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Literary/rhetorical devices in outliers
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Fate: Fact or Fiction? Numerous choices face our minds and lives every single day. In every choice, we have to make a decision, whether it is good or bad, big or small. Regardless of the nature and impact of the choice, a vital question remains about these decisions: Are we in control of our fates? Two writers, Malcolm Gladwell and Robinson Jeffers, propose antithetical answers to this essential question in “Outliers” and “Fire on the Hills.” In Gladwell’s nonfiction work regarding the impact of practice in music, Gladwell uses research and comparison to suggest that time and preparation will ultimately decide one’s success in a certain activity. Conversely, using paradox and imagery, Jeffers’ poem about a burning forest and its inhabitants …show more content…
At the beginning of the poem, the speaker “thought about the smaller lives that were caught” in the forest fire (Jeffers 3). These “smaller” animals literally refers to the squirrels, raccoons, and other animals of shorter size. But “smaller” also connotes the importance and value of the lives of these animals. Born in their insignificant form, the less fortunate inhabitants of the forest are not able to escape their fiery demises quick enough, supporting the idea of an uncontrollable fate in nature. From the moment one is born, life either traps or blesses that person or animal. A talent or comforting lifestyle could grace one’s life, or a terrible disease or circumstance could befall another. Soon after mentioning the small lives, the speaker notes that “beauty is not always lovely” (Jeffers 4). In this paradox, Jeffers delves into the death of the “smaller lives.” Death is the end to life, yet it can also symbolize change and new beginnings. Although a fire devastates a forest and extinguishes the lives of many creatures, the beauty of new life and renewal will bloom in the aftermath. In short, nature will move towards the idea of a fundamental balance between life and death, using the destinies of the inhabitants as the driving force. Every animal has a basic role to play from birth to death that will drive the course nature will take. Additionally, Jeffers backs up this perplexing claim by detailing the return of an eagle to its nest: “Insolent and gorged, cloaked in the folded storms of his shoulders / He had come from far off for the good hunting” (Jeffers 8-9). Jeffers illustrates a yet another paradoxical situation, where death of others can lead to the life of another, to support his argument of fixed fate. Gaining nourishment from the “good hunting” of the fleeing animals, the eagle’s destiny is to kill and to become
In the narrative poem “Cautionary Tale of Girls and Birds of Prey” the author, Sandy Longhorn, tells the story of a young girl who is afraid of a hawk, and her inconsiderate father who doesn’t take her concerns seriously. The story shows how her father is determined to get rid of her fear of the hawk, because he thinks it is both foolish and childish. The daughter very well knows the capability of the hawk, however her father doesn’t acknowledge it until it is too late. In the poem, Longhorn uses alliteration and rhyme to help explore the theme of how being inconsiderate towards others can in the end hurt you as much as it hurts them. The poem takes place on a little farm where the girl and her father live with all of their livestock.
The poem's situation is simple, a lone traveler driving along a desolate canyon road spots a felled deer; the traveler, desiring neither to hit the deer, nor by swerving to avoid it, hurtle his car over the canyon precipice, stops his vehicle and proceeds to push the fallen animal over the canyon face, into the river below. As the driver struggles to displace the cold, stiff deer corpse he senses warmth emanating from its abdomen, it's an unborn fawn. Realizing that life remains in the body he had assumed dead, the traveler hesitates. Finally, he pushes the deer, one dead and the other not yet alive, off the road and into the chasm.
This gives the effect that although there is mass devastation, there is always a light at the end of the tunnel, in this case for the eagle, the leftover remains of a carcass. However, as seen throughout the poem this isn’t the case for everyone and everything as the dead or dying clearly outnumber those prospering from the drought. This further adds to the miserable and discouraging mood of the poem. Other poetic devices are also used during the course of the
Cummings uses the seasons, bells, his unique composition and the repetition of “Women and men” and “anyone” to create and emphasize the unfortunate cycle of life. The use of the seasons in lines three,eleven, and thirty-four emphasise the passing of time and the unchanging ways of the townspeople. “Women and men”, in lines five and thirty-three,are used to remind us of Cummings definition of “most people” and how people tend to blend in and follow. The bells in lines two and twenty-four are used to indicate a change in the character 's, the first bell is before love and the second bell is rang before death. These significant life transitions show how love and death are final.
