.... for Death" gives the reader a feeling of forward movement through the second and third quatrain. For example, in line 5, Dickinson begins death's journey with a slow, forward movement, which can be seen as she writes, "We slowly drove-He knew no haste." The third quatrain seems to speed up as the trinity of death, immortality, and the speaker pass the children playing, the fields of grain, and the setting sun one after another. The poem seems to get faster and faster as life goes through its course. In lines 17 and 18, however, the poem seems to slow down .....

.... to the reader. The tone seems to be of anger and then almost threatening or hostile. Hughs is expressing the frustration he and many other black people had to put up with. He talks about how prices of food are going up, tax increases, and jobs black could never get just because they are colored. In the first and second stanza the tone is one of anger and frustration, but in the last stanza however, it seems to be a threat or a warning to white society. The last several lines state, “ And wonder what we’re gonna do in the face of what we remembe .....

.... "Beat! Drums! Beat!" that when war comes, everything stops, including the sense and reason of the moment. No matter what is happening, there is no excuse for attending to anything else. The urgency of the moment rules. "Are beds prepared for sleepers at night in the houses? no sleepers must sleep in those beds", "Make no parley - stop for no expostulation." "Let not the child's voice be heard, nor the mother's entreaties, Make even the trestles to shake the dead where they lie awaiting the hearses,". In "The Arsenal at Springfield", Longfellow notes t .....

.... in the third - efef, and in the fourth - ghgh. The meter is trecet iamb ( stressed unstressed - three times per line ). The central image in the poem is the metaphor in which the beatings are described as a waltz. The poet is led around the house, dancing - not beaten around. Which is also brought throu by the meter - trecet iamb - the beat of the waltz, thus the main image is shown through the meter as well, giving the reader more of the feeling of a dance in contrast to the 'secondery images' which are more associated with the rough experiance of a b .....

.... in fact shows that the little boy is being drug around by the drunken father. In this particular instance the boy is being hauled around, but the author compares it to a dance when you would “miss a step” and stumble. Roethke then states, “You beat time on my head”, as if he were keeping time for a dance or a rhythm on the boys head (13). This all enlarges the negativity and sadness of the poem. The small boy also states, “But I hung on like death” (3). This proves that the boy was thinking about death, but dangling on to prevent it. During this whole incid .....

.... Emble passes his youthful judgment on the others' follies V. First act of Part II, "The Seven Ages" A. Malin's domination of this act 1. Serves as a guide 2. Controls the characters through his introduction of each age B. Others support Malin's theories by drawing from past, present, and potential future experiences C. The ages 1. The first age a. Malin asks the reader to "Behold the infant" b. Child is "helpless in cradle and / Righteous still" but already has a "Dread in his dreams" .....

.... sports were done he had nothing to do. He had all of the time in the world. "Why not study?" said his mom, cooking the stew. He thought of that during supper and hurled. His mother soon tired of the grades he brought home. She made him study each day after school. He was grounded from TV, and from the phone. He was shut in his room and force-fed gruel. His grades slowly improved, thanks to his mom. Although he didn't thank her at the time. He averaged all B's by the time of the Prom .....

.... upon tempests and is never shaken" (Shakespeare 5-6). Again, Shakespeare reinforces the importance of his theory. Love must not be taken lightly or trifled with, in its truest form it is a blazing seal upon the hearts of those who know it. Once someone is in love, they can not move on or change the object of their affection. Similarly, someone who is not in love is unable to fabricate the kind of devotion which such passion demands. It is this sense of definite, separate, and opposing archetypes which is the foundation of "Sonnet 116." Shakespeare proce .....