Sara Teasdale’s poem Spring in War-Time dramatizes the conflict between ever occurring natural forces and the new or accentuated unnatural forces brought on by World War I. Teasdale uses literary devices such as repetition, word choice, capitalization, and structure to convey this conflict. In Spring in War-Time, the natural occurrences that make up the world struggle to remain relevant. The first stanza presents the hope of spring in the distance, but in a war stricken world, it seems to be much further off than it actually is. The narrator is hopeful, saying, “I feel the spring far off, far off,” (1). The repetition of “far off” places extra emphasis on the fact that although spring is coming, it won’t be any time soon, specifically not until the force of warfare relents.
Dylan Thomas is a Welch poet who deals with themes such as life, death and time. He is most known for his poem “Do Not Go Gentle into That Good Night”, which is a villanelle directed at his dying father, asking him not to die peacefully, but to leave his impression on the world and to go out with a bang. Additionally, another poem by Thomas which deals with the concept of death, and the force of time is “The Force That through the Green Fuse Drives the Flower”. When comparing and analyzing these two poems by this poet, the reader can observe his particular use of metaphors, repetition and imagery to convey his inner feelings towards death and its cyclical nature. Throughout both poems, the writer makes use of these poetic devices in similar and contrasting ways to relay to the reader his inner battle with the concept of death.
The speaker in Robert Frost 's 'The Road Not Taken ' gives the reader insight into human nature with each line of poetry. Robert frost is one of the supercalifragilisticexpialidocious American writers of twentieth century. He won four Pulitzer prizes amid his life time. He picked up part of prominence in England as well as in entire Europe. His verse managed components of nature, individual and social part of people.
They talk random topics until they ended up talking about Ellis. Jenny tells Nate that Ellis came back for the landscape he is working and not for her. Instead of Nate thinking that Ellis is not interested of Jenny again, he thinks about the case he was solving. The Luis' problem about Victor and it's secret Greenhouse. He is thinking about the possibility that Victor's Greenhouse and Ellis' landscape is just one.
I researched the background information about the poems mentioned in the book, the author’s inspirational reason to write this book, historical references, and real life connection to this Society for this week’s reading. Information I found from the research or things that I connected to the novel: POEM: In the book, Ky gives Cassia a poem written by Dylan Thomas for her birthday. Dylan Thomas is also the author who wrote the poem, “Do Not Go Gentle Poem”. “Do Not Go Gentle Poem” Is the poem that is strictly forbidden in the society; however, Cassia’s grandfather secretly kept this poem and gave it to Cassia. The author of these two poems seems very significant in the book since his poems are being mentioned in the story.
KEEPING QUIET Rakshit Patni Kanika Dang English thesis paper 22nd October 2015 Man is a victim of his own doings. As long as men are always up and doing, differences and unrest will prevail in the world. It is only when men will keep quiet and spend time in introspection, will they be able to make amends. Pablo Neruda a poet from the 20th century has explained in his poem ‘Keeping Quiet’ the value of the men being quiet and spending time in introspection, leading to a better world. Pablo Neruda (1904-1973) is the pen name of Neftali Ricardo Beyes Basoalto who was born in the town of Parrel in Chile.
Frost is a pastoral poet — poet of pastures and plains, mountains and rivers, woods and gardens, groves and bowers, fruits and flowers, and seeds and birds. They do not treat such characteristically modem subjects as ‘the boredom implicit in sensuality’, ‘the consciousness of neuroses and ‘the feeling of damnation’. But the recent critical conversations have resuscitated a little noted argument from the late seventies in favour of viewing frost as modernist. While Frost does not place the whole course of Western history into doubt or experiment with innovative formal structure and with the position of the reader - characteristics of the work of other modernist poets - he does tend toward a critique of the increasing alienation of modem life, as well as foster a sense of the visual that is so important to some groups of modernists like the irnagists (who favourably reviewed Frost’s work). According to J.F.Lynen the use of the pastoral technique by Frost in his poems, does not mean that the poet seeks an escape from the harsh realities of modem life.
The poem ‘The Road Not Taken’ by Robert Frost was about a decision. Two inviting roads existed in front of the speaker, but he could only choose one to travel in the rest of his life. No one knew which road was better or what’s waiting for him in the future, there seemed plenty of imaginary spaces left to the audiences. However, instead of focused on the importance of his finally choice: the road taken, more attentions was given to the given up choice: the road not taken. The writer’s opinion was explicitly showed in the title ‘The Road Not Taken’; which meant from the very beginning it was a poem about lost, not gain.
The central character in this novel is Alex, a first person narrator. His characters like that of Seth’s are defeated persons who are looking for their place in the real world. He wrote verse novels with meter, stanza and rhythm and rhyme to covey his ideas and to create his characters. This sort of genre is also seen in Seth’s writings too. He refuses to succumb to the narcissism of place; his books have been set not only in India, but also in California, China etc.
In the poem “The Road Not Taken” by Robert Frost, the speaker walks in a forest during fall, and he comes upon a fork in the road that splits into two opposite paths. One road appears to be less traveled on, while the other appears more traveled. The speaker describes and contemplates his options, but he decides to take the road less traveled on. Because of his decision, the speaker laments in line 20 that his decision “has made all the difference” (20). Frost uses this metaphor to show how people make important decisions with weight on each side, and how their final choice affects them.