How Did The Green Grass Grow All Around

Why do the words that authors use in their writing help set the overall atmosphere of the story? In the story, "What Do Fish Have to Do With Anything," a young boy named Willie and his cautious mother, who were abandoned by their father, come across a beggar, and Willie grows curious of his character, thus leading him to question him. After a series of encounters, Willie learns that the homeless man was not what he seemed, but a man of wisdom. In the story, “Dark They Were, And Golden Eyed” by Ray Bradbury, a party of humans arrive in Mars and try to build their new lives there after an apocalypse on the Earth. One of the humans, Harry Bittering, is skeptical about Mars and how living there may not be the best idea. In both “Dark They Were,

The literary devices that is consistently used is connotation. The authors use of words such as; syntax(line 3), spring(line

Whitman uses the grass as a metaphor to imply that all people are connected. Whitman uses the grass to represent things he cannot explicitly name. People are all different, individual, but the blades function together. Everyone is needed to make up the grass; one blade cannot stand-alone. The grass encompasses all of America, regardless of race, gender, or religion. Grass grows everywhere there is water and touches everyone. This is one of the ways Whitman seeks to appeal to everyone through language.

Ex. : When a writer starts talking about other subjects, the readers see the pattern and realize

The author emphasizes the tone and the theme of the novel by using a variety of diction words that include repetition of words, archaic words, connotation, and abstract diction. Primarily, the usage of

In the poem “No Ordinary Sun,” the poet Hone Tuwhere, uses various language features to reveal the writer’s purpose, the horrific effect of a very possible WWIII that will be nuclear. Tuwhere uses three specific language techniques, (figurative language and Repetition) to effectively cast his message.

Imagine yourself shipwrecked upon an uninhabited island. The experience of being stranded will cause you to pose many questions, with the possibility of only one of those questions to being answered. One answered question is: what is the purpose of literature? Northrop Frye, within “Motive for Metaphor”, uses the analogy of being within an uninhabited island to examines the purpose of literature by connecting it to the purposes of language and their use within the different worlds and levels of the mind Frye sees present.

The story begins with a man who has a pregnant wife and continues to further with the woman’s cravings and desires. Within this description the author uses his or her individual style and chooses to capitalize two phrases “Sky World” and “Great Tree”. When capitalizing phrases that grammatically do not need to be capitalized it gives the phrase significance. In the case of “Sky World” and “Great Tree” these objects are made to stand out to the reader, in order to show that they are important for the continuation of this story or they have a deeper meaning. The “Great Tree” was styled in this manner to present how sacred it was to these gods and goddesses.

The speaker also chooses her diction precisely, so that there is clear contribution to the overall idea that the poem is indeed about the quest for change and longing from escape from the swamp. Two very different forms of description are used to represent this source of dread: once by the simple name, swamp, and

Isolated from people, grass and death sit and do their jobs. “I am the grass./ Let me work.” (lines 10-11) no matter if it is alone or surrounded by people grass grows and does its job. When you “Shovel them under me” (Line 2) , that is when grass does it work. The pain and grief from all those dead bodies, that sight must have been horrendous. To erase that memory from your mind would be like a wine stain on a white carpet. Yes, there are stories but no one will ever really know what

The image that is firstly drawn in the first stanza is that of a blade of grass amid a field and the

Immediately following the first statement, Oliver prompts that “You do not have to walk on your knees for a hundred miles through the desert, repenting.” The senseless wandering in a desert in harsh conditions is similar to the biblical story of Moses leading the Isrealites through the desert before reaching the Promised Land. By writing that the reader does not have to wander as a punishment leads into line four and five, where the speaker asserts that instead of being good, “You only have to let the soft animal of your body love what it loves.” Instead of following what other’s want, the speaker proclaims that the only real necessity is to follow what your natural instincts, you animal, want. The speaker also declares inn lines six and seven that while you are talking about your despair, “the world goes on,” which proves that human traits of complaining and listening to others do not bring you closer to nature. In fact, the world continues as if you had not done anything at all. The poem then contrasts inert objects such as “the sun,” “the prairies,” and “the mountains” with objects that appear to be alive and move such as “the clear pebbles of the rain,” “the deep trees,” and “the rivers.” This compares the unmoving appearance of what society wants in the solid features of nature compared to the living and movement that is only sometimes perceived in the rain, trees, and rivers. The comparison can also be

At the beginning of the poem the speaker encounters the question “What is the grass?” and scrambles to find answers. The stanzas are short to begin with and are not complex. Four stanzas in a row start with “I guess” as the speaker ponders, “What is the grass?” The middle part of the poem is the speaker contemplating possible ways to define the grass. By the middle of the poem the speaker begins to wonder where the grass came from asking, “it may be you transpire from the breast of young men.”

There are different forms of literature which can include essays, poems, novels, reports and more. The one thing all forms of literature have in common is that they all have meaning, purpose and form, but how it is expressed is all different, the question is how. Most of the times authors have a reason to convey such messages, and how the messages are delivered is up to the author as well. The author uses the form, it’s aesthetics to send the readers an image; what kind of literature it is. The authors also send the readers a blatant message, the message is sent through the text of the literature. Through the text on the literature the author portrays purpose, and with the form of the

the whole novel: “the linguistic pattern of choices realizes a primitive pattern of cognition, which in turn is the key to the tragic vision of the novel.”(Leech & Short, 2001: 32) Halliday being the widely acknowledged precursor of functional stylistics, the eminent German linguist-critic Leo Spitzer (1887-1960), is likewise father of literary stylistics. In his insistence that the smallest detail of language can unlock the “soul” of a literary work, he maintains the task of stylistics is to provide a hard-and-fast technology of analysis: I would maintain that to formulate observation by means of words is not to cause the artistic beauty to evaporate in vain intellectualities; rather, it makes for a widening and deepening of the aesthetic taste. It is only a frivolous love that cannot survive intellectual definition; great love prospers with understanding. (Leech & Short, 2001: 2) A question which is often asked in this connection is “At which end do we start, the aesthetic or the linguistic?” The image used by Spitzer of the “philological circle”, the circle of understanding, however, seems to suggest there is no logical staring point. Spitzer argues that the task of Linguistic-literary explanation proceeded by the movement to and fro from linguistic details to the