“Whistling of Birds” by David Herbert Lawrence is a depiction of the vividness of his writings and his own artistic vision and thought. In this essay he has elucidated the change of seasons- change from winter to spring- in an impressive way by the use of images, similes and metaphors..
Winter, as he narrates, brings woe and causes wreck. The intense frost that sustained for several weeks caused the death of birds. The remnants of the beautiful bevy of birds – lapwings, starlets, thrushes, lied scattered in the fields. The “invisible beasts of prey” had wolfed the birds. The winter had massacred the song birds and their blood-soaked skins were spread all around. The beings that could not shield themselves against its rigours shivered with cold and were exposed to the fury of biting cold winds. Winter thus had brought a host of hardships to the poor souls who found it hard to face the vagaries of the weather.
Oh, the long and dreary Winter!
Oh, the cold and cruel Winter! – LONGFELLOW, Hiawatha
Then sudden change appeared. The way wind began to blow depicted change of weather. The winds were warm and during the day shimmers sunlight could be seen. The birds began to chirp uncomfortably, without a pause. The doves were uttering strained coos as the influence of winter prevailed on them. Their attitude was queer. It was like a overlapping season. The surroundings were still snow carpeted. They kept on cooing with weakness. The breeze was still chilly enough to hurt. The subdued sunlight provoked the birds to chirrup in feeble tones. During the hard frost, deathly silence held sway. Then with the slight change of conditions, the whistling of birds appeared to be a peculiar act. It was extremely difficult to accept the change. The writer inquires for it, as the earth had been covered with the sheet of lacerated cadavers. The scene was quite frightening and alerting as the birds kept on tweeting and spreading their “silver” songs all around in the winter-effected surroundings. The joy and defiance of the birds amazes and inspires him; it is the image of all brave rebirths. The birds were reconciling to the death of the other birds. They were forgetting the dead world in order to join the new bright one.
“If winter comes, can spring be far behind.” –Shelley, Ode to the West Wind.
If there comes a little thaw,
Still the air is chill and raw,
Here and there a patc...
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.... He continues with his whistling.
Whistling affirms passionately the irrepressible renewal of life after death and destruction. The essay describes the renewal of the birds’ song after the long and dreary winter. The song is a metaphor for life that is chosen, willingly and deliberately. Lawrence is not alone in his determination to choose life. Many others have reached the same decision after grappling with the horror of death in their minds and souls. In Whistling, Lawrence celebrates the impulse to life that cannot be quenched--the hope that lives in all of us. He uses the metaphor of the whistling of birds for his depiction of this inextinguishable flame of life and hope in humans. Lawrence not only affirmed life but insisted on the inevitability of it:
“Who can thwart the impulse that comes upon us?
It comes from the unknown upon us,”
Faith of life is generated in them; they have escaped from the dreadful shadows of death. It becomes essential for us to relocate from the zone of death to life.
Thus the two seasons, spring and winter, have been clearly portrayed by the writer. The change that fascinated him has been explained in a vivid way that it enthralls the readers too.
“Winter Evening” by Archibald Lampman, and “Stories of Snow” by P.K Page are two poems describing the human experience of winter. Winter is seen, by some, to be blissful, magical and serene. Winter could also be described as pure and heavenly, with the white snow resembling clouds. However, others have a contrasting viewpoint; they paint winter in harsher light, giving the impression that winter is bitter and ruthless. Others still, have a mixed viewpoint and may recognize both the positives and negatives to the season.
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
The diction surrounding this alteration enhances the change in attitude from self-loath to outer-disgust, such as in lines 8 through 13, which read, “The sky/ was dramatic with great straggling V’s/ of geese streaming south, mare’s tails above them./ Their trumpeting made us look up and around./ The course sloped into salt marshes,/ and this seemed to cause the abundance of birds.” No longer does he use nature as symbolism of himself; instead he spills blame upon it and deters it from himself. The diction in the lines detailing the new birds he witnesses places nature once more outside of his correlation, as lines 14 through 18 read, “As if out of the Bible/ or science fiction,/ a cloud appeared, a cloud of dots/ like iron filings, which a magnet/ underneath the paper
In John Knowles’ novel, A Separate Piece, the main Character, Gene Forrester, has to learn to become friends with his hazardous roommate, Phineas, at his school, Devon, in New Hampshire. The novel is affected by a number of changes, however the largest and most significant change is the change in seasons. In Thomas C. Foster’s novel, How to read literature like a Professor, chapter twenty explains the significance of the seasons. Foster states that, “Summer [symbolizes] adulthood and romance and fulfillment and passion,” while, “ winter [symbolizes] old age and resentment and death.” John Knowles’ book A Separate Peace, all aspects of Summer, Fall, and Winter are excellently represented as explained in Thomas C. Foster’s novel, How to read
The birds show symbolism in more than one way throughout the text. As the soldiers are travelling from all over the world to fight for their countries in the war, the birds are similarly migrating for the change of seasons. The birds however, will all be returning, and many of the soldiers will never return home again. This is a very powerful message, which helps the reader to understand the loss and sorrow that is experienced through war.
