Blog Post #6 Pan's Labyrinth Chart

The Hero's Journey	Explanation	Example from Pan’s Labyrinth:
I: Departure (The protagonist is separated from the known and steps into the unknown.)
Home Culture	The protagonist has a "home," a place that s/he thinks is normal, familiar, and common to others in his/her culture.	-        Ofelia looks at the statue and seems to get acquainted with its structure
Call to Adventure from the Ordinary World	A normal occurrence motivates the protagonist to acknowledge an unknown aspect of his/her world, feel a restlessness with the constraints of his/her life, or find a new world that s/he was not aware existed.	-        Ofelia see’s a flying bug when observing the statue, in addition, Ofelia sees the bug following her to Captain Vidal’s house
Refusal of the Call; Arrival of the Mentor	The protagonist chooses not to move forward in life because s/he chooses to not give up his/her position, power, ideals, goals, or responsibilities; the refusal is often based on his/her fear of the unknown and comfort in the familiar. Usually secondary characters support the protagonist's refusal.	-        Ofelia does not accept Captain Vidal as her father, therefore she refuses to move from the past like her mother Carmen -        Ofelia also refuses to give up her obsession with fairytales
Supernatural Aid (Can be the Mentor)	The inexperienced protagonist is provided a supernatural, guiding, and/or guarding character, or an instrumental item (sword, encouragement, etc.) to assist his/her step forward into the unknown.	-        Ofelia has two supernatural mentors one serves to be the fairy who guides her into the Labyrinth -        Another mentor is seen to be the Faun who assigns her tasks in order for Ofelia to return to the kingdom
Crossing the First Threshold to enter the Special World.	The protagonist moves out of his/her comfort zone and walks alone. S/he is confronted with an obstacle that must be overcome before s/he can fully enter the dangers of the unknown journey.	-        Ofelia crosses her comfort zone when she must remove a key within a toad as part of the Faun’s first task
II: Initiation (By crossing the threshold, the protagonist's world is changed forever. A mental journey merges with the physical journey to result in a spiritual revelation of purpose and self.)
Road of Trials	The protagonist is tested and found vulnerable, but the outcome reveals a part of him/her that s/he did not know existed. The assistance given the protagonist under the "Supernatural Aid" section of "Departure" begins to come into play in the story, and s/he is not expected to face the trials alone.	-        Ofelia finds herself to be lonely when she is unable to be along with her mother -        In this particular moment, Ofelia see’s her imagination sore as she imagines the Faun being in her room at certain times
Meeting a Soul Mate (mother-figure)	The protagonist meets an ideal (in ancient myths a goddess; in modern stories a soul mate) and sees the possibilities of his/her journey. This supernatural, human, or symbolic ideal encourages him/her forward.	-        Ofelia meets Mercedes, a rebel informant -        Mercedes is a character that encourages Ofelia to follow her imaginations -        In addition, Ofelia also protects Mercedes’s true identity from Captain Vidal
Overcoming Temptation (father-figure)	Someone or something tries to destroy the journey itself. Often the destroyer has been sent by a larger evil to stop the protagonist. The protagonist is often misled, but eventually overcomes his lack of knowledge, prejudices, and fears as s/he grows in the acceptance of his/her role as hero.	-        Ofelia during the second task finds herself tempted to eat the grapes despite the presence of a Cyclops like monster -        This causes for the fairies to be eaten - Also, Ofelia must be careful of Captain Vidal's action
