The second line continues the emphasis on colloquial phrasing.The word “ain’t,” for instance, is clearly informal and unpretentious, implying either that the speaker has not been educated in a conventional way or that she is unconcerned with the niceties of formal education.Tags: Holistic Critical Thinking Scoring RubricResearch Paper Computer ScienceReflective Essay Aspect Of WritingEmployee Motivation DissertationSmall Business Strategic PlanningInformation Security Research PapersClassification Essay About Lies
While Hughes and Wilbur share a similar message in their poems, their points of view are very different. New York: Harcourt Brace Jovanovich 1976 – New and Collected Poems.The reality of the hardships that are to be expected in life is given to the son through the use of the staircase as a metaphor.The poem is rich in the use of figurative language which includes the use of metaphors. At the beginning of the poem, the mother tells the son "Well, son, I'll tell you: / life ain't been no crystal stair.Richard Wilbur's poem is also written in the first person, but the narrator does not address his daughter directly until the final stanza (31-33). However, the poems' points of view, contexts, and language show two parents who have traveled very different paths before offering their messages. The reader sees that parents' hopes and concerns for a child are universal, even though their expression differs. Don’t you fall now— For I’se still goin’, honey, I’se still climbin’, And life for me ain’t been no crystal stair.Literary devices are tools that enable the writers to present their ideas, emotions, and feelings with the use of these devices.The simple, straightforward title of the poem “Mother to Son,” by the African-American poet Langston Hughes (1902-1967), clearly identifies both the speaker of the work and the person to whom her words are addressed.The very first line of the poem is typical of the rest of the work in its use of phrasing that is colloquial—that is, in this case, phrasing that implies one person speaking to another.The fact that the second line is almost twice as long as the first (nine syllables versus five) suggests that the poem will not have a rigid, prepackaged formal structure, and indeed a glance at the shape of the poem as it moves down the page suggests that it follows no preplanned, predictable scheme, either in meter or in rhyme.Part of Hughes’s talent as a poet involves his ability to mimic the rhythms and diction of actual speech, and clearly that talent is on display in this particular poem. It can be found in a variety of texts from the nineteenth century, some religious and some secular, and it is often used to suggest the glorious connection or procession from earth to heaven.