Term
A sudden blow: the great wings beating still
Above the staggering girl, her thighs caressed
By the dark webs, her nape caught in his bill,
He holds her helpless breast upon his breast.
How can those terrified vague fingers push
The feathered glory from her loosening thighs?
And how can body, laid in that white rush,
But feel the strange heart beating where it lies?
A shudder in the loins engenders there
The broken wall, the burning roof and tower[20]
And Agamemnon dead.
Being so caught up,
So mastered by the brute blood of the air,
Did she put on his knowledge with his power
Before the indifferent beak could let her drop? |
|
Definition
Leda and the Swan by William Butler Yeats
Page 176
Zeus(Chief God) transforms himself into a swan to rape Leda.
• She became mother of 2 girls from this rape • Poem is a 14 line sonnet not the same as Shakespeare wrote
• Shows how gods ruled humans • Planets named for roman gods • Aphrodite/ aphrodisiac • Uses the swans because of its beautiful curves, maybe the most beautiful of the birds |
|
|
Term
The sea is calm tonight, The tide is full, the moon lies fair Upon the straits; on the French coast the light Gleams and is gone; the cliffs of England stand, Glimmering and vast, out in the tranquil bay. Come to the window, sweet is the night air!
Only, from the long line of spray Where the sea meets the moon-blanched land, Listen! you hear the grating roar Of pebbles which the waves draw back, and fling, At their return, up the high strand, Begin, and cease, and then again begin, With tremulous cadence slow, and bring The eternal note of sadness in.
Sophocles long ago Heard it on the Agean, and it brought Into his mind the turbid ebb and flow Of human misery; we Find also in the sound a thought, Hearing it by this distant northern sea.
The Sea of Faith Was once, too, at the full, and round earth's shore Lay like the folds of a bright girdle furled. But now I only hear Its melancholy, long, withdrawing roar, Retreating, to the breath Of the night wind, down the vast edges drear And naked shingles of the world.
Ah, love, let us be true To one another! for the world, which seems To lie before us like a land of dreams, So various, so beautiful, so new, Hath really neither joy, nor love, nor light, Nor certitude, nor peace, nor help for pain; And we are here as on a darkling plain Swept with confused alarms of struggle and flight, Where ignorant armies clash by night. |
|
Definition
Dover Beach
by Matthew Arnold
Page 157
Speaker Unknown, most likely the poet • Poem on the dawn of the modern world • Poem about moving into the dark age • How the world has gone crazy and what to do about it • Find one person to love and hang on a soltion to the world going crazy, its the best that you can do • Poets project onto nature their own feelings • Nothing sad about waves example, but poets give them feelings. Example; sadness of a storm, vicious hurricane • The waves hitting the shore are messengers of sadness, true in the poetic sense but not in literal • People believe the tragedy is the most important thing we need to know
• Like a cloth spread over everything there used to be faith, but no faith is going out like a tide • Life is like a night battle, no light, is this, what our future is for us? • Bleak poem, first important poem of the modern world? |
|
|
Term
So there stood Matthew Arnold and this girl
With the cliffs of England crumbling away behind them,
And he said to her, 'Try to be true to me,
And I'll do the same for you, for things are bad
All over, etc., etc.'
Well now, I knew this girl. It's true she had read
Sophocles in a fairly good translation
And caught that bitter allusion to the sea,
But all the time he was talking she had in mind
The notion of what his whiskers would feel like
On the back of her neck. She told me later on
That after a while she got to looking out
At the lights across the channel, and really felt sad,
Thinking of all the wine and enormous beds
And blandishments in French and the perfumes.
And then she got really angry. To have been brought
All the way down from London, and then be addressed
As a sort of mournful cosmic last resort
Is really tough on a girl, and she was pretty.
Anyway, she watched him pace the room
And finger his watch-chain and seem to sweat a bit,
And then she said one or two unprintable things.
But you mustn't judge her by that. What I mean to say is,
She's really all right. I still see her once in a while
And she always treats me right. We have a drink
And I give her a good time, and perhaps it's a year
Before I see her again, but there she is,
Running to fat, but dependable as they come.
