Compare And Contrast A Barred Owl And The History Teacher

Four have already left home, one will leave soon and the other three still dwell in the house with her. She then begins to express the dangers of the world around her in a bird’s point of view. For example, she is afraid that her young will fall in a fowler’s snare, be caught in a net or by birdlime on twigs, or hurt by a hawk. In a human world a fowler’s snare might be fallings into the hands of trickery, robbery, or any other type of crime. Caught by net or birdlime might represent being in the wrong place at the wrong time, and a hawk-inflicted injury might symbolize being wounded or killed by an Indian or criminal.

Nevertheless, in the poem ‘Nesting time’, Stewart interprets a personal experience in first person of the appearance of a bird that lands upon his daughter and forgets the thought of the harsh world. Stewart’s descriptive language repeatedly explains the poem as if seen in his viewpoint, beginning with an interjection, ‘oh’ communicating of his incredulity of an ‘absurd’ bird. Symbolizing the bird with strong coloured imagery its ‘mossy green, sunlit’, described to be bright and joyful, with sweetness shown with the type of bird, ‘honey-eater’, Douglas Stewart takes the time to describe its admiration juxtaposed to the dangerous world surrounding it. While visualizing the birds actions, ‘pick-pick-pick’ of alliteration and repetition of its

The poems “A Barred Owl” and “The History Teacher” by Richard Wilbur and Billy Collins respectively, depict two different scenarios in which an adult deceives a child/children, which ranges from the sounds of a bird at night, to the history of the world itself. “A Barred Owl” depicts two parents who lie to their daughter about an owl who woke her in the night, while “The History Teacher” involves a man who tries to protect his students by using education as a tool to deceive them. Both poets use diction, imagery, and rhyme to help them convey a certain tone in their poems.

Harwood introduces the idea of maturity, responsibility and grief in her poems 'Father and Child'. The "Barn Owl" poem is situated around her childhood whereas "Nightfall" is situated around her adulthood, through different settings comes different themes, focuses and lessons. Within the first stanza of "Barn Owl", authority is challenged with the child wanting to prove to her sleeping father that she is not an 'obedient gentle angel.' The child is obviously bitter towards her father, regarding him as 'old no-sayer' which alludes to the controlling, vengeful God of the Old Testament. She thinks that her father is now robbed of his power because he is asleep and is unaware of her plans. With Harwood contesting against authority at such an

Childhood is portrayed as a time of safety that is often looked back upon with nostalgia from an adult perspective. Monosyllabic words are used to show the simplicity of childhood life, for example in the line “the thing I could not grasp or name”. The ‘spring violets’ are ‘in their loamy bed’ and are no longer frail and melancholy, and the memory takes place on a ‘hot afternoon’ in contrast to the ‘cold dusk’ that represents the present. Childhood is represented as a joyful, vivacious time in one’s life, and the value of a stable family life is conveyed. The unexpected integration of Australian vernacular in the line ‘it will soon be night, you goose’, adds a sense of freedom and relaxation to the otherwise formal discourse and more rigid structure of the poem, once again reflects the simplicity and innocence that is associated with childhood. The use of

Childhood is arguably the most exciting time of a person’s life. One has few responsibilities or cares, and the smallest events can seem monumentally thrilling. Often, people reflect on the memories of their youth with fondness and appreciation for the lessons they learned. Sarah Orne Jewett captures this essence perfectly in the excerpt from “A White Heron.” Jewett uses many literary devices, including diction, imagery, narrative pace, and point of view to immerse the reader in familiar feelings of nostalgia and wonder, and dramatize the plot.

In the poems “A Barred Owl” by Richard Wilbur and “The History Teacher” by Billy Collins, each poet illustrates adults who are providing explanations for children to protect them from the harsher realities of life. In “A Barred Owl”, Wilbur conveys his point that children should be shielded from these harsh realities, through the use of personification and understatements. However, in “The History Teacher”, Collins conveys his point that protecting the students’ innocence is a lost cause, through his use of metaphors as well as understatements. Both poets use similar and different devices to convey their respective points.

