The Sestina Poem Leaves Analysis

His integration of various traditional symbols elevates the poem’s overall meaning to his audience. The garden signifies the speaker’s relationship to another that soured, “The sunlight on the garden / Hardens and grows cold,” (MacNeice, 1-2). This is associated with “Our freedom as free lances / Advances towards its end; / The earth compels, upon it” by describing their relationship as something that was healthy and vast that has ended (MacNeice, 6-8). The nature theme is continued with garden paired with sunlight in the repetition of “The sunlight on the garden” (MacNeice, 1, 24).

The poet in her writing used the language tools of symbolism, images, metaphor and nature to illustrate her poetic ideas. This poem ‘’The Woman thing’’ seeks to view the men as unemployed in search for survival of livelihood thereby getting involved in various kind of hands on work. The poet called these men ‘’Hunters’’ which is a language tool of imagery. Poet used the language of imagery to communicate her words to her readers by saying in line 4 of the poem ‘’The hunters are back from beating the winter’s face in search of a challenge or task in search of food making fresh tracks for their children’s hunger. The hunters are treading heavily homeward through snow that is marked with their own bloody footprints, empty handed, the hunters return snow-maddened, sustained by their rages.

This poem dramatizes the conflict between a child who desires a verbalization of love and a father who expresses love through actions rather than words. The first stanza informs the reader that the action of the poem occurred in the past, and the speaker reflects upon it. The speaker describes the house as being “blueblack cold” during the wintertime (2), which not only allows the setting to be determined but also allows an inference to be made about the emotional companionship (or lack thereof) within the house. The father used to awake earlier than the rest of the family in order to start a fire to keep his family as comfortable as possible, though “no one ever thanked him” (5). This line introduces the regret of the reader pertaining to the treatment of the father.

2) In my found poem I was trying to illuminate the imagery and figurative language found throughout the book, and show how it enhances the reading experience. This passage was describing the sun setting and the night flowers blooming. By condensing the passage into a found poem the figurative language and imagery were highlighted, the not needed words cut out, and the words in general being switched around. In the poem there is one simile that was in the original passage that I think stands out, “Darkness poured out, covering trees till they were dim as the bottom of the sea.” I chose this scene because in my opinion poems are better when they’re full of figurative language, and this one is.

She uses these literary devices to convey her attitude towards loss of important things to her such as the loss of her lover. In this poem she is trying to express loss in a deeper form and meaning.

Ironically, darkness is also our light and through our darkness we discover our light, so I found it essential to employ a darker background to continue this idea of seeking polarised experiences through life’s dichotomies. Here, Frost also consistently prompts the notions of polarised experiences as a vehicle to extend ones discovery and growth processes. The silhouette of the figure that is gradually increasing in size is used to represent time as an abstract concept in which the salient figure of the man, under the void’s jurisdiction has liberated from life’s such irreconcilable differences. The woods are reflected here as a place for restoration of the spirit through unity with nature, the locus of deep and occasionally sinister spiritual forces, a happy hunting ground for analogies of the human condition, where both the perils and joys of isolation are portrayed. It is in this state of isolation that the letters surrounding the man retire back to Earth in which the notions of social contamination are obliterated in natures vacuum; one that is devoid of man’s corruption. “After Apple Pickings”, narrative iambic pentameter once again gives a sense of storytelling, but the poem is more a reflection. It is the idea of

Every known poem no matter how many lines or how complex the words are, cannot be interpreted in one particular manner. Based on personal experiences we are able to decipher poems in unique ways. “The Haunted Palace” by Poe and “Fire and Ice” by Frost, have various interpretations that can be used in regards to politics, physical Interaction, or philosophical meanings, but the main idea these poems use is towards the environment. These poems link the description of the environment to human experiences by adding certain elements such as, “Radiant palace-reared its ugly head” (4) and “But if it had to perish twice” (5) in order to hint the readers that the poem has a connection to human behavior.

Nevertheless, this death was(is) not(caused by) because the protagonist surrendered compliantly but instead she was unwittingly trapped. This is supported through the symbolic implications behind the seasonal characteristics of daylight as these parallel her slowly transformed attitude towards darkness, or in other words her future. Summer, winter and early spring are the key seasons brought up repeatedly that reflect the most of her maturity’s progress. Her bright summers are filled with the fulfilling work of being a “hired man” for her father and the slight yet still unsubstantial pressure from her mother to conform (Boys and Girls 116).

In this poem Sarah Teasdale talks about herself talking to the plants. She talks of how in the spring when all the pretty flowers grow, they are all smart. But in the autumn all the flowers are ugly and stupid. It seems really simple, but if you look at it closer you can see that the “ clear-eyed daisies” are the youth, and “ brown and barren” are symbols of aging. But in the end “ Bitter autumn” Symbolizes the death of all.

