How Does Andrew Clements Use Of Figurative Language

You really feel a sense of hopelessness then in line eight of stanza two you see your first word that has some kind of hope to it which is the word lightness. Once you go to stanzas three and four you see a shift from once hopelessness to maybe there is hope in the mist of darkness. Also, another thing that the poet does is how in some lines there is an extra spacing between certain words, I think by him doing that he wants the reader to really focus on this words because if you notice the spaces are in between words that are simple and could be overlooked so by putting the extra spaces it will make the reader notice it more. For me the turn(volta) it’s happening in line eight line “As how its lightness after was a gift”, like a said before this line is the start of a different word tone compared to what was said before that line and also what is said after. This line does a good job at showing this next start of life like for example it says in line eleven “ I couldn’t while they watch me set it

In “Marigolds” there is situational irony. When the author writes “And I too have planted marigolds” (Collier, 5). This shows how Lizabeth grew from not liking the marigolds to liking and plating her own. The “Marigolds” uses imagery as one of the main ways for the reader to understand the story. One of the examples of imagery is “a brilliant splash of sunny yellow against the dust” (Collier, 1).

being severed by white sealers as they tried to save themselves from drowning. Figurative language and the overall tone of the poem illustrate the gloom and sadness surrounding the event: “shadows” and “darkness”. The landscape made up of “low hills”, ”the silver-grey wash of clouds” and “the steel-shining channel” reflects this dark mood. Reference to black crows, hectoring and descending, eyes being pecked, conjures images of cold-blooded, inhumane slaughter and “filaments of sinew”. Harwood’s typical use of the sonnet form is not employed here but experiments with rhyme and metre, in the form of free verse, evident in many of her later poems. Run-on lines and stanzas add to the narrative style of the poem, best read out loud. Although the

The passage that stood out the most to me was the paragraph that went, “ I stopped taking pictures as the thoughts of children ran across the porch, playing tag as they ran barefoot. I saw a woman in the corner, sewing clothes to wear to church. . . . No technology, no electricity, and no water demanded a slower life at this house.” This paragraph vividly brought to life

“Breaking the surface, shatter an old silence” evokes a sense of commotion as if everything was so silent you could hear a pin drop and all of a sudden there was excitement. This shows that the previous poems she read mean nothing close to what the poems she is reading now. This description provides a distinction between the previous poem she read and this current one. “The lake flowed out again, the swans, the darkening sky”(32-33) shows that there is stuff happening compared to the silence before. The darkening sky causes the girl to lose her doubts further showing how powerful this rush is. The figurative language of describing the swans as having question mark necks shows that the girl may be having allusions as a side effect of how much she is being impacted by the poem. The rush she feels from how interested she is in in poems causes her to lose her morals and her mind for a few moments. The girl is looking at the swans and is thinking about stealing the book “my breath came quickly, thinking it over- I had no money, no one was looking”(39-40). The question mark necks show how truly she was uncertain on what to

In the first poem, “This Hour and What Is Dead”, there is a structure of eight lines, two lines, one, eight, two, and one. This structure increases the effect made by the lines of two and one, which are both very important to the verse. Through this structure, “Someone should tell him he should sleep now.” (“This Hour and What is Dead) becomes one of the most important lines in the literature. In “Visions And Interpretations”, however, the lines continually get shorter, from four stanzas of four lines each, to four stanzas of three lines, to finally four stanzas, at two lines each.

The second lesson is similes and metaphors. Where are they in this poem? How do they work? Why did the author choose these? Explore.

One of two ways that the author’s use of dashes and unusual capitalization are used to contribute to my understanding of the theme of darkness in the poem is by having a dash after the word “dark” in the very first line of the poem it draws attention to the word, this is shown in the following excerpt “We grow accustomed to the Dark --” this is strengthened when in the second line, when the author chose to capitalize the word “when” before the phrase “…light is put away--” therefore, strengthening the theme of darkness. Another way that the author’s use of dashes and unusual capitalization are used to contribute to my understanding of the theme of darkness in the poem is by capitalizing the words “a” and “moment” they caused a sense of hesitation,

Passage one in the description of the Caddagat garden alliteration is used to describe the condition, smell and beauty of the day and the garden. ‘soothed by the scent’, ‘soft spring sunshine which streamed’, ‘revelled in rich’ and ‘lapfuls of the lovely’ all have the alliteration of a different sound, the first two quotes being the ‘s’ sound to making it more flowing and smooth is then followed by the ‘r’ sound to put more expression on the start of the words and the sentence its self. This is then finished with the ‘l’ repetition to put forth the rolling off the tongue in some form of pleasantry to the reader. The second passage then uses ‘bold, bad’ with popping of the ‘b’ to send a sense of urgency and extremity on the situation and emotions that are being expressed, this is the same with ‘don’t dare’ and the use of the alliteration in the ‘d’. (Did you like that bit Mrs.Burrows?!). This is then followed with the ‘s’ in the words ‘sex is sufficient’ putting a strong confirmation on the words and their meaning behind it. This is also continued into passage three with the ‘a peasant, a part’ and ‘flood, fire’ with the view focused on that starting letter of ‘p’ and ‘f’.

