Still Life while in Poem Essays

Still Life while in Poem Essays Still Life while in Poem Paper Still Life while in Poem Paper Daryush looks at the sweetness of life from a naà ¯ve and â€Å"young heiress† in Poem A, Still Life while in Poem B, Cunningham chooses to look at life from the perspective of an â€Å"aged lover.† In both poems, the poets reveal their differing attitudes towards life.  Both poets emphasise love as an aspect of the speakers’ lives through the similar form of a sonnet in their poems. The form of a sonnet expresses the poets’ focus on love in both poems, while the structured rhyme scheme in the poems convey the passion of love through the repetitive coupled rhyming of words at the end of the lines. However, Poem A ends with a rhyming couplet and thus deviates from the convention of a sonnet with two stanzas; this conveys the surprising revelations the young girl will encounter in her long future ahead. Conversely, Poem B’s expected adherence to the convention of two stanzas in a sonnet implies the speaker’s lack of surprises due to the various life experiences the â€Å"aged lover† has already gone through. Both sonnets thus have the same focus on love and yet, diverge in terms of the speakers’ perceptions towards it. Aside from the speakers’ perceptions, the descriptions of their actions in the poems serve to futher define their character. Daryush utilize unhurried movements such as the girl â€Å"[coming] over the lawn† and having taken an â€Å"early walk in her garden-wood† to show the vast amount of time the young heiress has ahead of her due to her youth. The vague action of â€Å"come† and languid characteristic of a â€Å"walk† characterize the young girl’s current lack of urgency and purpose in her life. In Poem B, Cunningham utilizes the metaphoric expression of â€Å"gears in motion† to describe the way in which the speaker connects with others. The resolute and continuous movement of the â€Å"gears† seems to metaphorically imply his sense of purpose in initiating any form of a relationship. Thus, the speaker in Poem B is perhaps a mature person who knows what he wants out of his life, unlike the youthful girl in Poem A who lack p urpose in her leisurely actions. The images in both poems serve to additionally characterize the speakers who are in differing stages of life. In Poem A, the imagery of ripe fruits such as â€Å"peaches† and â€Å"figs† are metaphoric representations of the rich passion of young people. The fruits are the most succulent at this point of time, akin to the rich passion in the girl’s life during her youthful prime. However, the speaker in Poem B debunks this ostentatious passion as it is â€Å"not for [him], not at [his] age†. This is done by presenting a crude and awkward image of himself as someone â€Å"with bony shoulders and fat face†, as opposed to the elegance of a dancer or even the â€Å"young heiress† in Poem A. Hence, the images in the poems differently serve to portray the speaker in Poem A as an elegant young girl who is enjoying the richness of youth while the speaker in B is implicitly characterized as a â€Å"clumsy† and â€Å"aged† person who does not engage in the passionate notions of young people. Finally, the enjambment and diction used in the last two lines of both poems hint at the possibility of complications in the speakers’ lives. In Poem A, the enjambment in line 13 emphasise the double denotations of the word â€Å"lies†. The pun causes the word to have a sinister subtextual meaning to it, perhaps implying the unpleasant realities of the future the naà ¯ve young heiress is venturing into. Similarly in line 13 of Poem B, the enjambment converges attention on the word â€Å"conspires†, which has an equally ominous connotation as â€Å"lies†. In the context of Poem B, the speaker may be criticizing the greed of people who wish to be â€Å"at once together and alone† and the paradoxical meaning leaves an ominous open-ended conclusion for the reader to speculate about the speaker’s accumulated life experiences with self-centered lovers. Hence, the disturbing connotations of the diction used results in ambiguity and speculation about the potential life experiences of the speakers in both poems. The speakers in both poems undoubtedly differ in terms of personality or even physical attributes, but both poets utilize similar devices to characterise the speakers. Through the characterization of the innately dissimilar speakers, the poets reveal different perceptions on life. Both poets utilize ambiguity and perhaps end off with a slight sense of foreboding, inviting speculation from the reader about the possibilities of betrayal or obstacles in the course of one’s life.

