Analysis Of ' The Raincloud And The Garden ' And ' A Curtain Of Green '

August Wilson’s Fences, is a dramatic play that spotlights on the attributes of black life in the mid to late twentieth century and emphasizes the strains of society on African Americans. Focusing on the lives of normal African Americans, the author also recognizes the significance of the family ties and how they relate to the society. He mentions symbols such as sports and fences in the story to relate to many topics mainly all of the topics pile up to the prism of race and its impact on the lives of typical African Americans at that time. Wilson uses the symbol of fences in his play, physically and mentally, in numerous occasions to symbolize protection, Rose and Troy Maxson’s relationship, and Troy 's fight against Death in order to convey the characters ' incapability of facing reality.

In ‘I kneel to pick frail melancholy flowers among ashes and loam’ a tone of loneliness and sadness is established as the persona enters. Harwood describes the violets as ‘frail’ and ‘melancholy’, terms that arn’t usually associated with flowers. This is also explored in the juxtaposition of ‘ashes’ and ‘loam’. Ash is symbolic of death and decay which contradicts the ‘loam’, symbolic of life and birth. The persona’s dark and unpleasant perceptions reveal their uncertainty and state of mind. The present tense indicates the persona’s adulthood and their sense of longing and unsatisfaction conveyed through the nostalgic delivery of

The garden is the vehicle in which the narrator reveals her reluctance to leave behind the imaginary world of childhood and see the realities of the adult world. The evidence supporting this interpretation is the imagery of hiding. The narrator uses the garden to hide from reality and the

The concept of the malign nature of the tenement is developed throughout the first stanza with Crichton Smith exploring his own role in his mother 's confinement. He tells the reader that whilst he drove away, his mother would 'wave from the window. ' Again the poet successfully employs alliterative words to draw our attention - this time to the image of his frail mother still lovingly 'waving ' from her prison 'window '. This notion is supported by Crichton Smith comparing himself to

In “The Mower Against Gardens,” Andrew Marvell uses a conceit to liken the plants in an English garden to the women of a brothel, exemplifying the theme of man’s perversion of nature. Three main metaphors are used, the first being mankind as the brothel owner. The second metaphor is the flowers as prostitutes, and the final metaphor is the flowers’ offspring as abandoned children.

Imagery is used by the author to illustrate immortality. As the future comes to the young woman, the reader visualizes, “rain failing on the lawns of her children” (Strand, 1990). Strand uses this statement to emphasize how the young women’s children mourn over her death, as a way to imply that one is immortal in the memories of a loved one. In the third stanza, Strand introduces a man who is writing a poem about the young woman, “thinking of death, thinking of him thinking of her” (Strand, 1990). As the man

That’s a rose-garden! White blurs are houses. Brown blurs are cows,” (Bradbury 6). Clarisse is questioning the way of life and possibly the familiarity of life.

Throughout both ‘Engleby’ and ‘Selected Poems’ there is a prevailing sense of ‘apprehension of the tenuousness of human existence’ which is evident in the protagonists’ confining inability to communicate with the world around them, as seen in Prufrock’s agonised call, ‘so how should I presume?’. ‘The Wasteland’ was written by Eliot to ‘address the fragmentation and alienation characteristic of [contemporary] culture’, questioning mankind’s ability to move forward into cohesiveness despite the ‘more pronounced sense of disillusionment and cynicism’ which came about as a ‘direct

As “Stop all the Clocks” advances, Auden uses the technique of personification when he writes “aeroplanes circle moaning overhead,” to help readers feel connected to the sense of deprivation felt by the widow. In like manner, Harwood continues to analyse the idea of loss reaching the middle of “In the Park” where the mother’s ex-lover passes by and the mother tries to boost her confidence by engaging in conversation. This connection fails and “from his neat head unquestionably rises a small balloon.” Here, imagery reveals the man’s thoughts, and his thoughts read “but for the grace of God”- expressing his thanks to God that he no longer associates with the identity deprived mother . “He Is Dead” is capitalised in “Stop All The Clocks” to emphasise the impact of death upon the narrator. He continues expressing the feeling of withdrawal using past tense, mirroring his views of the world around him since the loss of his lover “He was my North, my South” “I thought” “I was wrong” . Correspondingly, as the mother attempts to converse with her ex-lover for a second time towards the conclusion of “In the Park” she realises that her identity is not within reach anymore, it has become astray . Additionally, the narrator uses the technique of imagery once more “They stand a while in flickering light”- to represent the mother’s unstable and dissatisfying life. The mother attempts to