Approaching the Inmost Cave & The Ordeal	The protagonist, having made the adjustment to the Special World, now goes on to seek its heart.  They pass into an intermediate region between the border, and the very center of the Hero’s Journey.  As the hero near the gates of a citadel deep within the Special World, they may take time to make plans, do reconnaissance on the army, reorganize or thin out the group, fortify and arm themselves, and have a last laugh before entering.   During the Ordeal itself, the hero will enter into the “belly of the whale”, and then die so they can be reborn. The hero will face his greatest fears, the failure of an enterprise, the end of a relationship, the death of an old personality.	-        Ofelia will face the death of her mother which was the greatest failure to Ofelia by far -        Captain Vidal found Ofelia’s mandrakes root and threw them into the fire, Ofelia was unable to protect her mother as well as finish the Faun’s second task
The Ultimate Goal: Reward (Treasure)	The protagonist becomes self-assured and often receives physical gifts and/or emotional rewards. Since personal limitations are broken, the protagonist can see the big picture not only in relation to him/herself but also in relation to others. The protagonist understands how the ultimate goal can be accomplished and the mission completed.	-        When the Faun returns to Ofelia’s bedroom, he allows her to receive another chance to finish her tasks before the full moon -        Ofelia then realizes the she is very desperate to reach the kingdom in order to lead a peaceful life
III: Return (Through the protagonist's ultimate sacrifice of self, s/he walks in an enlightened state.)
Refusing to Return	Although seldom a true refusal, the protagonist, who should return "home" with his/her powers, ability, or wisdom, remains isolated and often faces a death of sorts. Sometimes s/he prefers to live in the enlightenment than return to a "home" that might not accept the ultimate gift.	-        The death of Ofelia’s mother sparked a sort of discouragement within Ofelia to use her attempts to return to the kingdom -        She believes that further carrying these tasks would harm the ones she cares about
The Chase	The protagonist flees toward safety to thwart the attempts to take back the treasure, power, ability, or wisdom. Because the protagonist has changed, the chase characterizes his/her courage and confidence.	-        Ofelia initially flees with Mercedes from Captain Vidal however this attempt fails -        On the second attempt Ofelia flees with her baby brother from Captain Vidal
The Rescue	The protagonist is unable to save him/herself. Others help him/her return "home," which may deflate his/her ego, but since s/he sees the entirety of the mission, s/he understands the importance of what is accomplished.	- Ofelia is saved by the Spanish Rebels when they massacre Captain Vidal's house
Crossing the Return Threshold	The protagonist must face the evil or its leader and the realization that home is no longer a place but a state of being. Those in his/her past may not accept his/her new ability, power, or wisdom and may test it as a final trial to the protagonist.	-        Ofelia in order to finish the Faun’s third task must confront Captain Vidal himself -        Ofelia realizes the after her mother’s death and Mercedes fled, she does not have anyone to care for her therefore she takes desperate steps to get back to the kingdom
Master of Two Worlds	The protagonist has the ability, power, or wisdom without limitations to relax in whatever world (physical, mental, emotional, or spiritual) s/he finds him/herself. S/he can adjust to who s/he was in the past and who s/he might be in the future.	-        When Ofelia arrives at the kingdom she sees her dead father and mother back alive -        This shows that the kingdom carries its own components of imagination and realism
Freedom (Often the theme of the quest)	The protagonist is able to combine the workings of unenlightened (old) and enlightened (new) societies into one world, the world where the protagonist now resides. S/he understands that his/her old self had to "die" in order for the new way of life to begin. S/he no longer fears change because s/he has learned to live in the moment regardless of what that means.	-        Ofelia’s kingdom is all she imagined while reading her fairytales -        This shows that the Ofelia has reached her final place of solitude which is within her imagination

