Analysis Of Sunsets And Sunsets

Sunsets add alluring and vibrant colors to the world. Ornamental Sketch With Verbs and She Sweeps With Many Colored Brooms achieve the same goal of expressing the beauty of the sunset. In Ornamental Sketch With Verbs, the author describes how the sunset changes the mood of the streets and makes ordinary items beautiful. In She Sweeps With Many Colored Brooms, the author talks about the sun as if it were a housewife sweeping, leaving behind shreds of color that form the sunset. Although, these poems have the same subject, their approach and technique are very different from each other. The two poems, share the same tone and mood, the settings are different in each poem, and they both use imagery effectively.

The scene is first set up through the personification of the sun. The poet uses interesting diction and phrases, such as “dipping” and “geometries” to describe nature. The sun is described with human characteristics, “build[ing]” these “geometries and orchids” and “riding/The last tumultuous avalanche”. It is like an almighty being that is capable of anything, including the controlling of nature. The poet wants to portray nature as a hidden yet powerful force that should not be seen as a simple concept. Contrasts,

The imagery in the poem, specifically natural imagery, helps use the reader’s senses to develop a vivid depiction of the speaker’s connection to nature and dissatisfaction with the surrounding reality. The speaker’s continued use of the “moon” reflects her attribution of feminine identity and idolistic character to the moon. As opposed to referencing herself and her personal insomnia, she uses the imagery of the moon “beyond sleep” to convey her internal struggles with insomnia and her reality. Throughout the poem, the speaker also refers to shining, reflective surfaces, such as “a body of water or a mirror”, to describe the inverted reality in which the speaker experiences reciprocated love. Reflective surfaces often invert the image that is projected into them, seemingly distorting the true nature and reality of the projected image. The speaker’s reference to this reflective imagery highlights her desire to escape the burden of a patriarchal society and assume an independent and free feminine identity. Specifically, the use of natural imagery from the references to the “moon” and “a body of water” convey the speaker’s desire to take refuge within the Earth or in the feminine identity of the Earth, Mother Earth. Feminine identities are often related and associated with aspects of nature due to the natural cycle of the menstrual period and the natural process of procreation. The speaker takes advantage of these connotations to suggest Earth and natural imagery as an escape from the man-made terrors of male dominated society. In the second stanza, the speaker uses extensive imagery to develop metaphors conveying the speaker’s experience of jealousy of the moon

The visual’s background is formed by a dark and starry night sky; stretching across the image and transitioning into a sunny day sky. This is a representation of the passage of time, life, death, and the power of memories. The nighttime depicts ageing and adulthood, whereas the daytime represents youth and life. In the poem, the narrator describes the sky, ‘Ambiguous night, ambiguous sky,’ which is symbolic for the transience between adulthood and childhood. An ambiguous sky is a sky which is unclear or undecided. The faded transition from the night sky to the day sky reflects this notion and the uncertainty of memories; displaying how the poem

Then, in the seventh stanza the narrator talks about when she finds the orange she has a “vision” of its “exotic land”(29-30). She goes on describe “the sun/ you swelled under/ the tree you grew from” (30-32). Using visual imagery, this setting sounds almost perfect. Kelly uses this imagery to suggest that because if the orange is perfect, it must have come from perfect beginnings. If the orange is her lover then, she is saying that because he is such a perfect person he must have had a wonder life leading up to this point. Another piece of imagery is when the narrator “[climbs]/ the hill, [looks] down/ on the town [they] live in/ with sunlight on [her] face” (41-44). This visual imagery is used to set a romantic scene in which the narrator is finally happy, and at peace that she has found the perfect orange. When the narrator looks down on her town it’s her looking back and reflecting on her life before she met her true love. The sun light on her face is the bright future she and her lover are going to have together. In the last stanza Kelly uses visual imagery to end the poem with the narrator “[walking] away/ [leaving] behind a trail/ of lamp-bright rind” (49-51). The visual imagery of her walking away leaving behind the rinds of the oranges is the way Kelly ends this poem. The narrator and her lover are walking away from their past lives and starting a new one

In the romantic era, British authors and poets focused on nature and its influence. Two of those poets, Charlotte Smith and William Wordsworth, wrote many pieces on the beauty of nature and their personal experiences with the beaches of England. In “Far on the sands” and “It is a beauteous evening,” Smith and Wordsworth describe their respective experiences on the shore at sunset. Both authors use structure, theme, allusions, and imagery to effectively convey their perceptions of nature. While the sonnets share a setting and the topics of nature and tranquility, Smith’s has a focus on introspection and Wordsworth’s is centered around religion. These have different focuses which achieve different effects on the reader.

