Hinton passed a polygraph test.
He has already been convicted of double murder and is simply waiting for the judge to hand down his sentence. Hinton is allowed to make one final appeal on the stand, during which he maintains that he is innocent of the crime. Life is hard for Hinton and his family, growing up in the Deep South where there are daily reminders of the twin legacies of slavery and the Jim Crow era. Due to racism and a lack of economic opportunity, there are many temptations for Hinton to embrace a life of crime. Hinton says he only fell victim to this temptation once: With no money and no car, but eager to find the means to drive to a steady job, Hinton steals a car from a dealership.
Even though he got away with the crime, he is so wracked with guilt that he turns himself in a whole two years after the incident. Released from prison for the car theft, he is still on parole when he is arrested for the robbery and murder of two restaurant workers. Unfortunately, his faith in local institutions is misguided.
He is annoyed. To allay the self-induced tension the speaker soon begins to compare himself with the sun, belittling the power of that mighty star, declaring love the master of all. In the end the lovers and, more importantly, the bed in the room, become the focal point of the cosmos, around which everything revolves, even the unruly sun.
The speaker has a go at the sun for invasion of privacy and declares that love isn't subject to the everyday routines, and is certainly no slave to time.
The bed and the lovers are a microcosm of the universe, according to the speaker, who in the end invites the sun to become a part of the whole. Three stanzas, each ten lines long, make this an unusual aubade a dawn love poem. With irregular line length and regular rhyme scheme of abbacdcdee it is a bit of a hybrid. The first four lines build up the argument, sonnet-like, the next four consolidate and the final couplet concludes. The meter metre is also varied, lines having anywhere from four to six beats, iambs mixing with anapaest and spondee to produce a stuttering uncertain rhythm.
Short, sharp clauses, longer sentences and plenty of punctuation bring energy and emotion to the speaker's voice, and help deliver the arguments and images in a dramatic, depthful manner.
Take the final couplet in the third stanza:. Simplicity itself, with pauses that allow the reader to take in the conclusion, yet, typically of Donne, he throws in an image to catch us off guard - the bed is rectangular, the room likewise, but sphere suggests a spherical shell, one in which a celestial body might orbit in a fixed relationship. The speaker is initially affronted by the presence of the sun and wastes no time in berating the intrusion, questioning its appearance at a time when love is the priority, and love is not to be influenced or regulated by the course of a pedant.
You can picture the lovers being disturbed by bright sunshine streaming in at dawn - the equivalent of someone shouting. All they want to do is continue their sleep. Who wouldn't be annoyed? The speaker's tone does shift as the poem progresses. In the second stanza all the heat has dissipated and there is a more thoughtful approach as the speaker attempts to persuade the sun that his lover has the power to blind him.
In the end the speaker suggests that the lover's bed and room is a microcosm of the solar system, so the sun is invited to revolve around them. This poem begins with insults. The sun is called an old fool, which is quite controversial because we're talking about the giant star that keeps everyone and everything alive on the planet, right? The sun can never be unruly, surely? Donne personifies the sun in order to have a go at it.
The speaker is saying : Get out of my life!
Love is not under your control!! The insults continue. You can picture the lovers being rudely awakened by the strong rays and wanting the sun to go elsewhere.
But the emphasis here is on belittling - the sun is told to go and call on people arguably less important - boys late for school, resentful apprentices and farm workers. The end couplet, fully rhymed, affirms that love is beyond weather, place and time of year.
It never changes, is unaffected by the divisions of the clock. What makes you think your light is so awesome? All it takes is for me to blink an eye and, hey presto, I've beaten you. But I don't want to waste time doing that, my eyes are for my lover only.
The speaker is boasting now, putting the sun in its place with two perfectly constructed iambic pentameter lines - to emphasise the ease with which he could eclipse the sun. My lover's eyes easily outshine yours, she is dazzling, and it wouldn't be such a shock if, on your return tomorrow, the whole of India and the East and West Indies are all here in her, in our bed.
This is hyperbole par excellence. The main Objective remains AO2. In this poem Thomas describes the English landscape as a place of pleasure and relaxed enjoyment as he walks with Robert Frost. These are remembered scenes and as the poem develops thoughts of the war of become more prominent. In the end perhaps the poem explores ideas about permanence and change, putting the war into a more historical perspective.
The opening stanza describes the two men walking at peace and the sun shining and here is an example of pathetic fallacy, the sun reflecting their happy mood. The easy rhythm of their walking is also reflected in the enjambement of lines and the caesura in lines 2 and 4, giving a lilting, relaxed and flowing movement to the verse.
From line 6 the narrator conveys their mental focus as they walk through the landscape and suggests that they are wholly occupied in the enjoyment of the present moment. The most important thing about this latter word is that it suggests the mines and mining associated with the battlefields of World War One and therefore suggests that thoughts of the war even penetrate the pleasant walks through the countryside of the two men. This has an ambiguous effect as it might suggest some consolation that war has always occurred and perhaps always will.
On the other hand, perhaps it suggests the more depressing thought that humankind cannot avoid warfare. Perhaps it is this longer historical perspective that creates the thoughts of the final 11 lines of this poem. This is a very inclusive list which gives the impression of time sweeping away many of the pleasures of life. He seems to suggest that memories are like marks on sand and the tide washes them away is the tide an image of Time? In this poem, Thomas records pleasures gained from walking in the English countryside in though he also suggests that thoughts of the war cannot be excluded.