In the sonnet ‘Just the Two of Us,’ by Tomioka Taeko, he portrays two individuals having a solid bond restricting them together and with the sole reason for living together. At the same time, Taeko calls attention to that the two individuals simply anticipating passing on together and one of them will bury the other.
It appears that they have stopped struggling in life and their fundamental purpose is to live ‘sooner or later will be a time you bury me, and I bury you, in the garden’ page 281.
Toward the end of the sonnet, one of the partners died, and the remaining one feels that the individual in question lived in fiction with the partner. They had avoided life.
There is a theme of despondency since the couple appears to live a life of mere existence. In the sonnet, Taeko calls attention to that, the couple simply needs to live, and they are anticipating the day one of them will bury the other. The couple detached themselves from the populace and are encircled themselves with things that they believe are making life easier and comfortable.
In Emily Dickinson’s poem, ‘Because I could not stop for Death’, the speaker is imparting from the grave. The speaker depicts her adventure alongside death to exist in the wake of death. Dickinson embodies Death into a gentlemanly figure who is a thoughtful guide in her adventure. Dickinson additionally utilizes rhyming and stylistic devices to pull the reader through the periods of the voyage to the afterlife from death itself to fear, and lastly acceptance.
The speaker feels no dread when Death lifts her up in his carriage, she just considers it as an act of benevolence, as she was too busy to find time for him. On page 506 the speaker stated that he kindly stopped for me, talking about the person Death as though Death was helping her out.
Mortality is likely the real subject in this sonnet. It’s about the speaker’s demeanor toward her death and what the actual day of her demise was like. Dickinson illustrates the day that doesn’t appear too far from the ordinary. The speaker isn’t frightened of death by any means and appears to acknowledge it. Death is presented immediately on page 506 in the beginning of the poem, the repetition of the title. We’re also reminded that our time of death isn’t something we choose, however, something that is dictated by powers outside our ability to control.
The house is a representation for the grave. Dickinson needs to uphold the possibility that the speaker acknowledges and is alright with passing on. The speaker can scarcely make out the house since it’s only a little ascent in the ground. Possibly because she is simply beginning to comprehend that this house will be her grave. We will, in general, appreciate things better when they have personal significance. The portrayal of the house is truly constrained and appears to be typical except for the way that is underground. Dickinson may keep the portrayal ambiguous deliberately. She needs to utilize the house as an image, yet at the same time needs it to make sense on a literal level.
Edwin Arlington Robinson’s poem titled ‘Richard Cory’ was short, yet it had an exceptionally effective message. He carried on with the sort of life everybody presumably envisioned to one day live. We will, in general, seek other individuals for our joy unconscious of what they really experience regularly. He needed us to comprehend in his poem the everyday battles on the outside, he may have had everything in perfect order, however within, he was dead. It simply mattered of time before his outside coordinated his inside. At that point, the inescapable occurred. He took his very own life. This is life.
One of the topics in this sonnet is variation of the reality. Everybody sees the world in an unexpected way. You may even say that we each have our own rendition of the real world. For the townspeople of ‘Richard Cory,’ the main character has everything: great looks, heaps of cash, nice clothes, an amicable attitude. What more would you be able to truly desire? However, Richard Cory’s own reality is extraordinary, so unique, in fact, that the murders himself toward the end of the sonnet. What do the townspeople see in Richard Cory that he doesn’t find in himself? What does he find in himself that the townspeople can’t see? They have immeasurably unique renditions of reality without a doubt.
For the ‘people on the pavement,’ life is a long way from the rich and advantaged existence that noble men, for example, Richard Cory live; rather, it is a monotonous daily routine in which they go to work and wait for the morning, in some cases going ‘without meat,’ reviling their present situation as they ‘curse the bread.’ Consistently, poor people, persevering ‘people of the streets’ struggle, reviling their bread, seeing un their intermittent looks of Richard Cory, a sumptuous life such as they can only dream. For them, it must be impossible that a man who appreciates such a life of lavish comfort would, on ‘one calm summer night,’ return home and ‘put a bullet through his head.’ page 672
In the poem ‘The World is Too Much with Us,’ by William Wordsworth, the speaker complains of his disappointment and estrangement from how to possess life and communicates the desire to have lived in an alternate moment, when the conviction would be increasingly outlandish. He feels his life, inside an advanced financial framework, commands and decimates his forces by substituting ‘getting and spending’ of all nature. He talks in the principle individual plural ‘we’ and ‘us’ to demonstrate a comparable distance of individuals when all is said is done from basic facts and ways. Their hearts have been caught by the trade if life around them. And with nothing left of nature.
There were a couple of subjects of this ballad which are nature, social discourse, and money. It seems like a reading material case of a romantic style longing back to a simpler time where individuals live as one with nature and couldn’t have cared less about all the money; the topic is romanticism of nature.
The title ‘the world is too much with us’ doesn’t really sound right the first time I read it. We usually say, ‘the world is too much for me.’ And I think that the author did that to describe the condition of industrialized society. The experience of the modern city, with everyone and shops, is overwhelming; for it to be ‘too much with’ signifies something like ‘it’s so much I can’t handle it.’ Just consider it practically equivalent to how you feel when you see a bright glimmer and must close your eyes. Two other conceivable interpretations rely upon ‘world’ alluding not to industrialized society, but rather to the natural world itself. From this point of view, the title could mean something like ‘human beings are a burden on the earth,’ a parasite that agitates a natural balance These distinctive implications of the title are enacted in the poem, which is fixated on the diverse manners by which individuals are unreasonably occupied for nature and never again have time or capacity to encounter it.