I am a rose not a poppy.

Review:

In my creative project, I decided to re-create the poem “The Rose & The Poppy” by Adrianna. First, I want to say that this poem had me in circles. It was a poem I had to re-read several times in order to understand it. I didn’t change the poem completely, but I transformed a poppy into a Rose. Just like shown below, I’ve transformed lines like “I am not a ravishing ruby red” to “I am a ruby red rose”. Another example of re-creating the poem would be changing line 17 “Most times I am forgotten” to “I am never forgotten.”

While I was reading Adrianna’s Poem I noticed she used metaphors to compare herself to a poppy creating personification. I wanted to do something else, though. Instead of comparing her to a poppy, I compared her to the perfect Rose “always chosen”. In my eyes, I wanted to show everyone that they’re a rose and not a poppy, a flower that is known as a drug. When doing so, I created a paradox, causing confusion. I re-created the poem in an image of a poppy but describing it as a rose simply because we cannot change the poem completely and a poppy still plays a big factor here.

When reading the re-creation that I did, you’ll most likely be confused, and that is a good thing because I want you to be drugged by the poppy but be reminded that you are beautiful and cherished. Reading my re-creation of the poem will cause you to tilt your head like a druggie, but the words will keep reminding you of how lovely you are as a rose.

Thanks to Adrianna, because of her poem, I could transform a poppy into a rose even while still being imperfect.

– Ana Munos

Emptiness that Cannot be Concieved.

As the war was tearing families and lives apart by the second in the 1940s, the world inside the minds that witnessed these events found a way to be recorded forever. This is the power of poetry, of the haiku; it transcends evil and mortality. It is a tool that allows us to imagine and attempt to feel the memories carried from those times. In this case I use the word attempt, as we will never be able to truly empathize with the horrors of war.

The story of Violet Kazue Matsuda De Cristoforo is especially shock-inducing. The way that war crime after war crime appeared at her door step is unbelievably cruel, incomprehensble, and heartbreaking. But amongst all these feelings and hateful acts, what is there truly? What can be felt from the earth? From humanity? This is a question that she answers through 3-simple lines; a sad way of coming to terms with a world filled with cruelty. “My heart percieves nothing”, a jarring statement that likely resonates with all who were living through these war crimes. Kazue Matsuda gives the heart eyes, we can imagine it has ears to hear, and other senses. This personification is powerful because it turns over the responsibility of perception and feeling to the heart. It feels like a final cry for hope, finally leaning on her beating organ, and still nothing.

“day to day

summer at its peak in highland”.

The emphasis on a ‘high’ is important because it gives the sense of heightened feeling or reality. “Peak” describes an all-time high, and we know we are in or on something referred to as the “highland”. The surroundings seem to call for an equally potent sense of emotion, yet there is nothing seen or felt by our hearts. This paradoxical imagery amplifies the effect of the first line; the image of the beaming sun shining in this great land makes the emptiness of this body and heart feel all the more grim.

This poem is a powerful haiku, with use of amazing imagery, and it feels as though it carries the memories and pain of many during that time. The poets ability to capture such reality in three lines in truly admirable and is a great representation of the power of haiku poetry.

