StarryEyed• Show poetry

• Last seen on Mar 21 4:56 PM 2006. Member since July 15, 2004.
• I'm a peridot parrot poet for 39 comments.
• I am a 18 year old person (UK)
• When I'm not writing, I'm a daydreamer and computer chair warmer..
• Visit my homepage at www.good4asmile.com
• 
• I am in the groups The Christian Group, The Friends Group
• I have 39 comments

My Poetry

• Old Hope Never Redeemed

  Feeling unsafe as their bawling never seems to die
  Their banshee shrieks explode over me as I lie

  14 lines, 1 comment, April 19, 2005. In Personal, Angst
• Little Flower

  The little flower gazes up to the moon
  Desperately praying her bitter heartache will end soon

  17 lines, 17 comments, February 5, 2005. In Sad, Personal, Dark
• Realisation

  You evil sadistic freak
  You get me while I speak

  6 lines, December 7, 2004. In Personal, Dark, Angst
• Autumnal wind, hissing coldly in my ears

  Autumnal wind, hissing coldly in my ears
  Pelting hail stings me - the slashing pain sears

  13 lines, 1 comment, December 6, 2004. In Nature

My Stories

• My Jess

  1622 lines, 3 comments, December 1, 2004. In <200 lines, Humor, Romance, Young adult

Guest Book

• StarryEyed on January 21, 2006
  HOMOPHOBIA IS WRONG
  
  I am the girl kicked out of her home because I confided in my mother that I am a lesbian.
  
  I am the prostitute working the streets because nobody will hire a transsexual woman.
  
  I am the sister who holds her gay brother tight through the painful, tear-filled nights.
  
  We are the parents who buried our daughter long before her time.
  
  I am the man who died alone in the hospital because they would not let my partner of twenty-seven years into the room.
  
  I am the foster child who wakes up with nightmares of being taken away from the two fathers who are the only loving family I have ever had. I wish they could adopt me.
  
  I am one of the lucky ones, I guess. I survived the attack that left me in a coma for three weeks, and in another year I will probably be able to walk again.
  
  I am not one of the lucky ones. I killed myself just weeks before graduating high school. It was simply too much to bear.
  
  We are the couple who had the realtor hang up on us when she found out we wanted to rent a one-bedroom for two men.
  
  I am the person who never knows which bathroom I should use if I want to avoid getting the management called on me.
  
  I am the mother who is not allowed to even visit the children I bore, nursed, and raised. The court says I am an unfit mother because I now live with another woman.
  
  I am the domestic-violence survivor who found the support system grow suddenly cold and distant when they found out my abusive partner is also a woman.
  
  I am the domestic-violence survivor who has no support system to turn to because I am male.
  
  I am the father who has never hugged his son because I grew up afraid to show affection to other men.
  
  I am the home-economics teacher who always wanted to teach gym until someone told me that only lesbians do that.
  
  I am the man who died when the paramedics stopped treating me as soon as they realized I was transsexual.
  
  I am the person who feels guilty because I think I could be a much better person if I didn�t have to always deal with society hating me.
  
  I am the man who stopped attending church, not because I don't believe, but because they closed their doors to my kind.
  
  I am the person who has to hide what this world needs most, love.
  
  *Repost this in your jounal and/or pass this message on to all you know if you believe homophobia is wrong.*
• StarryEyed on March 11, 2005
  Parent and child
  
  11pm. Child comes home an hour late from friends house.
  
  Parent: What time do you call this? (angrily)
  
  Child (peering at watch): Wha-? Oh, sorry. Didn’t see how late it was. ‘Night. (makes to go upstairs)
  
  Parent: You get right back here!
  
  Child (moaning): Oh, don’t have a go.
  
  Parent (shouting): I bloody damn well will! How could you be so irresponsible? Didn’t you have any idea how worried I’ve been! I wouldn’t mind but you had your phone turning off so I couldn’t even ring you to make sure nothing had happened. And there was me thinking I could trust you. Didn’t you even THINK, child?
  
  Child (cheekily): Sorr-ee!
  
  Parent: Don’t talk to me like that, you cheeky-
  
  Child (challenging): Cheeky what? I’m a cheeky what?
  
  Parent: Nothing. You’re grounded ‘til you’re fifty. Now get to bed!
  
