging of the woman's body by these men who hope to sate a hunger by molesting this scared woman.

They likely had long wanted to do so, but had neither the audacity nor the opportunity before. The persona here tries to make it seem as though they are virtuous in probing her body with their hands; as if they are above reproach for doing so. He tries to distance himself from those men with whom she fornicates. This is irony in that the persona suggests that he and those with him are 'virtuous' in fondling this woman's body, although they are doing the same thing as those she 'sins' with.

Hence, his obdurate assertion of self-righteousness is ironic, since he is no different from those he tries to separate himself from. The persona uses 'if' here in an attempt to mitigate their cruelty. It is obvious that they did bruise her skin, which is described as shuddering due to her fear. The persona introduces more erotic overtones by comparing these bruises to 'love-bites' like a bite made during intercourse meant to be pleasurable and painful simultaneously.

He attempts to palliate mitigate their maltreatment of the woman by saying that there was far worse in store for her- particularly what is expressed in the speaker's euphemism for being stoned, 'the hail of kisses of stone.

The persona mentions the final punishment- like the final dish of a meal assault and battery - to be given to the woman- 'frigid rape. The phrase expresses the inability to consummate the physical act of a sexual assault, as it will be her corpse being violated. This is 'justice' to the persona as it correlates to how he thinks the woman lived her life- an object for the sheer use and disposal of men.

It is made evident by this line exactly how self-righteous the persona really is, because it isn't made clear in the poem exactly whose justice is being executed.

These lines, then, clarify that this is simply providing pleasure for the persona, who neither values the life of the woman nor the idea of true justice.

After all, whose laws did the woman break? What authority have they to deliver punishment? And most of all, is anything done here even close to justice? This extrajudicial punishment is clearly just enjoyable for the persona as shown by the line " This delight in her misfortune or Schadenfreude, continues this metaphor of a meal to sate the appetites of these power-hungry, misogynistic miscreants.

The persona's tone takes a turn for the contemptuous as his masochistic euphoria is interrupted. He spits out several names to label the man by, and it is obvious that he is greatly upset by this man's intervening. He calls him a guru, as he is well-versed in matters pertaining to God or philosophy and the gospel; a God-merchant, implying the man's trade in things relating to God.

The poet skilfully incorporates the use of the phrase 'God-knows-what,' as it denotes the persona's frustration with this man and his inability to confine him to a single category; but, it also indicates the fact that God does know the identity of this man even if no one in the crowd does Jesus. The man literally comes between the mob and the woman, putting himself in harm's way. The intervening man stoops to the ground, at the same level as the woman. This essentially shows that he is not critical of the woman; he doesn't consider himself morally or socially superior to her for any reason.

Unlike the crowd, he sees her as a human being and not an object of immorality and ridicule. The way that the persona says 'her level' gives the impression of disgust and prejudice. This line, where the man is said to write something that the mob couldn't read, has several possible connotations. What he wrote could either be a foreign language or it could be simply illegible.

The man sees something in the woman that the persona and the mob could not see in her. However, it became obvious once the man looked at the crowd, and the woman looked at them as well.

In turn, they began to look at themselves. In an attempt to persecute this woman, they themselves had operated with no moral compass. They had descended to such a level where nothing morally right had been achieved. No words were said, but the crowd understood. The crowd leaves, feeling dejected and unable to satisfy their craving for brutality and violence.

However, they still have their stones in hand- showing that the insight given by the man would not be permanently incorporated into the minds of the crowd.

The precepts of true justice- rationality, truth and fairness- has never been and will never be a part of the crowd's purpose. They have no intention of changing. They will do the same again 'given the urge. The entire poem, is of course an allusion:. The poet has used the concept of intertextuality in crafting her poem from an original story taken from the Gospel of Jon 8: In the Bible story a woman is accused of adultery and is brought before Jesus because according to Mosaic Law, she should be stoned to death.

Jesus tells the woman he does not condemn her and to go and refrain from sinning. It is the Constant Image of Your Face. Dennis Brutus. It is the constant image of your face. Yet I beg mitigation, pleading guilty. The persona seems to be a statesman or some sort of stakeholder or representative of his country who is accused of heartbreak by his lover.

This entire review has been hidden because of spoilers. Show full review. Debbie Balkissoon. Nikolai James. How the hell do I read these books. Keron Henry. Sophia Bhagwandeen. Allyssa Ming. Caillou Maxwell. Zafar Talukdar. What a great book. I like it. Is good. Nicquan Samuels. I love it. Darrel Creary. All of the collections in here had such a descriptive intimacy to my culture, history, society. Kadeem Mcfarlene. Alex Ramjus. Its a great book absolutly love it.

Not all the poems but a handful of them. At surface level these poems might seem boring but when we went in depth into the meanings and literary devices for our literature class i began to love it.

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