Ballad Of An Old Cypress Summary

Emperor of China; Self Portrait of K’ang-hsi should not be read as a textbook or as a completely true historical

In the poem Garden of My Childhood, poet Kuangchi Chang uses metaphor to help set his central idea into place. A metaphor helps the reader to understand what is said by comparing something to something else. When Chang compares China before the revolution, he compares the peace to an idyllic garden with a violent hoard approaching. This is a metaphor that describes how peaceful it was in China before Mao Dezong brought on the cultural revolution. The hoard approaching the garden would Dezong and his re-education plans for China. He then personifies the wind and sea by stating they beckon him to run. He then says "eons later" he arrives "worlds away" at his destination. He then says his "running is done" and claims he found another garden just

When I first look at Hiroshige’s Plum Garden at Kameido, 1857, I see a grove of flowering trees, with a fence in the background to keep visitors off the lush green grass. The main focal point of this photo is the large tree branch in the foreground. This branch has several offshoots from it with dainty white flowers. Looking past this I see several other trees in the background, all with flowers blooming on them, but none with leaves. In the farthest background, there is a metal fence that is separating several people from the garden of trees. There is also a partial shack in the background on the far most right-hand side of the picture. I also see what appears to be the back of a sign, mostly hidden, in the upper left corner of the foreground. It appears to be sunset during the painting, with the horizon lighter and the higher sky a red color. There are several blocks of oriental writings, a red rectangle in the lower left corner over the body of the tree branch; then two in the top right corner in the sky, one green square and

Forman, in the third stanza, writes of a man, or the personified version of poetry, dressed in “fine plum linen suits” (9). Plum, symbolic to the Japanese for happiness and good fortune and symbolic to the Jewish for divine grace, was not placed in the poem involuntarily. We must carry ourselves with the sophistication and refined education we have received, but we need to sit down and talk about “the comins and goins of the world” (line 12). Poetry can bring you back to your memories and make you sit to think about the world. Even some of the shortest and most simplistic-looking poems are the hardest to decipher because of the hidden messages behind the text. It is important to take a moment, and not to rush, the reading of poetry or the conversations of life because you may miss something important with the assumption of thinking you hold this divine knowledge.

In the following poem, “Which Plant Is Not Faded” and “Where Have All The Flowers Gone” we will be comparing and contrasting both of these poems throughout this essay. Furthermore, we will talk about the poem meaning and how it relates to the ancient Chinese. Secondly, we will explain the song and how it relates to the ancient Chinese. Ultimately, the differences and similarities of the song along with the poem.

Wherein this is the extent of the metaphor, where in this poem it is a changeable anomaly subject to the readers interpretation of taking the road less travelled and whether it be a positive (sigh of satisfaction) or negative (sigh of regret). This is all one can hope when using a metaphor relating to the readers life, that they substitute their own feelings and create their own meaning, their own attitude towards to such decisions and subsequently, such journeys.

Good afternoon and welcome to Poetry Week. Today I will be talking to you about the topic of urban life in Australian poetry. During this presentation, I will discuss the poem Tree in the City by Thomas Shapcott and its representation of urban life. This will then be followed by how the poetic devices of metaphor and imagery are used in the poem and finally, I will compare it to the taught poem Phasing Out the Mangroves.

Chapter 3. 24. The terra-cotta figures near the Qin First Emperor’s burial mound demonstrate the

From that first day of kindergarten fraught with mothers scraping their loving sons and daughters from the safety of their legs, to those tearful partings between lovers, siblings, and friends as careers, family, and extenuating circumstances fling you two on opposite ends of the state, the country, or the globe, separation is an opportunity at growth often masked with considerable pain and hardship. In Dai Sijie’s Balzac and the Little Chinese Seamstress, the Narrator must face a great number of conflicts, from alienation to avarice; the numerous trials and tribulations he faces are troubles difficult to face alone, but chief among them is a conflict he must fight alone: dependency. In this passage, the Narrator must face the mutilated mountain ridge torn apart by recent storms with Luo, whose daily journey to the Little Seamstress’ village has grabbed his attention. Soon we realize there’s more to this journey than Luo’s supposedly excessive fear of heights and come to see that their camaraderie is a crutch the Narrator depends on. Through his experience on that ridge, his attempt at separation and autonomy reveals itself to be no more than a boomerang careening away from dependency on Luo and looping back again.

Despite a lack of people as a result of the plague, Judge Dee frequently encounters evidence of affluent lifestyles and prosperity in Tang Dynasty’s capital city Chang’an. Upon the establishment of the Tang Empire, Emperor Tang Taizong contributed to the ultimate success of his dynasty by controlling the influence of elite families and officials. In an analysis of the Tang Period, Paul Ropp wrote, “To curb the power of the aristocratic families of the south, the Sui rulers had forced leading southern families to move to… Chang’an...” Throughout much of the era, officials could not hold positions within their home provinces. As a result, the population of cities such as Chang’an suddenly surged. Mr. Hoo comments on the populace upswing while questioned by Dee. “This place was made into the imperial capital, soon

and the bamboo shoots in “The Jade Peony” perish due to cold weather, and the narrator’s

Another thematic poem is that of Yee Bow. Yee Bow was an Asian man who worshipped Confucius. The people of Spoon River tried to convert him, but he was faithful. One day, without warning, the clergyman’s son hit and killed Yee Bow. Yee was grief-stricken, knowing that his progeny could not worship him while he lie in Spoon River.

Li Bai’s personal favorite form of poetry to write was the juejue, a “five or seven character quatrain.” Approximately 160 of his poems are juejues. Although the language that Li Bai uses isn’t quite as knowledgeable as that of Du Fu, the poems of Li Bai are saturated with his grandiose imagination.

When studying the rich history of arts and recreation in the Song Dynasty, it is evident that there were many newly pioneered practices that completely captivated the populous and became the epitome of several long-established genres. When one observes the progression of visual arts through the Song Dynasty, landscape painting established itself as the most prevalent and important of the multitude of forms in this genre. Close examination of entertainment reveals that the dramatic arts, with emphasis on shadow-puppeteering, became the most enjoyed form of amusement in the Song Dynasty. Finally, nothing had become more delightful than the everyday life of a citizen, which never had a dull moment. Chinese art and recreation came to a

Whole rooms of palaces were decorated with porcelain, small Chinese-style furniture and wall murals which presented the ideal world that was supposedly China. This essay will explore the