Subdivision 1- summary- Whitman is emphasizing the celebration of himself as an individual; celebrating and singing are for the self and our own abilities

Another textual feature that amplifies the same point ("evoke an overwhelmed breathlessness and urgency") + example to illustrate his point

This sounds a bit negative to me, although if that's the intent then that's fine! I would suggest rephrasing it to something like this: "It's important to recognize that people's time is valuable. To effectively attract the audience we aim to reach, our proposal must be compelling and align with their needs and interests. By focusing on these aspects, we're likely to be more successful."

More conversational than needed.

(Conversational tone not needed)

Sirajuddin, old and tired, is putting himself through 'hell' to find his loved ones. In doing so, his mind is fogged with a traumatic event occured recently. Describing the sequence of events shows how defenseless he is right now.

The word "Mistress" can mean one of two definitions. The first being the lesser used of the two, with it meaning "a woman in a position of authority" (Oxford Languages, 2023). This could be inferred as, regardless of any physical characteristic, his mistress will always hold his heart, for he doesn't need to see a goddess, as the center of his love exists here. The second brings with it more troubling implications, being "a woman having an extramarital sexual relationship, especially with a married man." (Oxford Languages, 2023). This could bring a new meaning to the previously bitter start to the poem, being more of longing from the speaker for his previous lover, comparing this simple mistress to the goddess that was his previous relationship.

In analyzing the authors work, from the surface it did sound negative. As though he had set unrealistic expectations of what true beauty is, as he compares his mistress eyes to the sun, corals to her lips, the color of her breasts to that of snow, her cheeks to that of red and white roses, etc. However, from the analysis it could be interpreted as him loving his mistress in spite of her flaws; that beauty is not just about one's physical appearance.

The connotation of consolation is pity or warm comfort, but Mr. Wiesel uses miserable to describe this connotation making the word mean pitiful and lonely. He uses this to describe how others felt, including himself, when they had hope in other countries rescuing them. This creates a sorrowful and critical tone because he is talking about the sorrow of the history in an informative way.

The connotation of punishment is wrath and extreme hurt. All other paragraphs lead up to this one sentence that brings forth an impactful point that lasts in the audiences minds. This creates a declarative tone.

The speaker uses descriptive imagery of how the victim feels when treated indifferently and why indifference hurts others more than we think. This is the author using pathos to get the audience feeling pity and guilt for these children and victims. This creates a critical tone because his words are harsh about what happened to the victims.

The connotation of disarm is to gently fight back and remove the weapon that can harm others before it does. Mr. Wiesel uses this word to show there are many ways to respond to hatred. This creates a tone of wise and declarative.

Connotation of vacant is lonely, sad and empty. This creates a gloomy tone.

He uses imagery here to describe how great Roosevelt was, but it creates a heartbreaking and sad tone.

More rhetorical questions are used to raise even more doubt about whether or not the audience has truly learned from there mistakes and are willing to do better in the future. This creates a critical tone that's a little harsh at times.

Mr. Wiesel uses imagery to show many examples of indifference in other places because of the US government. This is to create a tone of guilt and it also creates pathos, which helps the audience realize what mistakes they made and how they were accidently indifferent to others.

Vivid Imagery of why people are indifferent, which creates a critical and wise tone.

A metaphor is used here comparing the many failures to some large object that casts a dark shadow. The meaning of this is that the failures are difficult to understand, they block the light from humanity, and it effects everyone. This creates a gloomy tone

The final threes lines imply the existence of a possible threat to their relationship. This transition to a slightly concerning tone contrasts with the preceding stanzas and lines full of affirmation and conviction. However, the cause of the slackening still does not belong to the world that the lovers have just awakened from, but it is within them. Unless the uniformity of the love of their relationship is disproportioned, their love is eternal.

This line reveals the speaker and sets up the tone for the poem. Introducing herself and her qualities, the speaker references her self-confidence and audaciousness. Seen in the stanza above, the speaker is aggrieved at the oppressor for subjecting this harm and challenge to their community, yet in this stanza she is triumphant portraying her will to survive. The tone entails the speaker's anger towards the oppressor but also the pride in her identity as a part of the African American community. It can be interpreted that the speaker is Maya Angelou as she credits her own life experiences and perspectives as a black woman during a time of maltreatment.

