Poetry studying Essay Example For Students

Poetry studying Essay He also refers to himself as King of Kings, (line 10) this means e regards himself as above everyone else, superior to everyone else or the most powerful leader on earth, this may indicate that he was a vain man. Commanding is depicted as a strong ruler in the poem, this can be assumed after reading frown, wrinkled lip and sneer of cold command (line 4-5) which gauges snobbishness, authority and high-handedness (www. Notes. Com). His FRR scornfulness or smug smile was intended to scare everyone around him or them fearful of him, this suggests that he ruled out of fear and thought he powerful ruler. The enormous size of the statue emphasizes the great ego Commanding (www. Notes. Com). Question 2 The word passions (line 6) and lifeless (line 7) are two contrasting words poet uses. The word passions is used to describe the passions of Zoom the sculptor understood. Passions refer to the rage, temper, fury and fire Commanding personality and how he used these characteristics to rule. Pa also suggest the enthusiasm or eagerness to rule, to control, to dominate a power. The contrasting word lifeless refer to the disintegrated statue that in the desert. The passions are said to survive (line 6-7) as they are sat hose lifeless things. Stamped refers to the way in which the sculptor ins frown, the wrinkled lip and the sneer on the statues face and these yet us remain even though the sculptor and Commanding have both passed (www. Shampoo. Com). There is a contrast between life and death as these w used. This means that even though the sculptor and Commanding are both passions still survive (still live) as they are inscribed on the pieces of the which are referred to as lifeless things (www. Homos. Com). Shelley may suggesting that human ambition carries on and outlives humans themselves en dies, their ambition remains forever, it is timeless. Everything could be destroyed, in this case the statue, however the ambition remain (gibberellins. Digress. It) On the other hand, Shelley could be suggesting t point in time one could possess so much enthusiasm, eagerness and iambi all of a sudden all this ambition could vanish or fade away. Question 3 The hand that mocked (line 8) refers to the sculptors hand; mocked in t could mean the way in which the sculptor depicted the kings passions or furthermore we could assume that mocked refers to the way in which the dad fun of Commanding or portrayed him in attempt to ridicule him. (www. Beautification. Org). The heart that fed could describe the Mann the sculptor boosted Commanding ego by perfectly sculpting Commanding t desire. So at the same time the sculptor boosted Commanding ego yet mocked him (www. Shampoo. Com). The irony is that Commanding is yet so confident, boastful, ostentatious and proud as suggested by the words My name is Commanding, King of Kings (line 10); thus he clearly does not realize that the sculptor may have intended to mock him (insult him). In addition the irony lies in the fact that Commanding tells everyone boastfully to look on his works and despair (line 1 1), however there are no works to be seen in the desert, it is bare and isolated. Only fragments of the statue are seen and nothing remains, his works have vanished. Commanding is boasting to people about his wealth and power, however his boasts are void and worthless as the empty desert (www. Beautification. Com). More irony exists because at some point Commanding was a powerful, dominant ruler yet now nothing mains of his domination besides his disintegrated statue (passions yet survive; line 6-7). An atmosphere of degeneration and despair is created in the poem as Shelley uses certain words and phrases to create a feeling of incompleteness, deterioration, hopelessness and disintegration. .u7ac8273d7821f2c8eec4bbdf1a39bd0b , .u7ac8273d7821f2c8eec4bbdf1a39bd0b .postImageUrl , .u7ac8273d7821f2c8eec4bbdf1a39bd0b .centered-text-area { min-height: 80px; position: relative; } .u7ac8273d7821f2c8eec4bbdf1a39bd0b , .u7ac8273d7821f2c8eec4bbdf1a39bd0b:hover , .u7ac8273d7821f2c8eec4bbdf1a39bd0b:visited , .u7ac8273d7821f2c8eec4bbdf1a39bd0b:active { border:0!important; } .u7ac8273d7821f2c8eec4bbdf1a39bd0b .clearfix:after { content: ""; display: table; clear: both; } .u7ac8273d7821f2c8eec4bbdf1a39bd0b { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u7ac8273d7821f2c8eec4bbdf1a39bd0b:active , .u7ac8273d7821f2c8eec4bbdf1a39bd0b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7ac8273d7821f2c8eec4bbdf1a39bd0b .centered-text-area { width: 100%; position: relative ; } .u7ac8273d7821f2c8eec4bbdf1a39bd0b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7ac8273d7821f2c8eec4bbdf1a39bd0b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7ac8273d7821f2c8eec4bbdf1a39bd0b .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u7ac8273d7821f2c8eec4bbdf1a39bd0b:hover .ctaButton { background-color: #34495E!important; } .u7ac8273d7821f2c8eec4bbdf1a39bd0b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7ac8273d7821f2c8eec4bbdf1a39bd0b .u7ac8273d7821f2c8eec4bbdf1a39bd0b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7ac8273d7821f2c8eec4bbdf1a39bd0b:after { content: ""; display: block; clear: both; } READ: Literature study on Singapore EssayThe word truckles (line 2) refers to the statue of Commanding; Truckles legs of stone indicates that there is evidence of stone legs and as mentioned in line 4, a face (shattered visage), but what has happened to the rest of body? Truckles means without a torso, therefore a pair of legs with no DOD (www. Shampoo. Com). The word truckles emphasizes incompleteness or decay of the statue, this suggests defeat, that Commanding was defeated and left to pieces. The words half sunk (line 4) suggests that Commanding was overthrown, his face is already partially buried in the sand and slowly as time goes by he will be completely buried in the sand. This suggests that as years go by he is more and more forgotten. The face Just like the rest of the statue is shattered (line 4); the word shattered is used to create a feeling of hopelessness and despair, this also creates an atmosphere of devastation. The words frown, wrinkled lip and sneer of cold command (line 4-5) creates an atmosphere of misery, discomfort and despair, as Commanding doesnt seem to be a very happy person, he seems to be upset about something (www. Shampoo. Com). The description of the statue seems to be very despondent, thus creating an atmosphere of despair. The fragments of the statue are described as lifeless things, an atmosphere of melancholy is created as these words suggest death of the sculptor and Commanding and degeneration. In line 12 the allowing words are used, Nothing beside remains, these words create an atmosphere of emptiness, a feeling of desertion and isolation, which in turn creates a gloomy atmosphere. The word decay (line 12) as it is used suggests the decline in Commanding power, which further creates an atmosphere of despair, hopelessness and disintegration. Colossal wreck refers to the state of the fragmented statue. The word wreck creates a sense of deterioration or destruction. Lastly the words in line 13 boundless and bare suggest that the desert was infinite, endless, empty, isolate and barren.