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Annotation of "And do you think that love itself"

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Alysia Urrutia

on 11 March 2011

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Transcript of Annotation of "And do you think that love itself"

"And do you think that love itself"
Edna St. Vincent Millay Sound Devices Repetition
Lines 9 and 13
-I know with whom I saw you last
-I know, but I do not insist Assonance Rhyme Rhyme is given to add musicality to the poem, and to keep a specific flow, since having a "musical beat" is key for imagism
External Rhyme:
Lines 6 and 8
-act, pact
Lines 7 and 9
-past, last
Lines 13 and 15
-insist, wrist
Lines 18 and 19
-book, look
Lines 22 and 23
-lease, peace
Internal Rhyme:
Line 16
-wild, mild
Line 14
-thought, not Figurative Language Personification The author personifies love in the first and last stanza of the poem
- And do you think that love itself,
living in such and ugly house (lines 1 and 2)
-Even the bored, insulted heart,
that signed so long and tight a lease
(lines 21 and 22)

1 And do you think that love itself,
2 Living in such an ugly house,
3 Can prosper long?
4 We meet and part;
5 Our talk is all of heres and nows,
6 Our conduct likewise; in no act
7 Is any future, any past;
8 Under our sly, unspoken pact,
9 I KNOW with whom I saw you last,
10 But I say nothing; and you know
11 At six-fifteen to whom I go—
12 Can even love be treated so?

13 I KNOW, but I do not insist,
14 Having stealth and tact, thought not enough,
15 What hour your eye is on your wrist.

16 No wild appeal, no mild rebuff
17 Deflates the hour, leaves the wine flat—

18 Yet if YOU drop the picked-up book
19 To intercept my clockward look—
20Tell me, can love go on like that?

21 Even the bored, insulted heart,
22 That signed so long and tight a lease,
23 Can BREAK it CONTRACT, slump in peace. In this poem, the author uses repetition to emphasize certain lines or concepts throughout the stanzas. Lines 3, 12, and 20
Can prosper long
Can even love be treated so?
Tell me, can ove go on like that? Lines 5 and 6
Our talk is all of heres and nows
Our conduct likewise; in no act As one may notice, many of these lines that rhyme skip the one in the middle. This could be to extend the rhythm throughout more lines, covering almost the whole stanza into one beat. In the middle part of the poem, the author applies assonance throught several verses to give is a rhythm and to make the poem read more harmoniously of melodicaly.Lines 9, 10, 11, 12 and 13-Know, know, go, so, know. The lines that the author accentuates using assonance (9-13) are the ones in which the she expresses the real meaning of the poem. In these lines is when she first mentions infidelity and distrust between a partner.
Could she have used assonance to make her most meaningful lines stand out? Through this repetition, she makes it notable that she is talking about herself and makes the poem more personal. Even though it may not be about her own relationship, she makes the reader familiarize better with the message, when reading word like "you" and "i". http://www.uwec.edu/walkerjs/PicturesOfMusic/MultiInstrumental%20Complex%20Rhythm.htm http://johngushue.typepad.com/blog/2008/08/index.html http://es.123rf.com/photo_3214512_adorno-floral-fondo-con-coy-espacio-cada-uno-de-los-objetos-muy-f-cil-de-editar.html Edna St. Vincent uses this repetition to ask the reader these questions that she could actually be asking herself. It is known that she had an open relationship and that her partner and herself had other affairs. Maybe she used these questions as rethorical ones that she herself couldn't answer and wants to know the answer to. She asks them repeatedly to make her doubt about love clear, which is the theme of the poem. She personifies love and the heart by giving it actions that a couple might face. Living in such an ugly house could mean that they're unhappy with their situation yet they keep "living" there. When she talks about the heart signing a lease, it means that the love is engaged and is almost trapped inside this tight commitment. Vocabulary Stealth Tact Rebuff The quality or characteristic of being furtive or covert. Skill or judgment in handling difficult or delicate situations Rejection, refusal or setback. Hyperbole
An exaggeration is presented in this poem to express how frustrated the character is, (whether it be the author herself or not), with this relationship in which she is not content. Lines 16 and 17
- No wild appeal, no mild rebuff
Deflates the hour, leaves the wine flat Lines 22 and 23
-That signed so long and tight a lease
Can BREAK it CONTRACT, slump in peace Edna Vincent Milay exagerates these lines because she is talking about how nothing can change what they've already been through, and you cannot go back in time. She shows a hint of regret in these lines by saying a phrase like "deflate the hour." With this she's talking about stopping time, or maybe even going back. However, she clearly says that nothing can make that happen, giving this kind of pessimistic mood or negativity towards the relationship. These are the last two lines of the poem, to which Edna St. Vincent Millay gives a meaningful closure to her poem. In these two lines, she's talking about how a person is trapped in this situation where she feels as though she signed a contract or lease commiting herself to the relationship. She expresses that if she were to break this tenant, that she could stumble upon peace. These lines could also be considered a juxtaposition, because they portray a contrast between the idea of being "stuck" in a unhappy, stressful situation, and then show this image of being peaceful and content, as the poem ends. Capitalization Capitalization plays a very important role in this poem, given that the author capitalizes full words in order to make them stand out. She uses this as the most obvious form of emphasis on a word where she thinks it is necessary for the reader to note. She capitalizes the words KNOW, YOU, BREAK and CONTRACT. The words she capitalized have been selected for two possible reasons. It could be so that the reader or performer knows where to give a stronger tone of voice than the rest or to bascially scream out those sections of the poem. The other possibility could have nothing to do with the performance or tone, and could simply be that she wanted the reader to note those specific words because they are what gives the poem meaning. When shes says the word KNOW, both times, she is talking about the infidelity and the fact that it is so open, that they both know about each other. She emphasizes this part maybe because she is trying to tell someone that she knows everything and wants to deal with the consequences of it, and not just keep on pretending everything is fine. The other meaningufl section she capitalizes is at the end, which I already mentioned is where she is trying to find a way out of her relationship by breaking this commitment of hers. THE "EDNA" :)
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