Indulging in Inebriation

My, my fickle heart! This vile day 

Bleeds into the night, fickle lies!

Decadence, Oh how he lies! a lone castaway

Born from pure benevolence, he invites.

A naive soul, stifled by ecstasy and bliss

Remains, tender inebriation grips my soul,

I feel a sigh of relief escape my lips

As he is able to recount the names he stole.  

A life adorned with reluctance belongs to me;

And here I await the vivacity of the sun.

Why must he blind me with clouds of obscurity?

Clarity! Heavenly clarity! He has not yet won

This day, this night, my will! They show no grace!

Now, declarations at dawn state decadence stays.

Claude McKay was a significant figure during the Harlem Renaissance, who produced copious poems. His poem, The Tired Worker, is the epitome of personified emotion in sonnet form, and I attempted to emulate this. I searched for various themes that many individuals of a modern audience can relate to, and that is being blinded by the indulgences of life. Immorality plagues us as human beings to the point where it obscures some of the most important factors of just being alive. McKay’s poem depicts the desire for rest from the tedious routine of the day as the speaker yearns for the night to arrive. In contrast, I wanted my speaker to dread the night that she is enduring and instead find comfort in the day. The night is where she feeds into her horrid thoughts. Both themes in these poems sense inconsistency as the day switches to night. At first I wanted to create a parody that poked a few jokes here and there, but I was unable to find it fitting for this specific poem. McKay’s poem is written in iambic pentameter, which made my job easier when writing my own impression. I tried to follow the line placement as well as the punctuation to emphasize the comparison and reference between my poem and McKay’s. McKay’s speaker indulges in the night only to awake to another monotonous day of work without the benefits of it. The speaker in my impression is haunted by these indulgences and struggles to seek balance between decadence and virtue. The rhyme scheme is extremely important as it adds substance and tone to each word and line the reader experiences. The Tired Worker possesses a tone that enchants the reader with motherly intonations when the speaker says “her” or “gently.” These tones are a necessity in McKay’s poem as well as in mine. There is a discernable rhyme scheme in McKay’s poem, it consists of an ababcdcd etc. until the last couplet that has the same rhyme. It was not as hard as I thought it was gonna be to create a paralleled rhyme scheme. However, the overall structure of the original poem was a bit difficult to maintain in my imitation. I do believe that my poem’s structure is similar, just not the exact same. The basic elements that Claude McKay uses are evident in my imitation: personification, imagery, and diction. Decadence is personified as this malicious creature that controls the speaker while in McKay’s poem the night is personified as a benign blanket of comfort.

Emily Pu

Distinguisged Voices in Parallel Desolation

McKay’s poems, Outcast and The Tired Worker coincide with each other due to their parallel significance. There is a sense of anguish and dejection in the Outcast that is reflected in The Tired Worker. It should be noted that McKay wrote the Outcast in 1922. The speaker in both poems expresses his thoughts towards the discriminatory prejudices found in America. The culture shock that is implied in these poems is the bridge that binds them together, which is where the depression stems from. McKay uses personification and diction to illustrate the somber hues in both poems. 

The Tired Worker depicts the tedious routine of an average worker in America, and there is an aching desire for rest within them. McKay writes, ““soon the night\ Will wrap thee gently in her sable sheet” (5-6). Words “wrap” and “gently” display the benign and tender tones the speaker so eagerly yearns for. The motherly intonation is explicitly stated in the word “her,” which merely exemplifies the context of homesickness. McKay’s diction evokes eloquence that coerces the reader to experience the dreadful sensations the speaker endures. The speaker continues, “The wretched day was theirs, the night is mine;\ Come tender sleep, and fold me to thy breast” (9-10). The speaker is awaiting the calming night only to awaken to another monotonous day. Recall the time period that McKay published these poems, considerably one of the many appalling moments in history. Outcast puts these thoughts and feelings into intimate and personal expressions that is fervently communicated in The Tired Worker. Outcast’s speaker discusses the origins of their displacement in the new environment. McKay states, “For the dim regions whence my fathers came\ My spirit, bondaged by the body, longs” (1-2). The speaker desires the comfort that can only be provided from their homeland, which is evident in The Tired Worker. 

Emily Pu

Cohesion and Neurosis

Millay’s sonnet performs a kind of insolence expressed by Catherine Tate’s student character in the Comic Relief video in many forms. Millay defines chaos and order in their most raw and naked dispositions as there needs to be a contrast between them. And the reader must acknowledge the irony that lingers in each line of this poem. In both the video and poem, I Will Put Chaos into fourteen lines by Edna St. Vincent Millay, there is discord. Millay’s Italian sonnet displays characteristics featured in the video due to its compulsive and neurotic nature. 