Blog Post #5 Rumpelstiltskin Poem Presentation

Blog Post #5 TPCASTT

TPCASTT Template

Title: At first glance, what do you think the title means? Look carefully at the archetypes of literature.  For example, we discussed the nuances of the “tree” before reading “The Black Walnut Tree”. Your Foster chapters will help you identify these areas of symbolism.	The title of the poem is Rumplestiltskin. The title indicates that the poem will reference the fairy tale in which a small man helps a girl spin gold in exchange for compensation which eventually escalates into her promising her child. by having a one word title, the main point of the poem must pertain to the story of Rumpelstiltskin with the main theme of the poem mirroring the theme of the story.
Paraphrase: Summarize the poem in your own words.	The poem reflects on the story of Rumpelstiltskin and compares the desires and animalistic impulses of the little man in the story to the inner workings of people in general. It shows how Rumplestiltskin offers to help the miller’s daughter to spin straw into gold in exchange for gifts: first a necklace then a ring and finally her firstborn. When her child is born, however, she weeps and the man takes pity on her and offers her another chance; if she guesses his name, she can keep the child. She finally guesses it after he is overheard bragging in the woods and Rumplestiltskin tears  himself into the different aspects of human nature as a result.
Connotation: Author’s diction (word choice): Identify meaningful words & discuss the implied or associated value. Remember also to include an analysis (the effect) of your literary devices here, especially as it relates to figurative language like imagery, irony, etc.	The author uses the word despair to describe the little man. In this case, this word is used to evoke a meaning that is more than just mere sadness. Instead the author wanted to inspire feelings of desperation and hollowness to describe the state of this man. The author also defines Rumplestiltskin as “no bigger than a two-year-old”. In this case, the casual use  of the toddler comparison strips Rumplestiltskin of any claim to manhood that he might have. It is somewhat insulting to the man to be compared in this way to a child just out of the reaches of infancy. Also, it is ironic to compare him to a child because that is what he later asks for from the queen. This comparison is ironic because it implies that the child-like-man is desperate for a child of his own.
Attitude/Tone: What is the attitude of the author or speaker? Use your Tone and Mood Words sheet.	The author uses a sort of condescending and mocking tone in the poem. She calls the child of the queen “ugly as an artichoke” like every other baby. This implies that she doesn’t understand why the queen won’t just give up the child. She also calls Rumplestiltskin the little man which is insulting and implies that the author is looking down on the characters.
Shift: Is there a place in the poem where an idea or attitude seems to shift in a new direction?  Explain. IS THERE ANY SORT OF COMPLEXITY THAT IS REFLECTED IN THIS SHIFT? (IRONY, PARADOX, ETC.)	The attitude shifts after the first stanza in the poem. The first stanza is eerie and she ends the stanza by  repeating “beware”. The next stanza opens with a fairy-tale like opening describing a girl who had to spin gold to stay alive. The purpose of this attitude switch was to show that the inner workings of the human mind are to be feared but that they are unavoidable. She accomplishes this by showing the connection of the initial evil to a typical girl.
Title Revisited: List any new insights you have on the significance of the title.	The title is also implying that Rumpelstiltskin represents a universal concept - human nature. By making the name the title, the author distributes importance to the character and what he means in the layout of the story as a whole.
Theme: What is the overall message of the poem?  Remember to make this a statement, rather than one word. Draw from your list of universal themes.	The overall theme of this poem is that people have many different sides of their minds - referred to as “doppelgangers” in this poem. They represent the different sides of humanity, from the purely animalistic side to the public front of society, that people battle against everyday.

Blog Post #5 Fairytale Powerpoint

Essay Final Draft

Gokul Muru

Ms. Wilson

English IVA

29 August 2014

 

Analysis:

This paragraph that I have picked is a clear representation of the theme of overcoming darkness. As a whole, this paragraph effectively shows the consequences of an action which was described near the mid-point of the story. This action has been reiterated throughout key points within the novel, however what the action was and how it affected others, did not appear until the very end of the book. Many conflicts that the characters face are resolved within this paragraph. This paragraph from the novel Beloved by Toni Morrison, carries itself with the uses of mild diction, powerful imagery, and various uses of syntax in order to convey the theme of overcoming darkness.

Firstly, the diction plays a central role in the usefulness of this last paragraph. “Occasionally, however the rustle of a skirt hushes when they wake, and the knuckles brushing a cheek in sleep seem to belong to a sleeper,” (Morrison 324). This line exemplifies how diction has proved to be very vital to the paragraph. Words such as “hushes” and “brushing” allow for the reader to get a sense of the presence of darkness. Obviously, it does not state that the darkness is involved with potential harmful behavior at this point of the story, however it keeps an eye on the characters. The paragraph references sleep through the use of words such as “sleeper” which help to carry the tone that darkness is a sort of a nightmare and carries no reality within the story as of now. The darkness is only present within small traces without completely being eliminated; this idea is effectively conveyed by the author through the use of her words.  Diction seen in this passage serves as an indication that climax point has been reached.  

