Compare Shakespeare To Autumn

Explain (tell me what image the poem brings to mind)She begins by describing the "death of winter's leaves".

As human beings, we are changing each and every moment as we are introduced to new ideas, values and challenges by our surroundings. In Alistair MacLeod 's short story, "To Everything There Is a Season", the author depicts the anxieties and reservations of the narrator 's transition between childhood and the adult world. This story also allows the reader to understand the importance of change in one 's life. The story is set on Christmas Day and the weeks preceding, when the whole family was awaiting for the eldest brother 's arrival. By seeing through the author 's eyes, we can understand the turmoil and conflict as he feels he is trapped in between two sides; childhood and adolescence. Reluctance of changing, "Santa Claus",

For centuries, seasons have been understood to stand for the same set of meanings. Seasons are easily understood by the reader, and are easy for the writer to use; as Foster states, “Seasons can work magic on us, and writers can work magic with seasons” (Foster 192). The different seasons are a huge part of our lives; we live through each one every year, and we know how each of them impacts our lives. This closeness between people and nature allows us to be greatly impacted by the use of seasons in literature. In addition, Foster lays out the basic meanings of each season for us: autumn is harvest, decline, tiredness; winter is anger, hatred, cold, old age; summer is passion, love, happiness, beauty; and spring is childhood and youth. On the

Once more, the poet anticipates his own death when he composes this poem. But in each of these quatrains, the speaker fails to confront the full scope of his problem: winter, in fact, is a part of a cycle; winter follows spring, and spring returns after winter just as surely. Age, on the other hand, is not a cycle; youth will not come again for the speaker. In the third quatrain, the speaker resigns himself to this fact.]

Proceeding on to quatrain two, the poet continues to meditate by using images of decay; lofty trees, barren of leaves, white and bristly beard. Just as time progresses, day changes to night, and the young become old, summer becomes winter. In the warm weather, the trees were leafy and bountiful. They served as a canopy that sheltered herd of animals from the blazing sun (L.6). In winter, however, the lofty trees are now barren and stripped of their leaves. The outward appearance of the tree is pathetic and unsightly. The herd of animals will no longer seek shelter under the trees because they look lifeless. Shakespeare further elaborates the imagery of plant life decaying. Summer flowers are beautiful and they exemplify life. However, quite the contrary, Shakespeare states that these flowers are gathered together to be used as funeral arrangements and carried on the coffin over the white and bristly

LXVII: Stanza 1:This poem takes place in the winter. Nature imagery; contrast between warm indoors and the cold outside. Diction describes how bitterly cold it is. Stanza 2:personification; speaking/thinking to himself. Possibly alone, compares thoughts to all of the nature mentioned Stanza 3: asking who one should fear what comes with the seasons; saying that you should only be afraid of the winter; love has never been found in the winter Central Idea LXVII:

William Shakespeare's "Sonnet 73: That Time of Year Thou Mayest in Me Behold" is a sonnet that examines the fears and anxieties that surround growing old and dying -- a topic that resonates within us all. Shakespeare's use of metaphor to illustrate decay and passing are striking, and sets a somber tone throughout. He uses the season of Fall, the coming of night, and the burning out of a flame as metaphors for old age and death, and then uses the last two lines to suggest that we should love and cherish life while we can.

As you read the poem, the diction is very soothing and many of the words carry a very blissful, calming connotation. Lines such as “Pillow’d upon my fair love’s ripening breast,” have many words that create the relaxing tone (10). Words like “Pillow’d” and “fair” are very tender, and though they don’t necessarily have a concrete definition that readers think of, they hold an uplifting connotation. Take the line “To feel for ever its soft fall and swell” (11). The words “soft” and “swell” both have a general meaning to most people of positivity and goodness.

Misty dew covers the entire surface of the field. The yellowing corn stalks stand erect and proud until my grandpas tractor comes to end their growth. Autumn slowly weaves its way in and leaves a stain of brilliant color in its wake. Not everyone enjoys such colors, but when you take a second to step outside your doorstep, and look at all the wonders that surround you, you’d be surprised at how marvelous the world can truly be. To me, Autumn is a time for relishing in the colors. Soaking in the oranges and reds while sitting by a warm fire. It’s a time for remembering that everything does end, but it does not have to end in the dreadful way we think it will. Autumn is a time for the closeness of others to keep out the chill of the morning and the starry-eyed darkness of the night.

This poem that I am going to be focusing on is titled "Ode to Autumn",

In Shakespeare’s “The Winter’s Tale”, we see a jealous king convinced he is search of the truth. He will expose his wife and her alleged philandering, but his determination to prove this actually changes this search from one for truth to one for myths—creations, false truths. In essence. Leontes runs into the conflict of defining art versus nature, where art is the view of the world he constructs to prove his paranoia true. Nature itself can exist without art, but the art here is the mangled perception through which Leontes will seek to define Nature. In summation, “The Winter’s Tale” investigates the conflict between art and nature—creation versus enhancement—and seeks to find out if

According to Bracher, this loading and overloading makes Autumn quite the ambivalent figure, traditionally standing for death, but being attributed to fulfilment in the poem. Autumn’s actions unite both meanings within them, abundance and ripening symbolizing death and decay – through the anxiety of bursting and rotting –, as well as fulfilment (Bracher 1990, 646

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”.

Throughout the beginning of the poem, Keats touches on the beauty and richness of autumn. He accomplishes this by introducing distinct fall imagery. For example, Keats writes in lines 5 and 6, “To bend with apples the moss’d cottage-trees; And fill all fruit with the ripeness of to the cores” (414). Having the trees’ branches being bent by the weight of the apples and the fruit being ripe to its core, the narrator points to the plumpness and maturity of the fruit. Typically, fruit reaches this fullness in autumn when it is ready to harvest. Keats uses this delectable and pleasant image of the fruit to not only demonstrate the mouthwatering joys nature has to offer during this season, but to also