Analysis of The Cool Web by Robert Graves Essay Essay Example

Analysis of The Cool Web by Robert Graves Essay Essay Example Analysis of The Cool Web by Robert Graves Essay Essay Analysis of The Cool Web by Robert Graves Essay Essay Why is the rubric of the verse form â€Å"The cool web† ? Give a ground for your reply. The verse form discusses an adult’s sensitivity to utilize lingual sleight to avoid the effects of utmost emotion. The rubric combines two words. â€Å"cool† and â€Å"web† . each of which evokes a strong feeling. to make a 3rd even more redolent image. There are many English looks which use the word â€Å"cool† to convey quashing emotion. This use is similar to utilizing â€Å"calm† : â€Å"cool down† . â€Å"don’t lose your cool† . â€Å"go and cool off† . â€Å"cool it! † and so on. Even the slang reading of â€Å"cool† in the sense of stylish or sophisticated conjures up the thought of a relaxed and insouciant attitude. In the context of the verse form. â€Å"cool† can be seen as synonymous with a deficiency of passion and an addition of self-denial. â€Å"Web† is used to convey the sense of being enveloped by a bed which inhibits freedom. Graves could hold used â€Å"net† or â€Å"mesh† . nevertheless those words lack the sinister intension of the most common usage of â€Å"web† : that of a â€Å"spider’s web† . In this sense. there is an air of exposure and threat ; the spider’s quarry has non chosen to be caught in the web. but is ensnared however. The combination of â€Å"cool† and â€Å"web† creates an image of forced calm. The â€Å"cool web† is a lingual leukotomy which life imposes on world. What is the consequence of the repeat of ‘hot’ and ‘dreadful’ in the first stanza? The first stanza creates a threatening atmosphere. The adjectives used are intense: the twenty-four hours is non warm. it is hot ; the eventide is non dark. but black ; the soldiers are full of apprehension. non merely dismaying. ( Although now used in the same manner as terrorization. â€Å"dreadful† truly depict a greater degree of terror. ) This development of threat is further emphasised by the repeat of the â€Å"hot† and â€Å"dreadful† . The point is driven place to the reader. If Graves had used equivalent word – vesicating for â€Å"hot† and scaring for â€Å"dreadful† – in the 2nd cases of each. the significance would be basically unchanged. However. the sound and beat of the stanza would be significantly affected. The consequence is besides assisted by reiterating non merely â€Å"hot† . but the vowel rhyme and initial rhyme of the phrase â€Å"how hot† . The repeat and accent of â€Å"hot† in lines 1 and 2 besides provides contrast between the word â€Å"cool† in the rubric and â€Å"chill† in line 5. â€Å"Cool† and â€Å"coldly† are besides used in the organic structure of the verse form in contrast to â€Å"hot† . ( This accent through repeat is used a figure of times: in the 2nd stanza with â€Å"spell† ; in line 10 with â€Å"too much† and in the last stanza with â€Å"facing†. ) Who are ‘we’ in the 2nd stanza ( line 5 ) ? The usage of â€Å"but† at the beginning of line 5 contrasts â€Å"we† from the kids of the first stanza and presumptively Graves hence means grownups. Adults have a more sophisticated bid of linguistic communication with which to construe events. Children are direct in their attack to the universe and do non try to befog world for any ground. On run intoing an fleshy individual. a immature kid will cheerfully inquire them why they are so fat. An grownup would be improbable to initiate the topic at all. Children merely province what they think ; grownups use euphemisms and oblique vocabulary to guard off unwelcome emotions. Remark on the usage of: The adjectives ‘cruel’ to depict the rose’s aroma and ‘overhanging’ to depict the dark ( lines 6 and 7 ) . The reader is jolted as these adjectives are associated with unfamiliar topics. This is a signifier of highlighting to pull attending to the linguistic communication of the verse form. The usage of â€Å"cruel† to depict the aroma of a rose is particularly clashing. Almost without exclusion the rose is a symbol of love affair and love. non one of inhuman treatment. Graves seems to be connoting that anything that intrudes – even something pleasant – is obnoxious and to be â€Å"dulled† . By depicting the dark as â€Å"overhanging† Graves refers to the sense of bullying. of something unexpected looming over us. The poet so tells us that this should – and can be – be spelled off as unwanted. The verb ‘spell’ in the phrase ‘we enchantment away’ ( lines 7 and 8 ) Graves exploits a dual significance of â€Å"spell† to entwine the thoughts of linguistic communication and hocus-pocus. In the lingual context â€Å"spell† means to organize a word by set uping its component letters in the right order. ‘Spell† besides means to act upon person or something by