The poem highlights the beauty and sensuality of nature. He uses the theme of nature to explore the pleasure he feels whilst taking in the sights and smells of nature. Montague uses broad vowel sounds to create assonance in the first stanza. This creates euphony and a sort of verbal music, possibly representing the noise of the river and the theme of nature.
Dickinson and Whitman also use similar poetic devices in "Hope is a Thing with Feathers” and “O Captain! My Captain!” Each poem contains an extended metaphor. In Dickinson’s poem, a bird clearly symbolizes hope. The first stanza introduces the bird metaphor: ‘Hope is the thing with feathers--/That perches in the soul.’ The next lines ‘And sings the tune without the words--/And never stops—at all—’ illustrate the interminable nature of the bird and hope. The second stanza expands the metaphor by saying ‘And sweetest—in the Gale—is heard—.’ The bird’s song, or hope, is the sweetest during a Gale, or troubled times. The first lines in the final stanza ‘I’ve heard it in the chillest land--/ And on the strangest Sea’ describe the bird, or hope, as being
The poet orders his listener to behold a “solitary Highland lass” reaping and singing by herself in a field. He says that anyone passing by should either stop here, or “gently pass” so as not to disturb her. As she “cuts and binds the grain” she “sings a melancholy strain,” and the valley overflows with the beautiful, sad sound. The speaker says that the sound is more welcome than any chant of the nightingale to weary travelers in the desert, and that the cuckoo-bird in spring never sang with a voice so thrilling. Impatient, the poet asks, “Will no one tell me what she sings?” He speculates that her song might be about “old, unhappy, far-off things, / And battles long ago,” or that it might be humbler, a simple song about “matter of today.” Whatever she sings about, he says, he listened “motionless and still,” and as he traveled up the
The writer makes use of diction to express his feelings towards the literary work and to set the dramatic tone of the poem. Throughout the poem, there is repetition of the word “I”, which shows the narrator’s individual feeling of change in the heart, as he experiences the sight of hundreds of birds fly across the October sky. As the speaker effortlessly recounts the story, it is revealed how deeply personal it is to him. Updike applies the words “flock” and “bird” repetitively to the poem, considering the whole poem is about the sight of seeing so many birds and the effect this has on a person. When the speaker first sees the flock of birds in lines 8-10, alliteration is applied to draw attention to what the narrator is witnessing. In line 29, Updike
Diction affects the tone of the passage. Starting from line 14, the diction evolves into a more negative view. He uses biblical reference towards the beginning of the stanza. He begins to analyze his surroundings more rigorously, and sees the differences in how they look from a distance, to how they appear close by. Once this negative connotation has begun, the flock is said to be “paled, pulsed, compressed, distended, yet held an identity firm” (Lines 20-21). The author’s choice of words as in “less marvelous” (line 25) indicates his intention for making his lines definite, giving it a solid state of meaning. It symbolizes that the feeling of someone longing for something, and once they receive it are not as impressed by it. The diction plays a critical role when the tone of the qualities of nature are exposed. The author conveys the “trumpeting” of the geese as an exaltation to the beauty and simplicity of nature. “A cloud appeared, a cloud of dots like iron filings which a magnet underneath the paper undulates” (Lines 16-18). The iron filings in this phrase symbolize the issues the man faces. Once he looks closely at the flock, he realizes that these issues are only miniscule and do not add up to life in general. This elates him, thus concluding him to lift his heart.
In A Worn Path by Eudora Welty Phoenix Jackson’s seems to in a phase of daydream and the real world. Miss. Jackson’s encounters with the dog, the young hunter, bird’s especially…quail, and the ghostly scarecrow. These four symbols seem to play more than just close calls with death. The first encounter that Jackson, comes across are birds these creatures change throughout the story and are motifs particularly the quail. Usually the type of quail is hunted, for its meat and eggs this could as mean that Miss. Jackson is being hunted, but also being watched from above.
However, Dickinson’s poem is very different from Whitman’s in structure and language. In “324,” the speaker explains how they observe Sabbath, in nature rather than going to a service, when saying “With a Bobolink for a Chorister — / And an Orchard, for a Dome —” (lines 4-5). Dickinson, like Whitman, provides visual imagery; of a bird instead of the Church choir and an orchard instead of the “Dome,” which represents a church. In these lines, readers can envision the beautiful nature scene that the speaker treasures. Furthermore, as Whitman also did, Dickinson uses auditory imagery as the speaker explains further how the spend their Sabbath, “And instead of tolling the Bell, for Church, / Our little Sexton — sings” (lines 8-9). Here, the sounds of the Church’s bell is what the speaker traded for the charming bird’s song in their form of worship. Like Whitman, Dickinson uses imagery to illustrate to readers her preference for nature that connects her to God and religion, unlike for many others who choose to attend church. Moreover, in contrast to Whitman’s poem, Dickinson writes in an abcb rhyme scheme where the second and fourth lines rhyme and have a meter. To demonstrate, every even-numbered line rhymes; Home” and “Dome,” “Wings” and “sings,” “long” and “along.”
