Analysis Of Ted Hughes 'Poem To Paint A Water Lily'

In this context, I believe that the fruit being cut down symbolizes that Ha is leaving South Vietnam too soon, before she is ready, just as the papaya is cut down before it is ready. I believe this because in the poem “Wet and Crying,” Ha says, “My biggest papaya is light yellow, still flecked with green.” This shows that the papaya is not quite ripe and ready to be picked, just like Ha is not yet ready to leave her home country. Furthermore, in the same poem, Ha says “Brother Vu chops; the head falls; a silver blade slices.” I believe that, judging from the word choice that the author uses, Ha thinks of this as an execution of sorts. I believe this because of the words the author uses such as “Chop” and “The head falls.” This shows that Ha

The appreciation of nature is illustrated through imagery ‘and now the country bursts open on the sea-across a calico beach unfurling’. The use of personification in the phrase ‘and the water sways’ is symbolic for life and nature, giving that water has human qualities. In contrast, ‘silver basin’ is a representation of a material creation and blends in with natural world. The poem is dominated by light and pure images of ‘sunlight rotating’ which emphasizes the emotional concept of this journey. The use of first person ‘I see from where I’m bent one of those bright crockery days that belong to so much I remember’ shapes the diverse range of imagery and mood within the poem. The poet appears to be emotional about his past considering his thoughts are stimulated by different landscapes through physical journey.

Humanity is but a facet of the sublime macrocosm that is the world’s landscapes. In the relationship between man and landscape, nature is perpetually authoritarian. In her free-verse poems, The Hawthorn Hedge, (1945) and Flame-Tree in a Quarry (1949), Judith Wright illustrates the how refusal to engage with this environment is detrimental to one’s sense of self, and the relentless endurance of the Australian landscape. This overwhelming force of nature is mirrored in JMW Turner’s Romantic artwork, Fishermen at Sea (1796). Both Wright and Turner utilise their respective texts to allegorise the unequal relationship between people and the unforgiving landscape.

Langston Hughes clearly connects with a wide range of audiences through the simplicity that surrounds his poetry. The beauty of this manner in which he wrote his poetry, is that it grasp people by illustrating his narratives of the common lifestyles experienced by the current American generation. His art form expresses certain questionable ideologies of life and exposes to the audience what it takes to fully comprehend what being an American truly means. Each individual poem describes and illustrates the strength and hardships the African American community was experiencing. Through his literature art form of poetry, Hughes was able to convey the common assertions of

Ted hughes uses literary techniques in the most vivid way, to illustrate what his idea of a water lily painting looked like. In all of his works, the goal is to describe a task or a thing, but make the reader understand it by using nature as the key. The task in this poem is presented by the title “How To Paint A Water Lily”. The reason he wrote this poem, was to describe nature by decorating the spirit of the environment around the lily. The two literary techniques that will be discussed in this paper are imagery and alliteration.

A huddle of horns And a tinkle of glass A note Handed down from Marcus to Malcolm To a brother Too bad and too cool to give his name. Sometimes despair Makes the stoops shudder Sometimes there are endless depths of pain Singing a capella on street corners

“Crossing the Swamp” by Mary Oliver explores the speaker's immersion into a dense marsh in relation to nature’s grandeur. The poem moves as she does, both universally and literally, to emphasize acceptance of having no control over nature’s sublime and autonomy over her outlook when confronting struggle.

Both William Wordsworth and John Muir use imagery to express their relationships with nature. In paragraph two of The Calypso Borealis, Muir describes the environmental obstacles he encounters when he sets off to find the elusive flower: “fording streams more and more difficult to cross and wading bogs and swamps that seemed more and more extensive and more difficult to force one's way through.” Muir’s choice of words helps the reader imagine how difficult and harsh the environment was as

The validity of an individual’s perspective on the truth regarding situations, events and personalities throughout their lifetime is subjective.

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 “I Am Learning to Abandon the World” by Linda Pastan is closely similar in context with Sharon Olds’ “Still Life in Landscape.” Each of the two poems narrates an ordeal with the persona being the writer of the poem. The persona directly speaks to the audience. However, these two works differ in the number of lines, the length and appearance of each line and the entire apparition of the poems. The two authors employ a similar tone as both use a melancholic and reflective tone. The poets present their thoughts in a simple diction and understandable language. It is evident that both authors have an impeccable interest in narrating their story.

Using natural phenomenon as a starting point for abstraction, Mark Grotjahn’s paintings straddle the polarities of artifice and nature. His painting, Lavender Butterfly Jacaranda over Green (Fig. 2), expresses his fascination with nature. Transferring the experience of observation to an intrigue of creative possibility, Grotjahn harnesses the mysticism of nature through aesthetic formality.

However, the ambiguity of Hughes 's poetry may be derived not so much from a desire to obscure truthful representation, but from the inherently traumatic impact of this act of writing. In light of this, Hughes 's fragmentary syntax and the episodic construction of the Birthday Letters sequence, may well be understood as a literal manifestation of his attempt to pull together a "scattered, dispersed, or lost" series of recollections (Freeman, 30); the trauma of which constantly resists any easy assimilation into language. Usually within the discourse of psychoanalysis, it is simply the process of describing a traumatic experience, representing it within language, which forces it to be externalized, contained and thus assuaged. While Hughes certainly seeks to attain this same catharsis, through a kind of "scriptotherapy" (Henke, xxii) his poetic style simultaneously invokes the raw and uncooled processes of its own production. As John Carey writes in a review for the Sunday Times, "The language is like lava, its molten turmoils hardening into jagged shapes, still hot from the earth 's core." ("Fatal Attraction"). In order to understand Hughes 's magmatic poetry more effectively, it is useful to consider Julia Kristeva 's conception of the "signifying process" (84) as proposed in Revolution in Poetic Language (1979). Kristeva conceives of communicative acts as composed of a balance between "symbolic" and "semiotic" aspects (95, The Kristeva Reader). The "symbolic" may be

There is no doubt that Ted Hughes was not only one of the most renowned British poets of the twentieth century, but also one of the most controversial and influential. With such masterpieces such as “The Iron Giant” and “The Crow” there is no doubt in his contribution to literature and poetry. Hughes utilized his life as inspiration for most of his work; he borrowed events from his childhood on a farm and the deaths of his wives to create works of poetry that are dark and emotional. Hughes gained a reputation from this kind of work as not only a great poet but as a troubled man whose demons were always present. Nevertheless, he never let these demons consume him, instead using them as his creative motivation, creating rich poems full of imagery and symbolism as a means of escape.

appear to remind her inner wounds of life. Frequently they seem to terrorize her with their openings; They (Tulips) are opening like the mouth of some great African cat..15.