Darah Carrillo Vargas

I simply cannot decide

The Altar and Easter wings are considered a pattern poem because it is written in the shape of what it describes. In the poem Altar the speaker is referencing biblical passages to describe how we are not perfect, he relates a broken alter to our sins and mistakes to explain how man made the altar, imperfect. In the opening lines Herbert alludes to Deuteronomy xxvii 2-6 and Psalms li 17, when the Jews are instructed to “build an altar unto the Lord thy God, an altar of stones” and “the sacrifice of god is a troubled spirit: a broken and contrite heart, O God, shalt thou not despise.” Therefore, the way the altar is made reflects the nature of the person who builds it. In Easter wings it discusses that without a strong relationship with God people are almost nothing, this is also symbolized by the shape of the poem because as it thins out it symbolizes how people lose their connection with God and religion. Easter Wings seems to be for the people who are losing their faith, we tend to come to God when we are in pain which is usually because of sin. Herbert’s idea is by doing this are we being led to greater fluffiness? When we are able to reconnect with God because of our fall are we fulfilling a greater purpose?  Both poems discuss the sins people partake in whether it be losing faith or living life sinful, both poems are filled with allusions and paradoxes which makes it difficult to choose which poem offers a more powerful Christian message. The Altar begins by stressing the speaker’s ability to create the altar but as it continues the idea changes, in order to prepare your heart for God you must abandon the hearts “stubborn, stony resistance.” The theme of the Altar is powerful but what stuck to me is Easter Wings last lines which is an example of a metaphysical paradox: the bad becomes good when you let religion and God into your life. This paradox is mysterious and palpable leaving the reader to reconsider religion. Both poems are good examples of rejoining faith and how to do so correctly but again I cannot decide which poem is more powerful in terms of a Christian message. 

Natalie Rodriguez

Falling Meter vs. Iambic Tetrameter

Ben Johnson’s poem, “Still to be neat, still to be dressed” rhythm is of the dactylic foot meaning it is a falling meter. This poem moves more rapidly for example the first line starts with a stressed syllable following two unstressed syllables. There was also a caesura in between “still” and “neat” indicated by punctuation. The effect of these words “neat” and “still” are emphasized to bring relation to the description of the lady refereeing her to as neat and still. The first line also has a masculine ending since the word “dressed” is a stressed syllable, the author wants to bring attention to the description of the woman as “neat” and “dressed.” There is more caesura in the poem for example, between the words “powdered” and “still,” the first syllable in the word “powdered” is stressed to emphasize the things the lady does to make herself beautiful. In the word “perfumed” the second syllable is stressed to make it seem like the sound of perfume being sprayed. This line was also an end-stopped line because of the pause at the end. Towards the end of the poem you see the dactylic foot, “they strike mine eyes,” the words “they” and “eyes” are stressed indicating that “they” refers to the robe and the hair of the lady. Johnson ends the line with “They strike mine eyes, but not my heart” the words “but” and “heart” are stressed to call attention to the fact that he might like what he sees and find the lady beautiful but it does not make him feel something in his heart. Robert Herrick’s poem, ‘Delight in Disorder’ maintains a iambic tetrameter except for lines 2 and 8 which are trochaic tetrameter that also ends in a feminine ending. Although iambic tetrameters usually contain masculine endings but line 2 and 8 defy this regulatory. I noticed that the poem flows in a natural rhythm resembling a heartbeat which gives the poem a sense of intimate feeling. Lines 2 and 8 disrupt the natural beat of the poem signifying the impression of heart palpitations. Similar to Johnson’s poem Most lines contain caesura indicated with punctuation marks, mostly commas, which helps the rhythm explain the heartbeat’s occasional irregularities. Not only does Herrick rely on rhythm to get his meaning across, he also uses paradox and alliteration. In line 12 he uses a paradox when he describes the woman as “wild civility” which is contradicting seeing the woman as someone who rebels subtly. His use of alliteration helps to establish imagery allowing it to flow smoothly that gives the female a rounder shape rather than sharp, cut and masculine. These two poems both reference women to art to explain the beauty of art but Herrick seems to see art more positively than Johnson based on Herrick’s feminine endings and approach. The heartbeat rhythm establishes an intimate feeling that Johnson’s poem lacks. 

Natalie Rodriguez

Art as Masks

Arlyne Gonzalez

Construing and scanning the poems; “Still to Be Neat” by Jonson and “Delight in Disorder” by Herrick, I was swiftly able to determine that they both consisted of women and how these two poets used women as examples to describe the nature of art. Although these poems communicated about women’s identities, both poems expressed about two types of women and utilized different writing techniques. In other words, Jonson stressed the words “still and “neat”, by doing so Jonson is highlighting the keywords that are going to be mentioned throughout his poem. He also penned in his poem “still to be powdered, still perfumed…give me a look, give me face, that makes simplicity a grace” (Jonson). While Jonson is describing a typical feminine depiction of a woman as if physical appearance was an important contributing factor to what makes a woman a woman, he is also creating prosody of rhyme in the poem that offers a sort of lyric tone to it. Jonson is illustrating the classy and flawless portrayal of a woman who masks herself with makeup, perfume, and graceful fashion to conceal possible inner indiscretions from the world. Jonson is establishing that a woman has an advantage in creating her art to shield herself behind it.