Secondly, imagery plays a key role in describing the darkness that once haunted the two main characters of the novel, Sethe and Denver.  The novel states, “It took longer for those who had spoken to her, lived with her, fallen in love with her, to forget until they realized they couldn’t remember or respect a single thing she said, and began to believe that,” (Morrison 323-324). Lines such as “spoken to her,” “lived with her,” and “they couldn’t remember or respect a single thing she said,” helps to establish the presence of a figure. The book conveys the character as a loving individual. Even though the imagery is not explicit within the paragraph, it carries an implicit statement that allows the reader to imagine a presence that they believed to have been very consoling. The imagery does not give specifics of the character’s looks, however it gives the freedom to the reader to imagine this character for themselves. This type of implicit imagery allows for the character to be connected to the reader in a more emotional manner. Therefore, it establishes a well-defined conclusion that is vital to the rest of the novel.

Thirdly, the various types of syntax, ranging from small to large sentences, help establish tone and mood within the novel. The conclusion of the novel carries a pattern of a chunky paragraph followed with a small paragraph; this pattern occurs three times. The passage is here as follows, “In the place where long grass opens, the girl who waited to be loved and cry shame erupts into her separate parts, to make it easy for the chewing laughter to swallow her all away. (new paragraph) It was not a story to pass on,” (Morrison 323). The sentence structures help to pace the ending of the novel at a much slower rate. Lines in between two big paragraphs such as “It was not story to pass on,” help to create an effect that the darkness involved in the story is defined as an idea that is inevitable.  The syntax by slowing down also creates the illusion of suspense of whether the darkness will come back to haunt them.

All in all, Toni Morrison utilizes syntax, figurative language, and imagery to create the intended effect for the reader. This effect allows for the reader to assume that darkness is still in trace quantities within Sethe and Denver’s household. The language, although cryptic at certain points, implies that darkness is never fully overcome; the memories of that darkness always remain intact, but they are dismissed as that of a bad dream. Without the effect of imagery Toni Morrison would not have been able to create a light-weighted effect within a heavy concept. Without the mixture of syntax, the mixture of subtleness and intensity would not have been present.   Without the use of figurative language, this metaphorical passage would not have been relatable to the audience. Therefore, the last set of paragraphs were essential to establishing the overall theme of the novel.

Blog Post #4 Beloved Essay Draft #1

Gokul Muru

English IVA

Ms. Wilson

29 August 2014

Analysis:

This paragraph that I have picked is a clear representation of the theme of overcoming darkness. As a whole, this paragraph effectively shows the consequences of an action that was done near the mid-point of the story. This action has been reiterated throughout key points within the novel, however what the action was and how it affected others did not appear until the very end of the book. This one action puts together the different conflicts within the narrative. Many characters and their resolution to their needs are settled with this paragraph. This paragraph from the novel Beloved by Tori Morrison, carries itself with the uses of mild diction, powerful imagery, and various uses of syntax in order to convey the theme of overcoming darkness.

Firstly, the diction plays a central role in the usefulness of this last paragraph. “Occasionally, however the rustle of a skirt hushes when they wake, and the knuckles brushing a cheek in sleep seem to belong to a sleeper,” (Morrison 324). This one such line exemplifies how diction has proved to be very vital to the paragraph. Words such as “hushes” and “brushing” allow for the reader to get a sense of the presence of darkness. Obviously, it does not state that the darkness is involved with potential harmful behavior at this point of the story, however it keeps an eye on the characters. The paragraph references sleep through the use of words such as “sleeper” help to carry the tone that the darkness is a sort of a nightmare and carries no reality within the story as of now. The darkness is only present within small traces without completely being eliminated; this idea is effectively conveyed by the author through the use of her words.  Diction such as these help indicate to the reader that the climax point has been reached.  