Regarding the stereotypical power humans have over smaller beings, the speaker practices moral judgment: she cannot harm the defenseless creature. In the first line she states this, committing to her discernment, “No, helpless thing, I cannot harm thee now”(1). This refers to the human responsibility, having a conscious mind that leads to better judgment. Curiously, she holds and inspects the caterpillar, as it pleads for protection in a silent yet demonstrative manner(13-14). The speaker chooses not to be violent but compassionately willing to care for this animal as she “swears perdition to thy race”(14). The speakers ethical code is not entirely pure however, as she has previously “swept them from the tree/And crushed whole families beneath my foot” at some point in the past(19-20). The then seemingly positive enforcement of the moral implications turns darker as the dialogue of the caterpillar begins, “So the storm Of horrid war, o'erwhelming cities, fields.. And urges, by no soft relenting s stopped, The work of death and carnage”(20-35). As seen, the poem applies ethics to change the readers perspective in order to practice
Therefore, Oliver’s incorporation of imagery, setting, and mood to control the perspective of her own poem, as well as to further build the contrast she establishes through the speaker, serves a critical role in creating the lesson of the work. Oliver’s poem essentially gives the poet an ultimatum; either he can go to the “cave behind all that / jubilation” (10-11) produced by a waterfall to “drip with despair” (14) without disturbing the world with his misery, or, instead, he can mimic the thrush who sings its poetry from a “green branch” (15) on which the “passing foil of the water” (16) gently brushes its feathers. The contrast between these two images is quite pronounced, and the intention of such description is to persuade the audience by setting their mood towards the two poets to match that of the speaker. The most apparent difference between these two depictions is the gracelessness of the first versus the gracefulness of the second. Within the poem’s content, the setting has been skillfully intertwined with both imagery and mood to create an understanding of the two poets, whose surroundings characterize them. The poet stands alone in a cave “to cry aloud for [his] / mistakes” while the thrush shares its beautiful and lovely music with the world (1-2). As such, the overall function of these three elements within the poem is to portray the
As a way to end his last stanza, the speaker creates an image that surpasses his experiences. When the flock rises, the speaker identifies it as a lady’s gray silk scarf, which the woman has at first chosen, then rejected. As the woman carelessly tosses the scarf toward the chair the casual billow fades from view, like the birds. The last image connects nature with a last object in the poet's
In the creature’s very first spring he was about as lonely as one could possibly be. However, when the creature realized the beauty of the world and of nature it lifted his spirits. He was lonely, but however, he was not completely unhappy because the beauty of nature gave the creature peace.
Rapper Kanye West once stated “My greatest pain in life is that I will never be able to see myself perform live.” Though West’s quote possesses an air of arrogant egocentrism, it still establishes a sort of inherent, human, craving for being able to recognize and truly view oneself in relation to the world. However, this longing is ultimately futile, as the laws of nature prevent West from fulfilling his self-gratifying dream. In the poem “Hailstones” by Seamus Heaney, the speaker maintains a longing for this same sense of familiarity, regardless of what consequences it may bring, even though this craving is nothing in comparison to the powerful, physicality of the hailstones.
One Romantic notion present in this passage is nature. The poet concentrates on the relationship with human and nature throughout the poem.
