The poem, “Field of Autumn”, by Laurie Lee exposes the languorous passage of time along with the unavoidability of closure, more precisely; death, by describing a shift of seasons. In six stanzas, with four sentences each, the author also contrasts two different branches of time; past and future. Death and slowness are the main motifs of this literary work, and are efficiently portrayed through the overall assonance of the letter “o”, which helps the reader understand the tranquility of the poem
impermanence in time. In the first quatrain, the speaker contrasts his age is like a "time of year,": late autumn, when the "yellow leaves" have almost completely fallen from the trees and the boughs "shake against the cold." Those metaphors clearly indicate that winter, which usually symbolizes the loneliness and desolation, is coming. Here the reader would easily observe the similarity between the season and the speaker's age. Since winter is usually
The poet speaks of autumn, the season of fog and production. The first line portrays autumn as a period of growth. Autumn is a close friend of the maturing sun. The word “maturing” is used to describe the shorter daylight of winter. Together, autumn and the sun help the vines that wrap around thatched roofs bear fruit. The image of growth persists in the following lines; the poet describes plants and fruits “bending” or changing shape in reaction to their development: trees bend with the weight of
The poet speaks of autumn, the season of fog and production. The first line portrays autumn as a period of growth. Autumn is a close friend of the maturing sun. The word “maturing” is used to describe the shorter daylight of winter. Together, autumn and the sun help the vines that wrap around thatched roofs bear fruit. The image of growth persists in the following lines; the poet describes plants and fruits “bending” or changing shape in reaction to their development: trees bend with the weight of
am living here in Alpharetta, Georgia. Living in Seattle for many years, I can say that the South is a huge contrast from the North, but there are still many things I like about the South. The climate is very warm, and the weather is really nice during the summer and the winter. It is much cheaper to live in the South than the North, and it is even cheaper to live in the South when you compare it to living in Seattle. There are also more educational opportunities in the South, and there are award winning
so takes time to recollect his experience with the daffodils. In addition to incorporating a transcendental register of diction, Wordsworth uses personification to develop the spiritual quality of nature. Wordsworth personifies the daffodils and compares them to spiritual entities to create an ethereal mood in his poem, giving the flowers a mythical quality. He incorporates mythopoesis, which is the making of myths ("Mythopoesis"). The daffodils are described as "a crowd, / A host, of golden Daffodils"
and unseen, almost as if it goes on unspoken till we meet our end, or when it is winter. The next few lines only add to the intrigue of the speaker towards the object where she tries to see what others could not see. She wants to go beyond the three women’s’ faces and actually understand the story behind the Lunulae. The reference to the word “sickle shapes” along with “insects’ legs” and “thin gold remains of autumn” show the delicate and fragile imagery with a link to nature. In stanza 9, there
The Flea by John Donne and To His Coy Mistress by Andrew Marvell "The Flea" by John Donne is written in the 17th century as is "To his coy mistress" by Andrew Marvell. This we can see by the language used which was typical of that period in time "apt to kill me" and "yea" which are taken from the flea. Both poems also speak of virginity being very important, especially before marriage because if a woman had lost her "maidenhead" before, the husband would have the right to leave her without
Sonnet 18 by William Shakespeare is one of his seminal works, in which he compares his mistress to many things that occur amongst nature. He says that she is more “lovely and more temperate (than that of a summer’s day).” There is no more grandiose metaphor than that of nature for nature has crafted its beauty for epochs amongst the fiery hell that was the beginning of life. Even though nature is the epitome of beauty, it’s still imperfect or just simply, inconvenient. With this, he begins to negate
This way of thinking, while arguably necessary for the sake of our own sanity, helps us maintain our delusion immortality. In the rare occasions when we do acknowledge our impermanence, it is often through insipid catchphrases like YOLO. In stark contrast to this idea that there’s always tomorrow, Shakespeare’s sonnet That Time of Year Thou Mayst in Me Behold addresses the epiphany of human impermanence through the lens of a dying man, likely of old age or poor health, who acknowledges his approaching