Analysis Of Spring By Alistair Macleod

The poem “The Widow’s Lament in Springtime” is a poem about a women who has lost her husband of thirty five years. Williams writes in the voice of a grieving woman instead of in his own voice. Now that her husband has died, the widow cannot find joy in her yard that she used to love. The widow may even be considering suicide. Williams, writing in free verse, writes a metaphor comparing the grief of a widow to her blooming yard in the springtime setting a tone of great sadness for the widow.

Once more, the poet anticipates his own death when he composes this poem. But in each of these quatrains, the speaker fails to confront the full scope of his problem: winter, in fact, is a part of a cycle; winter follows spring, and spring returns after winter just as surely. Age, on the other hand, is not a cycle; youth will not come again for the speaker. In the third quatrain, the speaker resigns himself to this fact.]

In the poem “ A Bitterness”, Mary Oliver illustrates a case of crippling melancholy. Oliver depicts the speaker reflecting upon the troubled life and death of someone that they knew. The solemn tone of the speaker is maintained throughout the poem to verify their position on the matter upon which they are reflecting. By using consistent repetition and descriptive comparisons, Oliver conveys the general theme that the bitterness accompanying sadness and sorrow can envelop all aspects of life.

As we read through, the reader can begin to see a change in the tones of the poems. In A November Landscape, the tone is very dark and sad until it hits the third stanza. The speaker talks very sad then, the author adds the word “yet” to show the reader it is not all what it seems. He then finishes the last stanza by saying “April lured the crocus through snow” which shows signs of spring. The tone in Winter brightens up and talks about how “spring must take its place” but then is quickly switch around and the speaker says “I tell you no” and ends the poem with absolutely no hope and says “who watch each other with the winter’s look, touch with his hand, speak with his bitter breath”.

Ironically, spring rain is not described to provide full rejuvenation to the roots, but rather as solely giving temporary nutrition. The association of spring with hopelessness indicates that a chance for mental rejuvenation and return of joy provides no solace or comfort to the war-torn society. In addition, the poet goes on to describe the Winter in the subsequent lines by stating:

Last summer, at the expense of orthodontist John Kharouf’s generosity, I found myself overjoyed to be able to work in his office and learn from a personal role model. During this period he was extremely kind, and often would take extra time out of his day to share the ins and outs of his trade with me. However, out of all the advice and critiques I received, one piece he related to me stands out amongst the rest. While there was a slight adjustment period necessary to familiarize myself with the workings of his office, I found I quickly picked up on most everything, from the cleaning procedures, to lab work, x-rays and more. Even patient interactions seemed to get easier as the first few weeks progressed, and I soon became quite confident in handling people as well. However, this feeling was short lived, as almost as soon as I had begun feeling comfortable with patients, Dr. Kharouf asked me to perform a spring adjustment, and spacer placing in the mouth of a hyperactive, mentally handicapped child. To define the task as challenging would have been an understatement, and after much angst, crying, and complaining with absolutely zero success, I ended up turning the task over to Dr. Kharouf. I felt as if I had failed the test, however, Dr. Kharouf took a much more optimistic outlook. Pulling me aside, he informed me that he had been through similar struggles in the past, but trial and error had led him to discover clear explanations, kindness, empathy, reassurances, and simplifications, were all keys to handling these problematic patients. Once he taught

Millay expresses intense emotion and imagery throughout her works of poetry. Researching Millay’s background, she grew up with a single mother who divorced her father and left. Millay was taught to be independent and to push for what she believed. She shows modernism, but also tradition throughout her work. There is a sense of darkness by her word choice for specific poems. She also uses nature that has more meaning behind the animal or season that she is talking about. There were a few poems that stuck out with her word choice, nature metaphors, and her rhyming schemes.

Hypothesis: If the stiffness of the spring increase, then the displacement of the bob from the equilibrium point will decrease proportionally, since as the spring getter stiffer, there is more tension that held the bob from the spring, which decrease the amount of distance that the bob travels from the equilibrium point. A stiffer spring also increase the natural frequency, so when we increase the stiffness of the spring, the period of oscillation is shorter, the amplitude is smaller and the speed max is smaller, which shows less displacement.

Composed in free verse, the poem “Spring” by Edna St. Vincent Millay contains many poetic elements that create a feeling of structure throughout.  As free verse challenges the conventions of writing, so too, does St. Vincent Millay’s interpretation of Spring challenge societies conventional beliefs associated with the season. Millay uses various different poetic elements of writing as effective alternatives to conventional methods of prose such as use of quatrain, and an adherence to metric and rhyme schemes. Elevating itself from such conventions, Millay’s poem incorporates the use of personification, thought provoking questions, repetition,

From hatred and shock to thoughtful consideration of the remains and the death of the groundhog. The speaker talks about losing “both love and loathing” (31) for the groundhog. The love and loathing thoughts have been replaced with “intellectual” (30) thoughts. Words like 'intellectual' and “wisdom” (52) give the reader a sense that speaker has really contemplated why the groundhog died and the decomposition of the groundhog. The language at the beginning of the poem shows how scared and shocked the speaker is by using words that show anger and shock such as “loathing and “trembling”.

This also contrasts the tranquility between his inner world and his reality. The fourth stanza augments to this idea using the word “seasons,” alluding to the different worlds everyone subconsciously lives in with varying characteristics. The old women in the city are described to have their “faces / clawed by weather you can’t feel” (30-31) to display the physical toll of stress and hardships. No one else can feel their distress and pain like they can because everyone is living in their own inner world. However, the adolescents around them are different and do not live in separate worlds.

In this poem Sarah Teasdale talks about herself talking to the plants. She talks of how in the spring when all the pretty flowers grow, they are all smart. But in the autumn all the flowers are ugly and stupid. It seems really simple, but if you look at it closer you can see that the “ clear-eyed daisies” are the youth, and “ brown and barren” are symbols of aging. But in the end “ Bitter autumn” Symbolizes the death of all.

“But…cruel with her, too, even death would not oblige her” She finds discomfort in the idea that she is spared through winter when the earth appears dead, and killed when earth is at its beginning of the seasons or ‘when all earth is born anew’. This stanza brings attention to how the seasons are changing and everything that is dead is coming alive again while her life does the opposite. This discomfort lies in life’s lack of accommodation when letting her live through the unpleasant and taking her life when the tables turn. Comparing this translation to S. Griswold Morley’s description in The ailing woman felt her forces ebb, Morley’s description lies hand in hand with the focus points of Kate Flore’s translation. However, Morley’s word choice and description is more precise when portraying how robbed the woman must feel. “The earth was being born in blossoming, slew her by inches to the joyous hymns of fair and merry spring!” (Line 11-13) By focusing on the phrase ‘ slew her by inches’ the reader is aware of the fact that she would be so close to enjoying the ‘joyous hymns of fair and merry spring’. Therefore clarifying how one could feel content with death but upset about the timing. Also, the choice of the word ‘ blossoming’ gave a more descriptive approach, which created a better picture in the

Advancing like a silent threat, the onset of winter is presented throughout the poem as a season with sinister intent. The “acid breath of noon” approaches in a “Slow” manner, as if sneaking up on autumn. The personification of the “acid breath” not only suggests to the reader the fog is murderous, but one could be lead to imagine that the fog is poison gas. This is because “Field of Autumn” was published in 1947, two years after the Second World War; clearly the memory of the War would be even more poignant than it is to this day, scars more fresh, and any references more painful. Continuing with the theme of war, Laurie Lee chooses to describe the “taking” of the village “without sound;”, implying an