Also, Jonson integrated an anomaly when he stated, “Such sweet neglect more taketh me than th’adulteries of art” (Jonson). By including this odd diction and contraction, Jonson is creating confusion for his readers and distracting them with the meaning behind this word instead of paving the way for the audience to pay attention the poem as a whole. Furthermore, Jonson is creating a sense of imagery and virtual reality with his language such as inserting “robes loosely flowing, hair as free…” (Jonson). Jonson is illustrating a depiction that his audience can easily imagine in their minds while reading the poem. Also, the last line Jonson says, “They strike mine eyes, but not my heart”, he purposely stressed “heart and “but” as a way saying he does not genuinely in his heart feel something deeper for the lady but thinks what he sees is nice.

Additionally, Herrick’s poem “Delight in Disorder” was mostly composed in iambic tetrameter and speaks about women in a different context than Jonson’s poem. In this case, on lines two and eight, Herrick inserted feminine endings with the words “wantonness” which means lustful and “confusedly” which means to disconcert. Utilizing these words should come to no surprise since the poem is about women and allows the author to express what he is feeling through his choice of diction. Herrick is also expressing “a sweet disorder in the dress, kindles in clothes a wantonness… do more bewitch me, than when art is too precise in every part” (Herrick). Herrick is addressing how a woman is much more than the mask she creates herself with, women are their piece of art but that does not necessarily mean that that art piece is going to be perfect and without flaw. Herrick is illustrating a type of woman who opposes the stereotypes of femininity and adopts a more neglectful formality. Herrick is also establishing that there is enchantment in a woman’s disordered life because without disorder there cannot be any sparked interest or a mask to hide behind. Although it can also be considered a paradox, because when one reads the word disorder, they instantly associate negativity with it, like an illness. Herrick to carry the notion that there is delight in disorder can throw off the reader and trigger confusion. Moreover, Herrick incorporated another paradox on line twelve when he mentioned “wild civility”, he is emphasizing that while he sees an untamed lady he also sees an enlightened lady.

These two poems collided with one another because they both consisted of women and the different masks they tend to conceal themselves with. Although Jonson and Herrick carried different perceptions about women and the different art women create and expose to the world, they both carried different notions on the nature of art. In other words, Jonson concentrated on delivering a virtual reality for his audience and incorporated lots of rhyme in his choice of diction to better captivate his readers. Herrick focused on integrating feminine endings along with the incorporation of paradox that stirred his poem a bit. These two poets used women as a means to convey their feelings about art. In other words, these two poems do not agree on the nature of art. Jonson expressed he likes seeing such beauty of art without flaw and Herrick expressed he enjoys art that is not perfected but much more bewitching to the eye, much more he sees the beauty in disorder.

 

 

 

Those who hope in the Lord will renew their strength. They will soar on wings like eagles.

The title of my blog post is taken from a Bible Verse (Isaiah 40:28-31).  The verse is as follows:

Do you not know? Have you not heard? The LORD is the everlasting God, the Creator of the ends of the earth. He will not grow tired or weary, and his understanding no one can fathom.  He gives strength to the weary and increases the power of the weak.  Even youths grow tired and weary, and young men stumble and fall;  but those who hope in the LORD will renew their strength. They will soar on wings like eagles; they will run and not grow weary, they will walk and not be faint.

This is the Christian message that I believe Herbert does an exceptional job at portraying in “Easter Wings.” A message he portrays far more powerfully than the messages in “The Altar.”

