"Tricks With Mirrors" by Margaret Atwood

Tricks With Mirrors by Margaret Atwood In Part I of Tricks With Mirrors, Atwood uses a apparently vague entree to the subject matter, but departs straight to the point. inside five lines, she intelligibly identifies her role as a reflect as she says, I enter with you and become a mirror, (4-5). She gives the fancy that she is merely an target area in this relationship. She is a mirror through which her self-absor arse rooter may view himself. Mirrors are the complete lovers, she states (6-7). They show a immutable and loyal reflection to whoever may stand in front of them. She is objectifying herself as she tells her lover to book her carefully up the stairs and to throw her on the bed with her reflecting side up (line 12). She then moves on to describe the patterns of their companionship in an almost detached manner - her lover does not kiss her; he only kisses his own reflection. She is only a mirror, after all. The vocaliser tells us that her lover is blind, whet her volitionally or not is not identified to the truth of their relationship when she says that, during their snug moments, your own eyeball you find you are up against closed, (16-17).

She speaks with a bitter tone, understandably showing that she is displeased with her situation 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 accession that Part I provides us with, identifies the line of work the vocaliser is facing, she is at once unhappy but has willingly placed herself in her role as a mi rror. In the second part of Atwoods poem, th! e speaker describes the undeniable feelings that come from universe a separate... If you want to get a full essay, stray it on our website: OrderCustomPaper.com

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