What Will Your Verse Be?

Poetry is a composite art form that speaks to its reader’s, it is not only heard but is felt through the powerful emotion evoked from its speaker. Poetry is immensely complex, it is not meant to be read out loud but rather performed; poetry digs deep into ones soul and picks at the stitches of emotion. World renowned actor Robin Williams stated in the film Dead Poets Society, “We read and write poetry because we are members of the human race. Poetry, beauty, romance and love, these are what we stay alive for. The powerful play goes on and you may contribute a verse. What will your verse be?” Poetry is the very thing that keeps human beings going through both good and bad times, it is what lets them know that they are not alone; that there are others in the world who feel and think the same way they do.

In the famous poem “Childhood is the Kingdom Where Nobody Dies” by Edna St. Vincent Millay, everlasting childhood and the innocence of childhood is an evident theme portrayed throughout the poem. The poem begins with a metaphor describing childhood as a fantasy kingdom where there is no tragedy, Edna states “Childhood is not from birth to a certain age and at a certain age the child is grown, and puts away childish things. Childhood is the kingdom where nobody dies” (Millay 1). This line creates an extreme solemn tone in that the author describes the never-land of childhood as a safe place, a sheltered untroubled land. Although, there comes a point in time where one must put these childish fantasies aside and grow into adulthood, therefore ultimately preparing to face the astringent realities that are life. As long as one remains in this false reality and illusion of real life, they are nonaligned from all responsibility and pain that comes alone with adulthood. The poem then goes on to claim, “Nobody that matters, that is. Distant relatives of course die, whom one never has seen or has seen for an hour, and they gave one candy in a pink-and-green striped bag, or a jack-knife, and went away, and cannot really be said to have lived at all” (Millay 2). Here the author highlights that although others may die, as a child you believe the ones who are dearest and closest to your heart are safe from deaths hand, although people you have never known or hardly knew may pass away your loved ones will never disappear. This line creates the tone of true misplaced hope in that because someone is of importance to you does not rid them of their fate. Childhood is also described as having eternity to right your wrongs, that you always have time to say sorry. For example Millay states, “And if you have said, “For heaven’s sake, must you always be kissing a person?” Or, “I do wish to gracious you’d stop tapping on the window with your thimble!” Tomorrow, or even the day after tomorrow if you’re busy having fun, is plenty of time to say, “I’m sorry, mother.” (Millay 3).  This line portrays a sanguine tone in that childhood allows one to have faith in the idea of “forever”, that no matter the circumstance there is an infinite number of tomorrows, next week, or even next year to fix what you’ve done. Millay has successfully illustrated the theme of innocence and everlasting childhood through the use of tone.

In the poem “Playgrounds” by Laurence Alma-Tadema, childhood imagination and the loss of that imagination when entering adulthood is a prominent theme displayed throughout the poem. The author begins the poems by stating, “In summer I am very glad we children are so small, for we can see a thousand things that men can’t see at all” (Alma-Tadema 1). This line illustrates a relieved tone in that the child is obliged to be young and carefree; also being a child having the opportunity to see things differently than adults would due to of their lack of imagination. Alma-Tadema then goes on to say, “They don’t know much about the moss and all the stones they pass: they never lie and play among the forests in the grass: they walk about a long way off; and, when we’re at the sea, let father stoop as best as he can he can’t find things like me” (Alma-Tadema 2). Here the author portrays a mystical tone in that during childhood children are capable of expressing themselves through imagination in opposition to adults who do not. Clearly, the author has depicted the theme of childhood imagination and the loss of it in adulthood through tone.   

In the eminent song “Never Grow Up” by pop sensation Taylor Swift, the theme of everlasting childhood and the aspiration to remain a child is undoubtedly illustrated throughout the song. The song begins, “Your little hands wrapped around my finger and it’s so quiet in the world tonight. Your little eyelids flutter cause you’re dreaming so I tuck you in and turn on your favorite nightlight. To you everything’s funny you got nothing to regret, I’d give all I have honey if you could stay like that” (Swift 1). This line patently portrays an earnest tone in that she fiercely wishes for the nameless child to remain young and naïve for in childhood there is no regret or fear. Swift then goes on to state, “Oh darling don’t you ever grow up, don’t you ever grow up, just stay this little. Oh darling don’t you ever grow up, don’t you ever grow up it could stay this simple. I won’t let nobody hurt you, won’t let no one break your heart no one will desert you, just try to never grow up” (Swift 2). Taylor Swift distinctly portrays a tone of passion for she loves this child so deeply she does not want him or her to grow up facing the tedious reality of life. Swift then continues to discuss her experience with growing from childhood to adulthood, she sings “So here I am in my new apartment in a big city they just dropped me off. It’s so much colder than I thought it would be so I tuck myself in and turn my nightlight on” (Swift 3). Here she describes her transition from child to adult through the use of a somber tone, she is ultimately shell shocked by this transition. Incontrovertibly, Swift did a prodigious job elucidating everlasting childhood and her yearning to remain childlike through her use of tone.