In this stanza, Larkin expresses how the thought/fear of death haunts people by cyclically stalking them quietly then striking big. Not only is this expressed literally, but through the tone and diction. For example, he goes from calm descriptions like, "small unfocused blur," to bold descriptions like, "furnace fear." Mirroring the structure of a day, 9am-5pm: ignoring the thought of death to being consumed by it at night, this stanza is a microcosm for the haunting and cyclical fear of death.

Larkin reminds us that death is the only certainty in life. Phrasing oblivion as a place we "travel to" and be "always" proposes that death is a relief to life.

The introduction snaps the reader back to the present. This push to the present without an answer as to how to approach death adds to the defeated tone of the speaker. The concrete and immovable presence of the wardrobe is similar to the permanent position of death in our lives

Words like dead, dread, and die all add to the gloomy tone of the poem and anounce why the narrator is up at dawn

This supports that study on vitamin E in diabetics.

I believe this roughly equates to the benefits from an increase in SWS.

This is plausibly the reason why antioxidants enhance sleep. Though it is likely that there are other mechanisms as well, such as reduced neuroinflammation. Come to think of it, given that ME/CFS appears to be caused by high sympathetic tone during sleep, antioxidants are the perfect treatment. Antioxidants are proven in placebo-controlled trials to help with sleep in healthy subjects and insomniacs alike. I doubt that antioxidants can cure ME/CFS, but I'm confident they will help.

The author not only develops irony once again, but also establishes the other side of the argument. The Democrats are fearing that this bill can cause the Republicans to dominate the government and increase their supporters. However, the previous paragraph establishes the irony of the situation, which is making the audience look at the newspaper editor's quote in a negative perspective. The author's attempt in providing both sides of the argument enforces his crediblity

This is a strongly worded sentence with an almost angry tone. This kind of intense diction would most likely appeal to most Americans in the audience as well as law enforcement and politicians since the justice system is integral to their lives.

The author is praising the Democrats and displays a satisfied tone as he exclaims how because of people like John Lewis, every voter has equal access to the ballot. This can also provide context on the wider issue that the author is describing. By praising Democrats, it is clear that the author is most likely a Democrat and thus, it is clear that he will have a negative attitude toward Republicans.

Q & A syntax which reveals two separate perspectives to the reader-- adds to the change factor within these times that Wells is trying to communicate. Informal tone taken on by Pete as food is more personal and opinionated. His audience are those who want to experience new, good food amidst these times. Humor and irony with the "Maybe he's hungry?" from Mr. Tran, stating the obvious with a purpose along with explaining how the chefs can't forget about the job at hand.

The author has a criticizing tone, which can be implied by him emphasizing Texas's conditions using a negative diction. It is kind of humorous as he stated "cultural wars" instead of disputes. Usually wars leave a drastic impact on the land, but this time, the "war" is occurring on an already destroyed land, which reflects the author's point of view that leaving a conflict dissolved is worse than creating a new conflict.

Hally is a negative person and she brings around negative energy she gets angry when stuff dont go right for her and say stuff out of anger. She is always angry about something

It's fun to see how Joyce uses tone in his narrative voice, knowing how cerebral he can be. Colloquialisms such as this one, or "that the young men were only passing the time away: none of them meant business" not only turn the narrator into a character, but also reveal the kind of je ne se quoi of the characters in the story itself.

the tones is feeling nervous .

Barry continues his humorous tone while writing his article about the serious and emotional holiday of Grandparents Day by incorporating silly an obviously untrue pieces of "information."

The tone of the conclusion is dark and even a bit ominous. Why does Barry conclude his column this way?

Reinforces sarcastic tone by being overly optimistic and positive toward and idea and then completely discrediting it.

Serious and professional vs.

Barry's formal diction builds through the words "deemed," "worthy," and "wisdom," and then abruptly crashes to a very informal and disdainful tone. This contrast of very different choices of diction and tone that shift from one to the next is a unique method that conveys a great amount of sarcasm and humor.

