From 1887 to 1891, he was appointed to be a member of Legislative Council. Edmund was a person who strongly believed in Australia’s destiny as nation that is why he worked hard to develop a constitution of Federation. From 1893 to 1897 , he had spoken out at 300 meeting in NSW . He and his believers carried out a strong pro-federation to push on federation referendum. The constitution was agreed by large numbers in South Australia,Tasmania and Victoria, but it had not accepted in NSW .
He could imagine his deception of this town “nestled in a paper landscape,” (Collins 534). This image of the speaker shows the first sign of his delusional ideas of the people in his town. Collins create a connection between the speaker’s teacher teaching life and retired life in lines five and six of the poem. These connections are “ chalk dust flurrying down in winter, nights dark as a blackboard,” which compares images that the readers can picture.
He describes the daffodils as never ending as he compares them to the stars in the Milky Way: “Continuous as the stars that shine and twinkle on the Milky Way, They stretched in never-ending line along the margin of a bay”. This views begins to completely satisfy all his needs in this moment, “A poet could not but be gay, in such a jocund company: I gazed—and gazed—but little thought what wealth the show to me had brought”. Wordsworth then explains how when he is feeling lonesome, the vision he keeps of this nature uplifts his negative moods. The thought of the daffodils helps to keep him at peace and clear his mind.
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.
Wordsworth and Muir express their fascination with nature using imagery and mood. In “Calypso Borealis”, John Muir states that he finds himself “glorying in the fresh cool beauty and charm of the bog and meadow heathworts, grasses, carices, ferns, mosses, liverworts displayed in boundless profusion” (Muir). The words “boundless profusion” appeals to the sense of sight and helps us imagine the scene and all the bountiful natural beauty of the place. The image shows Muir’s relationship with nature because it demonstrates his overwhelming, nearly spiritual, experience with nature. In the poem “I wandered lonely as a cloud”,
For example, he also says, “It seemed the most spiritual of all the flower people I had ever met.” He found himself at one of his lowest points in this excursion and once he saw Calypso Borealis, He didn’t see this flower as just another part of nature but also a part of him. In the same way, Poet William Wordsworth uses imagery and personification to disclose his relationship with nature; He says, “I wandered lonely as a cloud that floats on high o’er vales and hills, when all at once I saw a crowd, a host, of golden daffodils; beside the lake, beneath the trees, fluttering and dancing in the breeze.” In this part of the poem
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.”
To Gloucester, he only has one son and heir, Edmund. This is when Edmund’s truly villainous betrayal comes to light. Gloucester discovers, in one of the worst ways possible, his son’s betrayal when he has just had his eyes torn out. He cries out “Where is my son Edmund? / Edmund…” and Regan answers with “Thou call’st on him that he hates thee.
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.
Two scholarly writers brilliantly conveyed nature in their own opinion, an essay written by John Miller called, ”The Calypso Borealis," and a poem by William Wordsworth called, "I Wandered Lonely as a Cloud.” Both authors created work that acquires their idea of the beauty of nature while showing their compassion and love for nature. They each endured the essence in their own way. Each author also used their memory as descriptive imagery to creative share the scenery and amazement of their experience. Each individual has their own personal opinion about nature and how they decide to express their feelings can be diverse, and both authors, John Muir and William Wordsworth, expressed their compassion and love for nature in their own way.
“Solitary the thrush, the hermit withdrawn to himself, avoiding the settlements, sings by himself a song,” (Lilacs, stanza 4, line 3-5). The author creates an image of being in solitude usually occur when someone purposely wants to be left alone, or at times when it is unintentional. Throughout Whitman’s poems, a different tone is depicted, but in some, they share the similarity in tone. Walt Whitman uses the symbolism of nature to depict his loneliness.
At first glance, the two poems seem alike, with many parallels corresponding to the importance of nature and its impact on human beings. Although both poems have different tonal approaches, they both come to the same conclusion that nature is a necessity to all human beings. Wordsworth’s livid tone in “The World is Too Much with us” presents his true feelings towards the materialistic ideals during the Industrialization period whereas “I Wandered Lonely as a Cloud” is more light and simple. Wordsworth begins his poem “The World is Too Much with us” by mentioning that humans are always “getting and spending, we lay waste our powers; little we see in Nature that is ours” (Lines 2-3).
This image seems at first cold, but it is a realistic judgment of her ideas of parenthood. The feeling of distance is also shown in: “I’m not more your mother than the cloud that distils as mirror to reflect its own slow effacement at the wind’s hoard.” The final lines of the poem present the reassuring vision of a loving mother attending to her baby's needs. Plath’s self-image – ‘cow-heavy and floral in my Victorian nightgown’ – is self-deprecating and realistic. The final image is an optimistic one.
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).
