Why do we rise if only to fall
Bitches be trippin', ain't no lie
Why we gotta die ain't no harm done
Haters gon' hate, snitches gon' snitch
Seriously, bitches be trippin'
It's never enough, I can never win
Cause haters Gon' hate, and snitches Gon' snitch
You had my heart, at least, for the most part
It's always enough! But I can never win
Yes I always loose, but there's nothing better to choose
You did have my heart, and you teared it the F*** apart
I ain't done here, loosing isn't quitting
I don't have to always loose, screw that
It's wave, oh, for the next life
Not even close to done, loosing isn't quitting
I don't know if I alone want you
It's wave, oh, for the next life
I'm sad to say it's not the last time
I don't know if I want you alone
I look into your body, fill you up with enemies
I'm glad to say it's not the last time
Why did we die, nobody told a lie
I look inside your body, fill you up with enemies?
Why do we rise if only to fall
Wednesday, November 2, 2011
5 Rhymes
1
Iambic - unstress, stress. unstress, stress
a metrical foot consisting of one unstressed syllable followed by one long or stressed syllable.
Example: i NEED to PEE
2
Trochee - stress, unstress. stress, unstress
a metrical foot consisting of one stressed syllable followed by one unstressed syllable.
Example: F*** the PO-lice
3
Anapest - unstress, unstress, stress. unstress, unstress, stress.
a metrical foot consisting of two unstressed syllables followed by one stressed syllable, twice.
Example: da da DUM, da da DUM
4
Dactyl - stress, unstress, unstress. stress, unstress, unstress.
a metrical foot consisting of one stressed syllable followed by two unstressed syllables
Example: applesause, Tea Party, 'soldier side'
5
Spondee: stress, stress.
a metrical foot consisting of two stressed syllables.
Example: F U. Go Big. Suck it. Love Stinks...Yeah Yeah
Iambic - unstress, stress. unstress, stress
a metrical foot consisting of one unstressed syllable followed by one long or stressed syllable.
Example: i NEED to PEE
2
Trochee - stress, unstress. stress, unstress
a metrical foot consisting of one stressed syllable followed by one unstressed syllable.
Example: F*** the PO-lice
3
Anapest - unstress, unstress, stress. unstress, unstress, stress.
a metrical foot consisting of two unstressed syllables followed by one stressed syllable, twice.
Example: da da DUM, da da DUM
4
Dactyl - stress, unstress, unstress. stress, unstress, unstress.
a metrical foot consisting of one stressed syllable followed by two unstressed syllables
Example: applesause, Tea Party, 'soldier side'
5
Spondee: stress, stress.
a metrical foot consisting of two stressed syllables.
Example: F U. Go Big. Suck it. Love Stinks...Yeah Yeah
Punk Pantoum
is not a fashion statement
and it is not a commodity
every time you sanitize it
we will re-infect it
every time you clean it up
we will dirty it again
It is, essentially two words
the first word is "fuck"
and the second word is "you"
Not because we are not
capable of saying much more
but because you are not
capable of understanding
anything less
The Punk Revolution was born in the 1960's and was most popular through the 1970's. Punk was really a way of saying f-that. People were punk, not so much because they hated the world, but because they are bothered by the conformity of the world. Punks fight the power, The Man. The American Revolution was really an older form of punk. A bunch of rich, white, slave owning men didn't want to pay their taxes, so they fought against it. Thomas Jefferson said, "A little rebellion was good every once in a while...It keeps the government from having too much power." Now punk isn't thriving, but it will never die because everyone has some punk in them...just some more than others...
In Punk Pantoum a man asks his lover to take her life as he takes his. If the speaker is 'the punk', then the aristocratic lifestyle in which he lives is 'the man'. We know he lives in a rich neighborhood, Eutaw Place was originally known as Gibson Street (a place for the wealthy) and we know what he thinks of them, "rats, a severed fetlock, muscle, bone and hooves".
The speaker feels since the man keeps putting him and his lover down they should run away. That would be something logical to do, you don't like something so you get away from it. But how can you run away from the entire world? The man will always find you, and he cannot die!...but you can.
