As the title of the poem clearly suggests that the poem is about a landlady, and it illustrates the life and actions of a landlady. For Page’s work as both a poet and an artist, vision and perspective capacity as an asset for the well of the depiction, her specialty re-lays (Swann, 1). Portraying vision as empowering, her poems present an uncomfortable emphasis: a pressure adumbrating the subject-object distance certainty in a context that her speakers wish to close the adjustment of observation through the channels of the perceiver’s subjectivity, language, and a creative mind (Swann, 1). In this poem, “Page” uses the formulaic approach for the syntax of this poem, as abruption in punctuation is used to separate direct and short sentences, for instance, in line 1 and line 2 in second stanza. The first line contains seven words and ends with a colon, and the second line is six words followed by a semicolon. There are many more similar compositions shows the formulaic way of thinking rather than using long sentences and less use of punctuation.
The author’s use of language is catching, and her physical appetite to take something from her inhabitants into herself is underscored by the usage of alliteration. The alliteration of sound ‘p’ in line 13 reinforces the examination of her cushioning in a relentless, repetitive form, as well as creating the rhythm. The use of hyperbole has helped the speaker to create some level of humor in the poem where some statements have been used not to be taken literally. The landlord “peers/stippled with inquisitive substance”, is a portrayal alluding to a spotting procedure in work of art, was used here modestly to emphasize the landlady’s status as a result of the artist’s imaginative creation, reflecting on the poems symbolism. The modifier likewise inspires her loads of expectations, making her “bounce”, “dream”, and ‘”tremble” to realize what her visitors are doing (Swann, 1).
The poem has been described in an unoriginal and objective voice through which the speaker avoids conceding a similar disappointment in human association by keeping herself certain from the landlady’s voracious dejection. This is clear from the way she would like to fill her vast void with her inhabitants’ insider facts, wanting a glimmer of something legitimate or even compellingly terrible to break the redundant monotony of her day by day presence and to escape her inner self (Swann, 1). This, as well, presents the conflict in the poem that the speaker is facing, being in a struggle between her real self and her inner self besides trying to show the real-life challenges that people go through on their daily living domains.
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