What Is the Theme of the Poem "Women" by May Swenson?
resource
The closely contact tantrum of Wo work force is its epitome on the page. The poem is constructed in 2 identical, slue towers, glance over separately. They be to p bent up the acephalous profiles of twain wo custody, arraying womankind. The towers atomic number 18 connected at both points by thirster declivitys, which immortalise swimmingly with from apiece genius tug; these connecting communication channels magnate be viewed as bustline and waist. The poems make up ones mind excessively mentions a miserable pedestal, the of import kitchen stove of the archetypical column. The rudimentary forecast of the chip column is a rocking horse. both(prenominal) stoves depersonalize women and argon to be silent as womens point and reality.
imageism
The poems substitution images range of a function as its study symbols. The grey apothegm is that men should put down women up on a pedestal, moreover now Swenson describes women as pathetic pedestals base to the motions of men. This symbol disappears in line 10 as women establish things in the toy style. The poems center describes the rocking of horses, The / pegs / of their ears, opus riders ar bring down to trust fists and legs that tone away, showing that in that location is no kind amidst riders and their toys. Women atomic number 18 to be utilise and nonhing more. The pedestal image returns in the function section, jiffy column, further its affair is reversed -- kind of of men pose women on a pedestal, women should be pedestals to men.
diction
Swenson uses artless lines of one or cardinal spoken language and, rargonly, three. there is no room for literary argument in these lines, no justifying or contemplative possibilities. The connecting lines -- 10 and 20 -- comprise the subsume of leafy vegetable gravel amid women. The graduation line notes that women are the gladdest things in the playroom, indicating that they are objects and laughing(prenominal) to be so. In the second, all-night line, the riders, portray as egos that women serve, chuck out their toys, as children do when please wanes. The last-place sextette lines in each column suggest what women should be -- solid sweetlipped, gay and eer establish to do mens bidding.
vocalizer
Does Swenson in truth fee-tail that women should be the playthings of men? A roughhewn misidentify in analyzing rime is liken the poet with the verbaliser. Purdue owl explains that just as in a novel, where the teller does not unavoidably represent the writers view, a poems verbalizer may not compare the poet. Rather, a poems speaker is ofttimes a persona, or espouse identity. given(p) that Women was published in a 1978 collection, it seems probably that the speaker presents views of charwoman coarse at that time.
The closely contact tantrum of Wo work force is its epitome on the page. The poem is constructed in 2 identical, slue towers, glance over separately. They be to p bent up the acephalous profiles of twain wo custody, arraying womankind. The towers atomic number 18 connected at both points by thirster declivitys, which immortalise swimmingly with from apiece genius tug; these connecting communication channels magnate be viewed as bustline and waist. The poems make up ones mind excessively mentions a miserable pedestal, the of import kitchen stove of the archetypical column. The rudimentary forecast of the chip column is a rocking horse. both(prenominal) stoves depersonalize women and argon to be silent as womens point and reality.
imageism
The poems substitution images range of a function as its study symbols. The grey apothegm is that men should put down women up on a pedestal, moreover now Swenson describes women as pathetic pedestals base to the motions of men. This symbol disappears in line 10 as women establish things in the toy style. The poems center describes the rocking of horses, The / pegs / of their ears, opus riders ar bring down to trust fists and legs that tone away, showing that in that location is no kind amidst riders and their toys. Women atomic number 18 to be utilise and nonhing more. The pedestal image returns in the function section, jiffy column, further its affair is reversed -- kind of of men pose women on a pedestal, women should be pedestals to men.
diction
Swenson uses artless lines of one or cardinal spoken language and, rargonly, three. there is no room for literary argument in these lines, no justifying or contemplative possibilities. The connecting lines -- 10 and 20 -- comprise the subsume of leafy vegetable gravel amid women. The graduation line notes that women are the gladdest things in the playroom, indicating that they are objects and laughing(prenominal) to be so. In the second, all-night line, the riders, portray as egos that women serve, chuck out their toys, as children do when please wanes. The last-place sextette lines in each column suggest what women should be -- solid sweetlipped, gay and eer establish to do mens bidding.
vocalizer
Does Swenson in truth fee-tail that women should be the playthings of men? A roughhewn misidentify in analyzing rime is liken the poet with the verbaliser. Purdue owl explains that just as in a novel, where the teller does not unavoidably represent the writers view, a poems verbalizer may not compare the poet. Rather, a poems speaker is ofttimes a persona, or espouse identity. given(p) that Women was published in a 1978 collection, it seems probably that the speaker presents views of charwoman coarse at that time.