Richard Wilbur's recent poem 'Mayflies' reminds us that the American Romantic tradition that Robert Frost most famously brought into the 20th century has made it safely into the 21st. Like many of Frost's short lyric poems, 'Mayflies' describes one person's encounter with an ordinary but easily overlooked piece of nature'in this case, a cloud of mayflies spotted in a 'sombre forest'(l.1) rising over 'unseen pools'(l.2),'made surprisingly attractive and meaningful by the speaker's special scrutiny of it. The ultimate attraction of Wilbur's mayflies would appear to be the meaning he finds in them. This seems to be an unremittingly positive poem, even as it glimpses the dark subjects of human isolation and mortality, perhaps especially as it glimpses these subjects. In this way the poem may recall that most persistent criticism of Wilbur's work, that it is too optimistic, too safe. The poet-critic Randall Jarrell, though an early admirer of Wilbur, once wrote that 'he obsessively sees, and shows, the bright underside of every dark thing'?something Frost was never accused of (Jarrell 332). Yet, when we examine the poem closely, and in particular the series of comparisons by which Wilbur elevates his mayflies into the realm of beauty and truth, the poem concedes something less ?bright? or felicitous about what it finally calls its 'joyful . . . task' of poetic perception and representation (l.23).
(6) The suddenness of the winter storm caught people by surprise. A roar “like an approaching train” was all the warning the storm gave. (130) The roaring wind and snow brought darkness and dropping temperatures. The people who were inside when the blizzard struck faced a dilemma. Staying inside and doing nothing seemed “heartless,” but going into the storm “on a rescue mission was likely to be fatal to the rescuer and useless to the lost.” (143) The people who were unfortunate enough to be away from home, whether they were at school or working with their livestock, had to make a difficult decision. They could either risk trying to make it home or chance it out and stay where they were. Schoolteachers had to decide whether to send the children home or keep them at the school. If anyone ventured outside, he or she risked frostbite, hypothermia, and likely
...otter, disturbing high pitched sounf of the oystercatcher, the cormorant, and the heron all connote the idea of an overwhelming chaotic nature of the world. The first two lines of the second stanza justify this view because we find that the speaker has gone through a personal experience of facing death. However, in the majority of the second stanza, the speaker finds a more peaceful underlying order in the next few images he sees. The butterfly, a couple quietly speaking, and the soothing warmth of nature all appeal to an underlying order, filled with peacefulness and serenity. From the different perspectives of a single experience of the speaker, the author is able to create a world where although chaos can be present through personal experience, the underlying order is still intact, as long as one is able to look at it from a more calm and peaceful vantage point.
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).
Kelly, Joseph. The Seagull Reader Poems Second Edition. New York: W.W Norton and Company, 2001.
He is almost sleeping while doing this. This creates a very powerful visual image. It epitomizes how the people left to grieve act. Many people stricken by death want to be left alone and bottle themselves up. The first few lines of the poem illustrate how deeply in sorrow the man is. This image should affect everyone. It should make the reader sympathize or even empathize with the man. Another main way he uses imagery is through the black bird or the raven. The presence of the bird is a bad omen. It is supposed to be followed by maleficent things. The bird is used to symbolize death figuratively and literally. The bird only says one word the entire poem. It repeats “nevermore.” This word can be interpreted multiple ways each time it is said. It is also possible that the bird is not talking. It is possible that the bird is an image created by
...years later, it becomes clear that for all the emphasis put on art, on creation, and on mass production—nature is central to our human experience. We can symbolize this natural connection with art—but the art itself always harkens back to something that elicits an emotional response from the viewer. For Leontes, a statue of his presumably deceased wife, Hermione triggers a sorrowful reaction. Art indeed embellishes life as it does with flowers, but we are always working from some perspective, some emotion, before we are merely creating art. “The Winter’s Tale” takes on the challenge of investigating whether or not art can in fact breathe outside the womb of nature, and as we witness art break down, and nature hold the characters together, it becomes resoundingly clear that art seeks to react to nature, but that it cannot work without maintaining nature at its core.
...fall of snow and the unremitting “sweep” of “easy wind” appear tragically indifferent to life, in turn stressing the value of Poirier’s assessment of the poem. Frost uses metaphor in a way that gives meaning to simple actions, perhaps exploring his own insecurities before nature by setting the poem amongst a tempest of “dark” sentiments. Like a metaphor for the workings of the human mind, the pull between the “promises” the traveller should keep and the lure of death remains palpably relevant to modern life. The multitudes of readings opened up through the ambiguity of metaphor allows for a setting of pronounced liminality; between life and death, “night and day, storm and heath, nature and culture, individual and group, freedom and responsibility,” Frost challenges his readers to delve deep into the subtlety of tone and come to a very personal conclusion.
Following this the leaves are being described as sweeping across the room. The scene is made clearer by being compared to the way the leaves flew from the branches of the hemlocks of above, quickly down to the ground below. "Just as they flew from the boughs of the hemlocks." (Stevens 68) Once again a cry by the peacocks is heard. This time the reason for it is given. Their cry being caused by either the leaves, or a cry against the twilight. At this point is seems as though the reason would lie more within the twilight than simply the leaves falling and moving about. At this point it may begin to be considered as a period of uncertainty, or decline in some form, before the following day is on its way.
“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 ...