After reading both poems, I was fascinated specifically by an element in “Easter Wings”: the paradox created by the theme of sin.  When we hear the word sin, we think of mistakes, we think of lying and cheating, we think of immoral people.  However, in “The Altar,” and in Christianity as a whole, sins are not entirely evil.  They do not solely come with negativity.  In fact, without sin, how could one form a relationship with God? It is through our sins that we are able to ask the Lord for forgiveness.  It is through the speaker’s sins that he or she is able to “rise” from his state of tenderness, and “combine” with Christ. This line is filled with Christ imagery, especially to the resurrection of Christ where he rises from the dead.

The singing lark that the speaker wishes to become is a symbol of freedom. One might imagine the speaker soaring upwards in the sky like a lark, up towards the heavens.  In order to do this, though, the speaker must embrace the imminent “fall” that comes from his sins.  The speaker suffers through sickness, shame, and sorrow as a result of his sins.  However, God does not punish the speaker for his sins; the speaker brings this punishment upon himself.  God instead punishes the sin, as noted in line 13 of the poem.  So, although sin has damaged the speaker’s wing, the speaker knows that the Lord will forgive him, and he can therefore rest upon the wings of the Lord in order to “advance [his] flight.”  Notice that this line is actually a modified repetition from line 10, where the speaker states “Then shall the fall further the flight in me.”  If you look carefully at the two sections within this poem, you will notice that numerous lines seem to parallel each other, and include large portions of repetition.  So why does this matter? Because, by the second verse, the Speaker has become the decaying man from the first verse.  He has become the singing lark from the first verse, as well.  And, by doing so, he has reached a point where he can rise, just as the Lord did.  He can become one with the Lord, just as the Lord became one with God.  This brings us back to the beautiful paradox that this poem portrays: that while sinning may seem so negative on the outside, it can be so beautiful on the inside.  We are all imperfect, and therefore we all will sin.  But the Lord knows this.  And he will forgive the sinners who ask for forgiveness.  And he will provide the speaker with wings that give him strength and bring him to the heavens, where he can combine with the Lord.  This forgiveness is what Christianity is all about. Because…

Even youths grow tired and weary, and young men stumble and fall;  but those who hope in the Lord will renew their strength. They will soar on wings like eagles; they will run and not grow weary, they will walk and not be faint.

What could be more moving and powerful than that?

The Struggle to Please God

The poems “Easter Wings” and “The Altar” by George Herbert both represent his tumultuous relationship with God. All believers go through a struggle satisfying the Lord and being a good Christian. Both poems are also shape poems and rely heavily on poetic devices like metaphors,paradoxes, alliteration, and imagery to offer a powerful Christian message. However Herbert’s “Easter Wings” offers a more compelling Christian message than “The Alter”.

In “The Altar” Herbert writes the entire poem as a metaphor. He uses the altar to represent the speaker’s confidence in God and if he is faithful God will be kind and help change his life around. For example from line 9 to 16 the poem begins to become more optimistic and bright since the speaker is confident that God can change his heart for the good. The imagery of the altar throughout the poem, especially in lines 15 and 16 the reader can see a man in prayer pleading to God about the sacrifice of his soul to benefit from God’s graces. The use of capitalization helps show the reader the pleading and shouting this person must be committing upon the altar as he pleads for God’s help. However promising this Christian message is, the message in “Easter Wings” proves more influential and powerful.

“Easter Wings” doesn’t necessarily present a Christian message in a conventional way but it does deconstruct big paradoxes and also demonstrates the logic and beauty of interpreting these confusing Christian ideas. The iambic rhythm and being a shape poem only helps deconstruct these paradoxes that lie within Christianity. Herbert also uses alliteration and assonance to show the reader that asking the hard questions sometimes yield the highest pay off for someone of faith. For example in line 10 and 20 the alliteration of the “As” and “Fs” serve as red flags for the reader. In both lines 10 and 20 Herbert points towards the Christian paradox that despair brings joy when he writes “the fall further the flight” and “affliction shall advance the flight in me”. Personally, this idea of deconstructing paradoxes that liter the Christian faith leads to a much more compelling Christian message and love of the religion than the simple, overused idea that being faithful will bring you rewards.