Barry frequently describes things in humorous and exaggerated ways while keeping a serious tone which makes his writing even more comical. Barry is a mastermind at sounding serious in comical situations, and at sounding humorous in serious situations. This contrast is what develops the complex tone of his column as informal, sarcastic, and facetious and while keeping the audience engaged and entertained.

Barry immediately sets the tone for his column with his very informal approach where he says exactly how he feels. Barry is not afraid to cuss or say anything to upset his readers, he just speaks his mind with irony and sarcasm.

Since he describes the people who determined the outcome of the 2000 presidential election as "a tiny group of Florida residents," readers can infer that Barry is referring to the Florida representatives of the electoral college. His descriptive imagery of how the residents "attempted to vote by chewing on their ballots" clearly reveals that Barry disagrees with their decision on voting for Bush. His tone is not angry, but flippant. Barry is writing in way that shows no respect toward his subject, but also not in a way that shows extreme anger or hatred, just misunderstanding and almost pity.

Barry's tone shifts as he moves from a flippant tone to a sarcastic one by abruptly changing his topic from something serious (the 2000 presidential election) to something much more casual and less important to the country. This shift lightens the mood of the topic, and alludes to the fact people often place trivial parts of life (the Kardashians) in a place of importance when there are much more serious and significant matters at hand (the election). Barry conveys human flaws through humor to reveal truths in a way that people can accept, and even laugh at themselves for. Barry's method is similar to satire.

Barry's tone is facetious while talking about serious matters, exposing how wrong things are and exemplifying how society often accepts these wrongs and makes excuses for them.

Again, Barry moves from a serious topic to a lighter one. This allows shifts throughout his column that surprises and intrigues his audience, allowing for comedic relief between the heavy subjects being described.

Barry takes something serious/complex and explains it in a simple way that is easy for the audience to understand, which often means oversimplifying and exaggerating the topic to fit it into a simple description. By doing this, Barry develops his comedic and conversational tone while exploring politics and less important matters.

Charged diction is developed through the words "gruesome" and "wreck" to emphasize his displeasure with the 2000 election and to enforce his facetious tone.

Tone changes from the first line to become more gloomy. Repetition w/ "of..." sentances. Fireplace might be a symbol or something? Several good choices in wording.

There is a subtle change from the third to the fourth stanza, a perfect split in keeping with the poem’s rigid structure. Almost imperceptibly, the speaker switches from addressing the reader to drawing on her own experience. It is here that Bishop begins to undermine her meticulous structural details and carefully impassive tone. “I lost my mother’s watch”, she states, an admission that seems to come from nowhere. However, the casual tone is disappearing; the inexplicable mention of this personal aspect of the speaker’s life has upped the emotional stakes. As the stanza continues, it becomes clear that this is a further attempt to demonstrate the universality of loss. The picture becomes bigger and the distance larger. The exclamation: “And look!” betrays yet more emotion, despite it’s apparent offhand tone. Now Bishop tells us to look at our losses on a bigger scale: the houses we lived in – not so disastrous except for the use of the word “loved” here. Indeed, these were just places we lived in, but we nonetheless also loved in them.

Ideas are getting more and more abstract. These mentions of place are perhaps symbolic of the memories she had of them, or of the relationships she once had there.

She misses them but it she is still okay and everything is fine.

Elizabeth BishopOne Art by Elizabeth Bishop

Elizabeth Bishop’s One Art is a poem whose apparent detached simplicity is undermined by its rigid villanelle structure and mounting emotional tension. Perhaps her most well-known poem, it centres around the theme of loss and the way in which the speaker – and, by extension, the reader – deals with it. Here, Bishop converts losing into an art form and explores how, by potentially mastering this skill, we may distance ourselves from the pain of loss. At eight months old, Elizabeth Bishop lost her father, her mother then succumbed to mental illness and she later lost her lover to suicide. Therefore, we may see this poem as in part autobiographical. In it, the poet presents a list of things we may lose in life, increasing in importance, until the final culmination in the loss of a loved one.

One Art Analysis

The title should not be overlooked. With these two small words, Elizabeth Bishop encompasses the poem’s entire purpose: to remove the pain of loss by first levelling out everything that we lose; from door keys to houses to people (One), and second by mastering the fact of losing through practise (Art).