• StarryEyed on January 20, 2005
  
  The mode for this piece of travel writing is ‘written’ yet some phrases are colloquial expressions and mimic ‘spoken’ such as ‘my kinda place’ which mimics how the phrase is pronounced and ‘the real deal’ which is very Americanised. The manner of the text is impersonal – the word ‘you’ is never used to make the reader feel as though they are being directly addressed – yet it is still informal. For example, again, colloquial expressions are used, as is humour (there is reference to overweight, sunburnt American tourists trying to do the Hula and the image created in your head is very amusing). Communication between the reader and the writer is limited; generally it is only one-way (writer to the reader, never vice versa) yet rhetorical questions are used (‘So where is America in all of this?’) to make the reader subconsciously think about the articles’ content. The purpose of the article is to describe, inform and persuade and the audience is young professional females in their mid-twenties who, stereotypically, are “career girls”, who are independent and fully support themselves financially.
  As a general rule, the language is informal. However, despite this, you would not find this article in a tabloid newspaper. A lot of words are polysyllabic (such as ‘vertiginous’, ‘sensational’ and ‘indigenous’) which suggest intelligence and sophistication. Many words in the subject specific lexis are used (which, in this case, is Hawaii,) are used (such as ‘beach’, ‘Pacific’ and ‘ocean’) as well as statistics which imply that the writer has researched the area and knows what she is talking about rather than rambling on, telling the reader how brilliant the place is with nothing to back up her views. In contrast, colloquialism aids informality. A lot of abstract nouns are used and these words create feelings of and emotions, which encourage the reader to delve further and read on. An example of this is the word ‘beauty’. Dynamic verbs, which have the same effect, are also used. Examples of these are ‘rocketing’ and ‘studded’. Modifiers are generally descriptive (for instance, ‘lush-green’) which aids the writers want to persuade readers to visit Hawaii. At times, the text reflects historical or memorable periods from the past. References are made to the New York terrorist attacks, which occurred in New York on September 11th and USS Arizona at Pearl Harbour, which was bombed by the Japanese in 1941. The tone of the lexis here changes from enthusiastic to foreboding and sadness which, as well as making the reader believe that the author has, again, done her research, shows the reader realise that the article is not just trying to persuade readers to visit Hawaii by saying that everything is absolutely brilliant about it. Basically, in this article, Hawaii is portrayed as a pleasant place where many people would like to go. Some of the words used to imply this are ‘rainbows’, ‘sun’, ‘fresh’ and also the phrase ‘tropical ease’. All of these examples give the impression of serenity, tranquillity and beauty, which is how the writer is trying to illustrate Hawaii.
  It is evident that the author has used the technique of “phonological pattering” in the text to emphasise the points, views or ideas she has and to interest the readers enough to read on. Alliteration is used to make the text rhythmic when read aloud so it sticks in the readers mind. For instance, ‘strip-club crowd’. The sound of the phrase also mimics what it is actually about – the repetition of the hard ‘C’ reminds us of the beats which would be heard in a club. Another example of alliteration in the text is ‘horizontal hula’ which is a euphemism for people having sex. It is effective because, as well as portrayed the idea of, in this instance, casual sex, it is also a pun because the Hula – Hawaii’s native dance – is referred to.
  The text of this article is typed. The print is rather small and is organized into columns, which makes it easier to read. If the text was organized into one block, it would be hard to focus on it as loosing your place would be easy. It would also be very time-consuming as the eye would have to travel directly across the page rather than just across one third of it (each page can be, or is divided into three columns). The pictures are vivid, colourful and eye-catching which reflects the idea of life, beauty and brightness.
  
  Edited on Jan 31, 8:27 because ''.
• StarryEyed on January 10, 2005
  AS English Literature Coursework: Shakespeare - The Winter's Tale
  
  How does Shakespeare establish the characters of Camillo and Paulina? How is the audience intended to respond to them? You shoould refer to Shakrespeares use of language, action and these characters in the play.
  
