.... metaphor and personification. Thus, in sonnet 73, he compares himself to a grove of trees in early winter, "When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold,..." These lines seem to refer to an aged, balding man, bundled unsuccessfully against the weather. Perhaps, in a larger sense, they refer to that time in our lives when our faculties are diminished and we can no longer easily withstand the normal blows of life. He regards his body as a temple- a "Bare ruined choir[s]"- where sweet birds used to sing, but it is a body now going to ruin. In Sonnet 116, love is seen as the North Star, the fixed .....

.... a deeper examination of the poem brings forth a more precise interpretation of its meaning. "Not Waving but Drowning," is referring to the man's struggle for help in his everyday existence. People perceive him, as being one who has everything desired in life; financial stability, strength, control, happiness, and independence. While in actuality, this man is emotionally bankrupt. But the front he has put on for so long prevents people from seeing the weakness and struggle he is enduring. In a sense, he is secretly drowning. The line, "It must have been too cold for him his heart gave way," refers to the loneliness in this man's life. Perhaps he .....

.... (63) which through an apocalyptic destruction, will lead to a rejuvenation of the imagination, the individual and the natural world. Shelley begins his poem by addressing the "Wild West Wind" (1). He quickly introduces the theme of death and compares the dead leaves to "ghosts" (3). The imagery of "Pestilence-stricken multitudes" makes the reader aware that Shelley is addressing more than a pile of leaves. His claustrophobic mood becomes evident when he talks of the "wintry bed" (6) and "The winged seeds, where they lie cold and low/ Each like a corpse within its grave, until/ Thine azure sister of the Spring shall blow" (7-9). In the first line, Sh .....

.... the red light emitted from an ambulance to the blood of an artery. The idea that a light is spurted out like blood is abstract and bizarre. In addition to that metaphor, Shapiro writes: "One hangs lanterns on the wrecks that cling Emptying husks of locusts, to iron poles." This rhythmical sentence paints a picture of locusts, grassÄ hopper like creatures, clinging to a luscious green jungle of grass. Yet symbolically this jungle is the twisted, black, and crisp auto wreck. This depiction of the auto wreck is extravag ant and almost unreal. Using metaphors, Shapiro portrays the fantasy-like auto wreck in which wildness is indispensa .....

.... cultural inheritances is evident in the way he uses their mythologies in his poetry. In his poem ‘No Return’ there is an obvious use of culture’s mythology: “her journey to Pulotu has no dawn.” (p109) Pulotu is the spirit world in Polynesian mythology. In ‘The Mountains of Ta’u’ he draws on the famous legend of Maui: “like spinning tops or Maui’s endlessly / inventing mind.” (p110) Maui is an important part of Polynesian mythology; Maui is a demigod who is used to tell of many stories. There are also reflections of Polynesian cultural inheritances in Hone Tuwhare’s use of mythology in his poetry. Tuwhare was born in Kaikohe, and belongs to the Ngapuhi ha .....

.... Riffaterre identifies psychological, philosophical, and genetic interpretations (connected to "mythological tradition") as "aiming outwards." These approaches find the meaning of the text in the relationship of its images to other texts" (40). Riffaterre argues for a more internal reading of the poems. Riffaterre emphasizes the importance of the relationships between words as opposed to their "corresponding realities" (40). For example, he states that the "flower or the fruit is a variant of the worm's dwelling constructed through destruction. Thus, as a word, worm is meaningful only in the context of flower, and flower only in the context of worm" (41). Af .....

.... the forest of Babi Yar, a ravine on the outskirts of Kiev. It was the site of the Nazi massacre of more than thirty thousand Russian Jews on September 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 b .....

.... The harsh "k" sounds of the second line in "chuckling", "knuckle", and "key" suggest the abrupt sound of air passing through the paper roll of a player piano. In the next line, the word flicker is a phonetic intensive, closely associated with word ‘flame'. Since the ‘flame' is a symbol of life and light, it gives the reader a feeling that the piano is alive, further adding to the effect of personification in this poem. In the last line of the first stanza, there is consonance in "these", "keys", and "melodies". The repeat of the smooth "s" sound in these three consecutive words evokes a feeling of rhythm or harmony - pleasant sounds from the player piano. T .....