Isobel Dixon And Mervyn Morris

Isobel Dixon And Mervyn Morris critical son Crying by Mervyn Morris and Plenty by Isobel Dixon both look for the glorious childhood memories and experiences of the poets. In short boy Crying, a baffle deals with the troubles of raising a and disciplining a child whereas in Plenty, Dixon describes her youth when she and her sisters could non afford the things they so greedily stole behind their mothers back eventu whollyy comparing it to her prosperous present. I will explore how the poets physical exertion mental doublingry and manner of speaking, voice and t integrity(a), and structure and form to create effects and convey their experiences. comminuted Boy Crying is ground on a fathers true paper revealing the how he once treated his son. It depicts the themes of sadness, remorse, and love. Morris describes his battle with fighting the trouble he feels for slapping his son beca physical exertion he loves him so much, longs to lift you, curb your sadness. This is perad venture to depict the contrast between the two emotions and the danger of what happens when they collide. At number one, the commentator empathizes with the boy, tho, as the poem progresses and the fathers situation is understood, the ref begins to empathize for him as well.Plenty, is based on Dixons chaotic youth with her sisters. It explores the themes of chaos, restriction, and realization. Dixon writes about her memories of the past, often referring to her mothers anger oer the chaos she and her sisters create by ignoring the mothers restrictions, her lips anchored down non k directing accordingly it was a clasp to keep us all from chaos. This shows that as you birth older, you realize the importance of order and begin appreciating your p bents hard labor.Mervyn Morris use of in good order language helps the reader relate to the situation described. The title, Little Boy Crying, already provokes a sad envision of what is forthcoming in the poem, creating an instantaneo us outstanding effect on the reader. In the first stanza, Morris expresses the transposes which his son undertook since the slap, mouth contorting, joke metamorphosed, and frame so recently relaxed now tight. The word metamorphosed, exemplifies the rapidity of the change of the boys facial expression, creating a more goodly image of the emotions the boy is feeling. These changes rapidly introduce the reader to the circumstances.Powerful imagery of water is seen in the word locomote tears, splashing your bare feet, where sibilance and personification of the tears have been utilise to berate a more dramatic sense of the boys misery. The phrase active slap stuck, creates a more sped up and violent interpretation of the happenings and the use of onomatopoeia in slap, creates a more graphic scene.Overall in the first stanza of Little Boy Crying, many sad and angry address are used to create a depressed mood Howls, frame tight, frustration, swimming tears, and guilt or sorrow. Such powerful phrases are used to invoke a more immediate effect of grief and a singing to the situation by the reader. The reader becomes more compassionate and understanding of the characters.In the second stanza the father imagines himself in the sons position, alluding to the fairytale Jack and the Bean stalk, evoking powerful imagery of hatred as well, The ogre, grim monstrosity, colossal cruel, Chopped straight the tree the fathers scrambling down. The use of head rhyme of g in grim giant and c in colossal cruel, places emphasis on the phrases to describe the elegant hatred the father thinks the boy moldiness feel against him, signifying that he knows he is being mean and understands his decisions were harsh. The reference to a well-known fairytale increases the readers king to relate to the situation and creates a more vivid scenario.In the third base stanza, the line You cannot understand, not yet demonstrates that the child does not acknowledge the item that his fat her is teaching him a lesson. The father seems very guilt stricken and at fault that he had to take such measures to teach a lesson, The hurt your easy tears can scald him with. The boy does not realize the pain his display of sadness causes his father, who obviously takes no pleasance in making his son cry. The father seems to regret his actions however remain firm to teach the lesson, Longs to lift you, curb your sadness. The alliteration of l emphasizes the zest however the father stays strong to ensure his son is raised with the correct values.The last stanza implies the little boy has been playing in the rain, you must not sour a plaything of the rain. This line has several meanings such as the immorality of trying to get sympathy by crying. On another(prenominal) level, it could be the father instructing himself to take his lessons more seriously and his deal stay firm to show discipline.Isobel Dixon also uses powerful imagery and language to convey her messages. The ti tle itself contrasts with nearly the entirety of the poem as indigence has placed them far away from Plenty. Isobel Dixon creates an intense mood using vivid description early on in the poem.In the first stanza the reader is introduced to Dixons memory of an enamel tub, age-stained and pocked upon its griffin claws, never full. Such an image conveys the impression that that the family cannot afford proper equipment such as a tub and is unable to fill it with water as it is too costly and in short supply.Water is recognized as a representation of their neediness from basic necessities in the current expanse of drought where dams leaked dry and windmills stalled. The alliteration of d in the phrase drought where dams leaked dry, enhances the effectiveness of the image created by making them more prominent in the description.The stalled windmills are subsequently compared with the mothers smile, desire mommys smile. This infers that her smile has stalled. Dixon uses metaphors to de scribe her mothers frown, a clasp to keep us all from chaos. The metaphor is used to create a more vivid image of the mothers efforts to keep the family together. Additionally, the onomatopoeia of the word clasp creates a more powerful picture. many an(prenominal) cases of sibilance are found in the phrase she saw it always, snapping locks and straps, the spilling sums and worries, shopping lists The ongoing repetition of the consonant s creates an almost explosive ringing.The poet uses contradictory phrases to misinform their meaning in the oxymoron, each month was weeks too long. A month is always an exact number of weeks long however Dixon implies that they never had liberal money to cover an entire months worth of spending.In the penultimate stanza, when describing the present, Dixon uses enjambment in the line waters plentiful, to excess, almost, here./ This creates a slower progression in the poem and exemplifies how she is disregarding all her foregoing worries about tak ing another precious of water.Little Boy Crying, is written from the voice of the father however it changes perspective several times. In the first stanza, the father is observing the response of his son. In the second stanza, the father attempts to view the situation from his sons taper of view. In the third stanza a third-person view responds to the happenings, explaining the fathers feelings.In contrast, Plenty, is written entirely from Dixons point of view. She writes in a voice which seems apologetic because of all the disorder she now recognizes she caused, not knowing then, and we thought her mean. Later, she compares it to the present, where bubbles lap my chin. Even though she is appreciative for the present luxury in her life, she misses her childhood, miss my scattered sisters.In Little Boy Crying, Morris uses long sentences with small amounts of punctuation mark to create tension and make the reader keep reading. The first stanza is composed of seven lines, however b ut one sentence. The stanza length is a little beyond average, and the last stanza ends absolutely as it consists only of one line. Ending a poem with one line creates force and stress to the line, making the reader consider it more. The use of enjambment establishes a greater emphasis on the word previous to it, such as howls, frustration, and tears. This is done to put pressure on special words, empowering their meaning and adding importance to their effect. They become more noticeable than the rest of the wordsIn Plenty, Dixon uses normal length sentences and stanzas, which contradicts the chaos depicted in the poem. She does not use very much enjambment, creating an ongoing flow of reading. Her use of punctuation varies greatly as in the fourth stanza three full-stops are used. On the other hand, in the fifth and sixth stanzas, altogether only one full-stop is used. This creates tension when its needed and adds a story-like effect.Little Boy Crying, by Mervyn Morris and Plenty , by Isobel Dixon both delve into the moving childhood experiences they have. In Little Boy Crying, a father resists the urge to apologize to his son for disciplining him whereas in Plenty, Dixon describes her chaotic youth with her sisters finally comparing it to her present. Little Boy Crying explores the themes of sadness, discipline, and regret. Plenty, explores the themes of chaos, restriction, and realization. both(prenominal) poems have their underlying messages such as in plenty, where patience helps us all deal with many of lifes everyday problems. In Little Boy Crying, one learns the difficulty of punishing a child even though it is for the greater good of them.