The art of losing isn’t hard to master; so many things seem filled with the intent to be lost that their loss is no disaster. In the first stanza, Bishop sets out her intentions. She seems to affirm that loss is part of the human condition: we lose both significant and insignificant things constantly and should thus accept this as a natural part of life, and even master this practice so as to remove any sensation of disaster we may take from it. These two points will be repeated throughout the poem so as to emphasise them.

Lose something every day.

In the second stanza, she invites the reader in by naming two extremely common things to lose: keys and time. The enjambment between the first and second lines causes us to pause and contemplate how ridiculous is this ‘fluster’ that occurs when we lose our keys. She eases us slowly into her idea: the universality of these two occurrences allows us to relate and thus agree that indeed, this is not too hard to master and is certainly not a disaster.

Then practice losing farther, losing faster: places, and names, and where it was you meant to travel. The emotional tension begins to subtly build in the third stanza as Bishop incites us to further our practise, broadening the scope of our loss. Here, the things we lose are more related to thought and memory: people, places and plans that, with time, naturally escape our head and no longer form part of our lives. This is harder for the reader to accept and the familiar affirmation that this will not bring disaster becomes less comforting. House keys and an hour here and there seem commonplace and natural and to consciously lose these things to aid our mastering of losing does not seem too difficult. Places, names and plans require a larger effort and a degree of emotional distancing that the second stanza did not call for.

There is a subtle change from the third to the fourth stanza, a perfect split in keeping with the poem’s rigid structure. Almost imperceptibly, the speaker switches from addressing the reader to drawing on her own experience. It is here that Bishop begins to undermine her meticulous structural details and carefully impassive tone. “I lost my mother’s watch”, she states, an admission that seems to come from nowhere. However, the casual tone is disappearing; the inexplicable mention of this personal aspect of the speaker’s life has upped the emotional stakes. As the stanza continues, it becomes clear that this is a further attempt to demonstrate the universality of loss. The picture becomes bigger and the distance larger. The exclamation: “And look!” betrays yet more emotion, despite it’s apparent offhand tone. Now Bishop tells us to look at our losses on a bigger scale: the houses we lived in – not so disastrous except for the use of the word “loved” here. Indeed, these were just places we lived in, but we nonetheless also loved in them.

The first person speaker continues in the fifth stanza as the poet attempts to further distance herself from loss. She is stepping further and further back and the picture she is painting reaches a higher geographical level: to cities and continents. Nevertheless, this is undermined by a wistful tone: the cities she lost were “lovely ones” and, although she maintains that their loss was not a disaster, she does admit that she misses them. Faced with this unusual outlook, the reader is forced to ask at this point: if the loss of a continent is no disaster, what would thus constitute one?

Bishop is also a traveller and called a lot of places home

Tone shift from confidence to yeah, it's not hard but you have to make an effort (more realistic in expectations to the reader; advice)

he fifth stanza leads us to a brief look at the structure of the poem. The villanelle allows for a break in its pattern of tercets and tight rhyme, giving away to one quatrain with a repeated rhyme. Just as the structure cracks, as does the poetic voice. The final stanza opens with a dash, which could perhaps be seen as an attempt at a casual tone but in fact serves to slow the poem down here, allowing for yet more emotion to permeate the final words. The reader is forced to consider this “you”, and we see how the poem has taken a journey: starting with the little objects, going through thought and memory, to houses, places and continents forming one huge picture until at the end, zooming in on and pinpointing this “you”. A “you” with, as we infer from the parentheses, a personality, a memorable tone of voice and gestures. A person lost; an irreplaceable entity, in fact.

The narrator seems to underscore Sir Edward’s ridiculousness by recounting his description of the sea. The diction and tone used in this paragraph represents satire and criticism towards the romantic era and over-fixation of nature during Jane Austen’s time. She states that his phrases are “usual”, a diction that represents the mediocrity of his language. Austen states that his descriptions are  “undescribable”, which he then proceeds to list with great flourishment.


Diana loves to name drop and explains her connection through a long chain of names and letters. Definitely room for false information.

The ironic tone suggests that Sir Edward is a not very self aware hypocrite.