Intonation Definition and Examples in Speech

Intonation Definition and Examples in Speech In speech,  intonation is the use of changing (rising and falling) vocal pitch to convey grammatical information or personal attitude. Intonation is particularly important in expressing questions in spoken English. For example, take the sentence, When does the meeting start? The word start- including the question mark- rises up or comes up in your voice when you utter the word, notes the website  English Pronunciation Roadmap. The Musicality of Language Intonation  is the melody or music of a language, says  David Crystal, author of A Little Book of Language. Intonation refers to the way your voice rises and falls as you speak, as in, Its raining, isnt it? (or innit, perhaps) In this sentence, youre not really asking a question: Youre  telling  the listener that its raining, so you give your speech a telling melody. The pitch-level of your voice falls and you sound as if you know what youre talking about, and of course, you do, so youre making a statement. But now imagine that you  dont  know if its raining, says Crystal. You think there might be a shower outside, but youre unsure, so you ask someone to check. You use the same words, but the musicality of your voice makes a different point, as in, Its raining, isnt it? Now youre  asking  the person, so you give your speech an asking melody, says Crystal. The pitch-level of your voice rises, and you sound as if youre asking a question. Pitch and Chunking To understand intonation, its important to comprehend two of its key terms: pitch and chunking.  Encyclopaedia Britannica  notes that pitch is, the relative highness or lowness of a tone as perceived by the ear, which depends on the number of vibrations per second produced by the vocal cords. Everyone has different levels of the pitch in their voice, notes Study.com: Though some are more prone to a higher pitch and some to a lower pitch, we can all change our timbre depending on who we are talking to and why. Timbre  refers to the  quality of sound that distinguishes one  voice or musical instrument from another or one vowel sound from another: It is determined by the harmonics of the sound. Pitch, then, refers to the musicality of your voice and how you use that musicality or timbre to convey meaning. Chunking- and pausing- meanwhile  packages information for the listener, says  the University of Technology (UTS)  in Sydney, adding that speakers divide  speech  into chunks, which may be single words or groups of words to communicate a thought or idea, or to focus on information the speaker thinks is important. UTS gives the following example of chunking: Does it really matter whether people speak with an accent as long as they can be easily understood? This sentence breaks into the following chunks: Does it really matter /whether people speak with an accent /as long as they can be easily understood? // In this example, in each chunk, your pitch would be slightly different to better convey your meaning to the listener. Your voice, essentially, rises and falls in each chunk. Types of Intonation Another key point about intonation involves the rising and falling of your voice. Just as a musical instrument rises and falls in its tone as an accomplished player creates a melody to convey a sense of mood, your voice rises and falls in a similar melodic way to create a sense of meaning. Take this example from an article by Russell Banks, in an article called Adultery, which was published in the April/May 1986 issue of Mother Jones. I mean, what the hell? Right? The speakers voice rises and falls in the separate chunks in these two brief sentences, as follows; I mean /What the hell? /Right? // As the speaker says the first chunk- I mean- the voice falls. Then, during the second phrase- What the heck?- the voice rises, almost like climbing a melodic ladder with each word. The speaker does this to express outrage. Then, with one the last word- Right?- the speakers voice climbs even higher, similar to hitting the elusive  high C in music. This is almost like pushing the sentence to the listener- handing it off if you will- so that the listener will agree with the speaker. (If the listener does not agree, an argument is likely to follow.) And, in the article, the listener  does  indeed agree with the speaker, by responding with, Yes, right. The response is spoken with falling intonation, almost as if the listener is giving in and accepting the dictate of the speaker. By the end of the word right, the responders voice has dropped so much its almost as if the person is giving in. Put another way, intonation is the process of chunking statements (and responses), to deliver packages of meaning. Generally, the initial statement (often a question), may rise and fall in tone, but it generally rises at the end, as the speaker passes off the sentence or question to the listener. And, just as with a musical piece that starts quietly, and crescendos in sound and timber, the tone or sound of the response falls as if the responder is bringing the discussion to a quiet ending, just as a melody quietly comes to a soft finish at the end.