Death can be a satisfication, relaxation or a new experience. "There's a new song out just for you and me" Nobody can tell you what death is like becuase nobody really knows. Death is whatever you want it to be. The speaker and his lover have the same belief in it. In death they really can love each other for all eternity, unbothered.
The first and last line of the pantoum are basically the same. In the Punk Pantoum the first line is
"Tonight I'll walk the razor along your throat"
and the last is
"Tonight, dragging the white-hot razor across our throats, and back..."
There is a definite shift in tone here. 'Walk' to 'dragging' indicates movement, painstaking work or even hardship. The last line describes the razor as 'white-hot'. From thefreedictionary.com white-hot means in a state of intense emotion. The first line has little or no emotion and the last is in a state of intensity because they are about to kill themselves. The transition from 'your throat' to 'our throats' symbolizes their connection. They will live forever in death, unbothered.
'And back...' means that they are not done here. There will be more that happens. In this particular poem it means that there is an afterlife. The '...' probably means etc. It means literally, 'and back, and back, and back, and back, and back...' forever because death is an eternity!
Sunday, October 30, 2011
Explication: The Flea
John Donne’s poem “The Flea” is probably sexiest 17th century poem you
will ever read. It could be considered the first poetic instance of a
young man using a ridiculous argument to try to convince a woman to go
to bed with him. The poem focuses on a flea that has bitten two lovers,
so that their blood combines it. The narrator claims that this mixture
of blood, “one blood made of two” (9), is the same as sexual
intercourse. He argues that since the lovers have metaphorically
consummated, (and even produced a child!) within the flea with no ill
effect, then there should be no consequences to performing the same act
without the intermediary of the flea, i.e. in real life.
Donne uses the device
of conceit, or an elaborately sustained metaphor between two unlike
things to advance the argument. The conceit is introduced when Donne
compares the union of blood within the body of the flea to the sexual
act. The conceit is sustained as the flea becomes a microcosm for the
world outside the flea. Because the lovers are “cloistered in these
living walls of jet” (15), they have formed a union that can be
compared to marriage.
“Oh stay, three lives in one flea spare (11), writes Donne. The three lives mentioned here insinuate that a child has come out of the “marriage," which also gives further evidence that the couple has indeed consummated their love within the microcosmic world of the flea-- consummation being necessary for procreation. This microcosm is continued through the second stanza, at the end of which the young lady is warned not to kill the flea because she will be “killing” their family.
In the third stanza the young lady does kill the flea, getting blood on her nail. But even though she has killed the flea, the narrator claims that she “Find’st not they self nor me the weaker now” (24). The microcosm within the flea has been destroyed, but neither of the lovers are worse for the wear with their figurative selves destroyed.
“Oh stay, three lives in one flea spare (11), writes Donne. The three lives mentioned here insinuate that a child has come out of the “marriage," which also gives further evidence that the couple has indeed consummated their love within the microcosmic world of the flea-- consummation being necessary for procreation. This microcosm is continued through the second stanza, at the end of which the young lady is warned not to kill the flea because she will be “killing” their family.
In the third stanza the young lady does kill the flea, getting blood on her nail. But even though she has killed the flea, the narrator claims that she “Find’st not they self nor me the weaker now” (24). The microcosm within the flea has been destroyed, but neither of the lovers are worse for the wear with their figurative selves destroyed.
Even though the fact
that the death of the lovers within the flea doesn't seem to have any
effect in the real word could potentially contradict Donne’s argument,
he actually uses this to further the conceit. Because he had feared
that harm would arise from killing the flea, and yet there was none,
the young woman should cease her worries. Without consequence to the
union within the flea, or in the killing of the flea, there should not
be any consequence for a sexual union in real life: “Just so much
honor, when thou yield’st to me,/ Will waste, as this flea’s death took
life from thee” ( 26-27).
What Donne hopes to achieve as narrator of the poem is sexual contact with the lady, who is portrayed as a virgin. “A sin, or shame, or loss of maidenhead” (6), the sexual interaction that the flea enjoys, is “alas, more than we would do" (9). Within the poem, the flea is allowed liberties that the man is not. What Donne hopes to achieve as a poet is somewhat different. The conceit of the flea equaling consummation serves to showcase the wit of the poet, the skill employed in not only creating the metaphor but in managing to sustain it throughout the entire poem.
