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Recommended: Keats "to the autumn
Discuss the creation and purpose of a strong sense of setting and
atmosphere
Poets use a strong sense of setting and atmosphere in their poems to
get across the emotions and content of their writing. “To Autumn” and
“Ode on Melancholy” create a strong sense of setting and atmosphere.
These two poems are both Odes. Odes are very thoughtful poems and are
usually dedicated to someone or something. Also Odes are very
disciplined in the way they are written, in terms of structure. Both
poems are written by an author named John Keats. John Keats had a very
hard life, in that he watched his mother and brother die from what is
now know as leukaemia. He also knew that he would die from the same
disease. Therefore John Keats may have observed things differently and
was more appreciative of things. He seemed to be able to pick out the
positive things when times were bad, especially “Ode on Melancholy”.
These poems were also written in what is called the Romantic Era.
“To Autumn” is about John Keats feelings and thoughts towards autumn.
Straight away, in the first line Keats sets a strong sense of
atmosphere for the poem.
“Seasons of mists and mellow fruitfulness,”
The word mists implies beauty and mellow suggests calm and relaxed.
The way John Keats has used alliteration, makes the reader focus on
the two words “mists and mellow”. Not only does it start the poem of
with a soft and gentle tone, it makes the reader bring to mind autumn
in just these few words. Like many other poets Keats uses poetic
devices to make an image or to explain things in further detail. Keats
goes on to using personification in the next two lines.
“Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless”
In these lines Keats personifies the sun and also autumn. The reason
for him doing this is it makes an image, that autumn and the sun are
more than what we think they are, they’re friends and they work
together to grow crops. Repetition of the idea of being friends,
“Close bosom-friend”. The repetition emphasises the relationship
between the sun and autumn, which makes the reader more clear and
aware of the imagery created.
“For Summer has o’er-brimme’d their clammy cells.”
This line at the end of the first verse is another image created of
the process of autumn. The setting is changing from summer to autumn.
This line suggests, summer has come to an end because all the goodness
of summer is full and is beginning to over flow into autumn.
The speaker Lampman creates describes “rows of golden palaces” (4), and “horses springing by” (1) giving the impression that winter is heavenly. The speaker initially describes winter as being something similar to the traditional idea of heaven. The speaker gives a blissful and serene description of winter. Gold is a symbol brought up frequently throughout the poem; this adds to the heavenly description of winter, as gold is a symbol of wealth and purity. Gold is used in nearly every image at the start of the poem to really evoke the bliss in winter.
At the left-bottom corner of the painting, the viewer is presented with a rugged-orangish cliff and on top of it, two parallel dark green trees extending towards the sky. This section of the painting is mostly shadowed in darkness since the cliff is high, and the light is emanating from the background. A waterfall, seen originating from the far distant mountains, makes its way down into a patch of lime-green pasture, then fuses into a white lake, and finally becomes anew, a chaotic waterfall(rocks interfere its smooth passage), separating the latter cliff with a more distant cliff in the center. At the immediate bottom-center of the foreground appears a flat land which runs from the center and slowly ascends into a cliff as it travels to the right. Green bushes, rough orange rocks, and pine trees are scattered throughout this piece of land. Since this section of the painting is at a lower level as opposed to the left cliff, the light is more evidently being exposed around the edges of the land, rocks, and trees. Although the atmosphere of the landscape is a chilly one, highlights of a warm light make this scene seem to take place around the time of spring.
It again shows the connection made between winter and death and
And this is where we start with our image. Then Oliver adds, “began here this morning and all day” (2-3) which immediately changes your image to this beginning of the day where the snow is only just starting to fall. Also, Oliver seems to personify the snow by saying “it’s white rhetoric everywhere”(4-5) by giving the sense of knowledge to the snow. Oliver is showing this knowledge that the snow has by playing with this word “rhetoric” meaning having the art of persuasive speaking, so it shows how this snow is grabbing our attention. And then it continues with “calling us back to why, how, whence such beauty and what the meaning;” (6-8) this changes your image of snow greatly to making you think of snow as a greater power leading you to seek questions. This is an automatic change from snow to self. Then it transitions back to the focus back on snow, “flowing past windows,” (9-10) and you are then again transferred back to this image of snow fluttering through the wind, but you also have your thoughts of the unknown and you are relating it to the snow all of this unknown is just floating
In “What lips my lips have kissed, and where, and why?” Edna St. Vincent Millay says that “the summer sang in me” meaning that she was once as bright and lively as the warm summer months. In the winter everyone wants to bundle up and be lazy, but when summer comes along the sunshine tends to take away the limits that the cold once had on us. She uses the metaphor of summer to express the freedom she once felt in her youth, and the winter in contrast to the dull meaningless life she has now. There are many poets that feel a connection with the changing of seasons. In “Odes to the West Wind” Percy Bysshe Shelley describes his hopes and his expectations for the seasons to inspire the world.
Whether it be a description of the weather and the trees, the night sky, or the birds themselves, du Maurier manages to flip the story's mood in an instant, all with just a few, simple words. With imagery, the reader is able to imagine what the scenery of a story is like, and unknowingly, it can shape your emotions completely, making the reader feel happy one second, and sad the next. Even by just looking outside right now, it's clear to see that a dark, pitch black sky would make someone feel completely different than something more soothing, like a pink, pretty sunset. As once stated by Tracy Sabin, "Creating visual imagery is a state of mind. It involves the reproduction of what we see. But much more than that, it becomes an outlet to express feelings about what we experience." While in this quote it states that authors use imagery in a sort of diary like fashion, it is thew reader's job to put their words into picture and make their text create something actually meaningful. It is their obligation as readers to take these words of imagery and actually imagine. To picture. To understand. To
Somehow I related to this painting at the moment. Looking back in the distance in the sky you see that there was a turbulent time. Saturday was such an awful morning. When backing up you see the bottom of the picture. The lush lively flowers show the bright side happy ending. This was my reminder that there is a calm after the storm just like in the picture.