agencies of charming powers. In this manner. the poet concentrates a figure of images into a individual word. An adult’s desire to belie world is a signifier of charming enchantment. but it requires the ability to spell words. ( Graves besides uses this technique in line 1 by depicting kids as â€Å"dumb† . This could intend that they are stupid and hence unable to pull strings and falsify the universe. It could besides intend that kids have no lingual module as in â€Å"deaf and dumb. † Of class. he means both. ) Explain how. in your sentiment. ‘the cool web’ may protect one against ‘too much joy or excessively much fear’ ( lines 5 to 11 ) . â€Å"The cool web† of linguistic communication is used to rationalize utmost emotions. Alternatively of responding instinctively to a state of affairs. we can submerge it in long-winded accounts. From dais to parliament. and from attorney to liar. we use linguistic communication to falsify world to accommodate ourselves. It is done linguistic communication that we can carry ourselves that the noise we hear in the dark is merely the cat and non a violent burglar. This is the footing for Graves’s mention to withdrawing from â€Å"too much fright. † Less obvious is the desire to protect ourselves from â€Å"too much joy† . a status that would look to be desirable. Possibly the poet believes that we are unable to get by adequately with either extreme of luck. There are a figure of superstitious notions in this respect such as labelling something as being â€Å"too good to be true† . It may be that Graves is proposing that we subconsciously know that we can’t prolong a province of delectation for long and that the hurting of the resulting letdown is non deserving the minute of joy. It reflects a low-risk paradigm where we would predate the highs to avoid the subsequent inevitable depressions. What indicants are at that place in stanza 4 to demo us what the speaker’s attitude is towards such protection? The phrases â€Å"self-possession† and â€Å"throwing off† show us that the talker believes that the protection which linguistic communication offers is an infliction and non a natural province of personal businesss. He notes that this implemented state of affairs controls us for our whole life until we die. While connoting that this protection is a load. Graves besides tells us that without it we would travel huffy. In other words. this protection is a necessary immorality. Why do mentions to the twenty-four hours. the rose. the dark and the soldiers recur throughout the verse form? These words occur in the first. 2nd and 4th ( last ) stanzas. The repeat in the 2nd stanza and the 4th stanza fulfil different intents. The mention in the 2nd stanza forms the footing for a contrast with the initial mention in the first stanza. In the first stanza these objects are described via a child’s simple mentality: hot and awful. In the 2nd stanza the same words are described via an adult’s more complex. language-distorted position. The last stanza has a different signifier than the first three ; it breaks a form of 4-line stanzas and. by making so. demands excess attending from the reader. In this last stanza the words â€Å"day† . â€Å"rose† . â€Å"night† and â€Å"drums† are listed merely without adjectives. This neatly reminds the reader of the beginning of the verse form and completes the comparing between kids and grownups. and their differing usage of linguistic communication. Briefly province the speaker’s decision about the function of linguistic communication in our lives ( lines 13 to 18 ) . The talker concludes that we need linguistic communication to protect ourselves from the world of life. Graves provinces that without the capacity for carrying ourselves that state of affairss are non what they appear. we would happen it impossible to get by and would travel huffy. The enunciation ( pick of words ) . construction. beat and tone of the first and last stanzas are markedly different. What do you believe the intent of these differences is? The first three stanzas have a comparatively simple rhyme strategy of A B C C. The consequence of lines 3 and 4 of each of these stanzas rhyming is that each stanza is concluded steadfastly. Three stanzas with the same construction creates a form and an outlook that the following stanza will be the same. The fact that it is non is a surprise and a type of highlighting. The last stanza has a rime of A B C D C D and this difference in construction alerts the reader and demands extra attending. This warning is welcome as the message in the last stanza is far more direct than antecedently where metaphor and allusion are used. The last line provinces unambiguously â€Å"we shall travel huffy no uncertainty. † It is in this last stanza that Graves delivers his opinion on our usage of linguistic communication.