What Donne hopes to achieve as narrator of the poem is sexual contact with the lady, who is portrayed as a virgin. “A sin, or shame, or loss of maidenhead” (6), the sexual interaction that the flea enjoys, is “alas, more than we would do" (9). Within the poem, the flea is allowed liberties that the man is not. What Donne hopes to achieve as a poet is somewhat different. The conceit of the flea equaling consummation serves to showcase the wit of the poet, the skill employed in not only creating the metaphor but in managing to sustain it throughout the entire poem.
"The Flea" compares
quite differently to traditional metaphors of love. It likens it to an
unusual metaphor, a parasite, rather than something of beauty, like
springtime, flowers, or the outdoors, all common images of love poetry
during the time.
The poem is very sensual, even sexual, contrary to how most 17th century writers described love and desire. Rather than making love out to be something that is pure and lofty, Donne alludes quite freely to the act of sex. “The Flea” speaks about the act of conception, virginity, and the “marriage bed” (13), in a surprising manner for the time, and indeed one could argue, even in the modern day.
The poem is very sensual, even sexual, contrary to how most 17th century writers described love and desire. Rather than making love out to be something that is pure and lofty, Donne alludes quite freely to the act of sex. “The Flea” speaks about the act of conception, virginity, and the “marriage bed” (13), in a surprising manner for the time, and indeed one could argue, even in the modern day.
God's Grandeur
1)
One theme could be the power of Nature. The poem states that the world has the power to act. "it will flame out", "it gathers". It notices that Nature has the power to rejuvenate, and regenerate itself.
2)
The simile in line 2 says the shook foil will shine out like flame. Or in other words, the earth has a power to shine out, but it is being used. The poem references there is a higher power and it's best wepon is Nature. This simile represents the bolts of lighting Zeus would use to battle the giants.
3)
"Reck his rod" in line 4 symbolizes some kind of fall. The poem staes that there is some kind of power, then says, 'crushed? why not loose it and give up?' "Spent" in line 9 represents time and the importance of time in Nature. It is important that Nature is used as a tool of survival and not a means of power. "Bent" in line 13 states that the world is in a bent, or sloped, position and hints that it may be a cause of Nature being used as a means of gaining power.
One theme could be the power of Nature. The poem states that the world has the power to act. "it will flame out", "it gathers". It notices that Nature has the power to rejuvenate, and regenerate itself.
2)
The simile in line 2 says the shook foil will shine out like flame. Or in other words, the earth has a power to shine out, but it is being used. The poem references there is a higher power and it's best wepon is Nature. This simile represents the bolts of lighting Zeus would use to battle the giants.
3)
"Reck his rod" in line 4 symbolizes some kind of fall. The poem staes that there is some kind of power, then says, 'crushed? why not loose it and give up?' "Spent" in line 9 represents time and the importance of time in Nature. It is important that Nature is used as a tool of survival and not a means of power. "Bent" in line 13 states that the world is in a bent, or sloped, position and hints that it may be a cause of Nature being used as a means of gaining power.
Travelling Through the Dark
1)
The speaker was driving along, hit a "deer", and moved it off the road, into a river off an edge.
I put deer in quotations because a dear could mean more than an animal. The phrase deer in the headlights is a common phrase to describe people who are oblivious, and it is no coinsidence dear and deer are only one letter apart. Swerve in line 4 relates with swerve in line 17 because line 4 says to swerve means more dead. This is why he hesitates, but he knows "it's usually best to push them into the canyon."
2)
The car is always referenced with a lot of imagery. The "glow of the tail-light" "the car aimed ahead it's lowered parking lights; under the hood purred the steady engine. I stood in the glare of the warm exhaust truning red" This does have symbolic refference that comes alive when the speaker says "swerve". It relates to the car, when at rest the engine purrs, it's stable, but it recently has been going wrekless. It could be a symbol linking the speaker to the car.
3)
There doesn't seem to be a rhyme to the last stanza in the poem.
