Advection Blues Essay

A sense of balance is achieved between the stormy sky and the rugged mountain tops. The texture of the sky also contrasts with the texture of the landscape. The eye is directed by the caped figure’s wide

“a mountain/within which a cave/where was heard/a stream’s faint murmur/ and seen the mirrored glance/ of an iridescent bird’s/luminous eyes/a cave/across the ridged walls/of which gallops and flickers/a herd of elk/ and on the sandy/floor beneath the feathers of firelight” (24).

Blues is one of the most captivating genres of music. The genre was originated in the late 1800’s as a method used by African American slaves to express the circumstances as well as to put emphasis on their feelings and emotions. In order to create these feelings in this music, blues artists incorporate many of the same techniques used to write poetry. One of the most easily identifiable songs in which it is easy to see the relation between poetic elements and blues music is the song “Empty Bed Blues” by Bessie Smith.

Updike continues his portrayal of the vast splendor of nature through metaphors, similes, and diction pertaining to a large flock of starlings that flew and over and lit on the gold course where the two men in the poem are playing. The approaching flock of birds seem like a “cloud of dots” (Line 16) on the horizon to observers. The author compares The image of the steadily approaching flock of starlings to iron filings (the birds) stuck to a magnet through a piece of paper (the horizon). The men stand in awe of the black, writhing, approaching mass, much like children do when the magnet picks up the filings through the paper. By comparing the approaching birds to the magnet and iron filing scenario in a simile, Updike subtly likens the men reaction to a small child’s reaction when he/she sees the “magic” of the magnet and the iron filings for the first time. The simile purpose is to show how nature can make grown men feel like small, free little kids when experiencing nature at its best. As the observers continue to watch the looming flock of birds, the flock became one huge pulsating mass of birds that seemed as “much as one thing as a rock.” (Line 22) Updike once again eloquently portrays nature as absolutely stunning to show how nature affects man. The birds descended in a huge “evenly tinted” (Line

(…) the earth, seems to me a sterile promontory; this most excellent canopy, the air—look you, this brave o'erhanging firmament, this majestical roof fretted with golden fire (…). What a piece of work is a man! How noble in reason, how infinite in faculty! In form and moving how express and admirable! In action how like an angel, in apprehension how like

The author uses imagery in the poem to enable the reader to see what the speaker sees. For example, in lines 4-11 the speaker describes to us the

As evident by the title of this poem, imagery is a strong technique used in this poem as the author describes with great detail his journey through a sawmill town. This technique is used most in the following phrases: “...down a tilting road, into a distant valley.” And “The sawmill towns, bare hamlets built of boards with perhaps a store”. This has the effect of creating an image in the reader’s mind and making the poem even more real.

In this poem the poet uses many techniques to engage and hook the audience. Dan Ashlin expresses how the ocean has a life of its own through personification, an example is “it dreams, it mopes, it stretches”. I appreciate how the poet has used verbs in this technique as it positions me to feel like I can relate to human emotions, movements and

“The landscape, the whole great circle of it, grassheads, scrub, water, sky, quite took his breath away.” (Pg 17)

Reflections Within is a non-traditional stanzaic poem made up of five stanzas containing thirty-four lines that do not form a specific metrical pattern. Rather it is supported by its thematic structure. Each of the five stanzas vary in the amount of lines that each contain. The first stanza is a sestet containing six lines. The same can be observed of the second stanza. The third stanza contains eight lines or an octave. Stanzas four and five are oddly in that their number of lines which are five and nine.

Abbey Road is heralded as one of the greatest rock ‘n roll albums ever. It grinds with hard rock and sways with soft guitar. The variety of the tracks provides something for everyone. It was created in 1969 at the famous Abbey Road studios. George Martin and Geoff Emerick, who had produced many other Beatles’ albums, contributed to this work. This album is one of the more famous albums of the Beatles, who are one of the most popular bands ever. Almost every piece of this album, even the cover, is art works in themselves.

In this case, the clouds are connected to the notion that humans will eventually disappear and that none of their actions will last. Percy Shelley in the next stanza compares humans to lyres; each time the lyre is struck, it plays a dissonant and unmelodious note. Just like the notes played, humans will always give differing responses at different times because they will have changed emotionally. The melodious tunes have been forgotten and unmelodious ones have taken their place; in comparison, the previous unity and harmony have been replaced by disunity and tension in human minds and mankind. Shelley compares man to clouds and lyres in order to express his powerful reasoning that humans are undergoing change at all times.

The personification of clouds as an object shown in the quote, “When peaceful clouds were reflected in paddies,” helps to emphasise the peaceful-ness,

These three lines are perfect examples of the imagery within the poem because they contain an image of a river with its small peeks and waves trembling and glistening in the afternoon sun. All the while it equates the natural beauty of the river to the beauty that the young man sees in the youthful maiden.

“Storm Warnings,” true to its literal subject matter, possesses flowy sweeping syntax created by the strategic use of commas and phrasing to draw parallels between the physical oncoming winds and the gales of life. The author crafts a long run-on sentence that spans the first stanza and carries on into the latter portion of the second to mirror the continuous flowing of windy weather and the forward motion of life. Once the speaker notices the brewing storm, they “walk from window to closed window, watching boughs strain against the sky.” In this portion of the affromented run-on sentence, alliteration, rhythm, and the repetition of words all contribute to the impression of movement. The various “w” sounds at the beginnings of words and the repetition of the word “window” create a sensation of continuously flowing forward, especially when read aloud; the comma adds a small swirling pause to the rhythm, which is then soon after resumed with the word “watching.” Just as the poem rhythmically moves forward with its long phrases connected with frequent commas, so must life carry on with each additional experience, whether it be misfortunes or joys. The elongated syntax allows all these elements to work together within sentences to highlight the similarities between physical storms and emotional struggle and to stress the inevitability of predicaments in life.