And sometimes I bring her a bottle of Nuit d' Amour. |
|
Definition
Dover bitch
By: Anthony Hecht
Parody on Dover beach • Wonders what the woman was thinking? The good time girl • The joke=she’s not the love of his life • The lights in France mean good wine and fancy stuff to the lady • Good title for a bottle of perfume, but not for a bottle of wine • Arnold had a serious purpose but hecht creates the woman as an entirely different character Arnold is in love with; cynical |
|
|
Term
The whiskey on your breath Could make a small boy dizzy; But I hung on like death: Such waltzing was not easy.
We romped until the pans Slid from the kitchen shelf; My mother's countenance Could not unfrown itself.
The hand that held my wrist Was battered on one knuckle; At every step you missed My right ear scraped a buckle.
You beat time on my head With a palm caked hard by dirt, Then waltzed me off to bed Still clinging to your shirt. |
|
Definition
My Papas Waltz
by Theodore Roethke
page 238
• Between father and son
• Suggests the father is a working man rather than a store owner • Comes across as a man who does labor during the week • Comes home from a day’s work and is drunk • Written in 1948 • Blue collar job • Is this a poem about child abuse or love? • Father is not an articulate man • This is how he relates |
|
|
Term
Sundays too my father got up early and put his clothes on in the blueblack cold, then with cracked hands that ached from labor in the weekday weather made banked fires blaze. No one ever thanked him.
I'd wake and hear the cold splintering, breaking. When the rooms were warm, he'd call, and slowly I would rise and dress, fearing the chronic angers of that house,
Speaking indifferently to him, who had driven out the cold and polished my good shoes as well. What did I know, what did I know of love's austere and lonely offices? |
|
Definition
Those Winter Sundays
by Robert Hayden
Pg 243
Son to father • tending the fire was Always the dad’s job • Even done on Sunday’s • There’s never a day off to heat the house • This was an act of love by father for the father • Poet feels he owes his act of love in return • This poem is his act of love |
|
|
Term
You do not do, you do not do Any more, black shoe In which I have lived like a foot For thirty years, poor and white, Barely daring to breathe or Achoo. Daddy, I have had to kill you. You died before I had time-- Marble-heavy, a bag full of God, Ghastly statue with one gray toe Big as a Frisco seal And a head in the freakish Atlantic Where it pours bean green over blue In the waters off beautiful Nauset. I used to pray to recover you. Ach, du. In the German tongue, in the Polish town Scraped flat by the roller Of wars, wars, wars. But the name of the town is common. My Polack friend Says there are a dozen or two. So I never could tell where you Put your foot, your root, I never could talk to you. The tongue stuck in my jaw. It stuck in a barb wire snare. Ich, ich, ich, ich, I could hardly speak. I thought every German was you. And the language obscene An engine, an engine Chuffing me off like a Jew. A Jew to Dachau, Auschwitz, Belsen. I began to talk like a Jew. I think I may well be a Jew. The snows of the Tyrol, the clear beer of Vienna Are not very pure or true. With my gipsy ancestress and my weird luck And my Taroc pack and my Taroc pack I may be a bit of a Jew. I have always been scared of you, With your Luftwaffe, your gobbledygoo. And your neat mustache And your Aryan eye, bright blue. Panzer-man, panzer-man, O You-- Not God but a swastika So black no sky could squeak through. Every woman adores a Fascist, The boot in the face, the brute Brute heart of a brute like you. You stand at the blackboard, daddy, In the picture I have of you, A cleft in your chin instead of your foot But no less a devil for that, no not Any less the black man who Bit my pretty red heart in two. I was ten when they buried you. At twenty I tried to die And get back, back, back to you. I thought even the bones would do. But they pulled me out of the sack, And they stuck me together with glue. And then I knew what to do. I made a model of you, A man in black with a Meinkampf look And a love of the rack and the screw. And I said I do, I do. So daddy, I'm finally through. The black telephone's off at the root, The voices just can't worm through. If I've killed one man, I've killed two-- The vampire who said he was you And drank my blood for a year, Seven years, if you want to know. Daddy, you can lie back now. There's a stake in your fat black heart And the villagers never liked you. They are dancing and stamping on you. They always knew it was you. Daddy, daddy, you bastard, I'm through. |
|
Definition
Daddy
by Sylvia Plath
p. 306 • Poem about severe hate for her father • German ancestry • Metaphor to Nazis (symbolized the ultimate evil) • Not sure where he came from • Sees him as the devil with cleft feet • Refers to her husband as black meaning evil • Depressive personality • Gave her medication “stuck her together with glue” • “Rack and screw” torture instruments • “villagers” reference to classic horror movies |
|
|
Term
NUNS fret not at their convent’s narrow room; And hermits are contented with their cells; And students with their pensive citadels; Maids at the wheel, the weaver at his loom, Sit blithe and happy; bees that soar for bloom, High as the highest Peak of Furness-fells, Will murmur by the hour in foxglove bells: In truth the prison, unto which we doom Ourselves, no prison is: and hence for me, In sundry moods, ’twas pastime to be bound Within the Sonnet’s scanty plot of ground; Pleased if some Souls (for such there needs must be) Who have felt the weight of too much liberty, Should find brief solace there, as I have found |
|
Definition
Nuns Fret Not at Their Convents Narrow Room
by:William Wordsworth
Page 104
Octave and Sestet • Line 8 has no punctuation which carries over into line 9 • Characterized by confinement • In that one place willingly • Confinement by pleasant confinement • Hermit, willingly doesn’t want to live with the rest • Maids at the wheel; spinning wheel to make cloth • Bees; fox glove bells • 14 lines, 10 syllables, written 200 years after Shakespeare • Opposite to a free verse • Requires 2 sounds in 8 lines |
|
|
Term
"Terence, this is stupid stuff:
You eat your victuals fast enough;
There can't be much amiss, 'tis clear,
To see the rate you drink your beer.
