What similarities and differences can you see in The Thought-Fox and

Poetry can be used to tell the story of generations. Seamus Heaney’s poem “Digging” is one prime example, showing how Seamus differs from his father and grandfather who spent their lives carrying out hard, arduous labor with spades while Seamus prefers the less physically challenging task of writing with his pen. “Digging” uses a plethora of poetic devices to expand on the progression of Seamus as he realizes and shifts from his origins of digging deep into the Earth for resources, to digging into his own values to achieve self gratitude. The main devices used within the poem allow the reader to understand the physical and emotional side of Seamus’ observations through structure, rhythm, and sound.

Within, the poem, "Digging" by Seamus Heaney, he talks about several sensory descriptions throughout the poem. The poem is about a boy who loves to write and he writes about looking outside his window and describes his father and grandfather's occupation. The poem describes the gardening of the father and grandfather is vivid description.

This continues on from the progression of seasons, indicating time passing, seen in the first quatrain. Opening the quatrain with ‘voilà que’ demonstrates that what Baudelaire is about to describe is a consequence of what he described in the first quatrain, namely the metaphorical storms of childhood which still effect him today. Autumn, symbolic of death, suggests the death of Baudelaire’s imagination in the sense that he can no longer think of any poems to write. The ‘automne des idées’ suggests that, whilst there was once a time for ideas (possibly during the ‘brillants soleils’ of childhood), this time has passed; something which is reflective of Baudelaire’s pessimistic views of the ‘progress’ being made in the world. In the second line, Baudelaire uses the metaphor of physical labour to elucidate the idea of the mind working hard to be more creative. The idea of digging could represent planting seeds (either for fruit or plants) which will then bloom into ideas for poems; continuing this extended metaphor. The use of everyday items and the suggestion of the physical (rather than the mental which is actually being discussed) leads to a visual illustration of the disaster being described. Furthermore, the use of the indicative in this line suggests that what Baudelaire is saying is applicable to, not only himself, but also his readers; it

In Blackberry-Picking, Seamus Heaney isn't just retelling an experience. He masterfully weaves in a hidden lesson that becomes clear as the reader nears the end of the poem. His description of picking blackberries is in itself a metaphor of one's childhood memories and their perception at the time. He utilizes literary devices such as imagery, allusions and narrative point of view to set the mood, change the tone and draw in his readers. Mr. Heaney also structures his poem into two different sections, with each telling the story in a different tone with a different purpose behind it. However, what's more impressive is his use of intense diction to layer the poem with emotion and imagery that services his hidden message.

The narrator then goes on to comparing the attempt to understanding these imitative poetry to animals and how its just like trying to understand some of the nonsensical nature of animals. It dumbs one down to the level of idiocy like a “a wild horse taking a roll, a tireless/ wolf under/ a tree, the immovable critic twinkling his skin like a horse/ that feels a flea,” it’s funny.

may look nice and the visual rewards may be great, but that it takes a

There are many different species of fox throughout the Northern Hemisphere and Australia. Foxes belong to the dog family, which includes wolves, coyotes, and raccoon dogs. Members of this family are incredibly adaptable animals, and can live in many different places. Although a member of the dog family, the fox is slightly smaller than a medium sized domestic dog. The features of a fox consist of a flattened skull, upright triangular ears, an upturned pointed snout, and a long bushy tail.

And digging is exactly what the poem is doing the whole time. The performative act of the poem is that the speaker is digging throughout it, but rather than digging with a spade, he is using his pen to do it. The poem expresses the speaker’s desire to keep digging, like his father and grandfather did, but he wants to do it in a different way. That he is not going to dig with a spade, becomes apparent in the last two lines of the poem ‘The squat pen rests. I’ll dig with it.

