Essay about Sillouette

The first couple of lines in this stanza state that the production of buildings are spreading over the great hills, but he uses personification to describe them taking over e.g. 'Brave military pylons that march o 'er scenic hills ' as if to say they were taking over them as an army would march bravely. The next few lines of the stanza propose that the country is changing into an image

Imagery is used consistently right through the poem to evoke sensory experiences and to endorse the theme. For instance: ‘A stark white ring-barked forest’-‘the sapphire misted mountains’-‘the hot gold lush of noon’ and many more. All of these appeal to the readers senses and places brilliant visual image(s) in our minds by illuminating the various features of the country, from the perspective of the poems persona. This is attained using; adjectives, ‘the sapphire-misted mountains¬¬¬’, which gives us a picture of mountains with a bluish haze embracing it, this image would thus give an impression of a composed environment and evoke a sense of tranquillity. Additionally by using ‘sapphire’ to illustrate the mist surrounding the mountains we get a sense of Australia’s uniqueness as sapphire is a rare gem. Imagery is also displayed through a metaphor used to appeal to the sense of hearing. For example: ‘the drumming of an army, the steady soaking rain’. Here Mackellar depicts the rain as an army and allows us not only to visualize but get a sense of the sound of the rain, which is presented through the adjective ‘drumming’. This line also presents to us the intensity of the rain again through the adjectives ‘drumming, steady and soaking’.

The appreciation of nature is illustrated through imagery ‘and now the country bursts open on the sea-across a calico beach unfurling’. The use of personification in the phrase ‘and the water sways’ is symbolic for life and nature, giving that water has human qualities. In contrast, ‘silver basin’ is a representation of a material creation and blends in with natural world. The poem is dominated by light and pure images of ‘sunlight rotating’ which emphasizes the emotional concept of this journey. The use of first person ‘I see from where I’m bent one of those bright crockery days that belong to so much I remember’ shapes the diverse range of imagery and mood within the poem. The poet appears to be emotional about his past considering his thoughts are stimulated by different landscapes through physical journey.

Both speakers ply nature as setting to express their emotion.the speaker in the poem “The Lonely Land”apply “cedar and jagged fir’s action” as setting to express the lonely environment of the poem and the negative attitude.

One of the main elements that literature with merit must exemplify is symbolism. As soon as an author introduces a symbolic reference, a premade notion that the reader constructed could be affected. Not only would a symbol alter the meaning of a message, but it would also add an emotional element to the story. Throughout All the Light We Cannot See, a series of symbols were inaugurated. The first, and most predominant symbol that was recurrent throughout the book was vision. The two protagonists, Marie-Laure LeBlanc and Werner Pfennig, both play a contrasting role when it comes to the symbolic meaning behind vision. On one hand, Marie-Laure is physically unable to see due to her blindness. Therefore, she does not experience the world in the same way as the other leading character, Werner Pfennig. Instead,

A little pondering suggests that the poem has a keen focus on the Australian environment. The poet is successful to grab our attention with descriptive explanation in the line in the

The author uses imagery in the poem to enable the reader to see what the speaker sees. For example, in lines 4-11 the speaker describes to us the

As evident by the title of this poem, imagery is a strong technique used in this poem as the author describes with great detail his journey through a sawmill town. This technique is used most in the following phrases: “...down a tilting road, into a distant valley.” And “The sawmill towns, bare hamlets built of boards with perhaps a store”. This has the effect of creating an image in the reader’s mind and making the poem even more real.

“Far on the sands” is a reflective poem that emphasizes Smith’s heartache. Smith expresses her feelings of anguish through her interpretation of the landscape. The beautiful image of “The sighing summer wind forgets to blow. / As sinks the daystar in the rosy West, / The silent wave, with rich reflection glows;” (ll. 3-5). should inspire some feeling of serenity. Instead, Smith feels bitter that even this beautiful scene cannot soothe her. She states, “Alas! Can tranquil Nature give me rest, / Or scenes of beauty, soothe me to repose?” (ll. 7-8). The focus on Smith’s feelings of torment when viewing the

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

The lines in part three of the poem “This is the dead land / This is cactus land”

“The landscape, the whole great circle of it, grassheads, scrub, water, sky, quite took his breath away.” (Pg 17)

By describing the beautiful details about nature Oliver creates a more soulful mood. With the soulful mood this makes the reader more intimate with the poem, and understanding the meaning much better. Oliver describes the clear pebbles of rain moving

With such minimal detail and narrative ques, the artist has abandoned the traditional characteristics of “picturesque” landscape that would create a sense of depth using objects that wind off into the foreground

Judith Wright extensively uses the structure of her poems to convey many ideas and themes. The structure of a poem is crucial to delivering its key message as it determines both the tone and how the poem is read. She shows the reader throughout the poem how the dust, which is symbolic of the barren emptiness that has “overtaken… dreams” of beauty and comfort as well as financial dependence, will consume the earth if the current environment is not conserved and protected. Wright’s use of title emphasizes this point in the clearest way she can and re-enforces her major concept to the audience. Another example of how structure is used in this poem is juxtaposition. The first and second stanzas are strategically placed next to each other because of their greatly opposing descriptions. In stanza one, the new world of dust and wind, many negative adjectives are used, such as “harsh”, “grief” and “steel-shocked”. Stanza two, which talks about the past, contains a wide range of positive adjectives such as “good”, “kinder” and “beautiful”.