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The extended metaphor concludes with 'out there,' which contrasts with the rest of the conceit. Like many poems, "Rooms" turns in the last few lines; a 'turn' is a shift in direction or change in tone. After the turn, the writer looks at the topic of the poem from a fresh angle or different perspective. Mew applies the convention of a turn to her extended metaphor, which develops in an unexpected way in the last few lines. Whereas throughout the poem she has been trapped in various rooms, in the last line she imagines being 'out there'—finally free from social restrictions. This idea is made tragic by the suggestion in the final section that this would only be possible after the speaker has died.

1. What is the relationship between different parts of the extended metaphor? Is there a pattern, structure, or sequence to the way it is developed?



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Final answer:

The relationship between an extended metaphor and its development in the poem Rooms is explored, including the significance of a 'turn' in tone and the emotions invoked by the tree imagery.


Explanation:

An extended metaphor, known as a conceit, runs throughout a poem to unify its theme. In Mew's poem, Rooms, the metaphor of being trapped in various rooms symbolizes social restrictions. This metaphor develops gradually, culminating in the idea of being 'out there' - free from constraints but tragically only after death.

The turn in a poem signifies a shift in direction or tone. In Rooms, the turn happens in the last few lines. Before the turn, the tone conveys trapped loneliness; after the turn, it presents freedom from restrictions, albeit in a tragic light.

Complex emotions linked to the poem's tree imagery evoke themes of growth, decay, and cultural decline. Words and phrases like 'linger' and 'ghost' support interpretations of loss and anachronism in the decline of Creole culture allegorically.


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