But oh, good Lord, the verse you make,
It gives a chap the belly-ache.
The cow, the old cow, she is dead;
It sleeps well, the horned head:
We poor lads, 'tis our turn now
To hear such tunes as killed the cow.
Pretty friendship 'tis to rhyme
Your friends to death before their time
Moping melancholy mad:
Come, pipe a tune to dance to, lad."
Why, if 'tis dancing you would be
There's brisker pipes than poetry.
Say, for what were hop-yards meant,
Or why was Burton built on Trent?
Oh, many a peer of England brews
Livelier liquor than the Muse,
And malt does more than Milton can
To justify God's ways to man.
Ale, man, ale's the stuff to drink
For fellows whom it hurts to think:
Look into the pewter pot
To see the world as the world's not.
And faith, 'tis pleasant till 'tis past:
The mischief is that 'twill not last.
Oh I have been to Ludlow fair
And left my necktie god knows where,
And carried half-way home, or near,
Pints and quarts of Ludlow beer:
Then the world seemed none so bad,
And I myself a sterling lad;
And down in lovely muck I've lain,
Happy till I woke again.
Then I saw the morning sky:
Heigho, the tale was all a lie;
The world, it was the old world yet,
I was I, my things were wet,
And nothing now remained to do
But begin the game anew.
Therefore, since the world has still
Much good, but much less good than ill,
And while the sun and moon endure
Luck's a chance, but trouble's sure,
I'd face it as a wise man would,
And train for ill and not for good.
'Tis true, the stuff I bring for sale
Is not so brisk a brew as ale:
Out of a stem that scored the hand
I wrung it in a weary land.
But take it: if the smack is sour,
The better for the embittered hour;
It should do good to heart and head
When your soul is in my soul's stead;
And I will friend you, if I may,
In the dark and cloudy day.
There was a king reigned in the East:
There, when kings will sit to feast,
They get their fill before they think
With poisoned meat and poisoned drink.
He gathered all that springs to birth
From the many-venomed earth;
First a little, thence to more,
He sampled all her killing store;
And easy, smiling, seasoned sound,
Sate the king when healths went round.
They put arsenic in his meat
And stared aghast to watch him eat;
They poured strychnine in his cup
And shook to see him drink it up:
They shook, they stared as white's their shirt:
Them it was their poison hurt
- I tell the tale that I heard told.
Mithridates, he died old. |
|
Definition
Terence, this is stupid stuff...
by A.E Housman
Page 173
Poet makes up 2 characters, terrance and the other guy talking to terrance • So happy so why write such sad poetry • Driving everyone crazy with his sad poems • Muse=poetry; spirit speaks to poets on how to speak poetry • Allusion to John Milton (Paradise Lost); story of Adam and Eve; justifies God’s punishments to Adam and Eve • Philosophy that the world is a bad place • How do you train for ill? To withstand life’s blows • There are really no answers, but to maybe have no expectations • We need to face that there is trouble in the world |
|
|
Term
The miller's wife had waited long,
The tea was cold, the fire was dead;
And there might yet be nothing wrong
In how he went and what he said:
"There are no millers any more,"
Was all that she heard him say;
And he had lingered at the door
So long it seemed like yesterday.
