All persons, yes all persons
Can you hear me beyond all those commotions
Held as slaves within any State, yes held captive
Must be given the right to freely live.
This freedom, oh for so long has been deprived
Will make such persons finally be revived
Let no one hinder, no one repress
Such people of their liberty possess.
But you, oh people now set free
Must all violence never agree
Let labor be your source of gladness now
Cause your wage you’ll receive, I vow.
As freed men you shall be
Serving fellowmen and country see
Freely you receive so freely give
Freedom that you long to have, enjoy and live.
"The" boy was walking his dog
Answer:
Explanation:
What could be a worse fate for a modern American female poet than to be lumped into a nebulous, chauvinistic and ever slightly misogynistic pool of cess stereotyped as a “domestic poet.” Anyone unfamiliar with the term coming across it from the first time in reference to a female poet might well believe that domestic poetry is sweetly rhyming verse taking as its subject situations like getting the kids into the van for soccer practice, making cookies for the PTA meeting and, of course, a litany of hatred expressed toward husbands who are never there to help with domestic issues.
Never mind that Robert Frost and Walt Whitman and Wallace Stevens have all at one time or another found a niche within the broadly defined movement or genre of domestic poetry. Which, for the same of brevity, shall be termed poetry dealing with the commonplace of everyday as opposed to epic tales, transcendental unity of man with nature, mysticism, avant-garde experimentation with form over content and various other assorted and sundry types of poems with which the average person cannot relate. Linda Pastan, in other words, writes poems in which she consistently returns to touch upon universal themes dealing with family and relationships and the difficulties of normal existence and the emotional distress of just getting up and living live as it comes.
The tension that always exists between members of a family regardless of the definition or connotation applied to the term “family” has been a great source of inspiration to Pastan from her earliest verse and throughout her development and maturation. By contrast, an equally concentrated examination of the tensions introduced by religious and spiritual expectations has tended to dissipate throughout that process of growing older and becoming more domesticated. In its place Pastan has created a body of work that is far more elegiac and meditative and, it must finally be admitted, less domestic. With the introduction of a more melancholic and reflective poetry that moves into a greater sense of isolation and a solitary contemplation of tactile nature rather than abstract spiritualism, Pastan succeeds in tossing off whatever chains may have been tied around her verse as a result of the unfortunate constriction of trying to pigeonhole her as merely a domestic poet.
Answer:
D
THe one man in all the oceans is a sign of loneliness
This poem utilizes distinctive symbolism and cautious word decision to pass on the magnificence of fall. The second and fourth lines of every stanza rhyme and the writer utilizes unpredictable musicality. Similar sounding word usage is a general procedure in this ballad. The writer is utilizing both strict and metaphorical dialect all through the ballad. She watches the sun sparkling on different things and utilizes distinctive symbolism to underline the excellence she finds in this pre-winter day. Non-literal dialect is found in her depictions. She says the daylight "flares fire like on the fire hydrant," utilizing a likeness to demonstrate how brilliantly it sparkles. She closes with a representation contrasting the September daylight with a chameleon.