Secondly, imagery plays a key role in describing the darkness that once haunted the two main characters of the novel, Sethe and Denver.  “It took longer for those who had spoken to her, lived with her, fallen in love with her, to forget until they realized they couldn’t remember or respect a single thing she said, and began to believe that,” (Morrison 323-324)

Blog Post #4 Analysis Chart

	Definition	Quote Example from Summer Reading	Effect of Literary Device	Effect of this literary device in my summer Reading Passage
Tone and Mood	The feeling that is made for the audience through the work of literature. Mood is the speakers attitude toward the literature	“They can touch if they like, but don’t because they know things will never be the same,” (Morrison 324).	Tone and mood help cultivate a relationship between the author and the reader therefore enhancing the power of the text.	The author establishes the dark tone through this one line, it mainly establishes the context that once someone dwells into the darkness it will be hard to untangle from it.
Diction	The choice and use of words and phrases in speech and writing; the style of enunciation in speaking or singing	“Occasionally, however, the rustle of a skirt hushes when they wake, and the knuckles brushing a cheek in sleep seem to belong to the sleeper,” (Morrison 324)	Diction can be used to evoke certain emotions due to word choice; associated with MOOD and TONE. The choice of the word hushes in the quotation creates a mood.	The diction such as “hushes” helps to create the intended effect of labeling the darkness still present in minute traces within the household.
Figurative Language	Language within literature that invokes a strong sense of mood. References to metaphorical language	“They forgot her like a bad dream,” (Morrison 323).	Allows for the reader to connect with the text at a more personal level by connecting an idea in the text with the real world applications	The figurative language when referring to a “bad dream,: A bad dream is an endless concept that is still applied centuries later therefore the line allows for the post-civil war set piece to connect with the modern audience.
Imagery	A description of how something feels, tastes, smells, looks, or hears	“It took longer for those who had spoken to her, lived with her, fallen in love with her, to forget until they realized they couldn’t remember or repeat a simple thing she said, and began to believe that,” (Morrison 324)	Imagery can be used to form a tone and mood through the description of the five senses and allows for a sense of lightness or darkness to be created.	The object of “her” refers to Beloved who is mainly appearing to the audience through vision and sound.
Syntax	The arrangement of words, clauses or phrases in order to evoke emotion. Different sentence lengths help to connect sentences.	“In the place where long grass opens, the girl who waited to be loved and cry shame erupts into her separate parts, to make it easy for the chewing laughter to swallow her all away. It was not a story to pass on,” (Morrison 323).	Syntax helps to keep a consistent pace for a reader to follow. Therefore, allowing the reader to interpret information through a much more emotional pathway.	The transition between two sections heavily uses syntax to depict the mood. The transition of intense medium lines transfer into one short line creating a sense of intense subtleness.

Blog Post #4 Passage from Beloved

Passage from Beloved:

“There is loneliness that can be rocked. Arms crossed, knees drawn up; holding, holding on, this motion, unlike a ship’s, smooths and contains the rocker. It’s an inside kind-wrapped tight like skin. Then there is a loneliness that roams. No rocking can hold it down. It is alive, on its own. A dry and spreading thing that makes the sound of one’s own feet going seem to come from a far-off place.

Everybody knew what she was called, but nobody anywhere knew her name. Dismembered and unaccounted for, she cannot be lost because no one is looking for her, and even if they were, how can they call her if they don’t know her name? Although she has claim, she is not claimed. In the place where long grass opens, the girl who waited to be loved and cry shame erupts into her separate parts, to make it easy for the chewing laughter to swallow her all away.

It was a story to pass on.  

They forgot her like a bad dream. After they made up their tales, shaped, and decorated them, those that saw her that day on the porch quickly and deliberately forgot her. It took longer for those who had spoken to her, lived with, fallen in love with her, to forget, until they realized they couldn't remember or repeat a single thing she said, and began to behave that, other than what they themselves were thinking, she hadn't said anything at all. So, in the end, they forgot her too. Remembering seemed unwise. They never knew where or why she crouched, or whose was the underwater face she needed like that. Where the memory of the smile under her chin might have been and was not, a latch latched and lichen attached its apple-green bloom to the metal. What made her think her fingernails could open locks the rain rained on?

It was not a story to pass on.

