Oliver uses a solemn tone to show her initial feelings towards the swamp but her tone changes. the swamp, but her tone changes. The swamp represents life. At first she describes the swamp as a "struggle, closure, pathless, seamless, peerless mud." This gives the swamp, peerless mud." This gives the swamp a negative connotation as she uses words that are often used to label thing as hopeless or bad. The use of these negative types of words at the beginning of the poem resulted in giving the poem an unhappy tone. The author herself, at first, seems to be solemn of the swamp because of this. However, there is a transition in tone towards the end of the poem. She begins to describe the swamp as "a bough that still, after all these years, could
Barry defines the Mississippi’s unpredictability through an “uncoiling rope.” One cannot experience an act such as that of an uncoiling rope, in it’s smooth, but quick movements. Its destination cannot be anticipated and its course of action can only be speculated. By using a single phrase, like “uncoiling rope,” Barry guides his audience to a complete picture of the fascinating Mississippi. He gives life to the Mississippi by relating it to a snake. His snake-related diction, such as “roils” and “uncoiling” present the river with lifelike qualities that extend Barry’s purpose in saying that the incredible river can actually stand on it’s own. Furthermore, Barry describes the river in similes in order to compare the Mississippi to a snake, in a sense of both power and grace. The river “devours itself”, “sucking” at the surface around it, and “scouring out holes” in its depths. Barry’s combination of personifying diction and similes provide his audience with a relation in which one understands the Mississippi’s paradox of strength and unpredictability, and
Oliver begins by describing the swamp in a way that displays it as unrelenting and immovable, a struggle. The author uses zeugmas such as “pathless, seamless, peerless” to demonstrate that the speaker’s difficult travel through the swamp does not disturb it. Furthermore, the speaker’s trial “for foothold, fingerhold, mindhold” portrays the swamp as a power that is untouchable and unchallenged by humans. This idea is further supported by the author’s personification, stating “here is swamp, here is struggle” because
In “The Weekend,” George cheats on Lenore with Sarah, and she still chooses to stay with him and work out their issues. The story by Ann Beattie can relate to “The Awakening” by Kate Chopin because Edna cheats on Leonce with Robert and Alcee Arobin. After learning Edna cheats on him, Leonce decides to stay with Edna to work their relationship out. While nothing is wrong with their significant others, they cheat because something in them is unfulfilled. Lenore knows George cheats because he spends much of his time with the other women, but she never acknowledges it, until she talks with Julie one day; “she’s really the best friend I’ve ever had. We understand things—we don’t always have to talk about them. ‘Like her relationship with George,’
mud, (Oliver 9). The speaker directed their attention to the swamp, the gentle flow of the poem
1. Mary Hood’s first collection of stories is titled How Far She Went (1984), and her second collection was entitled And Venus is Blue (1986). These stories have been reprinted in textbooks. She also pubished a novella called Seam Busters and then later published another collection of stories entitled A Clear View of the Southern Sky. In 1995, Hood published a novel, Familiar Heat, and later published an extensive essay on Northwest Georgia in The New Georgia Guide (1996).