In the Comic Relief video, a new English teacher is presented to the class to which the student, played by Catherine Tate, is shown to carry expressions of confusion and distaste. Further into the video, the teacher, Mr. Logan, is expressing his interest in the infamous poet, William Shakespeare, as a segue into his poems. Tate’s character, Lauren, critiques Mr. Logan from his accent to the subject he teaches. The audience can see the tension build as well as the dissaray forming in the class caused by Tate’s character. The discourse between the particular teacher and student is the epitome of bickering and dissonance. Mr. Logan attempts to put a stop to his student’s damaging behavior, but is swiftly disregarded as Tate begins to speak in “old English” or rather a mockery of it. It is extremely humorous. In comparison to Millay’s poem, this video exemplifies it. In the beginning line, the speaker states, “I will put Chaos into fourteen lines” (1). The personification of chaos is shown through the capitalization of the word “Chaos” depicting a sense of confinement. The innate obsession order becomes explicit later in lines 6 and 7: “Of this sweet Order, where in pious rape,\ I hold his essence and amorphous shape,” (6-7). Millay personifies both Chaos and Order and continues to show how one overpowers the other, in particular Order must outshine Chaos as Chaos is currently confined to the fourteen lines. There is a certain dynamic between Mr. Logan and Lauren in a sense that parallels the sonnet. Similar to the video, there is Order, Mr. Logan, and Chaos, Lauren as well as an evident power dynamic occurring. Chaos seems to be extremely neurotic where Order is unable to control the situation, but is still leeching to the notion of discipline. The BBC Comic Relief video can be discerned as a simile, comparing itself to Millay’s poem. 

Emily Pu

Materialism through Poetry

Gentrification is often disregarded as individuals rarely discuss the topic, and it occurs more frequently than people may discern. This is a notion that students learn in an economics class. Families and communities are engaging in a losing battle to infamous industries, and memories are being lost. Triptych of the Adobe-Cotta Army by Antonio López crosses the traditional borders of English poetry to resist the horrendous politics of gentrification through allusions, imagery, and similes. 

Imagery plays a significant role in López’s poem, serving as the skeleton where the other figurative language can branch off and become independent. In the first stanza, the speaker says, ““Only to find a Tesla/ on the second floor/ of our apartments/ —now a parking garage” (4-7). López illustrates to the reader the frustration that exudes from this depiction of losing one’s home and memories to billion dollar industries. Not only is the speaker telling you his experiences, he is showing you them as well, which crosses the tangible and intangible border of poetry and real life. López continues to write of the negativity that accompanies gentrification, “Out here, hooded saints\ tore the covenant\ of earthly silence” (11-13). These veiled saints conceal themselves. López alludes to the bible in many ways, allowing the reader to infer a religious presence or factor is present. Even in the lines above where the simile, “like a biblical cloud” (10) preceeds that of the hooded saints, it is a clear indicator. The speaker continues to tug on the reader’s emotions through these references and imagery. Later in the poem the speaker states, “My chest is flushed\ at watching boys bronze\ into adobe-cotta” (23-25). Appealing to the readers’ emotions through imagery is a common tactic for writers, and López is able to extract memories from his life and relate them back to the present day where the environment has drastically shifted. López, as well as other communities, flourish within their homes of memories in comparison to being encompassed by corporations. The desolation of his home has had great influence on many individuals, and helps others continue to break these borders. 

Emily Pu

“A Distant Echo”

Both poems by Natalie Diaz provide accommodations for those whose identities have been ostracized. In her poem, “Abecedarian Requiring Further Examination of Anglikan Seraphym Subjugation of a Wild Indian Rezervation” Diaz discusses the history of the Native Americans and how they were confined throughout history. “My Brother at 3 A.M.” tells a story of a brother who suffers from addiction, and addicts are severely frowned upon. Diaz’s “Abecedarian Requiring Further Examination of Anglikan Seraphym Subjugation of a Wild Indian Rezervation” presents a dwelling place for marginalized individuals while simultaneously connecting the speaker to their body through allusions of historical and biblical context. 

Diaz understands herself that the Native Americans possess a grueling history as she emphasizes the prejudice against the Natives in her poem, which are significant elements. In the beginning lines the speaker says, “Angels don’t come to the reservation.\ Bats, maybe, or owls, boxy mottled things.\ Coyotes, too. They all mean the same thing—\ death” (1-4). Immediately Diaz mentions the presence of angels, which allows the reader to infer that this is potentially a reference to the bible. The word “mottled” is defined as blotchy or spotted with different colors, and the reader can feel its negative connotation. Angels are pure and white, and righteous beings such as themselves are everything but mottled. Looking further into the poem, it is discovered that Diaz writes in a form that is seen in the Hebrew Bible—constrained writing. Whether this was intentional, Diaz alludes to the restrictions of constrained writing and parallels them to the confinement of Native Americans. In line 7, Diaz writes, “Gabriel? Never heard of him. Know a guy named Gabe though—” (7). This made me laugh for a bit, it sounds so sarcastic when I read it aloud and in my head. Alas, another allusion to the bible that is written with such eloquence. While Diaz is unable to change historical anguish, she and other poets continue to write about them, which helps others reconnect as well as reclaim what their ancestors have lost. This extends to all minorities.