So they forgot her. Like an unpleasant dream during a troubling sleep. Occasionally, however, the rustle of a skirt hushes when they wake, and the knuckles brushing a cheek in sleep seem to belong to the sleeper. Sometimes the photograph of a close friend or relative-looked at too long- shifts, and something more familiar than the dear face itself moves there. They can touch it if they like, but don’t, because they know things will never be the same if they do.

Down by the stream in back of 124 her footprints come and go, come and go. They are so familiar. Should a child, an adult place his feet in them, they will fit. Take them out and they disappear again as though nobody ever walked there.

By and by all trace is gone, and what is forgotten is not only the footprints but the water too and what it is down there. The rest is weather. Not the breath of the dismembered and unaccounted for, but the wind in the eaves, or spring ice thawing for too quickly. Just weather. Certainly no clamor for a kiss.

Beloved.  

Blog Post #3 Black Walnut Tree Analysis and Close Reading

Rachel Darrah, Justin Mays, Gokul Muru, Adam Manguiat, Tanner Csendes.

Thesis:

Mary Oliver’s “The Black Walnut Tree” addresses the theme of keeping tradition over forcing change, its complexity being shown through its use of tone, structure, and sound which contribute to the overall idea of tribulation.

The Black Walnut Tree

My mother and I debate:

we could sell

the black walnut tree

to the lumberman,

and pay off the mortgage.....

Likely some storm anyway

will churn down its dark boughs,

smashing the house. We talk

slowly, two women trying

in a difficult time to be wise.

Roots in the cellar drains,

I say, and she replies

that the leaves are getting heavier

every year, and the fruit

harder to gather away.

But something brighter than money

moves in our blood–an edge

sharp and quick as a trowel

that wants us to dig and sow.

My mother and I debate:

we could sell

the black walnut tree

So we talk, but we don't do

anything. That night I dream

of my fathers out of Bohemia

filling the blue fields

of fresh and generous Ohio

with leaves and vines and orchards.

What my mother and I both know

is that we'd crawl with shame

in the emptiness we'd made

in our own and our fathers' backyard.

So the black walnut tree

swings through another year

of sun and leaping winds,

of leaves and bounding fruit,

and, month after month, the whip-

crack of the mortgage.

Determine the Impression to be conveyed:

The impression that we would like to convey in this poem is the idea of a resolute and repeating sadness. Removing the black walnut tree possesses to be a toilsome task for the mother and her daughter. The tree is a representation of the father’s work and effort; furthermore, it serves as a symbol which defines the father himself. Cutting down the tree would truly devastate the mother and daughter causing them to crawl in “shame.” But on the other hand, cutting down the tree could help them pay their mortgage. Since the poem talks about the emotional consequences, as a group we decided to focus on a tone of sadness. Diction such as “shame,” “whipcrack,” and “harder” help to create the intended effect of the burdens the family faces. Along with the vocabulary, the poem carries a very short syntax that does not completely paint a picture of a hope. The one sided dimension of the poem only allows for hopelessness to be represented. Hence, as a group we decided to depict a tone of sadness that shows the debate that the mother and daughter keep repeating and eventually resolve through exasperation.  They aren’t totally content to keep the tree, but they are more concerned with the symbolic nature of the tree than they are with their own burdens.

Costume Decision Paragraph:

As a group, we are using two main props within our reenactment of the poem “The Black Walnut Tree.” One prop is going to be a black shirt while the other is an envelope. Since the family faces an arduous decision of deciding between keeping the tree or paying the mortgage, the two items serve a proper representation of the poem as a whole. We decided for the tree to be represented by a person, since the poem describes its humanistic presence such as “swinging through another year of sun and leaping winds.” This supports the idea of the tree being close to a human-like character. The reason for the black shirt on the tree is mainly to depict the turmoils the family is facing. Since the tree is also the representation of the father, we feel as if it should also take part in the family’s sorrows. Black helps to represent this confliction because it is an obscure and mysterious color. Meanwhile, the envelope carries a very un-lively presence; therefore, as a group we decided to opt for a normal envelope. Without any voice or action, it creates a sense of menace. The menacing presence is backed up in the poem when it conveys it as“ the whipcrack of the mortgage.” The envelope is symbolic of the imposing threat that the mortgage brings, and this father adds to the conflicted sadness of the poem as a whole. Hence, we decided to use a black shirt and an envelope to bring in the broad picture of the poem.