In layman terms: Sir Edward thinks novels are silly and useless. Again this is ironic because Austen places his statements about novels within a novel. Most likely her readers are fans of novels who will read Sir Edward’s critique and disagree with him, making him a more undesirable character. In addition, the flowery meaningless language strongly weakens his argument. Novel > Sir Edward

The juxtaposition between the diction “commonplace” and the ironic praise given to Sir Edward criticizes the human tendency to lower their standards for people who look beautiful on the surface, a very shallow judgement of character that is usually held by women towards handsome men.

The narrator is discussing the portraits as if they were humans and consequently making fun of their respective subjects’ importance to begin with.

The narrator is being ironic. She mocks the strange contradiction between giving out of kindness and being forced to do so.

So while words vary widely and have no direct relation to the ideas they represent, tone is universal. Here we have another claim about the human: it is one who uses tone in a certain way.

Is he reasoning that we can understand another species language but we can always understand tone?

Tones aid in understanding context connotations of conversations.

Tone is crucial in conversation and public speaking. I think this is where the disconnect happens through texting, where tone is difficult to reveal, often leading others to misinterpret messages. I believe the invention of emojis was designed to combat this problem.

Austen pokes fun at this character once again -- he is too cheap to put the maximum effort into pretending to be a Byronic hero.

Jane Austen directly makes fun of Sir Edward for modelling his behavior after male characters like that of Richardson's.

The era of romanticism is marked by a preoccupation with the sublime, or of awe inspiring, overwhelming beauty, and a return to nature. Romanticism focused on large emotions, and its writers sought to capture and recreate art in a visceral way, approaching the sublime, focused on nature and natural imagery.

The self-reflexive style of this text is most similar to Austen's Northanger Abbey, which has a complicated editing timeline. It is possible that these "meta-fiction" details were added into Northanger Abbey later, and that the original draft of Susan did not have such a tone.

This sentence is particularly cruel towards Clara, and represents a shift through free indiret discourse from the narrator's perspective to the perspectives of one of the characters. However, it is difficult to determine whether or not the opinion is that of Lady Denham or Mr. Parker.

Links to common words/themes throughout the annotations

This line also contributes to the overall gloominess of the text because it does not indicate any sort of hope for the future or incline that something will change for the speaker, whether that be her getting her memories back or her companionship and and presumable happiness back. They are saying that they were only happy for a little while and will never be happy again.

gloomy, secluded

This last line is highly indicative of the melancholy tone throughout the passage. If we didn't catch the tone prior due to the use of words such as "rain", "quiet pain", "cry", "lonely", and "gone", we definitely know now. This last line is especially depressing because of the placement of the comma. The word summer seems to represent happiness, and the short pause indicated by the comma in the last line enhances the speakers realization that she had happiness and will no longer have it again.

Structure- traditional 9 stanza quatrains Mood- sullen, solemn Tone- encouraging, pensive Theme- true love transcends time and space

strong language without direct evidence.

No bullshit.

One of my favorite sound effects in movies is called the "Shepard's Tone" and I consider it's impact as an aural mode to be surprisingly effective.

https://www.youtube.com/watch?v=LVWTQcZbLgY

This video explains how Hans Zimmer composed the soundtrack of the movie "Dunkirk" using the Shepard's Tone and shows examples of it in other movies directed by Christopher Nolan or soundtracks composed by Hans Zimmer. In the video, the musical mechanics behind the Shepard's Tone are explained. From 0:41 to 1:28 the video analyzes the process of using "several tones separated by an octave layered on top of each other" to create an illusion of a constant ascending tone that never ends. This effect causes viewers of the movies the soundtracks are featured in to feel a rising sensation of suspense. I consider this to be one of the most powerful aural modes for communicating intensity and suspense in a soundtrack or movie.

Tends to be a man's tone according to Douglas

President Obama uses tone and diction to elicit an impassioned response from his audience. Using the words "revolution" and "exile" produce feelings of pride as well as either anger or sadness.

I can feel your excitement here, but think you might convey that with an exclamation point in lieu of all caps. All caps seems REALLY LOUD :)

Nietzsche is quick to point out extreme human flaws. Negative nancy. Really sets the tone for the reading, very dark.

Tone of language must match emotions of piece