The conceit in line 8, “like an iceberg between the shoulder blades” (line 8), illustrates the briskness death emanates whilst taking the life from the warmth of your body. This ice and fire comparison coaxes the reader to pursue the unwelcoming thought of death as the adverse path to travel by. By no means does Oliver attempt to romanticize the idea of a brief and painless endeavor. Furthermore, the recurrence of cessation illustrated by the “hungry bear in autumn” (2) simile suggests the seasonal regularity death’s toll takes on the living. The presence of frequency characterizes the shift in forbearance to the acceptance of the inevitable. Oliver is caught up in reminiscent thought as she employs worldly imagery to describe life. For example, in lines 15-16 Oliver writes “and I think of each life as a flower, as common / as a field daisy.” This line stands out in the fact that it represents the first occurrence of communal thought. Describing each life as a “flower” in a “field” suggests that life is supposed to be about the people whom you surround yourself with, and less about the solidarity that stems from the notion of darkness. Oliver’s implication of poetry and down-to-earth imagery captures not only the progression of thought, but also her feelings towards the concepts of life and
As the great Edgar Allen Poe once said, “Words have no power to impress the mind without the exquisite horror of their reality.” In the poems “The Rime of the Ancient Mariner,” by Samuel Taylor Coleridge and “The Raven,” by Edgar Allen Poe both show symbols of birds. Too many people the animal of the bird, is shown as many different symbols. In these two poems the bird is shown as a daunting symbol. As Adam Andrious said, “We envy them their ease of expression, as their song provides a bridge into the mysteries of a world the animal in us fondly half-remembers.” The things that a bird can mean to different people is huge. There are many things that it can mean, but most of the time the meanings focus on the idea of the negative versus the positive. The Albatross in Coleridge’s poem and the Raven in Poe’s poem share similar ideas, three of these ideas include, death, pain, and emblems.
The poem symbolizes that nature continues on even as humans pass away. “Robins will wear their feathery fire, whistling their whims on a low fence-wire; and not one will know of the war, not one will care at last when it is done. Not one would mind, neither bird nor tree, if mankind perished utterly” (Bradbury, par.41). The poem comes right before the house is destroyed. At the end of the story a tree falls on the house and causes a fire which destroys the house. “The wind blew. A falling tree bough crashed through the kitchen window. The room was ablaze in an instant.....Among the ruins, one wall stood alone” (Bradbury, par.47 and par.62). This fire is a symbol of a true natural destruction meaning technology will fail and nature will prevail.
“A Bird came down the Walk,” was written in c. 1862 by Emily Dickinson, who was born in 1830 and died in 1886. This easy to understand and timeless poem provides readers with an understanding of the author’s appreciation for nature. Although the poem continues to be read over one hundred years after it was written, there is little sense of the time period within which it was composed. The title and first line, “A Bird came down the Walk,” describes a common familiar observation, but even more so, it demonstrates how its author’s creative ability and artistic use of words are able to transform this everyday event into a picture that results in an awareness of how the beauty in nature can be found in simple observations. In a step like narrative, the poet illustrates the direct relationship between nature and humans. The verse consists of five stanzas that can be broken up into two sections. In the first section, the bird is eating a worm, takes notice of a human in close proximity and essentially becomes frightened. These three stanzas can easily be swapped around because they, for all intents and purposes, describe three events that are able to occur in any order. Dickinson uses these first three stanzas to establish the tone; the tone is established from the poet’s literal description and her interpretive expression of the bird’s actions. The second section describes the narrator feeding the bird some crumbs, the bird’s response and its departure, which Dickinson uses to elaborately illustrate the bird’s immediate escape. The last two stanzas demonstrate the effect of human interaction on nature and more specifically, this little bird, so these stanzas must remain in the specific order they are presented. Whereas most ...
This is a poem about the joy and sadness that comes with the flash of burning life soon blown out with nothing more then a sigh. It focuses on the sadness as those we care for go far too gently into that good night. Of those who left before their time. As this poem was written specifically for Thomass dying father it is even more poignant in the emotional weight the words convey. This poem radiates with intensity, in particular, the verse beginning: wild men who caught and sang the sun in flight is simply beautiful poetry. Addressed to the poet's father as he approaches blindness and death. The relevant aspect of the relationship was Thomas's profound respect for his father, tall and strong in Thomass passionate mind but now tamed by illness and the passing of time. The acceptance of death and a peaceful rest afterwards are pushed aside in favor of an ungentle rage so blind it almost mirrors the vigor of childhood frustration at the nature of things we are powerless to change. Further more, the poem speaks as much of the loss of love and the feelings of one left behind as of death itself. The meaning of the poem stays shrouded in metaphors like the references to night as "good". He acknowledged his father stood somewhere he had not, and perhaps saw what he could not. Thomas was not ready to let go of such an important part of his life even though his father was facing an irreversible course, and Thomass grief was perhaps all the greater.