“Grass” is written in a manner that could be construed as chaotic, with three stanzas each with a different number of lines. The first stanza is a tercet, the second a sestet, and the final stanza is a couplet. Furthermore, “Grass” does not follow a rhyme scheme and is therefore written in free verse. Conversely, “At the Un-National Monument…” follows a far more structured organizational system, with two cinquain stanzas, using ABCCB and ABACC rhyme schemes respectively. Despite their structural contrasts, the two poems share some mutual literary devices.
One aspect of an image is used to describe another image: the maple trees were colored like the red apples; the trees swayed like the sky, and the sky was filled flocks of geese, much like the golf course was covered with starlings. The connection of all the images in the first stanza would concentrate on the abundance of birds, which would become a cloud moving that reminded him of god creating and magnets moving iron fillings. He notices the flock of birds making dark “compressed and firm” spots like rocks. The speaker’s vivid comparison and description of objects on the golf course conveys the idea of unity in nature.
" This opening sets the tone for the rest of the poem, conveying a sense of melancholy and nostalgia. The poet observes the tree as a symbol of natural beauty and simplicity in contrast
This is an example of astonishing imagery where the detail overflows the imagination. You feel immersed as you read the poem. The imagery portrayed in this poem adds a depth that you wouldn't be able to feel if you didn't get the provided
In the first stanza, the earth is described as a wonderful place and is somewhere where many things grow. “A million fish in the seas and a million birds in the sky” demonstrates the liveliness of this place and how the earth should be. Atwood has illustrated the way things should be in the world and what it looked like when humans hadn’t begun to destroy it. In contrast, at the end of the piece, we are told of a barren environment with no life of any form. This is exemplified by the fact that “nothing grew [in the cities]” which can convey how our society has been fully to blame for the change in this world and should be ashamed of it.
In "From Blossoms," Lee employs enjambment and repetition to create a rhythmic cadence that mirrors the cyclical rhythms of life. Each line flows seamlessly into the next, inviting readers to lose themselves in the lush imagery and sensory richness of the poem. Similarly, Glück's spare yet potent language in "Ithaca" allows for a greater depth of emotional resonance, each word weighted with meaning and resonance. Through their adept use of craft elements, Lee and Glück create immersive experiences that draw readers into their thematic explorations, encouraging deeper reflection on the human condition and our connection to the natural world. As we journey through the sensory delights and emotional complexities of these poems, we are reminded of the enduring power of language to illuminate the complexities of existence and to awaken us to the beauty and richness of
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.
Following up with the second stanza that doesn't change at all, as the character is written to continue fantasizing about this lovely future with his significant other, the author just uses more imagery and personification to set the setting, and convey a sense of peace. McKay does a great job writing this poem with uses of elements, and especially Alliteration, as used in the first stanza he performs the action in scenes of nature examples including, but not limited to “Trees have shed their leaves” and “Shivering birds” Giving the words a sense of action and place, as we can depict what the situation is, and the organized flow of the entire poem, how it plays out and makes us think about this sense of place, and what’s really important, which in this case would be
Jack Crawford, Jr.’s poem “I Stand as on a Battleground” portrays the disinterest of war. Lines such as “Whose is the blood that springs in flower?” demonstrates how warfare kills indiscriminately (Crawford 11). As seen in the example above, the use of the word “whose” exhibits how Crawford attempts to show war’s neutrality, implying that the dead could be of any faction or ideology. This is also seen in the line “Whose flower won?”, which expresses how war does not care which side has won, but only that it has caused strife and terror among both (Crawford 12).
In fact, readers are continuously moved from an image to another. For instance, a strong visual image of the speaker’s location is clear in the second stanza. In fact, he is standing “alone” (6) on the upper side of the Rogue River (4) contemplating its hard rocky wall that resulted from the volcanic eruption of Mount Mazama thousand years ago. Just standing alone in that tremendous view, connects to the fact that we occasionally find ourselves in a severe situation where we feel an urge to escape our usual place in order to think and reach the right decisions. The speaker’s reflection, in the middle of that landscape, is dominated by the non-stable aspect of water (7,8).
In this moment, Morrison uses figurative language in the quotation, “When he reached the cotton fields beyond Lotus, he saw acres of pink blossoms spread under the malevolent sun. They would turn red and drop to the ground in a few days to let the young bolls through. ” (96). Morrison use of descriptive words such as ‘Lotus’, ‘pink blossoms’ and ‘red’ evoke the motif of blooming as a means of showing the blooming of life under the sun. When the flowers turn red and allow young bolls through, it shows the flowers growing and developing for another cause.
In this stanza, he is talking to a baby and he tells them not to cry because war is kind, even though the baby’s father died in war. This is ironic because he says war is kind even though many people die in wars. The structure of a piece of literature can add to the piece. The author, Kevin Powers, uses structured writing to protest war. His novel, “The Yellow Birds,” is written in a strange way where rather than use many sentences of different lengths, he uses long sentences that are the size of paragraphs.
Commiseration is summoned by Owen,through the use of graphic imagery illustrating a soldier’s suffering from the gas attack. “floundering like men in fire or lime” and “like a devil's sick of sin” are the similes used in this poem. The description of the soldiers being burned by gas demonstrates how toxic and horrendous this gas attack was. the acidic feeling felt by soldiers when exposed to mustard gas. “blood from gargling from froth-corrupted lungs” is a powerful use of graphic imagery that illustrates a vivid picture of a soldier choking on his own froth.
It’s almost as if someone is observing the sunset, revelling in the sense of smallness that comes from being eclipsed by the heavens above (in Japanese, this sensation is known as “yūgen”) (“Yūgen”). The clouds will continue to drift, the globe will turn, but for just that moment, one can bathe in insignificance & anonymity, and revel in the mountain’s awe. To those on the East Coast, the scene may seem reminiscent of post-Hurricane-Sandy landscapes and the eerie calm that remains after destruction. Taking inspiration from this disaster-esque allusion, I then began to examine the foreground of the painting, noticing the swift motion of the rocks, brush, and branches. Despite the apparent destruction (the fallen tree branch, the tumbling rocks), the forefront is fluid and blurred; the unfocused nature instills paradoxal peace into the painting.
In the present day, the idea of conflict is a very controversial and opinionated subject. The majority of modern society understand the havoc and both physical and physiological damage war can cause, although this has not always been the traditional opinion; the approach in Elizabethan times differed vastly from views now, as is reflected in the patriotic Elizabethan play “Henry V” by William Shakespeare. In this essay, I will be comparing this motivating theatrical with three controversial poems from the First World War era; “Suicide in the Trenches” by Siegfried Sassoon (published in his 1918 collection), “Who’s for the Game” by Jessie Pope (originally published in the Daily Mail in 1916) and “Dulce et Decorum Est” by Wilfred Owen (published
