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'When You See Millions of the Mouthless Dead' BY CHARLES HAMILTON SORLEY

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'When You See Millions of the Mouthless Dead' BY CHARLES HAMILTON SORLEY

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When you see millions of the mouthless dead

Across your dreams in pale battalions go,

Say not soft things as other men have said,

That you'll remember. For you need not so.

Give them not praise. For, deaf, how should they know

It is not curses heaped on each gashed head?

Nor tears. Their blind eyes see not your tears flow.

Nor honour. It is easy to be dead.

Say only this, “They are dead.” Then add thereto,

“Yet many a better one has died before.”

Then, scanning all the o'ercrowded mass, should you

Perceive one face that you loved heretofore,

It is a spook. None wears the face you knew.

Great death has made all his for evermore.

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The poem “When You See Millions of the Mouthless Dead” by Charles Hamilton Sorley describes what appears to be clear weaknesses when it comes down to the fallen soldiers and their language. Aided by the SMILE, a reader dives into the melancholy background that brightly suggests a deathlike silence and does not want to consider tragedy as sentimental. Sprinkled with irony, the verses highlight that there is no point in cursing or saddening one’s self when it comes to those who will be stuck with their ignorant state forever. At the end of the poem, it becomes turn ghostly as though to emphasize how nothing at all of what are only spooks cruising around in your mind is reflected in these familiar faces from death. Amidst this heartrending analysis, the war leaves its a permanent mark on their faces through at the last line of death which transforms them despite how much it converts into oblivion. The themes of language, loss and also the perpetual fallout of war are what Sorley’s work represents through interweaving them.

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The rhythmic and repetitive structure of Dubey’s poem is very good at intensifying its convincing power. Not only does the frequent use of questions beg for contemplation but it also becomes a rhetorical device emphasizing the continuity in change. The poet deliberately uses the words “throttle,” to suppress, and also oppress that denote danger-the endangerment of one’s survival in case gender inequality persists. In directly addressing the reader, this poem sets up a communal response to gender inequality whereby people question their own role in perpetuating such an imbalance. Mentioning the “freedom,” “liberty” and also psyche factors commences a discussion of the multifaceted aspects connected to women’s rights while highlighting how wide-ranging this struggle can be through its encompassment. Bijay Kant Dubey does not only produce literature; in “Women’s rights”, he creates a reverberating need for self-introspection and actionable measures to tear down the bars that have restricted women from realizing her full set of human rights, barred on them too long.

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'This Is Not a Small Voice' By Sonia Sanchez

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'This Is Not a Small Voice' By Sonia Sanchez

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This is not a small voice
you hear this is a large
voice coming out of these cities.
This is the voice of LaTanya.
Kadesha. Shaniqua. This
is the voice of Antoine.
Darryl. Shaquille.
Running over waters
navigating the hallways
of our schools spilling out
on the corners of our cities and
no epitaphs spill out of their river mouths.

This is not a small love
you hear this is a large
love, a passion for kissing learning
on its face.
This is a love that crowns the feet with hands
that nourishes, conceives, feels the water sails
mends the children,
folds them inside our history where they
toast more than the flesh
where they suck the bones of the alphabet
and spit out closed vowels.
This is a love colored with iron and lace.
This is a love-initiated Black Genius.

This is not a small voice
you hear.

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Through the use of SMILE, Sonia Sanchez is able to deliver a powerful message about marginalized voices including that of Black people in her poem “This Is Not A Small Voice.” The poem’s Syntax is skillfully drawn out, made with short lines that mark the enormity of voices. The metaphor of the voice and also love as great powers shows how very influential they are on society. Sanchez's Imagery brilliantly describes these voices that ride over the waters and negotiate the corridors of schools, each an animated force. The language is very vibrant and sensual, praising a love that crowns the feet with hands" and also feeds our mind. The poet’s employment of Emotion is greatly reflected in the descriptions of a love that transcends physicality and then envelopes involvement with history, learning, among others. First, Sanchez uses the SMILE components to communicate a significant celebration of Black voices.