The first ten lines of the poem describe a setting sun and establish the framework in which we are expected to view the monarchy’s fall. Detailing the “glorious” (1) sun’s “double brightness” (4) while he dips below the horizon, Philips portrays the sunset as something both beautiful and terrifying. As the sun “[p]uts on his highest looks in ‘s lowest state” (6), he compels observers to hate him while “ador[ing] his Fall” (8). This section not only characterizes the sun’s shining sunset as a response to his fated end, but evokes the idea of war with words such as “magazine” (as in a magazine of bullets) to refer to the sun’s light (1).

In Emily Dickenson's "We Grow Accustomed to the Dark," and in Robert Frost's "Acquainted with the Night," the poets use imagery of darkness. The two poems share much in common in terms of structure, theme, imagery, and motif. Both poems are five stanzas long: brief and poignant. The central concepts of being "accustomed" to something, and being "acquainted" with something convey a sense of familiarity. However, there are core differences in the ways Dickenson and Frost craft their poems. Although both Dickenson and Frost write about darkness, they do so with different points of view, imagery, and structure.

Robert Frost, author of “Nothing Gold Can Stay”, and Mark Twain, author of Two Ways of Seeing A River, explore the idea of beauty by putting their personal feelings into what they see. Both of these American authors use nature to interpret the ways of beauty into words. Frost and Twain go hand in hand with each other in the aspect of their diction. While Frost and Twain both use imagery to demonstrate fleeting beauty, frost includes time indicators, while Twain uses rhetorical questions.

One of the 20th century’s most important and influential modernist poets was Hilda Doolittle, more commonly known as H.D. While other artists struggled to find a new mode of expression, H.D. found imagism and created intense poems delving into very specific depictions. In “Sheltered Garden,” H.D. employs intense imagery using nature in order to put forth an opinion or viewpoint, which is also highlighted by another poem titled, “Sea Rose.” By analyzing these two poems, one can more fully comprehend the modernist movement/mentality and how H.D. shaped her own form of poetry. In “Sheltered Garden,” the poet uses the image of a garden to not only push against society’s constraint of women, but also its imposed ideas of beauty, creating tension between the natural and the unnatural.

The poem begins with the poet noticing the beauty around her, the fall colors as the sun sets “Their leaves and fruits seemed painted, but was true, / Of green, of red, of yellow, mixed hue;” (5-6). The poet immediately relates the effects of nature’s beauty to her own spiritual beliefs. She wonders that if nature here on Earth is so magnificent, then Heaven must be more wonderful than ever imagined. She then views a stately oak tree and

This woman, as well as the night, contains opposite features within her. "And all that's best of dark and bright / Meet in her aspect and her eyes" (lines 3-4 Norton 556). The joining of these opposite forces can be associated with internal aspects of this woman. Although this poem begins with a description of a woman walking, there are not any images of her body. Byron continuously refers to her hair and face. "One shade the more, one ray the less, / Had half impair'd the nameless grace / which waves in every raven tress, / Or softly lightens o'er her face;" (lines 7-10 Norton). Again, the combination of opposite forces, "shade" and "ray", used to create balance in this woman. If the woman were any different, she would be less perfect. His use

The poem, "She Walks in Beauty," plays with the opposing forces dark and light. Immediately the poem begins by the speaker saying that "the best of dark and bright meet" in the woman's eyes. Additionally, the words "shade" and "ray" in the first line of the second stanza make the reader think of dark and bright. Further into that stanza, once again, the opposites are combined when her "every raven tress...softly lightens o'er her face." "So We'll Go No More A-Roving" also plays with the contrast of both dark and light. The poem takes place

When reading this poem you will get a very vivid image of a warm summer morning because of the words "sunny, summer and dried the dew." A girl is in a field running carelessly with a silk dress on that sways as the breeze blows. She is tall and slender as a "cedar pole." Who has a very carefree spirit is "strictly held by none". A girl who is completely at peace because everything in her life is going well "by countless silken ties of love and thought to everything on earth the compass round."

The sunset was not spectacular that day. The vivid ruby and tangerine streaks that so often caressed the blue brow of the sky were sleeping, hidden behind the heavy mists. There are some days when the sunlight seems to dance, to weave and frolic with tongues of fire between the blades of grass. Not on that day. That evening, the yellow light was sickly. It diffused softly through the gray curtains with a shrouded light that just failed to illuminate. High up in the treetops, the leaves swayed, but on the ground, the grass was silent, limp and unmoving. The sun set and the earth waited.