In the poem “The Fox” author Faith Shearin expresses her feelings in a positive to negative way as she observes the small fox over time. The author utilizes rhetorical appeals, as well as tone to relay a message to the readers, by doing this she let s the audience sit and ponder about the way of the world. Throughout the first four stanzas Shearin conveys a positive tone and describes the fox as elegant and free. By doing this the author appeals to ethos in the readers, concluding them to receive joyful interpretations about the fox an the authors opinion; free as they know “he's nobody's pet” As the poem continues the author's thoughts deepen as she ponders about the foxes' vulnerability to the world.he tone shifts negatively as “it was awful
The speaker of the poem walks through a reaping setting, alone. Lee uses the image of a bird who flies quickly away before the speaker can catch glimpse of it: “I turn, a cardinal vanishes”. This matches the memory that the speaker rekindles from earlier that morning, when his deceased father’s image seems to appear within the trees, and disappear again just as his child draws near. Lee beautifully uses concrete language to portray the picture, specifically the throbbing emptiness when the vision is substituted by a “shovel…in the flickering, deep green shade” (18-19). The sad, uncanny sensation showed by the event creates the lonely, sorrowful mood of the
Another classmate commented that she liked how the first line seemed to have a completely different meaning when rereading the poem, since it illustrates how killing one’s own inner demons is a cycle. One student also felt disconnected at “with each glance your shadow grows darker”, since the poem is not clear about what this character is glancing at or where this dialogue is coming
At the climax of the story, the Bundren family’s journey to bury their mother is interrupted by a flooded bridge and a river. The Bundrens attempt to cross this river, but their intentions backfire. As the family crosses the river, Darl “felt the current take [them]” (49) for the river created a “succession of troughs and hillocks” that were “lifting and falling about [them]” (49). In this scene, nature appears to take revenge on Jewel for hurting his horse, an animal that is a part of the natural world. Faulkner thus gives nature an antagonistic image, for it tormented the Bundrens in the middle of their journey.
All of these shifts contribute to the poem’s deeper meaning that although death is unavoidable people still have the ability to resist it. One of the most notable shifts in the poem is in the scale of death in the poem. In the first stanza Sarton describes the death of a small turtle. In the eight lines she describes many aspects of the turtle’s death including the “emerald shell” (line 4) of the turtle that grew soft. The turtle is an insignificant creature in the poem.
What a miserable night I passed! The cold stars shone in mockery, and the bare trees waved their branches above me…”(Shelley 138). After the creature was cast out by the cottagers, whom he loved so much, he went to the woods, where he learned how to survive on his own and without facing humans; since he was alone with nature, he began to feel grateful for nature. “ But the fresh air and bright sun seldom failed to restore me to some degree of composure; and, on my return, I met the salutations of my friends with a readier smile and a more cheerful heart. ”(Shelley 156).
There are many differences that can be highlighted between a hawk and a dog. However, in “Hawk Roosting” and “Golden Retrievals” the use of specific elements helps the reader to understand the characters themselves and how they view the world around them. Respectively, Hughes and Doty each use specific sentence structure, tone, and strong diction to characterize the speakers and present differing views of the world. The use of specific sentence structure throughout the poems further underlines the differences in the two characters and the attitude towards the world. Hughes’s use of sentences which exemplify complete thoughts illustrates to the reader that the hawk will take its time when completing a task and gives its full and absolute attention.
