The Force That Through The Green Fuse Drives The Flower

Poems and songs may have strength in literary terms, but have you ever wondered what makes them powerful? In this essay, there will be analyzed two poems “The Boy Died in my Alley” and “Daddy”, as well as the song “Firework” in which theme, metaphor, and repetition are the literary devices that make them powerful.

The memories in the poem maintain a cohesiveness and continuity of experience through repeated motifs such as the violets and the ‘whistling’. Memories also give us a recovered sense of life, as shown through the final line of the poem ‘faint scent of violets drifts in air’. This example of sensory imagery also creates a rhythmic drifting sense linked closely to the “stone-curlews call from Kedron Brook”. It echoes images of the speaker’s mind drifting into reflection and aurally creates transience between the present and the past.

The scene is first set up through the personification of the sun. The poet uses interesting diction and phrases, such as “dipping” and “geometries” to describe nature. The sun is described with human characteristics, “build[ing]” these “geometries and orchids” and “riding/The last tumultuous avalanche”. It is like an almighty being that is capable of anything, including the controlling of nature. The poet wants to portray nature as a hidden yet powerful force that should not be seen as a simple concept. Contrasts,

Analyzing different mediums can enhance an individual’s overall appreciation and understanding of a particular idea or story. While analysis of a painting can reveal the mood of the artwork, an analysis of a poem can reveal the author’s tone. Much more then that, analysis provides an opportunity to explore each work in an attempt to understand human nature through each author’s perspective. While exploring the painting “Ulysses and the Sirens” by J.W. Waterhouse and the poem “The siren song” by Margaret Atwood, a universal truth presents itself. While the painting focuses on the thematic idea of Odysseus being stubborn while his men care for his safety to get home, the poem holds a different view. In contrast, the thematic statement from the poem discusses the idea that the Siren hates singing and being in a bird suit, but is asking for help but it’s still tempting to hear the song. Although differing in point of view, both the painting and the poem explore an aspect of human nature that are relevant to society today. There are two different authors for the painting and the poem. However, the two are different when compared to each

In the poem “To Paint a Water Lily” by Ted Hughes, the speaker conveys his attitude toward nature as perplexing, complex, and deceiving. He also expresses his opinion of the artist and the difficulties brought on by him trying to paint and recreate not only the picture of a water lily and its natural scene, but also capture the intense environment that is both peaceful and full of constant activity. The author achieves this through literary techniques such as: imagery and juxtaposition.

Dylan Thomas's poem "Fern Hill" represents the passage of one mans life from boyhood to adulthood and the realization of his mortality. The speaker in this poem uses expressive language and imagery to depict a tale of growing up. The use of colour adds life and character to people and abstract ideas. He looks up to

Poetry has a role in society, not only to serve as part of the aesthetics or of the arts. It also gives us a view of what the society is in the context of when it was written and what the author is trying to express through words. The words as a tool in poetry may seem ordinary when used in ordinary circumstance. Yet, these words can hold more emotion and thought, however brief it was presented.

The poems “Nothing Gold Can Stay” by Robert Frost and “The Red Wheelbarrow” by William Carlos Williams are modernist in tone and use of figurative language. But where Frost builds image upon image to convey a tone of sad acceptance of the reality that nothing lasts, Williams sticks to one simple image of a simple object to convey a playful tone. In the first line of “Nothing Gold Can Stay,” Frost uses the metaphor “first green is gold” to refer to what is new and fresh; “early leaf” in the third line similarly means the newest thing: “Her early leaf’s a flower.” Frost also uses personification, referring to Nature with the female pronoun, “her.” Further, he uses alliteration: “first green is gold” and “dawn goes down to day.” He also uses

Often at times there are many voices in one poem. These voices represent the different views that come from the same material that are portrayed by the buzz that the bee elicit in the hive. The proposal that Collins is trying to exude is that there is never one way to read a poem. The type of approach will vary with reader and who they are, but by having a radical approach it will help to enhance our understanding of what the poem means. Collins wants the reader to feel free when analyzing a poem: “I want them to waterski across the surface of the poem waving at the author’s name on the shore.” As a teacher you try to pummel depth into your students’ minds and push them into the direction of understanding. The speaker declares that the grapple to illuminating meaning and the amount of time where the reader does not understand adds to the worth of the poem. The parallel to the surface of water, where you have not attained the depth even though you know it’s there is important to how much it takes to find the true meaning of a poem. While reading this poem it have the outlook on how poetry places more of aln emphasis on us to be able to pick apart the undisclosed meaning and essentially to be able to pull apart the poem without a fixed structure. By doing it this way it is able to help the audience to build upon skills to help interpret and understand, which substantially is important throughout any source of literature. We

By analysing the structure (shift from external to internal landscape), language (tenses, pronoun), and presentation of the experience of seeing the daffodils, I seek to demonstrate that feelings of the sublime are only evoked when the narrator’s imagination participates in the scene he has internalized in his memory. While the first three stanzas exemplify a merely physical stimulus and response mechanism to nature, the last stanza shows how active poetic imagination enables man to recreate and amplify emotions encountered, thus resulting in feelings of the sublime. Why does the observer not recognise the ‘wealth’ the scene brings in that moment? How does poetic imagination connect the physical eye and the inner eye to allow for sublime, transcendental experience? Hess argues that the poem “depend[s] for [its] power on the narrator’s ability to fix a single, discrete, visually defined moment of experience in his mind, to which he can later return in acts of private memory and imagination” (298). An example of the recapturing of emotions is seen where “gay” (I. 15) is recaptured as “pleasure” (I. 23) at the end. Active imagination, which draws inspiration from memory of the initial encounter, is now a permanent possession that

Immediately, the question of who this person may be comes to mind. As the second stanza begins it is clear the the point of view has switched to third person and Thomas’ goes on to describe how good, wise, wild and grave men have “[raged] against the dying of the light” (7). The entirety of the fifth stanza is a declarative sentence- a call to arms against the war on death. This is an apparatus to ignite passion amongst those who hear his words. But the sixth stanza comes full circle back to second person creating a more intimate effect. This illuminates the overwhelming distress and devastation he felt at the time because it is here that Thomas’ own father is revealed to be the subject of the poem.

“The relationship between the energies of the inquiring mind that an intelligent reader brings to the poem and the poem’s refusal to yield a single comprehensive interpretation enacts vividly the everlasting intercourse between the human mind, with its instinct to organise and harmonise, and the baffling powers of the universe about it.”

It is certainly true that one of the distinguishing features of poetic texts is the use of figurative or non-literal language – this essay highlights the fact that metaphors do contribute to the understanding of a poem. Ted Hughes’ poem, Sketching a Thatcher, is loaded with vivid imagery and ample metaphorical constructions which aids to validate this fact. In order to uncover the message behind this poem, one must take a closer look at the arguments, focus expressions and tenor/vehicle constructions of at least six local metaphorical constructions

you feel calm and relaxed while you read the poem, as it has nice and

The man describes an identical situation at the end of the poem, saying, “Thoughts of a dry brain in a dry season” (76). The concept of nature as a source of order is based on its function as a cycle. The old man waits for the cycle to deliver him from his spiritually dry state to a place of fulfillment. But nature brings no change to the man and leaves him in the same arid condition in which he began. The failure of nature to provide a cycle is supported by the natural, stationary images in the poem, such as, “Rocks, moss, stonecrop, iron, merds” (12), and the “Gull against the wind, in the windy straits” (70), which shows nature forcefully impeding the progress of the bird, just as its lack of cycle reinforces the stagnation of the old man’s mind, body, and spirit.