Both poetry and music go hand in hand, poetry is music and music is poetry. Before a song is generated it is first poetry, and that poetry ultimately becomes lyrics. Poems “Childhood is the Kingdom Where Nobody Dies”, “Playground” and song “Never Grow Up” all have something in common which is their theme and tone. The two poems closely relate to the lyrics of Taylor Swifts song in that all revolve around the notion of childhood. For example “Childhood is the Kingdom Where Nobody Dies” centers on the conviction of everlasting childhood and innocence as well as “Never Grow Up”. Likewise the freedom to be carefree describes the poem “Playground” and relates to “Never Grow Up.” The tones of these pieces are also closely affiliated. For example all hold a grim view on adulthood and an enthusiastic perspective on childhood and the imagination that it possesses. Overall, each piece is intimately related on their basis of theme and tone.

Poetry exemplifies extreme emotion within both writers and readers, for a piece to be considered poetry it must first meet this qualification of emotion. Human beings need poetry and music to survive for it is how they find meaning in life, Anne Waldman once said “Poetry can refine our experience through expressive, heightened, rhythmic and shifting tonal structures of language. It can wake us up.” All in all, the theme and tone of art can expose the meaning and emotion behind an artist’s work and help illustrate their true purpose.      

Edna St. Vincent Millay, “Childhood is the Kingdom Where Nobody Dies," from Collected Poems. Copyright 1931, 1934, 1939, © 1958 by Edna St. Vincent Millay and Norma Millay Ellis. Reprinted with the permission of The Permissions Company, Inc., on behalf of Holly Peppe, Literary Executor, The Millay Society. www.millay.org.

Alma-Tadema, Laurence. "Childhood Is the Kingdom Where Nobody Dies." Poets.org. Web. 9 Dec. 2015. <https://www.poets.org/poetsorg/poem/playgrounds>.

Swift, Taylor. "Never Grow Up." Play.Google.com. Web. 9 Dec. 2015. <https://play.google.com/music/preview/Tr7hgwxky3j6lkqb6t5xt53wq3a?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics>.

Post Modernism and Transcendentalism

Since the beginning of time mankind has strived for perfection, an unrealistic objective which has eradicated people away from the reality their authentic self and nature. Idealism, the philosophy in which one does not connect with the natural world causing them to be non-accepting of imperfection and flaw as beauty generates the belief in the unrealistic ambition for perfection. In order to be transcendental one must first be in touch with nature allowing themselves to follow their journey in becoming the whole self, it is believed that for the spirit to be whole it must first connect and be harmonious with nature. Perfection which is defined as the condition, state, or quality of being free or as free from all flaws or defects defies the true transcendental self and diminishes authenticity. Both literature and the world around us revolve around the aim for supremacy in all aspects, overall fabricating mans greatest flaw. 

