Entry 1_ Trinh Thi Mai
Item
1: Poem
“Do
Not Go Gentle Into That Good Night”
by
Dylan Thomas
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
v Rhetorical
devices:
+ Metaphor: “day”(life),
good night-dying of the light-close of day(death)
+
exaggeration: “they grieved it on
its way”
+
Personification: frail deeds might have danced in a green bay( frail deeds are
given to ability to dance )
+
Simile: “Blind eyes could blaze like meteors” (The eyes are blazing like
meteors lighting the sky)
+ Repetition:“Do
not go gentle into that good night “(4 times), “Rage, rage
against the dying of the light.” (4 times)
v Message:
the author rouses his father who doesn’t give up easily, fight the oncoming of
the death and continue being a
fierce man as before.
Item 2: story
"The
Story of An Hour"
Kate Chopin (1894)
Knowing that Mrs. Mallard was
afflicted with a heart trouble, great care was taken to break to her as gently
as possible the news of her husband's death.
It was her sister Josephine who
told her, in broken sentences; veiled hints that revealed in half concealing.
Her husband's friend Richards was there, too, near her. It was he who had been
in the newspaper office when intelligence of the railroad disaster was
received, with Brently Mallard's name leading the list of "killed."
He had only taken the time to assure himself of its truth by a second telegram,
and had hastened to forestall any less careful, less tender friend in bearing
the sad message.
She did not hear the story as many
women have heard the same, with a paralyzed inability to accept its
significance. She wept at once, with sudden, wild abandonment, in her sister's
arms. When the storm of grief had spent itself she went away to her room alone.
She would have no one follow her.
There stood, facing the open
window, a comfortable, roomy armchair. Into this she sank, pressed down by a
physical exhaustion that haunted her body and seemed to reach into her soul.
She could see in the open square before
her house the tops of trees that were all aquiver with the new spring life. The
delicious breath of rain was in the air. In the street below a peddler was
crying his wares. The notes of a distant song which some one was singing
reached her faintly, and countless sparrows were twittering in the eaves.
There were patches of blue sky
showing here and there through the clouds that had met and piled one above the
other in the west facing her window.
She sat with her head thrown back
upon the cushion of the chair, quite motionless, except when a sob came up into
her throat and shook her, as a child who has cried itself to sleep continues to
sob in its dreams.
She was young, with a fair, calm
face, whose lines bespoke repression and even a certain strength. But now there
was a dull stare in her eyes, whose gaze was fixed away off yonder on one of
those patches of blue sky. It was not a glance of reflection, but rather
indicated a suspension of intelligent thought.
There was something coming to her
and she was waiting for it, fearfully. What was it? She did not know; it was
too subtle and elusive to name. But she felt it, creeping out of the sky,
reaching toward her through the sounds, the scents, the color that filled the
air.
Now her bosom rose and fell tumultuously.
She was beginning to recognize this thing that was approaching to possess her,
and she was striving to beat it back with her will--as powerless as her two
white slender hands would have been. When she abandoned herself a little
whispered word escaped her slightly parted lips. She said it over and over
under hte breath: "free, free, free!" The vacant stare and the look
of terror that had followed it went from her eyes. They stayed keen and bright.
Her pulses beat fast, and the coursing blood warmed and relaxed every inch of
her body.
She did not stop to ask if it were
or were not a monstrous joy that held her. A clear and exalted perception
enabled her to dismiss the suggestion as trivial. She knew that she would weep
again when she saw the kind, tender hands folded in death; the face that had
never looked save with love upon her, fixed and gray and dead. But she saw
beyond that bitter moment a long procession of years to come that would belong
to her absolutely. And she opened and spread her arms out to them in welcome.
There would be no one to live for
during those coming years; she would live for herself. There would be no
powerful will bending hers in that blind persistence with which men and women
believe they have a right to impose a private will upon a fellow-creature. A
kind intention or a cruel intention made the act seem no less a crime as she
looked upon it in that brief moment of illumination.