  Both Camillo and Paulina are major characters in the play and the audience warm to both of them the minute they first appear due to the fact that Shakespeare establishes them as distinctively caring, defensive and loyal characters. Throughout the play, this is illustrated significantly and our liking of them increases even more.
  Camillo is courageous and goes against his king - Leontes (who people do not like from the start due to his suspicions of Hermione (also established as likeable) - and warns Polixenes of his plot to poison him because he is suspicious of him cheating on him with his wife. Though some would argue that warning him wasn't a good thing because he was being a traitor and 'swapping sides', the fact still remains that he saved someone from being poisoned and therefore killed. Camillio is introduced to the audience in Act 1 Scene 1. Shakespeare establishes him here as a friendly and agreeable character ("I very well agree with you") and instantly the audience identifies with him. He is also obedient ("Ay my good lord") and thinks well of his Queen, Hermione ("At the good Queen's entreaty") and also - at the beginning - the King ("My gracious lord"). As Leontes is seen as a suspicious, paranoid man who is mentally ill to some extent, it seems natural to the audience that Camillo would go against him and help someone else. Again, some people, however, would disagree here and say that leaving his king when the king needed him was (because he had a mental illness that involves paranoia and was possibly feeling threatened) disloyal. However, some of the things, which Camillo says, gives the impression that he respects his King (“Ay my good lord”). When he has left Leontes for Polixenes and gets homesick due to being away from his King, Polixenes refuses to let him go back home. The audience feel sympathy for Camillo because he isn’t allowed to do something he truly wants to do and anger towards Polixenes for not letting him. We also feel like Camillo has been let down here, been taken advantage of and that Polixenes is ungrateful and selfish because, after all, it was Camillo who saved him from being poisoned. The audience wants Polixenes to change his mind and allow Camillo home after all he has done for him. In addition, we also feel sorry for Camillo in another way – will Leontes accept him as he, in his eyes, betrayed him? (The audience does not know the answer to this question at this point in the play.) Then his journey back would have been wasted and Polixenes decision not to let him go home would have been justified. This suggests that he is warning him or perhaps telling him that something is dangerous - yet Leontes contradicts him and tells him he lies ("It is; you lie, you lie"). Here, Shakespeare creates feelings of sympathy towards Camillo on the audience’s part as he is being told he is wrong when everyone knows that he is right. (However, as an audience gets drawn into a play, they begin to maybe think that a figure of authority is correct, jus like the characters do and there may be some doubt towards Camillo here.) Another time we feel sympathy for him (which, in consequence, is making our likable feelings towards him increase) is when he refuses to poise Polixenes - Leontes tells him to "go rot!" which implies disrespect for him. Camillo is largely seen a good, honest character who is trying to do what is morally correct to him, even if it means being disloyal or being a traitor to someone of great authority to him. The audience can relate to him because generally, this is what most people would do, put in a difficult situation where you have to choose between conscience and obedience (Camillo chose to go with his conscience, to follow his instincts). In the end, he loses his home, his job, and his King to save someone who he is not at all close to. We know that Camillo was the servant closet to Leontes, actually more of a friend than a servant (because at the beginning Leontes thought a lot of him) so it is blatantly obvious that he would have been the first to know about his jealous fantasies over the Queen and Polixenes. Therefore, here, Shakespeare manages to portray Camillo as truthful, honourable and brave for doing what he thought was correct even though, unofficially, the Kind had put his trust in him.
  Paulina is established as a caring, devoted woman trying to defend the innocent (Hermione) and the child. She does her best to try and persuade Leontes that Hermione did not commit adultery yet did not succeed - even when the Oracle confirmed his wifes' innocence, Leontes would not believe it and Paulina was branded a liar. Like Camillo, the audience feels sympathy for her here because we know she has been wrongly accused. Generally, sympathy is felt for Paulina throughout the whole play because, whilst she is trying to defend Hermione and the baby from Leontes, there is nobody to defend her and keep her strong because her husband is dead. There is nobody behind her like she is behind Hermione and Perdita. Her passionate words are motivated only by her own selfless duty and, despite the fact that she must be deeply wounded and still grieving because of her husbands death, she does not let this get in the way of her desperation to save Hermione and the baby. Due to this, she is portrayed as even barver. She was Hermiones and Perditas defence and, even though, they were not in contact for very long at that time, she cared for them in almost a motherly way – though she couldn’t actually mother them because for sixteen years, she was away from them. She is also a very determined woman, very courageous, and unlikely to change her mind: she was ‘on Perditas side’ for the entire sixteen year of her life even if she wasn’t actually there to support her like she did when she was born. This tells us that her feelings have not changed for her so therefore she knew she was right in the first place and, in consequence to that, she is not deluded in any way – she is, in fact, a very intelligent woman. Another way she was courageous is in court – she was the only woman who stood up to Leontes. This was a very scandalous thing to do in those days as woman was not deemed as important as men. The audience here feel pleased that she is brave enough to give Leontes her view on his treatment of Hermione and Perdita. She also protected the guard whilst trying to Emilia, one of Hermione’s ladies and get the baby to take to Leontes where she would try and persuade him that ‘the bastard’ as he calls it, is his, not Polixenes’s. Her strength of character is unique. No character in “The Winter’s Tale” has her ‘inner-power’ and courage to stand up to someone of great authority, like she stood up to Leontes. Fearless and sharp-tongued, she confronts the king fiercely when he is caught in his delusions about Hermione. At the end of the play, her magic restores the Queen (whom we thought had died) – this is part of the denouement.
  The marriage of Camillo and Paulina is something, which Shakespeare wanted the audience to like (and they did) when they actually realise it is happening - but it was completely unexpected. It is liked because everyone wants to see the nicest two characters together (in any play, not just "The Winter's Tale") who tried to help the two characters the King (Leontes) was suspicious towards and deeply humiliated (Polixenes and Hermione). The audience feel as though there has been quite a big breakthrough and the characters with which they have warmed towards (Perdita, Camillo and Paulina) are all getting what they want. This is the denouement. On a personal note, at this point I felt that Leontes what getting his comeuppance here because he thought that both his daughter and his wife ere dead, yet he is also forgiven, like a naughty child who has been punished but a feeble apology has been accepted from him.
  Both characters are largely seen as courageous, loyal and brave characters that do what is morally correct, which is why the audience warms to them so much as everyone is obviously going like those sort of characters. They have both suffered hardships (Paulina was still grieving due to the death of her husband and Camillo had to betray his King in order to save someone else – who, at this point, was the Kings enemy) in their lives yet they do not let them inflict pain upon anyone else. They are established by Shakespeare as greatly defensive, especially Paulina, and also greatly humble and the audience are intended to react to their personalities, actions, behaviour, what they actually say and how they interact in only a positive way for them (for example, during the denouement, we feel are intended to feel happy that the two characters were have warmed to and positively identified with most, are together and should hopefully be happy together – this is this impression we get which makes this idea that they will be happy together seem more secure).
  
  Edited on Jan 19, 8:53 because ''.

Online: 578

Moderators - add ticket
TwilightPanther

316 visitors

Profanity Filter