This poem presents nature as a standard of beauty that is strong to the point that it captures the speaker's attention and makes him or her halt whatever they are doing. There are very few unmistakable words used to convey what it is that the speaker discovers so beautiful, only "lovely," "dark" and "deep." Of these, "lovely" essentially restates the entire idea of the poem, which most readers would already have gotten a feeling of from the speaker's tone and actions. The darkness of the woods is an idea so important that it is mentioned twice in this ballad, emphasizing a connection amongst beauty and riddle. The emphasis on darkness is strange, and more clear because the sonnet takes place on a snowy evening, when the dominant impression

The author creates an overcast mood in the story reflecting his overarching theme of pride as a destructive force. Particularly in the beginning, the narrator constantly references death, including his description that, “summer was dead but autumn had not yet been born” (Hurst 129). His choice of words in writing that “summer was dead” contributes to the overall melancholy atmosphere. The description of summer, normally a carefree and innocent time, as “dead” creates an image of sorrow in the reader’s mind, almost an implication that this innocence has been lost. Saying that “autumn

The stanza of “Mariana” discussed in this analysis is almost entirely consistent regarding its metrical patterns. This uniformity is a conscious stylistic decision on Tennyson’s part as his sudden departure from such regularity not only challenges the audience’s expectations, but physically shapes the way in which the audience reads the words on the page. The first seven lines of the stanza are written in iambic tetrameter, this number of lines enough to create a foundation for expectation from the audience; however, the steadiness of this regularity is disrupted by Tennyson’s sudden shift to pentameter in the eighth line. The disturbance of form only progresses as Mariana begins to speak, the later lines of the stanza descending to trimeter as she cries that she is “aweary, aweary,” wishing that she were dead. The melodic nature of the word “aweary” not only actively resists an iambic reading, but ultimately lends itself more to an amphibrachic one. While a disyllabic reading of the line may still be possible, it disrupts the vague semblance of fluidity that remains in this structural estrangement from iambic tetrameter. Not only that, but reading “aweary” as an amphibrach (aided by the line’s excessive use of sonorant alliteration) instills a cyclical sense of lethargy and fatigue that is reflected by the coming and going of days, something which is actively smothering Mariana’s resolve and her will to live. Mariana’s daily realization as the sun “[slopes] toward his

That life flows on and the operation in the natural order continues is stressed here. The fame of poppies that drowses the harvester and the 'twined flowers' that offer a resistance to the 'say the' cause a brief pause in time. This eagerness to prolong the moment of happiness - the ode stanza, extended to eleven lines, is give en a more prolonged effect and is also shared by autumn who watches the 'last oozing hours by hours' she is in time and bears the full load of agony inherent in process, but she is also above time watching the ceaseless and yet unhurried movement on the temporal plane. The first stanza is set in the morning hours, the second stanza is set in the drowsy midday and the sun's diurnal course is completed in the final stanza. The last two lines of second stanza convey the audible 'juicy' noise of the sibilants which is very strong one and is presented not simply with a visual image of the last oozing, but an audible one also. At the same when this celebration of joys of autumn is taking place, we find in the ode indirect images of ageing. The sun is 'maturing' it is growing older, and so is autumn itself, as in the 'close bosom-friend' of sun only. There is an ambivalent note in the phase 'set budding more and still more apparent in the phrase, reference to the bees 'until they think warm days will never cease. For summer has over brimmid their clammy cells'.

“Every way ends, every road, every foot-path leads at last to the hill-crest—.” As for stanza three, H.D. continues to clarify her argument by using imageries that contain elements which signify women; as in the colour pink which was mentioned twice in this stanza, “border-pinks, clove-pinks, wax-lilies, herbs, sweet-cress.” To illustrate more stanza three, these flowers and herbs are mostly seen in trimmed and sheltered gardens which it can be sensed that those sheltered flowers are imageries of either the lack of freedom with women or even the lack of freedom with the plants

In the third stanza, the imagery and tone change to a more dark and more dull mood, where “no one can be merry” and the activities have to come to an end, because the “The Sun does descend…On the darkening green” (lines 21-23 and 30). Moreover, this dusky setting and the end of the day embody death. The different imagery, both visual and auditory, in the different stanzas illustrating the viability of Spring and the inevitability of the night, Spring representing life and the night representing death. Consequently, the dual themes of the poem, Nature and humanity, relate through the explicate and dynamic imagery of Spring and the night. Furthermore, the juxtaposition of “London” and “The Ecchoing Green” commands great contrast and comparison and further conveys the different themes of both poems with a richer sense of understanding as they support each