And yet she had loved
him--sometimes. Often she had not. What did it matter! What could love, the
unsolved mystery, count for in the face of this possession of self-assertion
which she suddenly recognized as the strongest impulse of her being!
"Free! Body and soul
free!" she kept whispering.
Josephine was kneeling before the
closed door with her lips to the keyhold, imploring for admission.
"Louise, open the door! I beg; open the door--you will make yourself ill.
What are you doing, Louise? For heaven's sake open the door."
"Go away. I am not making
myself ill." No; she was drinking in a very elixir of life through that
open window.
Her fancy was running riot along
those days ahead of her. Spring days, and summer days, and all sorts of days
that would be her own. She breathed a quick prayer that life might be long. It
was only yesterday she had thought with a shudder that life might be long.
She arose at length and opened the
door to her sister's importunities. There was a feverish triumph in her eyes,
and she carried herself unwittingly like a goddess of Victory. She clasped her
sister's waist, and together they descended the stairs. Richards stood waiting
for them at the bottom.
Some one was opening the front door
with a latchkey. It was Brently Mallard who entered, a little travel-stained,
composedly carrying his grip-sack and umbrella. He had been far from the scene
of the accident, and did not even know there had been one. He stood amazed at
Josephine's piercing cry; at Richards' quick motion to screen him from the view
of his wife.
When the doctors came they said she
had died of heart disease--of the joy that kills.
+
Rhetorical devices:
+symbolism : open window( represents the only way through which
Mallard could communicate with the outside world), the blue sky and the spring ( hope), the
cloud( freedom), tree and rain( life).
a result of the fact that he's
alive
+ metaphor - like the goddess of Victory- descending the stairs (she
subjugates society;
society decreases in her
independent life)
Item 3: Cartoon
v Rhetorical devices:
Metaphor: dinosaurs- fossil fuels
(CO2)
v Message:
fossil fuels will be run out of because they are unrenewable and limited energy
and overexploitation. The environment is polluted by CO2. Therefore, it’s vital
to find alternative energies as the wind, the sun,
I think you should use correct name of rhetorical devices, for example:
Trả lờiXóa+ In item 1: "Exaggeration" is just a way which belongs to rhetorical devices "overstatement". There is no rhetorical devices namely "exaggeration".
+ In item 2: Rhetorical device is "symbol" not "symbolism"
In my opinion, correct names of rhetorical devices are really important, so you should pay much attention to them.
In item 1, i think the poem has rhyme: night - light, right - night, bright - light, flight - night, sight - light, height - night.
Trả lờiXóaIn item 3: I think the picture is overstatement: CO2 had much influence on all dinosaurs.
In my opinion, your idea that fossil fuels will be run out of because they are unrenewable and limited energy and overexploitation is not exposed in the picture,it is showed according to your background knowledge, not to the author's intention. Therefore, I think the message is that people release too much CO2 which pollutes the environment while renewable energies are limited.
Trả lờiXóaFirst, I agree with Que's comments on your wrong wordings. I would like to add some more. For example in the message of the 3rd item: "run out", not "run out of"; "limited and over-exploited", not "limited energy and over-exploitation", etc.
Trả lờiXóaSecond, the message of the 2nd item is also problematic. The message is general, it is no longer relevant to the author. It should be: "we should appreciate the role of women in marriage."
Next, antithesis should be added to the rhetorical devices item of the 3rd item. You can see obviously the two opposite sites in the picture: one is something about using CO2 and its consequential polluted environment, and the other is something opposite. Therefore, the message should simply be "Using fossil fuels (CO2) causes environmental (air) pollution. On the other hand, using renewable energy does not".
People in the pictute are smiling. It seems to me that they don't pay much attention to the consequences of environmental pollution. Therefore, the message should be added more: Human being don't seem to care so much about it.
Trả lờiXóa