The sun has been an endless source of inspiration, both physical and spiritual, throughout the ages. For its light, warmth, and the essential role it has played in the maintenance of the fragile balance of life on earth, the sun has been honored and celebrated in most of the world's religions. While the regeneration of light is constant, the relative length of time between the rising and setting of the sun is affected by the changing of the seasons. Hippocrates postulated centuries ago that these changing patterns of light and dark might cause mood changes (9). Seasonal downward mood changes of late fall and winter have been the subject of many sorrowful turn-of-the-century poems of lost love and empty souls. For some, however, “the relationship between darkness and despair is more than metaphoric (6).
Uniquely, Camus' usage of the sun opposes its warmth and beauty in The Stranger. The sun is a symbol for feelings and emotions, which Monsieur Meursault cannot deal with. There is a sun motif present throughout the novel, which perniciously characterizes the usual fondness towards the sun. The sun is a distraction from Meursault's everyday life and he cannot handle it.
Frost uses different stylistic devices throughout this poem. He is very descriptive using things such as imagery and personification to express his intentions in the poem. Frost uses imagery when he describes the setting of the place. He tells his readers the boy is standing outside by describing the visible mountain ranges and sets the time of day by saying that the sun is setting. Frost gives his readers an image of the boy feeling pain by using contradicting words such as "rueful" and "laugh" and by using powerful words such as "outcry". He also describes the blood coming from the boy's hand as life that is spilling. To show how the boy is dying, Frost gives his readers an image of the boy breathing shallowly by saying that he is puffing his lips out with his breath.
The use of visual imagery in each poem immensely contributed to conveying the theme. In the poem “Reluctance”, Robert Frost used this poetic device to better illustrate the leaves of autumn:
The four general categories of theoretical orientations are psychodynamic approaches, experiential and relationship oriented approaches, cognitive behavioral approaches, and postmodern approaches. Psychodynamic approaches analyze the individual’s past and operate towards achieving understanding in therapy. Experiential and relationship oriented approaches focus on the significance subjective experiences and the feelings an individual has. Cognitive behavioral approaches are action oriented, focusing on thinking and doing. Postmodern approaches accentuate the understanding of the client’s emotional experience of the world and use resources within the individual for transformation. Among the four categories of theoretical orientations, there
In the poem “To Autumn” the initial impression that we get is that Keats is describing a typical Autumn day with all its colors and images. On deeper reading, it becomes evident that it is more than just that. The poem is rather a celebration of the cycle of life and acceptance that death is part of life. The first stanza begins with Keats painting a picture of Autumn as being a “season of mist and mellow fruitfulness”. This is used in conjunction with the use of the image of a “maturing sun” which ripens the Autumn harvest of views and the fruits.
Virginia Woolf, English novelist, essayist, and critic has beautifully portrayed the natural phenomenon of eclipse. She has also enlightened the importance of the sun. She has narrated the essay dramatically and has regarded sun as an actor that was going to come on the stage to perform as if a drama was going on. The sky served as a stage. She has made the scene vivid and ravishing by the usage of colors, images and similes. The way she has described it is so highly coloured and realistic that the readers visualize the eclipse to be occurring before their eyes. People were anxiously going towards a hilltop from where all would view the sun with reverence. People had gathered on the hilltop and stood in a straight line that it seemed they were statues standing on the edge of the world. As the sun rose, clouds glowed up. Light gleamed and peered over the rim of the clouds. The sun raced towards the point where eclipse had to take place. But the clouds were impeding it. The sun with a tremendous speed endeavoured to escape the mist. At some point it came forth then again was shrouded by the fleecy clouds. The sun then appeared hollow as the moon had come in front of it. A substantial proportion of the Sun was covered and the loss of daylight became noticeable. The writer has efficaciously described the sun’s efforts to break free from the cloudy hurdle. She has continuously personified sun as it was putting its best efforts to make its face appear before the world. The clouds were stifling the sun’s speed. The sanctified twenty-four seconds had begun but still the sun was entrapped and was striving to disencumber itself from the clump of clouds. “Of the twenty-four seconds only five remained, and still he was obscured.” The time of the eclipse was passing and it seemed that the sun was losing. It was continuously obliterated by the clouds. The colours of the valleys seemed to disappear. Everything was fading as ‘All the colour began to go from the moor.’ The colours were changing, “The blue turned to purple, the white became livid as at the approach of a violent but windless storm. Pink faces went green, and it became colder than ever.” The light and warmth were vanishing.
He personifies both the daffodils and waves as he compares their beauty to each other. However, the flowers "out-did" the waves with their happiness, since waves do not bring as much joy as the yellow flowers. This comparison makes the daffodils seem even more beautiful and happy. Furthermore, the speaker uses more joyful connotations to describe the daffodils. The use of the word “jocund” instead of cheerful implies the complexity of the beauty of the flower. Both the comparison and the connotation reinforce the theme of happiness. Moreover, the speaker uses the repetition of the word “gaze”. By repeating the word, he indicates that he, consistently, looked at the flowers for a long time. Additionally, the speaker metaphorically compares the sight of the daffodils to “wealth”. The word "wealth" in this instance, is not a measure of material prosperity, but rather a measure of a permanent kind of happiness that results from simply the view of the