The poem is made up of five stanzas, highly embellished with imagery and rhetorical questions. The mood of the poet is that of Worry or Anxiety and the tone is that of Concern. The poem is written in free verse poem as it does not have a consistent meter pattern. Plausibly, the poem in general is a poem of lamentation.
The heroines of the play, Helena, also seems to chart the times with regard to the changing attitudes about proper female behavior and the nature of women in general. Like her rake counterpart, each heroine is to a certain extent frank about her sexual needs and desires. Helena declares to her sister that she has a healthy sexual appetite and curiosity. This acknowledgment of normal female sexual desire on the part of the playwrights indicates a shift from ideas found in earlier dramas of the century, that female expressions of sexual appetite automatically made a woman a whore. It is also a way for the heroines themselves to challenge the social limitations imposed by husbands, fathers, and brothers that parallels and competes with the rake-heroes' desire for freedom of sexual expression.
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Abstract The style of the man is the man and a skillful merger of, theme and style makes for the excellence of a literary style. Nwabueze appreciates the truth in this fact and, therefore, weaves a story that violates every known conversational principle but projects a pragmatic force that speaks more powerfully than ordinary words of the play, A Parliament of Vultures. This paper, therefore, explores the provisions of implicature in pragmatics to show how it is that Nwabueze uses ordinary words and sentences of English to send messages that have no direct relationship with the formal additive value of the linguistic medium of transmission. By this, the paper shows that language is an adaptable instrument for a fictional representation of events in real life.