The Native American Culture In The Red Convertible Essays

The Native American Culture In The Red Convertible Essays The Native American Culture In The Red Convertible The Native American Culture in The Red Convertible In the short story The Red Convertible, by Louise Erdrich, the author, contrasts the old way of life versus the new. Erdrich does this through metaphorical symbols: the color red, convertible, summer trip, and the fancy dance Henry performs before his death (Erdrich p. 468). In the story, the color red symbolizes many things. The convertible is red. Lyman also said his brother, had a nose big and sharp as a hatchet, like the nose on Red Tomahawk (Erdrich p. 467). Also when the brothers took their final journey Lyman says, We started off east, toward Pembina and the Red River (Erdrich p. 467). The color red, in this story, represents Henry's will to be free. The convertible appears in a bright red because, while driving the car, Henry feels trapped by the white man's war (Erdrich p. 467). By returning to the Red River Henry regains his spiritual freedom. According to The American Heritage book of Indians, the Red Sticks were and anti-American faction that fought to keep the white man out, and their heritage strong (p. 221). With this information, the Red Sticks, and the color red, represented in the story can be linked in their feelings with anti-Americanism (The American Heritage book of Indians p. 221). Lyman says, He said he wanted to give the car to me for good now, it was no use (Erdrich p. 468). By Henry giving Lyman the red convertible, he is foreshadowing his death. In the Chippawa culture gifts are given to the family of the deceased (The Chippawas of Lake Superior p. 16). A remnant of the deceased was kept, wrapped in birch bark, this spirit bundle was then kept for a year and later given to the family (The Chippawas of Lake Superior p. 16). Lyman knows that Henry is preparing him for Henry's death by giving him the car. Lyman states, No way. I don't want it, referring to the car (Erdrich p. 468). Lyman refuses this gift because he does not want Henry to die. The red convertible also represents a curative charm (The Chippawas of Lake Superior p. 19). In the Chippawa culture, a charm was given to the injured or diseased. This charm was used in many ways to: stimulate love, attract wealth, insure a successful journey, and to counteract evil (The Chippawas of Lake Superior p. 1 9). The charm consisted of an artifact that represented the individual or a figurine (The Chippawas of Lake Superior p. 19). The car was Henry's charm form Lyman. Lyman states, I thought the car might bring the old Henry back somehow (Erdrich p. 466). Lyman could see Henry was sick, so by reconnection Henry with the car, he thought the Henry would get better. To understand why the brothers took tow trips, one to Alaska, and the other at the end of the story, the Nomadic lifestyle of the Chippawas must be examined. The Chippawas led a seminomadic life, dependent upon the seasons (The Chippawas of Lake Superior p. 10). At the beginning of the story, Henry and Lyman venture off for the summer. The brothers end up in Alaska, which symbolizes their search for new hunting ground (The Chippawas of Lake Superior p. 11). The final journey, that the boys embark on, represents Henry's return to nature. Lyman identifies Henry's feeling by stating, When everything starts changing, drying up, clearing off, you feel like your whole life is starting. Henry felt it too (Erdrich p. 467). When Henry and Lyman reach their final destination, something comes over Henry. Lyman identifies this change when he states, I think it's the old Henry (Erdrich p. 468). However, Lyman doesn't understand Henry's next move when he says, He throws off his jacket and starts springing his legs up form the knees like a fancy dancer...He's wild (Erdrich p. 468). To understand Henry's fancy dancing, the reader must be aware of the cultural ties the Chippawa have to dancing. The origin of the Chippawa dancing drum is told through an old legend (The Ojibwa Dance Drum p. 44). The legend begins with an old Indian woman, who lost her four sons