By Emily Dickenson, Sunsets, And Sunsets

Explain (tell me what image the poem brings to mind)She begins by describing the "death of winter's leaves".

Both authors describe the beauty in the sunset. They describe how the sunset transforms ordinary objects into beautiful items that behave as decorations in the world. Sunsets are proven to be a calming atmosphere, because the beauty allows you to clear your mind and relax. The words the authors chose to use have a calming and relaxing affect on me. For example, in Ornamental Sketch with Verbs, “Halos the coal truck,” The word, halo reminds me of angels which are another soothing and calming image. The author chose the word halo to have the calming affect on the readers. In She Sweeps With Many Colored Brooms the line, “Come back and dust the pond!” Ponds are a still body of water. This line puts an ataractic vibe into the poem. It makes me imagine beautiful colors reflecting onto a calm body of water. These lines prove that these two poems create a calming atmosphere that lets your mind relax and create images of the beautiful sunset. Both authors show that they have a great passion for sunsets and that’s why I believe the tone of both poems is adoration. Both authors talk about the sunset as a magical existence that changes the view of the world. In Ornamental Sketch With Verbs, the author

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.

A variety of literary devices are used in this poem. After the shift, she repeats the phrase “I rise” for emphasis. Similes show how strong and persevering the speaker is. She compares herself to dust. No matter how many times you clean, dust will always come back. She even compares herself to the sun and moon, which surely rise each morning and night, to prove her confidence. The poem also uses hyperbole and personification. It says: “You may shoot me with your words,/You may cut me with

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

While reminiscing the “longest sunset in [her] life,” (12) Warawra recalls the conversation she had with her mother about sunsets and sunrises. Although her mother prefers sunrise, Warawra enjoys the sunset. She deems the sunset is “a start of a new night, and a preparation for another sunrise,” (12). This symbolizes her immigration to Canada being a new step in her life; the sunrise to come.

. . should burn and rave at the close of day”(2). This means that old men should fight when they are dying and their age should not prevent them from resisting death. Another example of personification in the poem is “Their frail deeds might have danced in a green bay”(8). This line personifies the men’s frail deeds by saying that they could have danced. This means that the potential actions of the men could have flourished and contributed greatly to their lives. The metaphor “. . . words had forked no lightning. . .”(5) is about how the men had done nothing significant with their lives. They had not achieved anything great or caused a major change. The simile “Blind eyes could blaze like meteors and be gay” is about how even grave and serious men will fight against death for as long as they can. Another notable example of figurative language within the poem is “. . . blinding sight”(13). This oxymoron details how the men can see very well and it is very obvious to them that they will die soon, but they know that they can control how they will leave this world. There is an abundance of imagery within this poem, a few examples of which are “. . . danced in a green bay”(8), and “. . . caught and sang the sun in flight”(10) . These examples of imagery are both appealing to the sense of sight by using descriptive words such as “Green” and “danced” in the first example and words such as “caught” and “flight” among others. The second example also appeals to the sense of sound by

"People are not going To dream of baboons and periwinkles." The previous quotes is important since it shows how those people not only don't to try new fun things in their night lives, they don't even want to dream about those changes when they sleep. Finally, this quote "Only, here and there, an old sailor, Drunk and asleep in his boots, Catches tigers In red weather. " is where the poem is contrasting the people in the neighborhood with the old sailor. It shows how even an old

The imagery shows that since the character is young and responsible, he works to support him and his family. We are first introduced to the image of the young boy working as a young adult. Then, in the first 9 lines, the author describes the setting of the poem using imagery such as, “sweet-scented stuff when the breeze drew across it,” “Five mountain ranges one behind the other,” “under the sunset far into

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

Figuratively, in stanza three, the poem symbolizes the three stages of life: childhood represented by “Children strove” (l. 9), youth represented by “the Fields of Gazing Grains” (l. 11) and the end of the life represented by “the Setting Sun” (l. 12). On the way of her journey, the speaker views children struggling to win in the race in School. She also sees cereal grasses collectively in the field, and at last the speaker perceives with her eyes that the sun is setting on the way of her journey. This stanza gives us a clue of her passing by this world; however the speaker is not able to figure out that she is dead. She simply thinks the sun is setting on a regular basis.

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