| Literary Device |
Line Reference |
Explanation |
| diction |
p. 74, lines 15, 17 |
remarkable discription; looking at ordinary concept in from an extraordinary view |
| structure |
|
placed very specifically to cause reader to create inflection and pauses at opportune times (listen to how he reads his own work) |
| denouement |
p. 90 |
he clearly explains the conclusion of the entire work |
| repetition |
p. 90, lines 3-4; p. 72, lines 7-8 |
dictates how to speak; is a crescendo of emotion and conviction |
| personification |
p. 72, line 17 |
confirms the realization that art is truly alive within the soul |
| contact |
p. 73, lines 4-9 |
Williams' new mode where he is directly in contact with the culture he lives in ; he makes it clear his distaste for Babylonian living styles |
| dramatic monologue |
p. 76, lines 1-4 |
We get a sense of Floss's intuitive nature and her good match with Mr. Williams. |
| epigram |
p. 73, lines 4-9 |
complete time out to criticize law |
| imagery |
p. 74 |
thoroughly describes setting |
| rhetorical questoin |
p. 72 |
does not invite response |
| syntax |
p. 75 |
"for to copy nature would be a shameful thing" ; backwards words placement |
| metaphor |
p. 71 |
the hobo serves as a metaphor for music |
| theme |
p. 90 |
states very clearly the purpose of the poem and the resolution |
| narrator |
|
Williams narrates the entire poem |
| narrative poem |
|
this is what the poem is |
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