Theme Of Love By Ruskin Bond

“The gentle green hills which on either hand enclosed the village, tufted here and there with magnificent trees, the village itself, straggling and wide, each cottage being far apart from its neighbors and each ornamented with flower beds and shrubberies; these with a lovely stream which would through the valley, formed, as far as my memory may be trusted, one of the most exquisite panoramas, on which it has ever been my good fortune to

This is shown when it states, “A vast population of waterbirds lived in the swamp… paddocks and wooded country beyond were lorikeets, rosellas… families of pigeons – fruit-pigeon, bronze-wings… and high over stood the birds of prey, the hawks and kestrels” (1). Through the incorporation of asyndeton and descriptive language it emphasises how lively and welcoming Australia is, which is seen through the various types of birds entering the sanctuary. Malouf continues this notion of Australia being filled of warmth when it states, “A place where people came; he couldn’t keep all this, or his excitement in it, to himself” (13) and “How much life there might be in any square yard of it” (18). By Malouf expressing the characters’ emotions towards the land it showcases how the land itself brings joy and happiness into their lives which contrasts the attitudes presented in Europe. This is shown through the harsh tones and negative connotation used when Malouf describes the atmosphere of Europe as an uneasy and tortured setting when it states, “The air even at knee height was deadly” (91) and “The air was tormented” (92). Through the metaphor and word choice used it facilitates to the images of war being a cruel and unbearable experience, which is highlighted through the words ‘deadly’ and ‘tormented.’ Therefore, through juxtaposition

The poem “Love Song” by Carol Muske-Dukes is about lost love. She uses a sparrow that lost its family. The life in this poem is being lived in a house in a village. The poem suggests this when it states, “He and I had a blue landscape, a village street, some poems, bread on a plate” (stanza 5). The poem doesn’t tell us when this poem takes place only where it happens. The tone of the poem is nostalgic. The bird misses its family. Two times the poem shows that the bird is nostalgic, “All day it pecks at the tin image of a faceless bird.” (stanza 3-4), “Love was faceless even when we’d memorized each other’s lines.” (stanza 6) The 1st quote shows that he wants his family back because all he does is stay with a tin bird which is the only resemblance

People and the landscape are inextricably linked and consequently each play a role in shaping the other. The texts we have studied show the implications for the individuals present based on their treatment of the landscape, highlighting the connection between the two. Both Judith Wright in her poems “Brother and Sisters” and “The Hawthorne Hedge” as well as Michael Wilding in his short story “As Boys to Wanton Flies” showcase the emotional ties between the individuals and the landscape. Both composers, through their chosen text demonstrate how the individuals are connected, influenced and shaped by the landscape showing that they are not merely inhabitants but are a part of their chosen landscape. This has been done to highlight the involvement

The abundant animal imagery in Timothy Findley's book The Wars is used to develop characterization and theme. The protagonist, Robert Ross, has a deep connection with animals that reflects his personality and the situations that he faces. This link between Robert and the animals shows the reader that human nature is not much different than animal nature.

While reading “The Raid” by Leo Tolstoy, one is instantly struck by the strong contrast between the peaceful nature scenes and the violent battle scenes. One minute the sounds of crickets and frogs are charmingly echoing through the night, and the next you can hear the “clang of a heavy gun” and the “sound of bayonets touching one another” (Tolstoy 20). In one scene, the generals and majors stand watching the gory battle below, yet they continue to discuss the beautiful nature around them as if nothing else could possibly be worth their attention (Tolstoy 25). However, upon closer readings, it becomes evident that the war and nature scenes are not as separate as they seem. As the story progresses, the two begin to weave together, until distinguishing them is nearly impossible. Indeed, this subtly merger can be seen throughout multiple scenes as the story evolves.

Where the Wild Things Are, a children’s book written by Maurice Sendak, is not only directed to young children, but has an underlying message that is intended for older generations to receive. This message, only used to enhance the meaning of the story, describes the addiction for one to have power and be in control. As the story goes on, the realization sets in that maybe the desire for power is not the best, at all times. The use of oppression becomes evident in this story, through Max, the main character, as he strives to control everything around him. Maurice Sendak uses repetition and parallelism in the imagery and text of Where the Wild Things Are to show Max’s progression to assume power and eventually discard it.

She became accustomed to the perception of a desert being portrayed as dull and lifeless (Being raised in Kentucky) until this trip. Throughout this scene, she expresses her fascination for nature, and uses a tone of awe and allurement while describing the attributes about the land with metaphors. This narration occurred following the first rainfall, when Mattie and Taylor decided to go to the desert. This passage which is distinctive of Kingsolver’s portrayal of the natural landscape shows her sudden awareness diverse atmospheres. By linking to the scenery to “the palm of a human hand”, the author uses the literary device of personification with the mountains and the town. Her phrase “resting in its cradle of mountains” associates the basin to a child, and the phrases “city like a palm”and“life lines and heart lines hints a grown-up. The terrain exemplifies a life from the beginning to end. Taylor describes the land my linking each attribute with lots of metaphors, which then confirms that the tone is “wonder and allurement” because it demonstrates that she is emotionally connected to the

“Rainsford heard a sound. It came out of the darkness, a high screaming sound, the sound of an animal in an extremity of anguish and terror” (16). In the shocking short story “The Most Dangerous Game” created by Richard Connell, tension and terror is manufactured in the eyes of the reader. In the chilling story of a hunter and a huntee, the author subjects the audience to Rainsford’s grief and agony of the hunt. Combining suspenseful foreshadowing and vivid imagery, the writer produces apprehension and fashions shock in the eyes of the reader.