Both of the poems touch on the subject of nature directly, nature is part of how the Shepherd plans to have

Dialogue is use between the characters to juxtapose the difference between the two different ways of thinking. Choice and circumstances are responsible for different perspectives of right and wrong, on one occasion the natives sell drugs for money, the doctors “look at what [they] do and see a drug that destroys families, [the natives] see [their] children growing up with their bellies full rather than empty. [They] don’t chose cocacain [they] choose [their] family [they] choose to survive. “Different composer’s ways of thinking of has led to a greater understanding of the meaning of wealth. Similarly in Digging composed in 1966 Heaney exemplifies a localised definition of wealth. Heaney values family, heritage and expertise and ignores the global paradigms. Heaney uses personal language to depict his family is hardworking but not wealthy, symbolised by the paper cork. Despite this however the tone of the poem remains positive and admiration is depicted in the line “by God that man could handle a spade.” Imagery and onomatopoeia such as “a clean rasping sound” contribute also to Heaney’s admiration for his families. Although throughout the poem there is a change from parochial to a potential more global influence moving from the local to global. Contrastingly in funeral Rites written in 1975 Heaney addresses the global issue of violence, offering local solutions. Heaney

Charlotte Gilman 's "The Yellow Wallpaper" and Jean Rhys 's Wide Sargasso Sea are stories about women 's tragic lives in the late nineteenth and mid twentieth centuries. These two stories contain many similarities. In the novel Wide Sargasso Sea, the main character Rochester drives his wife to insanity. Similarly, in the short story "The Yellow Wallpaper", John drives his wife insane. In addition, both women are isolated, oppressed, and ignored.

“Digging” by Seamus Heaney is the first poem in the first full volume of Heaney’s poems, “Death of a Naturalist”. “Death of a Naturalist” is about the transition into adulthood and the loss of innocence. The poem shows how Heaney looked up to his father and grandfather, especially their hard work. Even though Heaney did not follow in their footsteps and become a farm laborer, he respects the work they do, especially their skill at digging.

When reading the name of the poem "Digging", it seems like it will be about nothing at all. Digging is a basic and ordinary activity and the reader does not expect anything meaningful when reading the poem. This is deceptive, because the first two lines present readers with a sense of choice. Heaney immediately makes them aware of the deeper issue of the subject he is about to explore and therefore creates an alertness in them.

Imagery is the use of language to create “mental pictures” in one’s mind through descriptions and “sensory perceptions” (Wheeler). In“Digging,” Heaney establishes the setting of the poem by describing that he is in what seems to be a room with a window that overlooks an area of green. He starts the poem off with “Between my finger and my thumb / The squat pen rests; snug as a gun. / Under my window, a clean rasping sound / When the spade sinks into gravelly ground: / My father, digging. I look down” (“Digging”). He uses the appeals to sound, as in “a clean rasping sound” and “the spade sinks into gravelly ground,” as well as appeals to sight, “I look down,” and appeals to touch, “[b]etween my finger and my thumb,” to create an image in the reader’s mind of what that day, or perhaps thought, looked like. The image that is created is one that shows contrast, in this case between an unidentified narrator and his father. As the poem continues, Heaney describes “But I’ve no spade to follow men like them. / Between my finger and my thumb / The squat pen rests. / I’ll dig with it.” The contrast that this furthers is the idea that the narrator is very different from his father, creating a divide that can be the start of tension. Because the narrator and his father cannot necessarily understand each other due to these differences, as each chooses his different approach to digging, the narrator seems to understand that not much can be done about the father’s choice to remain a

The uncompromising structure of the poem provides a meditative rhythm (showing Stevens connection to Milton and the romanic era) as the speaker reflects on the relationship between oneself and the natural environment. Simultaneously, Stevens’ use of blank-verse and inclusion of both enjambments and end-stopped lines allows for artistic exploration, mirroring a human thought pattern and the speaker’s mental exploration of personal beliefs. The syntax resembles a racing mind, as the sentence structure is the only aspect of the poem that does not follow a strict pattern. This is evident as the speaker ponders a Pagan perspective,