In Nathaniel Hawthorne’s masterpiece “The Birthmark”, promptly after marriage protagonist Aylmer becomes infatuated with the beauty mark that rests on his wife Georgiana’s cheek and his obsession with its removal. Aylmer states, “Georgiana, has it never occurred to you that the mark upon your cheek might be removed” (Hawthorne 219)? In confusion she replies “No, indeed, to tell you the truth, it has been so often called a charm, that I was simple enough to imagine it might be so” (Hawthorne 219). Aylmer clearly begins to express his dilemma with his wife’s beauty mark and his aspiration for her to have it removed; he views it as her cause imperfection therefore defying the transcendental spirit. He then goes on to explain, “Ah, upon another face perhaps it might, but never on yours. No, dearest Georgiana, you came so nearly perfect from the hand of Nature, that this slightest possible defect, which we hesitate whether to term a defect or a beauty, shocks me, as being the visible mark of earthly imperfection” (Hawthorne 219). As disclosed by his statement, Aylmer is challenging the concept of the human hand vs. God’s hand and his faith that man has the ultimate control over nature. This immensely thirsted aim for perfection therefore goes against the philosophy of transcendentalism and the inability to accept “flaws” as beautiful and natural. Aylmer again expresses his obsession with perfection when he presents a chemical product to his wife, after her fearful reaction he proclaims “Do not mistrust me, dearest, its virtuous potency is yet greater than its harmful one. But see! Here is a powerful cosmetic. With a few drops of this in a vase of water, freckles may be washed away as easily as the hands are cleaned” (Hawthorne 226). Clearly Aylmer will go to any length to alter his wife’s appearance and create the image of perfection which ultimately does not exist. Finally Aylmer goes as far as to remove the mark from his wife’s cheek, tragically leading to the woman’s death. As the mark faded upon her skin, she took her last breath as a result of her husband’s idealistic views of beauty. Defying the transcendental spirit closely relates to athletes and their endeavor for perfection by developing eating disorders. In the 2001 article “Athletes are More Vulnerable to Anorexia than Non- Athletes” author Liz Applegate discusses contributors which cause athletes to be disengaged from the authentic self. For example she states that athletes who compete in sports such as gymnastics, running, and wrestling are more susceptible to developing an eating disorder due to the requirement for a slim body shape. She also discusses perfectionism which is commonly found among anorexia patients and also within the athletic society. Clearly, patients of eating disorders seek perfection therefore defying authenticity and the natural self. 

Idealism and perfection are clear indicators of defying the transcendental spirit, connecting with the natural world and with one’s authentic self. Hawthorne clearly highlights this higher idea of thinking in “The Birthmark” by portraying Aylmer as having an obsession with perfection and removing the “defect” nature and God provided his wife instead of viewing the mark as beautiful as a transcendentalist would. Idealism and defying the transcendental spirit exists is all aspects of life and the obsession for perfection, therefore manufactures man’s ultimate flaw. 

Applegate, Liz. "Athletes Are More Vulnerable to Anorexia than Non-Athletes." Anorexia. Ed. Daniel A. Leone. San Diego: Greenhaven Press, 2001. At Issue. Rpt. from "Running into Trouble." Runner's World (1 Apr. 1998). Opposing Viewpoints in Context. Web. 30 Nov. 2015.

Moral Law vs. Written Law

The Antigone of Sophocles is one of the most monumental stories of ancient Greek times that highlights and portrays the true meaning of the argument between moral law vs. written law. Antigone who possesses the colossal need to bury her tragically deceased brother will go to the ends of the earth to follow what she believes to be morally correct. Although her beliefs to respect the dead and allow him to rest in peace are inconceivably frowned upon by her uncle, who also happens to be the ruler of Thebes. In Creon’s eyes he views Polynices, Antigones brother to be a traitor who deserves to rot and decay in the streets with no proper burial service. Creon states, “I here proclaim to the city that this man shall no one honor with a grave and none shall mourn. You shall leave him without burial; you shall watch him chewed up by the birds and dogs and violated.”(Sophocles 1135) This statement clearly portrays Creon’s deep coldness towards Polynices and his disdain towards his actions. 


This is where the argument of moral law vs. written law comes into play. Creon made it astonishingly clear that Polynices is not to be buried and any man who goes against him and attempts to bury this miscreant will be sentenced to death unconditionally. He states, “You may talk wittily as you like of judgment. Only, if you don’t bring to light those men who have done this, you will yet come to say that you’re wretched gains have brought bad consequences.”(Sophocles 1139) Clearly Creon is exceptionally hard headed and prideful in saying anyone who disobeys his orders will be killed on the spot with no remorse. Antigone on the other hand who is the exact opposite of her malicious uncle decides to accept her fate for her actions and bury her treacherous brother aside from Creon’s threats. Antigone explains, “I know that I will die-of course I do- even if you had not doomed me by proclamation.”(Sophocles 1142) Although Antigone knew what would become of her, she felt in her heart that it was necessary to follow her morals and give her brother the proper burial he deserved.