“Black Swan Green” is a story about a highschool boy, named Jason Taylor. Jason has a stammer unlike his other peers at his horrible high school. He’s the kid that dreads talking in front of the class because he sees himself as different. He’s afraid to be judged for his flaws. Also, he has a love for poetry he must hide from everyone. He can’t express his feelings for poetry or anything because he's too scared to be himself. In this story, his mentor, Madame Crommelynck teaches him to accept himself and show the world the real Jason Taylor. Jason has many conflicts throughout the story, especially with himself. On the contrary, Madame Crommelynck relates Jason’s high school peers to hairy barbarians. She asks Jason, “So you want a double life. One Jason Taylor who seeks approval of hairy barbarians. Another Jason Taylor is Eliot Bolivar, who seeks approval of the literary world. Is that so impossible?” (Mitchell, 154). Jason wants to fit in at his school, while Eliot Bolivar wants to be accepted in the literary world. Jason thinks to become a good poet he needs to be accepted by his peers but poetry is for yourself. It’s your thoughts and feelings. Poetry is not for an audience to criticise. To be a poet, you need to be yourself and then you’ll truly be accepted.

Finally, the reader is introduced to the character around whom the story is centered, the accursed murderess, Mrs. Wright. She is depicted to be a person of great life and vitality in her younger years, yet her life as Mrs. Wright is portrayed as one of grim sameness, maintaining a humorless daily grind, devoid of life as one regards it in a normal social sense. Although it is clear to the reader that Mrs. Wright is indeed the culprit, she is portrayed sympathetically because of that very lack of normalcy in her daily routine. Where she was once a girl of fun and laughter, it is clear that over the years she has been forced into a reclusive shell by a marriage to a man who has been singularly oppressive. It is equally clear that she finally was brought to her personal breaking point, dealing with her situation in a manner that was at once final and yet inconclusive, depending on the outcome of the legal investigation. It is notable that regardless of the outcome, Mrs. Wright had finally realized a state of peace within herself, a state which had been denied her for the duration of her relationship with the deceased.

In this discussion of Eliot’s poem I will examine the content through the optic of eco-poetics. Eco- poetics is a literary theory which favours the rhizomatic over the arborescent approach to critical analysis. The characteristics of the rhizome will provide the overarching structure for this essay. Firstly rhizomes can map in any direction from any starting point. This will guide the study of significant motifs in ‘The Waste Land.’ Secondly they grow and spread, via experimentation within a context. This will be reflected in the study of the voice and the language with which the poem opens. Thirdly rhizomes grow and spread regardless of breakage. This will allow for an

Moonlight serves as a motif, the darker it inches to night, the darker the nature of the women's conversation, and the more panicked Mrs. Slade is. They sit outside, talking about their daughters in the light of the evening or exchanging in a deep silence. “It seemed as though, to both, as there was a relief in laying down their somewhat futile activities in the presence of the vast Memento Mori

If the joys of the world, as Keats propound in ‘Fancy’, are always destined to become ‘spoilt by use’ (10), hope lies solely in the recourse to imagination. ‘Like three fit wines in a cup’ (38), the poet brings together ‘All delights of summer weather; / All the buds and bells of May, / [---] / All the heaped autumn’s wealth’ (31–35). Ephemeral nature can then, with the aid of art, be restituted as a nature infinite – adorned, since freed from its cyclical determination, with the simultaneous sights and sounds of the seasons (39–66). Such a poetics of excess, throughout the history of Keats’s reception the subject of disapproval, would also appear to disqualify him in terms of ecological reflection – not least on account of the inability to face the singular and contingent nature of the subject’s environmental situation. In this regard, eco-criticism shares with formalism an appreciation of the mature, chaste Keats: the author, that is, of ‘To Autumn’ – the sole poem having been discussed at any length in this

The downpour recounts an idiosyncratic phenomenon from his childhood that lingered a cherished occurrence on the writer’s mind; watching as the rain drenched earth and everything on it, then becoming shadowed by the vehement thunder to follow, impacted the writer tremendously as the result/damage of the aforementioned coerced an aesthetic appreciation towards this phenomenon. This heavy downpour embarked the unforgettable memories of playing outside in the heavy rain as he reminisced on the vast imagery of nature’s elements along with the striking sounds that followed. In this extract, the writer’s application of stylistic devices and emotive languages such as: his amplification of “The Downpour” in his description, energizing personifications,