Lines 85-97 of Tillie Olsens first published poem I Want You Women Up North to Know contain the climactic turning level off of this poem, and the language and form reflect this change. Instead of being junior-grade and disjointed victims who remain mostly anonymous, the workers atomic crook 18 transformed into an savage and unified group of clear-cut respective(prenominal)ists. This shift in temper is accomplished by trinity thingamajigs: imaging, mathematical group, and capitalization of proper names. The imagery in this pass helps turn the tone of the poem from victimization to anger. In addition to fire images, the overall language is totally stripped d aver to b are ugliness. In previous lines, the despicableness has been intermixed with contented euphemisms: the agonizing work is an exquisite dance (24); the palpitation hand are white gulls (22); the cough is gay (25). nevertheless in these later lines, all aesthetically pleasing ground vanish, passing sweet and ...blood (85), naked... [and]...bony children (89), and a skeleton body (95). Another teaching method this passage turns the mood of the poem is by using chemical group and form to link the workers unneurotic, both in inference and appearance. Previously, one at a time workers situation has been treated as an isolated story, literally mixed-up from the others by a blank line. However, lines 85-97 are crowded in concert without spaces, suggesting unity by the very appearance of the lines.

All of the grievances are briefly repeated, and then a sequence of ands binds the one-sentence recaps together. Yet in spite of this sen se of solidarity, each persons story is give! n its ingest sentence with a period boundary, subtly emphasizing their individual importance: solidarity is acceptable, but anonymity is not. A final real device in this passage is the use of capitalization. The proper names of the workers brace been sporadically capitalized earlier in the poem, but here they... If you wishing to get a full essay, order it on our website:
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