Love can be an amazing thing and it is often said that nothing compares to the bond between a mother and her child, yet before a study called “The nature of love” which is discussed in the book “Forty studies that changed psychology: Explorations into the history psychological research,” our society had a very different understand about what caused this bond (Hock, 2013). In the book the author Roger Hock explores many different influential studies but in the section called “Discovering Love,” he takes a closer look into this study and discusses its importance (Hock, 2013). The influence of this study can be found in many different types of literature such as contemporary articles like “Building your own family,” which was published in Scientific American Mind (2014). This article implicitly provides further understand of the “The nature of love” study results and shows active efforts to continue building on the original theoretical ideas in order to change our views about human development (Jacobson, 2014). Even in modern text books like Psychology: Eighth Edition, can we find traces of the importance of this study. Thus this study not only provided a tremendous contribution to the field of Psychology but also changed society by altering its views on child rearing all together.

Duong’s decision to describe the snowflakes as “strange flowers” exposes Hang’s attachment to the landscape of her own home, and also the strangeness of this new landscape for her. The word choice of flowers and their connotation of spring provide contrast to the harsh winter. Hang’s simile comparing the snowflakes to a “luminous” childhood dream juxtaposes the description of them as “blinding shards” and “frail”, thus revealing Hang’s opinion of dreams as something rarely obtained. Surely as a child she imagined the best that might have happened, and had such optimistic hopes of what might have been. They are thus associated with sorrow by the simile, reflective of the cruel reality she faced when her dreams were suffocated as a child. The snowy landscape also triggers a more consuming flashback to a time in Hang’s childhood. Duong provides vivid imagery of the beautiful landscape of the bay - “Clouds floated like puff jade along the horizon, a line broken jagged by solitary rocks.. This endless jade-colored necklace fallen to the earth.” (Duong ) The metaphor comparing the clouds to a jade-colored necklace further emphasizes the landscape’s beauty and richness. The idea of a jade necklace, a material wealthy good, introduces the idea that the natural landscape is a gift, accessible by all. Duong emphasizes this with the subsequent sentiment that “beauty knows no frontiers, seduces without discrimination” (Duong 83). Hang

As I mentioned earlier as a child Theodore Roethke spent a lot of his time in the greenhouse his father and uncle owned. He observed nature and its true beauty in unique ways. The years he spent in that greenhouse truly helped him become successful in his writing career. A good number of his most famous works, as well as his less notable works reference nature in some way. I will discuss some of these poems showing the references to nature and repeated themes. Roethke tends to relate life and death to nature using imagery and detailed descriptions to captivate the readers.

The poem, “A Narrow Fellow in the Grass,” by Emily Dickinson is a collaboration of fear and intrigue. The poem is presented through a young boy as he makes his way through cool and damp grassland during the afternoon. The issue the young boy must deal with is the unwelcome encounter with a snake. From the first glimpse of the slithering snake the tone of the poem is set: an uneasiness mood followed by persistent fear. The combination of external conflict and dexterous imagery create the atmosphere of this poem.

When the sun slowly peeps over the range of mountains, birds shake the morning dew off their feathers and give a cheerful song that would lift even the most sorrowful of spirits. A light fog wraps around the mountain range, reaching to touch every bit of life thriving there. The slight chill in the air is enough to give a gentle shiver, but not enough for the need of a jacket. A breeze tickles the trees, making their leaves shake and sway with laughter. Sunlight seeps in past the thick canopy of branches with hopes of being able to reach the damp mountain earth. The mountains are the best place to live to be relaxed, see the most beauty, and never get bored.

Pastoral poetry is a lyric poem that idealizes nature while criticizing urban life.These two pastoral poems are example of the contrast between the easygoing countryside and the hustle bustle of a city. In the famous pastoral poetry, “The Passionate Shepherd to his love,” the Shepherd happily describes the beautiful natural image of a perfect life. He wholeheartedly believes that love is always joyful and nothing can ruin the serenity. This poem is criticized for its deluded perspective by the Nymph in a taunting way. She mocks his fantasy life that has everlasting flowers, melodious birds and finest wool gown. The Nymph’s view on her ideal love is infinite, nonmaterialistic and realistic which contradicts the Shepherd’s view on ideal love—youthful, acquisitive, and blinding; these incompatible views tear a relationship into pieces especially when the problem is addressed in a cynical tone.