Reading through the very beginning of Susan Griffin’s “Our Secret” felt like reading Shakespeare for the first time as a sticky fingered, toothless, second grader. It just did not make sense...my mind couldn’t quite comprehend it yet. Nothing in the essay seemed to be going in any clear direction, and the different themes in each of the paragraphs did not make sense to me. There was no flow – as soon as you began to comprehend and get used to one subject, she would switch it up on you and start talking about something else that seemed unrelated. As I pushed forward, it seriously was beginning to feel like she was drawing topics out of a hat as she went. That was until I hit around halfway through the second page. This is where Griffin introduces her third paragraph about cell biology: “Through the pores of the nuclear membrane a steady stream of ribonucleic acid, RNA, the basic material from which the cell is made, flows out (234).” She was talking about the basic unit of
The poem talks about the old tree and relates it to an aged man. "Or the trenched features of an
The topic of whether it is in the nature of living beings to be naturally good has been examined by several authors throughout previous centuries, for example, Susan Griffin. Using a humanistic perspective, Griffin’s chapter, “Our Secret”, from her book, A Chorus of Stones, approaches this topic and can reflect on her own life and feelings using other people’s stories about fears and their secrets. Combining her personal life stories, Himmler’s life narrative, as well as two sub stories, Griffin’s chapter allows characters to represent human emotions and emphasize the hidden feelings of living beings. Similarly, Plato’s dialogue, Phaedrus, and Franz de Waal’s, The Ape and the Sushi Master, talk about the topic of living beings being naturally
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
The wooden bucket enriches the flavor of water, and connects you to nature through taste. Hence, Darl has found a better way to satisfy his needs. William Faulkner overwhelms his audience with the visual perceptions that the characters experience, making the reader feel utterly attached to nature and using imagery how a human out of despair can make accusations. "If I jump off the porch I will be where the fish was, and it all cut up into a not-fish now. I can hear the bed and her face and them and I can feel the floor shaking when he walks on it that came and did it....
The first stanza incorporates a lot of imagery and syntax. “A toad the power mower caught,”(line1). The use of syntax in the very first sentence is to catch the reader’s attention and to paint an image for them. The stanza goes on to talk about how the toad hobbles with it’s wounded leg to the edge of the garden, “Under the cineraria leaves”(line4). The speaker uses the word cineraria, which is similar to a cinerarium, a place where the ashes of the deceased are kept. By using this, the speaker further illustrates the death of the toad. “Low and final glade.”(Line6) this line is like a metaphor for the dying toad, the final rest for the toad could be the final glade. In the first stanza it seems as if the speaker is making fun of the dying toad saying the garden sanctuaries him as if he were a person. The opening line even seems a bit humorous to the reader. The following stanzas also have a tone of sarcasm.
"Some of us think holding on makes us strong; but sometimes it is letting go,"-Hermann Hesse. Regrettably, in this point of view, Jenna Fox's father, Matthew Fox, was incapable of staying strong. In the novel, The Adoration of Jenna Fox by Mary E. Pearson, seventeen-year-old Jenna Fox has woken up from a coma caused by a gruesome car accident, an accident in which she was told to have caused. Later, Jenna begins to pick up and put together the puzzle pieces of her own life, including how the way she is being kept alive is illegal. Putting these puzzle pieces together allowed her to realize why she was different and the truth about the accident. Jenna's parents, Matthew and Claire Fox decided to take advantage of Matthew's expertise and replace
The consistent pattern of metrical stresses in this stanza, along with the orderly rhyme scheme, and standard verse structure, reflect the mood of serenity, of humankind in harmony with Nature. It is a fine, hot day, `clear as fire', when the speaker comes to drink at the creek. Birdsong punctuates the still air, like the tinkling of broken glass. However, the term `frail' also suggests vulnerability in the presence of danger, and there are other intimations in this stanza of the drama that is about to unfold. Slithery sibilants, as in the words `glass', `grass' and `moss', hint at the existence of a Serpent in the Garden of Eden. As in a Greek tragedy, the intensity of expression in the poem invokes a proleptic tenseness, as yet unexplained.
On the most superficial level, the verbal fragments in The Waste Land emphasize the fragmented condition of the world the poem describes. Partly because it was written in the aftermath of World War I, at a time when Europeans’ sense of security as well as the land itself was in shambles, the poem conveys a sense of disillusionment, confusion, and even despair. The poem’s disjointed structure expresses these emotions better than the rigidity and clarity of more orthodox writing. This is evinced by the following from the section "The Burial of the Dead":
I can picture him seeing life and feeling it in every flower, ant, and piece of grass that crosses his path. The emotion he feels is strongly suggested in this line "To me the meanest flower that blows can give / Thoughts that do often lie too deep for tears." Not only is this showing the kind of fulfillment he receives from nature, but also the power that nature possesses in his mind.... ... middle of paper ... ...