Sick with a fear that had no form
She knew that she was there at last;
And in the mill there was a warm
And mealy fragrance of the past.
What else there was would only seem
To say again what he had meant;
And what was hanging from a beam
Would not have heeded where she went.
And if she thought it followed her,
She may have reasoned in the dark
That one way of the few there were
Would hide her and would leave no mark:
Black water, smooth above the weir
Like starry velvet in the night,
Though ruffled once, would soon appear
The same as ever to the sight. |
|
Definition
The Mill
By:Edwin Arlington Robinson
Page 179
The miller is an old profession; takes farmers grain and grounds into meal etc. • Old and ancient profession • Last name miller are seen in families where families were millers • Poem about change; about how millers have no longer become necessary • How human beings have found other ways of doing mill work; technology • Humans are becoming obsolete • The man hanged himself in the mill, she then committed suicide by drowning herself • She didn’t want to be seen gruesomely dead like she found her husband which is why she drowned herself in a pond • “change” in society; this change was bad for this couple • How can a human being become obsolete? • Society made him feel he wasn’t a part of society anymore • Possibly wonders why this has happened to him? • Early modern poet |
|
|
Term
Whenever Richard Cory went downtown,
We people on the pavement looked at him:
He was a gentleman from sole to crown,
Clean favored, and imperially slim.
And he was always quietly arrayed, And he was always human when he talked; But still he fluttered pulses when he said, “Good morning,” and he glittered when he walked.
And he was rich -- yes, richer than a king, And admirably schooled in every grace: In fine, we thought that he was everything To make us wish that we were in his place.
So on we worked, and waited for the light, And went without the meat, and cursed the bread, And Richard Cory, one calm summer night, Went home and put a bullet through his head.
|
|
Definition
Richard Cory
By Edwin Arlington Robinson
Page 181
Another suicide poem • How many words suggest royalty? (crown, empirical, king, glittered when he walked, arrayed, grace, fluttered pulses (so handsome that women’s pulses beat faster)) • One idea of this poem is that money doesn’t buy happiness, because he had money but was so unhappy • Another idea; we don’t know each other in the modern world, because of the lifestyle we lead • We don’t share each other about our lives |
|
|
Term
The trees in the garden rained flowers. Children ran there joyously. They gathered the flowers Each to himself. Now there were some Who gathered great heaps — Having opportunity and skill — Until, behold, only chance blossoms Remained for the feeble. Then a little spindling tutor Ran importantly to the father, crying: "Pray, come hither! See this unjust thing in your garden!" But when the father had surveyed, He admonished the tutor: "Not so, small sage! This thing is just. For, look you, Are not they who possess the flowers Stronger, bolder, shrewder Than they who have none? Why should the strong — The beautiful strong — Why should they not have the flowers?" Upon reflection, the tutor bowed to the ground, "My lord," he said, "The stars are displaced By this towering wisdom." |
|
Definition
The trees in the garden rained flowers
By Stephen Crane
How might this poem relate to economics? • The more money the more fit we are? • Capitalism? Based on your ability you can make as much money without restrictions, nothing taken away from government. Using perseverance, luck etc; however taxes are still there • Poem interpreted as a capitalistic poem (stronger, bolder, shrewder) not necessarily nicer or hint of sharing |
|
|
Term
A cold coming we had of it,
Just the worst time of the year
For a journey, and such a long journey:
The ways deep and the weather sharp,
The very dead of winter.
And the camels galled, sore-footed, refractory,
Lying down in the melting snow.
There were times when we regretted
The summer palaces on slopes, the terraces,
And the silken girls bringing sherbet.
Then the camel men cursing and grumbling
And running away, and wanting their liquor and women,
And the night-fires going out, and the lack of shelters,
And the cities dirty and the towns unfriendly
And the villages dirty and charging high prices:
A hard time we had of it.
At the end we preferred to travel all night,
Sleeping in snatches,
With the voices singing in our ears, saying
That this was all folly.
Then at dawn we came down to a temperate valley,
Wet, below the snow line, smelling of vegetation;
With a running stream and a water mill beating the darkness,
And three trees on the low sky,
And an old white horse galloped away in the meadow.
Then we came to a tavern with vine-leaves over the lintel,
Six hands at an open door dicing for pieces of silver,
And feet kicking the empty wineskins.