Emily Pu

A Consequence of Callousness

As we review history, we dive into America’s past concerning Japanese Americans and their experiences dealing with racism and prejudice. Presented to us are choices of very concise poems that depict the emotion and tangible setting from Japanese internment camps across the states during the second World War. Poetry was a consequence of these traumatic times for many victims, they helped exude vexation and dejection. Haikus in particular possess ways of expressing vehement sentiments in a mere 3 lines. Neiji Ozawa, a Japenese American poet, has written a vast amount of haikus that convey his moments in the internment camps. Through imagery, Ozawa captures the apprehension and melancholy these individuals felt as the days fled. 

Ozawa begins his haiku painting a somber scene by a window where the speaker senses anguish yet continues their certainty on a blissful ending. Ozawa writes, “From a window of despair/ May sky/ there is always tomorrow” (Lines 1-3). A “window of despair” is a discernable depiction of an individual being silenced by glass as the outside world continues on without them. Ozawa uses visual imagery in the first line to portray to the reader what it precisely feels like to be locked away and only witness the gravel leading to the horizon. In these internment camps, Japanese Americans were residents in tight spaces as well as caged by barbed wire fences to enforce little to no escape. In lines 2 and 3, “May sky/ there is always tomorrow” there is a feeling of yearning and ambition that is embedded. The sky is limitless as well as the many days we have to live a fulfilling life, which is what I believe Ozawa is illustrating for the reader through visual imagery. I can imagine the days dragging on in these internment camps. The monotonous endeavors become tangled and the internees must have lost track of time on a daily basis. Ozawa constructs a beautiful poem from the tribulation he and others had to endure. 

Emily Pu

A Rose that Doesn’t Belong

When a rose is mentioned, one can imagine the copious symbols that accompany it. For many years, the delicate flower has represented any item or sensation with the connotation of love, lust, and bliss. When comparing H.D.’s “Sea Rose” and Adrianna Puente’s “The Rose and The Poppy,” the reader is able to see the variance between the two poems and their symbol for the elegant flower. However, between these two poems, H.D.’s “Sea Rose” is most effective by using tactile and visual imagery to represent disparity.

In the beginning lines of the first stanza, H.D. introduces the reader to an ostensibly unpleasant rose: “Rose, harsh rose,” (line 1). A single rose, or even a bouquet of roses, is considered a romantic gesture between lovers as roses are beautiful and easy on the eyes; however, H.D. introduces the rose as a “harsh” one rather than the common adjective of “gentle.” From the very initial line, the speaker is able to set the tone for the upcoming lines that proceed. In lines 2-4, the speaker states, “marred and with stint of petals,/ meagre flower, thin,/ sparse of leaf,” (lines 2-4). There is a sense of frailty and infirmity that adheres to this rose the speaker is focusing on. Typically a rose is shown with a lush red and vivid green stem, which is taut, but this rose in particular is weak. The words “marred,” “stint,” “meagre,” “thin,” and “sparse” accumulate into one visual image: a rose that contains little to no petals and a feeble stem, which hampers its visual appeal and growth. One can also say that a rose symbolizes the feminine side within all beings, and that this particular individual has yet to come to terms with their femininity. In the last stanza, the speaker further emphasizes the decrepit rose, “Can the spice-rose/ drip such acrid fragrance/ hardened in a leaf?” (lines 14-16). An “acrid” fragrance is a pungent smell that is associated with unappealing themes. A common rose reminds individuals of a rather pleasant odor, but the reader describes this rose differently. This rose has not grown in a field of gorgeous scenery, which has affected the flourishing of this flower. H.D.’s poem resembles many things, all of which fail to comply with the cliched symbols of a rose. 

Emily Pu

Lustful Beauty in Poetry

For this week’s assignment, we are presented with three poems that convey love between two individuals. Each poem presents different sensations of love. For one, “Ode 44” radiates the lustful desire between two lovers while “Ode 487” exudes hues of tenderness. “Ode 487” by Hafez generates stunning imagery through the immense amount of figurative language to portray romantic love within the poem. Hafez implements personification, metaphors, and similes to paint the beautifully painful world of love that of which is rejected by Islamic spirituality due to its absence of establishment.