The use of this allusion at this point in the novel is a strange moment of irony, and a dark foreshadowing of the fate of the Congo. Throughout the novel, Methuselah and the Congo lead parallel journeys: Methuselah is locked in a cage for so long that once set free, he is still dependent on his captors and unable to fly—very similar to that of the relationship between the Congo and its colonizers. As Methuselah’s death falls on the day of the Congo’s independence, Adah sees his death in a hopeful light, drawing a literal comparison of Dickinson’s poem to his feathers. For her, both Methuselah and the Congo have finally achieved freedom. So though Methuselah’s fallen feathers mean his murder, it’s still a sign of hope for the reader. However, once the reader learns of the Congo’s fall, the poem and Methuselah’s death take a very different meaning.
Dunbar’s usage of imagery is greatly expressed throughout the poem, with the uses of your senses. “When the river flows like a stream of glass; When the first bird sings and the first bud opes…”, Dunbar uses the senses of sight and hearing to help the reader picture the scenery to better understand that the bird is trapped in a cage witnessing the beautiful outside of flowers blossoming and can’t be a part of it. In addition, Dunbar later elaborates the birds struggle to be on the inside of the cage by stating “I know why the caged bird beats his wing--Till its blood is red on the cruel bars—And a pain still throbs in the old, old scars and they pulse again with a keener sting” which instigates that the bird has
The second stanza of the poem explores the concept of communication, as many methods are stated. For example, “birds to carry messages/taped to their feet/there are letters to be written.” (25-27). This gives the reader the images of trying to desperately communicate with someone. Birds are seen as a sign of freedom and this gives a sense of being able to communicate freely.
Two of Dickinson’s universal techniques are metaphor and the fresh application of language; both techniques result in powerful images, and can be seen in two of her poems that focus on nature themes, “ A Bird came down the Walk” and “narrow Fellow.” She closes the poem, “ A Bird” with a stanza equating flight through the air with movement through water,
She uses a number of literary devices in the poem. One primary example of the figurative language that she uses is a the personifications do symbolism of hope. A symbol is an image that represents an abstraction. For example, a red rose may represent love, or a stone may represent hardheartedness. In “’Hope Is The Thing With Feathers,” the poet assigns hope the symbol of a ‘thing with feathers,’ more specifically a bird. Even though that, by the end of the poem, readers can definitely conclude that Dickinson used a metaphor by saying ‘hope is a bird,’ she does not make that clear until the very end. The metaphor began as only a “partial one: a ‘thing with feathers’ is not yet a bird, but some sort of object, not easily envisioned and defined only by the fact that it is feathered, that is, winged, capable of flight. It is a transient human experience, one that ‘perches’ in the soul but does not live there. It ‘sings the tune without the words,’ that is, a song in which rational, lexical meaning plays no role, while melody is all. Finally it ‘never stops at all’” (Leiter). The symbolism of saying that hope is a bird assists the reader in having a better understanding of how the virtue of human desire exists in side one’s soul, and is always singing – always alive – even when times get drastic. A bird is used to represent hope since “birds are often viewed as free and self-reliant, or as symbols of spirituality” (Rose and Ruby). The feathered fowl in this poem is “courageous and persevering, for it continues to share its song under even the most difficult conditions” (Rose and Ruby). Providing imagery of a bird also helps one to form connections as to what hope would act like if it were personified as said
Imagery is the strongest supporter of the theme. A description of the sea in its states of calmness and roughness are depicted. Sight and sound help intensify other images. The poems’ strongest feelings are usually expressed by their imagery, though rhythm is also used to convey meaning. Arnold uses the first stanza of the poem to create visual, auditory, and olfactory images that will allow the reader to picture the sea of which the speaker is viewing. Through the use of several poetic Figures of speech, sounds, and irony of words are also used. Line one; “The Sea is calm tonight”(1) has a gentle rhythm that can be compared to the “ebb and flow” (17) of the sea. With this description one can imagine a beautiful beach with water lapping upon the shore. The second line also gives the image of a calm sea. In the opening stanzas words such as “gleams”(4) and “glimmering”(5) are used, giving a sense of light. In contrast the ending stanzas use words such as
The speaker furthermore conveys the idea that nature is a grandeur that should be recognized by including the element of imagery. The poet utilizes imagery as a technique to appeal to reader’s sense of sight . It is “the darkest evening of the year” (line 8) and a traveller and his horse stop “between the woods and frozen lake” (line 7). By writing with details such as these, readers are capable of effortlessly envisioning the peaceful scenery that lies before the speaker. The persona then draws on reader’s sense of sound. “The only other sound’s the sweep / Of easy wind and downy flake.” The illustration allows readers to not only see,
She introduces the metaphor in the first two lines of the poem by saying, ““Hope” is the thing with feathers - / That perches in the soul -” and then builds the poem around the idea of a bird. When Dickinson says, “And sings the tune without the words- / And never stops - at all -” she shows that the hope doesn’t have to be sensible, and it never stops existing in one’s heart. In the last stanza she says, “I’ve heard it in the chillest land - / And on the strangest Sea -”. It is not a possible thing to hear the hope, but in this line she tries to say that that hope is everywhere. Even though the main idea of the poem is hope being in everyone’s heart, the metaphor of hope being a bird is actually what makes the poem more interesting for the