Imagery was also used in the poem.  I found that the yellow in the first line represented that the future the writer was facing was bright and warm regardless of his choice.  The undergrowth was, as undergrowth in any forest, damp and dank smelling, but not necessarily unpleasant, just something that the writer would have to face.  The image of traveling through a forest also brings to mind thoughts of birds in flight, chirping and singing.  Squirrels dashing through trees, rustling leaves and dropping the occasional acorn or nut also create an image of sight and sound.  The sun reflecting through the trees, casting shadows and creating pockets of warm and cool air and the occasional breeze stirring through the trees are also brought to mind by this poem.  The end of the poem brings to me

The poem was interesting (#7) and Maria making direct parallels to the book helped me to make connections between the poem and book because previously I had not seen how this poem represented the book. However, when Maria pointed out “He wants so much to say please, but won’t” directly represents the pride Lear holds in the book I started to see more similarities. “Now he’s been left alone” obviously represents Lear’s 2 daughters, Goneril and Regan no longer willing to house Lear. Also, “something he can’t taste” to me represents his loss of one of his senses however in the book it is his eye sight. Kathy had an interesting point I did not recognize whatsoever before and that was the theme of nature which was present not only in the poem but in King Lear and Hamlet. “Behind the hawthorn bushes”, “the cold blast”, and “the waste field of the afternoon” reminded Kathy of the deterioration of nature in Hamlet. This idea can be related to the use of nature in Edgar’s tricking

In this poem, we see the tone light and free, also much imagery. We see this immediately with the first line saying, the “afternoon was the colour of water falling through sunlight” (1). We immediately get a sense of a beautiful day, maybe even fall with the trees descriptions in the following line, “trees glittered with the tumbling of leaves” (2). Lowell shows such beautiful imagery throughout her poem especially in her first two stanzas, that when we read that they are in the middle of war in the third stanza, that it is slightly shocking. That there are “two little boys, lying flat on their faces” (7) and that they are, “carefully gathering red berries” (8). Here Lowell shows that it is still a beautiful day but the darker reality is that they are currently in a war. Then we start to see the poem more in a melancholy light. That these two little boys are picking berries to save for later, instead of enjoying it right now. However one day the boys wish that “there will be no more war” (10), and that then, they could in fact enjoy their berries, their afternoon and “turn it in my fingers”. In this poem, we clearly see the different tones throughout. Lowell shows us the light tone, then a more melancholy tone and then finally a hopeful tone.

5) "Even in the middle of the madness there remained that true and natural beauty, and it took my mind away from my current situation as I marveled at this sight." pg 59

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

The imagery in the poem, specifically natural imagery, helps use the reader’s senses to develop a vivid depiction of the speaker’s connection to nature and dissatisfaction with the surrounding reality. The speaker’s continued use of the “moon” reflects her attribution of feminine identity and idolistic character to the moon. As opposed to referencing herself and her personal insomnia, she uses the imagery of the moon “beyond sleep” to convey her internal struggles with insomnia and her reality. Throughout the poem, the speaker also refers to shining, reflective surfaces, such as “a body of water or a mirror”, to describe the inverted reality in which the speaker experiences reciprocated love. Reflective surfaces often invert the image that is projected into them, seemingly distorting the true nature and reality of the projected image. The speaker’s reference to this reflective imagery highlights her desire to escape the burden of a patriarchal society and assume an independent and free feminine identity. Specifically, the use of natural imagery from the references to the “moon” and “a body of water” convey the speaker’s desire to take refuge within the Earth or in the feminine identity of the Earth, Mother Earth. Feminine identities are often related and associated with aspects of nature due to the natural cycle of the menstrual period and the natural process of procreation. The speaker takes advantage of these connotations to suggest Earth and natural imagery as an escape from the man-made terrors of male dominated society. In the second stanza, the speaker uses extensive imagery to develop metaphors conveying the speaker’s experience of jealousy of the moon