Clearly Creon and Antigone both have vigorously opposing views on what the right thing to do is, whether that be of moral law or written. Antigone states the reasoning behind her views and why she chooses to be morally correct, “So for as me, to face such a fate as this is pain that does not count. But if I dare to leave the dead man, my mother’s son, dead and unburied, that would have been real pain. The other is not. Now, if you think me a fool to act like this, perhaps it is a fool that judges so.”(Sophocles 1142) In this scene Antigone explains that she feels leaving her brothers lifeless body in the street is more painful to her than facing death for giving him a proper burial and betraying Creon’s wishes. Antigone’s tenacious respect for Polynices is a tremendous example of showing the differences between someone who has morals and someone who strictly follows the law. Creon is an unclouded example of someone who possesses no morals and believes the law is the law no matter what. For example Creon claims, “This displays all kinds of evil for the use of men, instructs in the knowledge of every impious act. Those that have done this deed have been paid to do it, but in the end they will pay for what they have done.”(Sophocles 1138) To Creon, what he says goes and there are no rules above his, it is as if he believes he is a God that every one of Thebes must obey in order to survive. 


Clearly both Antigone and Creon have completely opposite views when it comes to the argument of morality or justice. Antigone stayed true to herself and her morals until her tragic death at the hands of Creon, he as well stayed true to his beliefs on law throughout the play which ultimately lead to his downfall. All in all, the story of Antigone closely depicts the differences between the argument of moral law vs. written law through the use of the glorious, adverse characters Antigone and Creon. 

Martin Luther King Said...

Throughout world history there has been an immense division of power between individuals who have oppressed a group of people and those who were actually being oppressed. This catastrophic separation of power has been seen in many aspects of life including literature and art. Prominent peace leader Dr. Martin Luther King once said, “Freedom is never voluntarily given by the oppressor; it must be demanded by the oppressed.” This eminent quote has paved the path and developed numerous outlets for many to rise above their circumstances and attempt to achieve their hope of one day living in a world where everyone is created equal.

“The Yellow Wallpaper” by Charlotte- Perkins Gilman describes the disenfranchisement women faced within society and the deprivation which lead them to suffer in silence. Based upon her own experiences of oppression, Gilman writes of a woman who is incarcerated in a home by her husband John in an attempt to help her recover from her diagnoses of temporary nervous depression. At this time in history women were meant for staying at home to clean and care for small children, any women who showed an interest in activities outside the home were seen as a threat to men and labeled as ill, men dreaded the idea that women would become cultivated of the world around them therefore leading to the uprising of women’s rights. To ensure that women remained inaudible, men kept women uninformed by not allowing them to read, write or express themselves artistically or economically in society. In the piece, John who also happens to be a physician assures his wife that the cure to her condition is simple rest and relaxation. Therefore, by having a higher stature in the medical field his vulnerable wife is susceptible to any and every medical advice he presents her with. Believing that there is more to her condition than originally thought the woman states, “You see he does not believe I am sick! And what can one do? If a physician of high standing, and one’s own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression- a slight hysterical tendency- what is one to do?” (Gilman 316). In an effort to express her inner most thoughts and emotions she finds the passion to write what she is experiencing even though she barley has the energy and knows she would never get the opportunity to share it with others, in her writings she explains “I think sometimes that if I were only well enough to write a little it would relive the press of ideas and rest me. But I find I get pretty tired when I try. It is so discouraging not to have any advice and companionship about my work” (Gilman 318). As the story and her isolation progresses, the women begins to see the figure of a women trapped behind the grimy yellow wallpaper which surrounds the room that imprisons her. Pulling back at the wallpaper piece by piece she begins to find that the woman is confined within the paper, she states, “Then in the very bright spots she keeps still, and in the very shady spots she just takes hold of the bars and shakes them hard” (Gilman 325). Gilman clearly intended for readers to make a metaphorical connection that the women behind the wallpaper represented herself entrapped by her oppression. Clearly, Gilman wrote this piece to take a stand against oppression of forced medical treatment and give women the voice they were stripped of. The oppression in Gilman’s short story closely relates to The Grandfather Clause which was in the wake of reconstruction after the Civil War. After the fifteenth amendment was ratified and citizens could not be denied the right to vote based upon race or previous servitude, white southerners enacted The Grandfather Clause which enacted poll taxes, and literacy and property tests. By doing this, the government could exclude the poor and uneducated therefore keeping the African Americans uninformed and oppressed. The clause was then deemed unconstitutional in Guinn vs. United States in 1915 after African Americans revolted and demanded their rights. 

As distinctly stated, the division of power between oppressors and the oppressed has been a struggle throughout the course of history. In many instances, the oppressed are kept down by being forced into silence and lack of enlightenment. Although oppression has been a sure thing of the past it continues to resonate in today’s day and age and groups of people being kept down by their oppressors must demand their freedom, for it will never be given without a fight.