But there was no information, and so we continued
And arrived at evening, not a moment too soon
Finding the place; it was (you may say) satisfactory.
All this was a long time ago, I remember,
And I would do it again, but set down
This set down
This: were we led all that way for
Birth or Death? There was a Birth, certainly,
We had evidence and no doubt. I had seen birth and death,
But had thought they were different; this Birth was
Hard and bitter agony for us, like Death, our death.
We returned to our places, these Kingdoms,
But no longer at ease here, in the old dispensation,
With an alien people clutching their gods.
I should be glad of another death.
|
|
Definition
Journey of the Magi
by T.s eliot
Magi from the 3 wise man • Dramatic monologue • Invents a personality to one of the wise men • Dramatic because it reveals about the reader • Theme usually about despair • Similar to the story of what we hear at Christmas time • Talks about the difficult journey • No historical basis for Christ’s birth in December • Folly- why follow this star? • “white horse” mentioned in the bible • Roman soldiers dice for his robe • Empty wine skins referring to drunkenness • Something about this birth that has stayed in this mind • The birth haunted him? • All this way for birth or death? • Implication with the birth of Jesus there would be a new religion that would overcome new religions • Had no significance this was the birth of Jesus, the son of God |
|
|
Term
LET us go then, you and I, |
|
When the evening is spread out against the sky |
|
Like a patient etherized upon a table; |
|
Let us go, through certain half-deserted streets, |
|
The muttering retreats |
5 |
Of restless nights in one-night cheap hotels |
|
And sawdust restaurants with oyster-shells: |
|
Streets that follow like a tedious argument |
|
Of insidious intent |
|
To lead you to an overwhelming question…. |
10 |
Oh, do not ask, “What is it?” |
|
Let us go and make our visit. |
|
|
In the room the women come and go |
|
Talking of Michelangelo. |
|
|
The yellow fog that rubs its back upon the window-panes, |
15 |
The yellow smoke that rubs its muzzle on the window-panes |
|
Licked its tongue into the corners of the evening, |
|
Lingered upon the pools that stand in drains, |
|
Let fall upon its back the soot that falls from chimneys, |
|
Slipped by the terrace, made a sudden leap, |
20 |
And seeing that it was a soft October night, |
|
Curled once about the house, and fell asleep. |
|
|
And indeed there will be time |
|
For the yellow smoke that slides along the street, |
|
Rubbing its back upon the window panes; |
25 |
There will be time, there will be time |
|
To prepare a face to meet the faces that you meet; |
|
There will be time to murder and create, |
|
And time for all the works and days of hands |
|
That lift and drop a question on your plate; |
30 |
Time for you and time for me, |
|
And time yet for a hundred indecisions, |
|
And for a hundred visions and revisions, |
|
Before the taking of a toast and tea. |
|
|
In the room the women come and go |
35 |
Talking of Michelangelo. |
|
|
And indeed there will be time |
|
To wonder, “Do I dare?” and, “Do I dare?” |
|
Time to turn back and descend the stair, |
|
With a bald spot in the middle of my hair— |
40 |
(They will say: “How his hair is growing thin!”) |
|
My morning coat, my collar mounting firmly to the chin, |
|
My necktie rich and modest, but asserted by a simple pin— |
|
(They will say: “But how his arms and legs are thin!”) |
|
Do I dare |
45 |
Disturb the universe? |
|
In a minute there is time |
|
For decisions and revisions which a minute will reverse. |
|
|
For I have known them all already, known them all: |
|
Have known the evenings, mornings, afternoons, |
50 |
I have measured out my life with coffee spoons; |
|
I know the voices dying with a dying fall |
|
Beneath the music from a farther room. |
|
So how should I presume? |
|
|
And I have known the eyes already, known them all— |
55 |
The eyes that fix you in a formulated phrase, |
|
And when I am formulated, sprawling on a pin, |
|
When I am pinned and wriggling on the wall, |
|
Then how should I begin |
|
To spit out all the butt-ends of my days and ways? |
60 |
And how should I presume? |
|
|
And I have known the arms already, known them all— |
|
Arms that are braceleted and white and bare |
|
(But in the lamplight, downed with light brown hair!) |
|
Is it perfume from a dress |
65 |
That makes me so digress? |
|
Arms that lie along a table, or wrap about a shawl. |
|
And should I then presume? |
|
And how should I begin?