The speaker was driving along, hit a "deer", and moved it off the road, into a river off an edge.
I put deer in quotations because a dear could mean more than an animal. The phrase deer in the headlights is a common phrase to describe people who are oblivious, and it is no coinsidence dear and deer are only one letter apart. Swerve in line 4 relates with swerve in line 17 because line 4 says to swerve means more dead. This is why he hesitates, but he knows "it's usually best to push them into the canyon."
2)
The car is always referenced with a lot of imagery. The "glow of the tail-light" "the car aimed ahead it's lowered parking lights; under the hood purred the steady engine. I stood in the glare of the warm exhaust truning red" This does have symbolic refference that comes alive when the speaker says "swerve". It relates to the car, when at rest the engine purrs, it's stable, but it recently has been going wrekless. It could be a symbol linking the speaker to the car.
3)
There doesn't seem to be a rhyme to the last stanza in the poem.
Thursday, October 27, 2011
The Flea
1)
Preceding the first line of the poem, a flea had taken blood from two lovers and didn't leave the room. Between the first and second stanzas, the speaker trys to seduce his lover using the flea as a symbol of their love. Between the second and third, his motive was unclear, or unaffective on his lover and he resorts to the blunt truth: he's gon' tap dat. She squashes the flea and says, "there, now we're no weaker than before!"
2)
The speaker feels she should've respected his analogy better. His motive was to make her feel more in love with him and then reward him with sexual play. However, she seems to look the other way and this makes him feel insignificant, or unimportant, or maybe just plain hurt.
3)
"Look at this flea
it bit me, and then it bit you
and now we are one inside this flea.
See, look at him, he's so happy right now
because we're inside him mingling.
We should be like that!"
I think that has pleanty of logic. Love is strange game in which you can cheat the ways of physics in order to achive some spiritual gain. You can't litterally mix two people, but two people in love can be one.
4)
I really don't know the answer to this question...
The parent's grudge is against her taking part in sexual intercourse?
She killed their love and...two other things...and those are the sins...?
5)
Basically by killing the flea, she says it doesn't make them any less in love. Of course he just went out on a limb trying to tell her how important this flea is. He does agree the flea didn't litterally make them more in love, but his reaction is, "wow thanks for taking what i said into deep consideration and thank you for respecting that." (sarcasm)
6)
Bom chicka wow wow, nooky, whoopee, bonking, boinking, boffing, a roll in the hay, quickie, coitus...
Or maybe he got pissed off that she didn't respect his creativity and left.
7)
I vote this one doesn't count...
Preceding the first line of the poem, a flea had taken blood from two lovers and didn't leave the room. Between the first and second stanzas, the speaker trys to seduce his lover using the flea as a symbol of their love. Between the second and third, his motive was unclear, or unaffective on his lover and he resorts to the blunt truth: he's gon' tap dat. She squashes the flea and says, "there, now we're no weaker than before!"
2)
The speaker feels she should've respected his analogy better. His motive was to make her feel more in love with him and then reward him with sexual play. However, she seems to look the other way and this makes him feel insignificant, or unimportant, or maybe just plain hurt.
3)
"Look at this flea
it bit me, and then it bit you
and now we are one inside this flea.
See, look at him, he's so happy right now
because we're inside him mingling.
We should be like that!"
I think that has pleanty of logic. Love is strange game in which you can cheat the ways of physics in order to achive some spiritual gain. You can't litterally mix two people, but two people in love can be one.
4)
I really don't know the answer to this question...
The parent's grudge is against her taking part in sexual intercourse?
She killed their love and...two other things...and those are the sins...?
5)
Basically by killing the flea, she says it doesn't make them any less in love. Of course he just went out on a limb trying to tell her how important this flea is. He does agree the flea didn't litterally make them more in love, but his reaction is, "wow thanks for taking what i said into deep consideration and thank you for respecting that." (sarcasm)
6)
Bom chicka wow wow, nooky, whoopee, bonking, boinking, boffing, a roll in the hay, quickie, coitus...
Or maybe he got pissed off that she didn't respect his creativity and left.
7)
I vote this one doesn't count...
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