A Streetcar Named Desire

1. In literary terms, the darkness is a place of comfort, it is where someone goes to hide in the shadows of truth and generate illusions for themselves that gives them the strength to survive each day. In Tennessee William’s play A Streetcar Named Desire, Stella is trapped in this metaphorical darkness and is blinded by the absolute truth of her husband’s barbaric behavior. In regards to her sister Blanche’s accusations of Stanley sexually assaulting her, Stella proclaims “I couldn’t go on believing her story and living with Stanley” (Stella, 1232). This quote exhibits her true denial and inability to differentiate the reality of the situation from the perfect image she has of her husband. Abuse is classified as: to treat with cruelty or violence, throughout the play Stanley exemplifies multiple examples of verbal and physical abuse towards not only Blanche but to Stella herself, therefore leading readers to believe that domestic violence is a reoccurring problem in the relationship. 
   
   During the poker scene Stanley shows extreme vexation when he grasps the radio off the table and throws it out of the window followed by Stella crying out “Drunk-drunk-animal thing you! All of you- please go home! If any of you have one spark of decency in you-” (Stella, 1190). In response to Stella’s demands Stanley charges toward her and hits her in a drunken rage. This misconduct is clear evidence of domestic violence in Stanley’s behavior and his impotence to control his temper. Later that night when he sobered up and came to the realization of what he had done Stanley called up Eunice begging to speak with Stella. Full of regret he cries out, “Stella! My baby dolls left me!” (Stanley, 1191). Frustrated with his words Eunice replies to his begging explaining that “You can’t beat on a woman an’ then call’er back! She won’t come! And her goin’t have a baby! You stinker! You whelp of a Polack, you! I hope they do haul you in and turn the fire hose on you, same as the last time!” (Eunice, 1192) clearly Eunice’s words hint that this abuse has happened before and is a reoccurring problem. Stanley’s malicious behavior towards Stella at this time can be seen as especially heinous due to the fact that she is pregnant. The Nation Domestic Hotline asserts that approximately 1.5 million women are assaulted each year as a result of domestic violence and around 324,000 cases occur during pregnancy (Robinson 3). Stella’s reaction to Stanley’s begging is a concrete example of how the cycle of his abuse continues; with Stanley begging for her forgiveness she opens the door implying her forgiveness for what he has done therefore giving him the opportunity to repeat this abusive behavior in the future.

2. In many cases of domestic violence women who are abused by a significant other or spouse tend to stay in their relationships no matter how treacherous the environment for a number of reasons. For example, many victims stay with their abusers out of embarrassment for what others may think of them, or for the simple fact that they are unaware that the relationship and the abuse are unhealthy. The next morning after the commotion Blanche approaches Stella about the incident, perplexed by Stella’s actions she asks, “All right, Stella. I will repeat the question quietly now. How could you come back in this place last night? Why, you must have slept with him!” (Blanche, 1194). In a nonchalant manor Stella replies, “Blanche, I’d forgotten how excitable you are. You’re making much too much fuss about this” (Stella, 1194). Clearly Stella is in a state of denial by diminishing the significance of her husband’s actions. In utter shock of Stanley’s behavior and fear for her sister, Blanche begs Stella to get out of the relationship although being a victim of abuse Stella sees no reason to flee. In Stella’s eyes Stanley is on a high pedestal and could do no wrong, she explains to Blanche, “I’m not in anything I want to get out of” (Stella, 1194). At this point Stella is lost down the rabbit hole of her fantasy that she and Stanley have the picture perfect relationship everyone hopes to achieve, she is so unimaginably consumed by the darkness that she is blind from reality. 

   
   

   Stella’s desperate inherited desire for love and her inability to see the light truly shine in scene 11 when Stanley commits the most ominous crime a man can perpetrate by forcing himself upon Blanche as the two of them are alone in the apartment. Throughout the play Stanley is distinctly seen as malicious, violent, and manipulative and although Stella is perfectly aware of this behavior she still chooses to believe him over her own sister. “I couldn’t go on believing her story and live with Stanley” (Stella, 1232) Stella rather convince herself that her sister could create such a colossal lie than to step into the light and expose the harsh reality of her relationship and the man she has married. In the end, it’s all just an illusion.

   
   

   Robinson, Kathryn. "Pregnancy and Abuse: How to Stay Safe for Your 9 Months." TheHotline.org. 23 July 2013. Web. 14 Oct. 2015.