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Friday, July 12, 2013

"Tricks With Mirrors" by Margaret Atwood

Tricks With Mirrors by Marg bet Atwood In Part I of Tricks With Mirrors, Atwood uses a seemingly vague incoming to the subject matter, scarce departs straight person to the point. Within five lines, she intelligibly identifies her role as a mirror as she says, I enter with you and become a mirror, (4-5). She gives the impression that she is merely an coffin nail area in this human relationship. She is a mirror through which her self-absorbed rooter may view himself. Mirrors are the perfect sports fans, she states (6-7). They show a constant and loyal locution to whoever may stand in front of them. She is objectifying herself as she tells her fan to carry her carefully up the stairs and to throw her on the bed with her reflecting side up (line 12). She then moves on to pass the patterns of their intimacy in an almost detached manner - her lover does not kiss her; he solitary(prenominal) kisses his own reflection. She is only a mirror, after all. The verbalizer tells us that her lover is blind, whether willingly or not is not identified to the truth of their relationship when she says that, during their intimate moments, your own eye you find you are up against closed, (16-17).
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She speaks with a bitter tone, distinctly showing that she is displeased with her side and the constant expectations she must meet. At the same time, though, she writes with an open-handed honesty. She is simply a mirror telling her story, it seems. The access that Part I provides us with, identifies the problem the vocaliser is facing, she is at once unhappy but has willingly placed herself in her role as a mirror. In the second part of Atwoods poem, the utterer describes the undeniable feelings that come from macrocosm a separate... If you want to build a full essay, outrank it on our website: Orderessay

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