Presentation Paragraph:

While going through the poem, our group decided to make several changes in order for the presentation to allow the poem to better depict the tone that was conveyed - sad yet resolved. We completely omitted a few lines from the original poem, highlighted in red above, that we felt were unnecessary to our overall understanding of the tone and mood. For example, the line, “to the lumberman” does not add any additional background information to understand what is going on, nor does it convey any emotions to go with the rest of the poem, causing for it to be deleted. In addition, we added a repetition of lines 1-3 after the “dig and sow.” This addition was mainly used to represent a possible reconsideration of cutting down the tree. However, the family decides not to as stated in the next line “the fathers I dream out of Bohemia.” This particular dream prevents them from cutting down the black walnut tree. Overall, the resigned sadness is emphasized by the repetition of the first three lines which hold the main message of the poem. We also chose to keep the last few lines untouched because these lines outline the hardships that the family will face even though they could always forget about their family’s roots and sell the tree. These final lines show that although the debate may be ongoing, ultimately the tree will stay because of its sentimental value and symbolism of the family’s roots.

Rhyme

1. There is no particular rhyme scheme that can be detected within the poem. However, the poem carries many assonances and consonances to create the rhyme scheme effect. There may have been a lack of rhyming in the poem in order to show that the poem is not totally unified. Rhyming is used to unify a poem in its meaning and structure. This poem was designed to show the conflicted nature of the family surrounding the tree; therefore, outright rhyming may have been avoided to emphasize the exchanged between the characters.

2. The poem follows an internal rhyme scheme as most of the lines carry two sounds mostly in the middle of the word that can connect with each other. This internal rhyme pattern in used to unite each independent idea or point that is brought up in the back and forth dialogue between the mother and the daughter.

Meter

1. The second half of the poem, we believe is prone to contain iambic pentameters within the poem. This adds to the listening flow of the poem.

2. When reading the poem with stressed syllables, there is a sort of mixed tone. In the beginning of the poem, the parameter carries a sense of melancholy and dispassion. However, when reading the the section in which the tree remains for another year seems to carry a sense of hope.

Form

1. This poem is following the structure of a free verse, which is a traditional form for poets. The use of free verse here helps to create an easy, open poem that is not too structured nor is it too abstract. The free verse style also shows that the debate isn’t a strict and angry quarrel between family members; instead the free verse allows for the sad but resolved nature of the poem to be conveyed.

Poetic Syntax

1. Examples of Enjambment in poem:

“We could sell the black walnut tree to the lumberman.”

“What my mother and I both know is that we’d crawl with shame.”

“Likely some storm anyway will churn its dark boughs.”

These particular enjambments introduce the first line with a poetic form and then proceeds with its sense of casual diction.

2. Example of Caseura:

“My mother and I debate.”

“And I pay off the mortgage.”

The caseura uses words such as “mortgage” in order to form a sort of connection with the audience that causes for the feeling of despair to penetrate. It is effective because the idea of a mortgage is well known amongst the same type of reader that would understand that family tradition can surpass changing times.

Sound:

1. The poem does not very much utilize meters and rhymes. However, it contains syntax that helps to bring the tension and intensity of removing the tree. The syntax is built of many long sentences with commas. These sentences are less direct that short sentences that end with a period, and as a result their effect is a more casual and sad tone instead of an angry or desperate tone.

2. The poem utilizes many assonance techniques in order to create the rhyme in between the poem. This allows for the tension to be created toward the end of the peom. However, the assonance is used in a variety of places without any significant patterns. One example of assonance is from lines 27-28 which uses “shame” and “made” which both employ the sound of the vowel a saying its own name.  

3. The sound of intensity is able to connect with the poem through attaching with the sentiment that the family carries toward the tree.