One of the aspects of “Wild Geese” that truly struck my fifth-grade self was its use of imagery—I was drawn in particular to the extensive visual imagery in lines 8-13 (“Meanwhile the sun…heading home again”) and awed by the ability of text to evoke images of such clarity. Moreover, in addition to the intrigue of its use of literary devices and the complexity of its recitation, interpreting “Wild Geese” and finding meaning within it was a process that continued well beyond the end of my fifth-grade year, and the connotations of that poem continue to resonate with me. While the entirety of this story is too personal to share herein, “Wild Geese” was a poem that spoke to me on a very personal level. As I sometimes have a tendency to hold myself to unrealistic standards, “Wild Geese” was to me a reminder of the relative insignificance of the trivial matters with which I would preoccupy myself; nature became a symbol of that which existed beyond my narrow fixations and the wild geese a reflection of the inexorable passage of time—in essence, a reminder that “this too shall
This reminded me of how I always long for that which I don’t have, whether I know what it is that I am longing for or not, and regardless of if I know whether it is actually better for me. I felt like sometimes I’m not even wishing for something else, I’m just desperate for ‘not this’. I felt hopeful when I read the statement “for the caged bird/sings of freedom,” because singing carries implications of joy and energy, indicating an optimism for the future and for perhaps achieving ‘not this’. The next line reminded me of my greed, and how even when I have what I want, I only want more: “the free bird thinks of another breeze.” The second to last stanza brought feelings of regret.
Parker introduces her poem by using imagery to announce the simple development in the setting. It begins by saying, “as the sun rose” (line 7) and continues until she writes, “We didn’t speak until the sun overcame” (line 10). It is an uncomplicated way to provide an additional thought of change. By mentioning the small difference in the setting, Parker wants the reader to understand the importance of the many different aspects, large and small, that are evolving.
The peacocks become a central point of the narrator’s life. The narrator describes the appearance and attitude of these grand birds in great
The piece revolves around the subject of motherhood, portraying a women who feels smothered and consumed by her children. Poetic devices were used by Harwood to emphasise the affect that change had on the woman and her life progression, whilst illustrating the negative response which became evident as a result. In the poem, whilst taking her children to the park, the woman encounters an ex-lover, briefly discussing their life progression and stating to herself after his departure, that her children 'have eaten [her] alive’. Harwood’s use of this metaphor and hyperbole, shows the affect of the change her choices created, and its impact. The use of symbolism, to a large extent, also portrays the woman’s feelings derived from her sense of imprisonment.
She utilises a diptych structure which portrays the contrast of a child’s naive image of death to the more mature understanding they obtain as they transition into adulthood. This highlighted in ‘I Barn Owl’ where the use of emotive language, “I watched, afraid/ …, a lonely child who believed death clean/ and final, not this obscene”, emphasises the confronting nature of death for a child which is further accentuated through the use of enjambment which conveys the narrator’s distress. In contrast, ‘II Nightfall’, the symbolism of life as a “marvellous journey” that comes to an end when “night and day are one” reflects the narrator’s more refined and mature understanding of mortality. Furthermore the reference to the “child once quick/to mischief, grown to learn/what sorrows,… /no words, no tears can mend” reaffirms the change in the narrator’s perspective on death through the contrast of a quality associated with innocence, “mischief”, with more negative emotions associated with adulthood, “sorrows”.
Nature is a place filled with livelihood, imagination, and diversity. It is praised for its beauty and mystifying inhabitants. In “Owls”, Mary Oliver is fascinated by the alluring aspects of the landscapes surrounding her; yet, she also seems to be frightened due to nature’s predators and dangers. These perplexing emotions are evident throughout the passage as Oliver describes her encounters with owls and flowerbeds. Through a variety of syntax and amusing paradoxes, Oliver is able to successfully convey her puzzling feelings towards nature.
Furthermore, the owl’s “eyes that did not see” is used as a symbol for the knowledge and “blindness” to the extent of her own cruelty the child is forced to recognise. Harwood demonstrates the consequences of the child’s rebellion as reflected in the severity of the owl’s death and the child’s reaction to her brutality. As the the poem’s sentences progressively become longer and more subdued after she shoots the owl, Harwood im plies the child’s new understanding
The agony the writer is feeling about his son 's death, as well as the hint of optimism through planting the tree is powerfully depicted through the devices of diction and imagery throughout the poem. In the first stanza the speaker describes the setting when planting the Sequoia; “Rain blacked the horizon, but cold winds kept it over the Pacific, / And the sky above us stayed the dull gray.” The speaker uses a lexicon of words such as “blackened”, “cold” and “dull gray” which all introduce a harsh and sorrowful tone to the poem. Pathetic fallacy is also used through the imagery of nature;