In “A Barred Owl” by Richard Wilbur and “The History Teacher” by Billy Collins, adults provide easy explanations for children when confronted with harsh realities. Both works explore the use of white lies to respond to children’s fear and curiosity in an attempt to preserve their innocence. However, the writers employ literary devices that convey these concepts in different ways. While Wilbur presents parents’ well-intentioned untruths as beneficial to a child’s peace of mind, Collins reveals the serious consequences of a teacher’s trivial fabrications.

The man said, “I was following you around, because we didn’t know where we were going. We thought you looked like you knew where you were going. I didn’t mean to scare. Every time I started to approach you to ask you for help, you ran away.”

Parents often say, “Listen to your elders.” This cliché can make some people apathetic, but when looking back, most appreciate the wisdom of their elders. The knowledge imparted to children is crucial for their ability to understand and improve the world. In XIV by Derek Walcott, the speaker uses imagery, metaphor, and other literary devices to convey the storyteller’s significance to his life.

Particularly in 'Barn Owl' and 'The Spelling Prize', Harwood examines children's sadness as they go on their journey from innocence to experience. As time progresses and children begin their development towards adulthood, certain experiences and the way they respond to them can have a significant impact on their growth. In reference to the poem, 'Barn Owl', Harwood suggests that through experiencing and seeing it with their own eyes, they begin to realise the horror of reality. It can have an impact on children's growth as it will be a memories that will be with them permanently. Harwood goes on a journey where she transitions from being an 'obedient, angel-mind' child into a child who has unwittingly tortured an innocent creature. The fact that

Motifs in The Awakening play an extremely significant role in identifying the development of characters and contribute to the overall theme of the novel. Birds are one of the first motifs seen in the beginning of the novel starting with a caged parrot yelling “Allez vous-en! Sapristi!” which translates to “Go away! For Heaven’s sake!” This parrot represents Edna’s entrapment in the Victorian lifestyle where women are caged by their husbands and have limited freedom. Birds aren’t meant to be caged, but instead they are meant to soar free and fly, which is what Edna is attempting to do through the course of the novel. Through self discovery and exploration Edna believes that she must move to another house in order to escape her husband and responsibilities. Unfortunately, by moving to the pigeon house she is just trapped in another cage unable to free herself since she is constantly surrounded by reminders of her previous life. Birds serve to represent Edna and her struggle to break away from conventional Victorian society, which ultimately leads to her demise with the author’s final use of bird imagery: “A bird with a broken wing was beating the air above, reeling, fluttering, circling disabled down, down to the water.”

The relationship between a parent and child is potentially one of the most influential in a child’s life. A positive interaction often yields admiration, love or a sense of support. A negative relationship may yield distrust, animosity or a sense of solitude. Theodore Roethke’s poem, “My Papa’s Waltz,” describes the admiration of his hardworking father. The speaker, a young boy, depicts roughhousing with his father in the form of a waltz; expressing his desire to stay up and spend more time together though their relationship is detached. Seamus Heaney’s “Digging,” instills a sense of respect, pride, and a slight affliction for the speaker’s choice of the pen over the spade. The speaker has chosen a different path in life than that of his father and grandfather. Although written at different stages in life, both Roethke and Heaney write a poem about their families utilizing vivid imagery to demonstrate the love and pride they felt for these men.

Front Facing Eyes with high-quality optics which create an abnormally large binocular field of observation which is a sign for increased ethological importance for the use of stereo vision

The narrator in The Cuckoo Clock speaks in a loving, yet educative manner, like an aunty imparting words of wisdom to her young nieces and nephews. On page 45, when the narrator first directly enters the narrative, she says, “For fairies, you know, children, however charming, are sometimes rather queer to have to do with.” This sentence alone suggests many things about the narrator. When she addresses her intended audience, children, directly, she encourages them to participate in the story being told; one can imagine a group of children nodding their heads along in agreement. She also appeals to their intelligence by implying that they are already familiar with the information she is about to impart,