In lines 1 and 4, Hafez uses personification to explain the drunkenness from the night preceding. Hafez states, “With last night’s wine still singing in my head,” (line 1). Hafez expounds the previous night by defining present day to what we would consider a “hangover.” To where the reader can infer many drinks had been consumed the night before — “The holy city of intoxication” — and a few lines down Hafez says, “The harp and flute were up and in full swing,” (line 4). The morning has begun. In relation to Islamic spirituality, there are different experiences with love. For instance, some say that romantic love is temporary in the eyes of Islam when not built on any firm foundation. Many religions believe in similar paradigms in which passionate desire leads to heartbreak. Hafez discusses the multiple desires that accompany what seems to be juvenile love: drinking, sex, the haziness of it all, and even deception. Hafez compares the sudden shock of a broken heart to the sensation of a violent storm, “Then took I shelter from that stormy sea” (line 24). This metaphor is employed near the rigid sounding section of the poem to indicate the wild tendencies of a storm. The drunken haze has ended. In that case, this certain love does not reject or embrace Islamic spirituality rather Islamic spirituality rejects the love Hafez fervently illustrates. As stated previously a love such as this fails to confirm any concrete foundation. 

Emily Pu

Rhythmic Chaos in Cadence

For this assignment, we are presented with “We are All Whitman: #2: Song of/to/My/Your/Self” by Luis Ambroggio and “I Sing the Body Electric” by Walt Whitman. After discussing “I Sing the Body Electric” in class with my fellow peers, I have taken the intricacies of rhythm into account. When reading this poem, there are extreme inclines and declines in the reader’s voice as they read aloud every line. In class, there were two visual and auditory demonstrations of the inclines and declines within the poem. By the time my professor had finished Whitman’s poem, he was out of breath. However, during the reading there was an electric sensation that echoed in the room due to the cadence and tone. That specific cadence that is amplified and it resembles the chaotic nature of being human. When we dissect the lines, which focus on the body, there are moments where a certain body part is gendered by Whitman. Whitman, of course this is what we would like to believe, is placing both men and women on an equal playing field. Ambroggio’s poem that alludes to Whitman, conveys parallel focal points in rhythm and cadence. There are two videos provided where three poets read “Song to Myself” by Walt Whitman. One of the videos is demonstrating the diversity in translation when reading the same poem. The second presents the three poets who give direct translations as well as their analysis on the question of sensuality.

In Ambroggio’s poem the reader is already embraced by the multitude of colors that exist in this universe, “Hispanic, Latin, blond, black,” (Line 1). When Whitman’s poem “Song to Myself” was read aloud by the three speakers, there were again inclines and declines in the tones of each. One reader spoke in English, the other in Spanish, and lastly in Persian. The Spanish translation exemplified euphony in comparison to Whitman’s “I Sing the Body Electric.” Similarly, in Ambroggio’s poem there are tangible qualities that resemble “I Sing the Body Electric” such as the enumeration. Both poets discuss different periods of the spectrum within the human experience, one is more physical than the other. I can only imagine the copious amount of slopes created in Ambroggio’s poem. Even just by reading it aloud to myself, I am left with the sense of freedom and passion for the human experience despite bearing somewhat nihilistic thoughts. And while there is no rhyme scheme for both of these poems, there remains structure. The rhythmic listing of races, body parts, ethnicities, gender, and nature are a part of the human experience.

Emily Pu

Rhyme and Meter

For this assignment, we were provided two poems that focus on the same subject; however, they diverge in implication. While Robert Herrick’s “Delight in Disorder” follows the speaker through a beguiling path of lust and desire, Ben Jonson’s “Still to Be Neat” physically describes a woman’s seemingly beautiful appearance. Herrick states, “A sweet disorder in the dress” in the very first line, and one can infer that unkempt clothing enchants the speaker in a sense. In the next line, “wantonness” is used as a way to describe a lack of restraint. As the reader continues with the poem, they are able to detect an iambic rhythm similar to one’s heartbeat. The first line is an evident example of iambic rhythm. It is until the second line where the iambic rhythm comes to a halt, and its place is a trochaic tetrameter. This potentially symbolizes the flutter of the speaker’s heart when describing the woman. Furthermore, there is something captivating in moments of disarray. Looking at Jonson’s poem, the speaker begins with discussing the elegant attire of a woman as if she were dressing up for a “feast” in the first stanza. In the second stanza, we see the speaker deviate from the initial theme of sophistication. Instead, notions of “true” beauty begin to form. In lines 10-12, the speaker indicates that “powdered” faces pertain to superficial ideals. In a metaphorical sense, there is a meaning to every piece of art, which includes human beings. 

When reflecting the true nature of art, I believe that Robert Herrick’s poem executes it thoroughly; however, both poems are able to convey it. Herrick’s heartbeat rhythm persuaded me when there were pauses of trochiac tetrameter to emphasize the palpitations. It is also true that art is still beautiful in complex forms that go beyond the conventional definition of appeal. Herrick does a wonderful job exuding that sentiment through the brisk imagery presented in his poem. 

Emily Pu