. . . . . . . .
|
|
Shall I say, I have gone at dusk through narrow streets |
70 |
And watched the smoke that rises from the pipes |
|
Of lonely men in shirt-sleeves, leaning out of windows?… |
|
|
I should have been a pair of ragged claws |
|
Scuttling across the floors of silent seas.
. . . . . . . .
|
|
And the afternoon, the evening, sleeps so peacefully! |
75 |
Smoothed by long fingers, |
|
Asleep … tired … or it malingers, |
|
Stretched on the floor, here beside you and me. |
|
Should I, after tea and cakes and ices, |
|
Have the strength to force the moment to its crisis? |
80 |
But though I have wept and fasted, wept and prayed, |
|
Though I have seen my head (grown slightly bald) brought in upon a platter, |
|
I am no prophet—and here’s no great matter; |
|
I have seen the moment of my greatness flicker, |
|
And I have seen the eternal Footman hold my coat, and snicker, |
85 |
And in short, I was afraid. |
|
|
And would it have been worth it, after all, |
|
After the cups, the marmalade, the tea, |
|
Among the porcelain, among some talk of you and me, |
|
Would it have been worth while, |
90 |
To have bitten off the matter with a smile, |
|
To have squeezed the universe into a ball |
|
To roll it toward some overwhelming question, |
|
To say: “I am Lazarus, come from the dead, |
|
Come back to tell you all, I shall tell you all”— |
95 |
If one, settling a pillow by her head, |
|
Should say: “That is not what I meant at all; |
|
That is not it, at all.” |
|
|
And would it have been worth it, after all, |
|
Would it have been worth while, |
100 |
After the sunsets and the dooryards and the sprinkled streets, |
|
After the novels, after the teacups, after the skirts that trail along the floor— |
|
And this, and so much more?— |
|
It is impossible to say just what I mean! |
|
But as if a magic lantern threw the nerves in patterns on a screen: |
105 |
Would it have been worth while |
|
If one, settling a pillow or throwing off a shawl, |
|
And turning toward the window, should say: |
|
“That is not it at all, |
|
That is not what I meant, at all.”
. . . . . . . .
|
110 |
No! I am not Prince Hamlet, nor was meant to be; |
|
Am an attendant lord, one that will do |
|
To swell a progress, start a scene or two, |
|
Advise the prince; no doubt, an easy tool, |
|
Deferential, glad to be of use, |
115 |
Politic, cautious, and meticulous; |
|
Full of high sentence, but a bit obtuse; |
|
At times, indeed, almost ridiculous— |
|
Almost, at times, the Fool. |
|
|
I grow old … I grow old … |
120 |
I shall wear the bottoms of my trousers rolled. |
|
|
Shall I part my hair behind? Do I dare to eat a peach? |
|
I shall wear white flannel trousers, and walk upon the beach. |
|
I have heard the mermaids singing, each to each. |
|
|
I do not think that they will sing to me. |
125 |
|
I have seen them riding seaward on the waves |
|
Combing the white hair of the waves blown back |
|
When the wind blows the water white and black. |
|
|
We have lingered in the chambers of the sea |
|
By sea-girls wreathed with seaweed red and brown |
130 |
Till human voices wake us, and we drown. |
|
|
|
|
Definition
. The Love Song of J. Alfred Prufrock
By T.s. eliot
Dramatic monologue • This character is an uptight repressed personality • Idea to give the aristocratic uptight business man who is very lonely • Revealing his deepest thoughts to us as the readers • His name doesn’t even have a romantic feel to it • *”read the divine comedy of dante’s inferno for English paper” starts bad but ends good • Meets people who knew who were once were alive • Meets them in hell • Asked everyone why they were sent to hell • No one ever leaves so they can speak of why they were sent to hell • Deep inner most thoughts of a deep and lonely person, he is his own worst enemy • Those who hear these thoughts are his friend or us the reader? • Sawdust restaurants…people threw the shells on the floor • Tedious agreement (one person want to hurt another person) • Not positive images, but that of negative • Tells of a question he wants to ask a girl, but can’t tell us what he meant • Talks about the fog…metaphor for a cat… • This parties have a lot of vicious gossip, they make verbal back and forth attacks, visions then revisions, controlled hostility • He can’t disturb the universe with any of his non-sense • Rather Is his tie ok…etc • Modern man is confused and frustrated and doesn’t know what is important • How can I break through and have an honest moment? |
|
|