Take a look at lines 5 and 6, in which sunlight is personified as “lean[ing] against the south walls, cold and tired”. While reading this, you can practically imagine a figure slumped heavily against a wall for support because of their exhaustion; their posture is slouched and no longer proud, and it seems impossible that they will ever regain their energy. This is an excellent example of how only a couple, well chosen words can create a whole narrative in the reader's mind. Another instance of this is the simile that equates “tresses” to “leaden clouds,” in line 3. “Tresses”, meaning a lock of a woman’s hair, is most commonly used with a positive connotation that implies the woman's hair is beautiful, lucious, and curled.
However by the third stanza, readers gain a sense of peace from the language used. For example “Floating maple leaf. ”(8) The language becomes soft and light as she describes scenes of what she sees during that one hour of peace. But again in stanzas four through five she
Imagery and tone plays a huge role for the author in this poem. It’s in every stanza and line in this poem. The tone is very passionate, joyful and tranquil.
The threatening characteristics of the wind are described as, “violent assault”, “blinded them”, ”difficult to breathe”, and “pried their scarves from around their necks”. The forces of nature were considered threats and were in a constant fight between natural phenomena and Lutie. In the novel, using figurative language, author Petry states, “a dark red stain like blood.” , portraying that the blood-like-color, illustrates a dangerous city. This
Wind, blowing everywhere, making Lutie Johnson’s trip to safety was described by personification and imagery in the story: The Street by Ann Petry. Petry used and showed that the wind was harsh and cruel by using personification and imagery. Ann Petry establishes an uncertain and cruel feeling in the story. There are 2 examples of personification used in the story. The first personification used was in line 2-5.
Wordsworth also uses imagery to expresses a similar experience. In the first stanza he describes “A host, of golden daffodils; /beside the lake, beneath the trees, /Fluttering and dancing in the breeze.” (Wordsworth Ln 4-6). Words such as “host”, “golden”, “Fluttering” and “dancing”, all appeals to the reader’s sense of sight, hearing, and smell. It brings us into the scene.
There are two characters in the poem: Noonucal (the narrator) and her love, which is nature and the Australian land. The major literary technique used in this poem is the personification of nature: 'Lover of my happy past ' (1), 'My brutalness turns you from my touch ' (23), 'Your enemy and mine ' (27). By personifying nature, she demonstrates the connection she feels for the land, so others could understand how civilising her impacted on her culture. Many similes and phrases in this poem are used to demonstrate the adoration and the love between Noonucal and her native land: 'Soothe my weariness with warm embrace ' (2-3), 'Caressed your paths ' (13), 'Turns you from my touch ' (22). Noonucal writes about how 'civilized ' her lost the connection she previously held with her loved native land and how her current habits
Charles John Huffam Dickens is a fairly known author with works ranging from short stories to novels. Some of his most popular works include David Copperfield, Oliver Twist, and A Christmas Carol. He lived his life to the fullest and to the best he knew how. Life started off a tad rocky for him, but he did what he had to do to help his mother and siblings. Later, these harsh childhood experiences would play into the story lines of his novels.
In the first stanza’s, the narrator’s voice and perspective is more collective and unreliable, as in “they told me”, but nonetheless the references to the “sea’s edge” and “sea-wet shell” remain constant. Later on the poem, this voice matures, as the “cadence of the trees” and the “quick of autumn grasses” symbolize the continuum of life and death, highlighting to the reader the inevitable cycle of time. The relationship that Harwood has between the landscape and her memories allows for her to delve deeper into her own life and access these thoughts, describing the singular moments of human activity and our cultural values that imbue themselves into landscapes. In the poem’s final stanza, the link back to the narrator lying “secure in her father’s arms” similar to the initial memory gives the poem a similar cyclical structure, as Harwood in her moment of death finds comfort in these memories of nature. The water motif reemerges in the poem’s final lines, as “peace of this day will shine/like light on the face of the waters.”
Charles Dickens was a revered novelist best known for works such as A Christmas Carol, Oliver Twist and David Copperfield. Every American student has read or heard Dickens at one point as either a story in a book, an animated movie in theaters or even a locally held production of A Christmas Carol in a church or school. No matter what everyone has heard Dickens’ work at one point or another in their life. He is by far one of the most memorable writers of his time. The mere mention of his name conjures up images of christmas spirits and grouchy old men that warm the hearts of many.
The world has yet to know “its” true secrets and dive deeper under the mask of perception. Though we may feel like nature is throwing karma at us at times, we continue to honor nature for its patience. In the poems, “Ode to Enchanted Light” by Pablo Neruda and “Sleeping in the Forest” by Mary Oliver, both of the literary works share an appreciation for nature. Though this is true for both, they express their love and feelings differently. Pablo Neruda’s poem praises light as enchanting, whereas Mary Oliver’s poem personifies Earth as a motherly figure and gives off mother nature vibes.
Nature is like a secret kingdom like how “Sleeping in the forest” said. The poem explains what it sounds like multiple kingdoms breathing when you sleep in a forest. Both poems explain how someone can feel when they are surrounded by the beauty of nature. Poem “Ode to enchanted light” doesn’t talk much about someone, it’s more like talking about mother nature.
David Visser explains the history of how nature has been implemented into literature. Around the middle of the 1800’s nature was beginning to be written “realistically” and rather than choosing a side the use of nature was more indifferent compared to being “malevolent” or “beneficent” (Visser). During the last quarter of the 19th century nature was used as a neutral way to symbolize help different kinds of things, such as: love, innocence, experience, and in this case carpe diem. During this brief amount of time poems and stories were written, Henley’s used the help of diction and symbolism in the form of that kind of nature. Between this time and the early part of the 1900’s the portrayal of nature was changed once again to a more “objective” style due to the increase of environmental awareness from the federal government
Vivid descriptions of the wind such as its’ “rattl[ing] the tops of garbage cans”, “dirt and dust and grime”, and “grit sting[ing] skins” create a sense of chaos that is common in the busy hustle of city life. The cold wind also “violent[ly] assault[s]” the residents of the city, allowing the reader to envision the truly excruciating and harrowing journey people in the urban setting must make regularly. Additionally, asyndeton is utilized masterfully throughout the passage to demonstrate the disarray caused by the wind. The wind finds “theater throwaways, announcements of dances and lodge meetings, the heavy waxed paper that loaves of bread had been wrapped in, the thinner waxed paper that enclosed sandwiches, old envelopes, newspapers.” This extensive list without the use of conjunctions speeds up the reading allowing a fast pace similar to the rapid attacks of the wind, enabling the reader to visualize the onslaught on the citizens.
Although Coleridge reflects on nature as being that “one Life within us and abroad “in most of his other poem, but coming In “Dejection: An Ode” we see more of the dialects between the imagination’s role in creating perception and nature guiding the soul. In the opening stanzas of “Dejection” the flipside to the romantic celebration of nature –the romantic emphasize on subjective experience, individual consciousness, and imagination. If our experience derives from ourselves, then nature can do nothing on its own. Beginning with the fifth stanza, Coleridge suggests that there is a power –personified joy that allows us to reconnect with nature and for it to renew us and that comes both from within and from without: “the spirit and the power, / Which wedding Nature to us gives in dower / A new Earth and new Heaven” (67–69).
