Poetry is often used to express emotion at its most romantic and infatuated, but sometimes it is used to describe the pillars of life behind that romance -- the sexuality, insecurity, devotion, and fidelity. Dorianne Laux, Anne Bradstreet, and Barbara Greenberg explore their very different relationships through poetry, examining this causal underpinnings through poetry. Using careful word choice, expressive imagery, and specific audience, each poet expertly wields her tool to

Betrayal in Fiction and Drama Betrayal Throughout the conflicts of fiction and the dramatic undertones of plays, the notion of betrayal always remains a common and tragic theme. Betrayal itself has mostly been the causation of motives such as love, jealousy, anger, and hatred. As one further delves into the depths of the word within literature, one finds that betrayal itself leads to an alarming number of characters seeking justice, retribution, peace

The convoluted relationships that characterize much of the novel are an example of a madding crowd, not distance from it. Also, Hardy describes how industrialization and urbanization are changing rural life at a pace at which they may be beginning to converge. The madding crowd is infiltrating the peaceful pastoral landscapes, while the people of the fields are finding it harder and harder to find employment practicing their traditional ways

Death and Dying in "Do Not Go Gentle Into That Good Night" and "Because I Could Not Stop for Death" Death is a common theme in poetry and has been written about and personified throughout history. Among some of the most recognizable poems that deal with the subject are "Do Not Go Gentle Into That Good Night," by Dylan Thomas (1951), and "Because I Could Not Stop for Death," by Emily Dickinson

The remainder of the poem assumes a more regularly rhythmic form, although the meter is not strict. Some of the remaining lines and stanzas follow an iambic hexameter, such as stanza three. However, many of the lines are in anapestic hexameter, or contain combinations of various meters. The poet inserts dactylic and anapestic feet along with iambic and also trochaic ones for intensity and variation, much as one would

In fact, he identified himself entirely with it, even in his own self-reflection. In the reflective poem "leroy," published in 1969 under his newly adopted name Amiri Baraka, a nostalgic comment on his mother becomes a lofty vision of himself as the bearer of black wisdom -- that "strong nigger feeling" (5) -- from his ancestors forward to the next generation. He refers to this legacy that he is