At first glance, Richard Wilbur’s “A Barred Owl” appears to be short and straightforward: a child, awakened by the hoot of an owl, calls for her parents, who soothe her with a lie about the owl’s supposed harmlessness. The child, blissfully unaware of the owl’s true nature, falls back to sleep, leaving the parents to reflect upon the owl, who they know to be a predatory creature. However, after a closer look at the puns and symbols Wilbur uses, “A Barred Owl” becomes more than just a simple poem about a child’s fear. Furthermore, Wilbur’s theme about ignorance is applicable in life, especially politics, today.
Wilbur uses puns, most notably on the word “barred,” to help express theme. Barred has two meanings: “having… stripes” and “forbidden or excluded” (Collins English dictionary at onelook.com). Wilbur uses the word in a literal sense as the owl is barred with stripes. He again uses the word literally as the house is physically unable-- forbidden, even-- to enter the house. But Wilbur also uses “barred” another way: the owl is figuratively barred-- excluded-- from the house as the frightening thought of it is blocked from the mind of the child by the parents.
Wilbur also uses symbols to express theme. The poem takes place in a “darkened room,” (2) one in which light, like the owl, is “barred” from entering. Initially, the reason behind Wilbur’s choice of setting seems rather obvious: it’s night, therefore the child’s room is dark. However, the dark room is symbolic: the parents lie to the child when they claim the owl is friendly--the child is in the dark about the truth; the dark of the room symbolizes ignorance. This isn’t the only place where Wilbur uses the word “dark” as a symbol: he writes in lines eleven and twelve, “... some small thing in a claw/ Borne up to some dark branch and eaten raw” (11-12). Like the child’s room, the branch is dark because it is night. However, Wilbur also uses the word “dark” to mean morbid and immoral, as the owl is killing its prey.
In the last line of the first stanza, the parents tell the child that the owl says “Who cooks for you?” (6). In the last line of the second stanza, the parents privately admit that the owl carries its prey “up to some dark branch and [eats
Nevertheless, in the poem ‘Nesting time’, Stewart interprets a personal experience in first person of the appearance of a bird that lands upon his daughter and forgets the thought of the harsh world. Stewart’s descriptive language repeatedly explains the poem as if seen in his viewpoint, beginning with an interjection, ‘oh’ communicating of his incredulity of an ‘absurd’ bird. Symbolizing the bird with strong coloured imagery its ‘mossy green, sunlit’, described to be bright and joyful, with sweetness shown with the type of bird, ‘honey-eater’, Douglas Stewart takes the time to describe its admiration juxtaposed to the dangerous world surrounding it. While visualizing the birds actions, ‘pick-pick-pick’ of alliteration and repetition of its
The poems “A Barred Owl” and “The History Teacher” by Richard Wilbur and Billy Collins respectively, depict two different scenarios in which an adult deceives a child/children, which ranges from the sounds of a bird at night, to the history of the world itself. “A Barred Owl” depicts two parents who lie to their daughter about an owl who woke her in the night, while “The History Teacher” involves a man who tries to protect his students by using education as a tool to deceive them. Both poets use diction, imagery, and rhyme to help them convey a certain tone in their poems.
Harwood introduces the idea of maturity, responsibility and grief in her poems 'Father and Child'. The "Barn Owl" poem is situated around her childhood whereas "Nightfall" is situated around her adulthood, through different settings comes different themes, focuses and lessons. Within the first stanza of "Barn Owl", authority is challenged with the child wanting to prove to her sleeping father that she is not an 'obedient gentle angel.' The child is obviously bitter towards her father, regarding him as 'old no-sayer' which alludes to the controlling, vengeful God of the Old Testament. She thinks that her father is now robbed of his power because he is asleep and is unaware of her plans. With Harwood contesting against authority at such an
Through this great horned owl, Oliver is able to convey a double-meaning. Not only is it a creature, but the meaning of death. It can be deceiving and appear like a “big soft moth”, but also turn around and “eat the whole world”. She uses this owl to represent the concept of death because anyone or anything can be enjoying
In “A Barred Owl” by Richard Wilbur and “The History Teacher” by Billy Collins, adults provide easy explanations for children when confronted with harsh realities. Both works explore the use of white lies to respond to children’s fear and curiosity in an attempt to preserve their innocence. However, the writers employ literary devices that convey these concepts in different ways. While Wilbur presents parents’ well-intentioned untruths as beneficial to a child’s peace of mind, Collins reveals the serious consequences of a teacher’s trivial fabrications.
The writer makes use of diction to express his feelings towards the literary work and to set the dramatic tone of the poem. Throughout the poem, there is repetition of the word “I”, which shows the narrator’s individual feeling of change in the heart, as he experiences the sight of hundreds of birds fly across the October sky. As the speaker effortlessly recounts the story, it is revealed how deeply personal it is to him. Updike applies the words “flock” and “bird” repetitively to the poem, considering the whole poem is about the sight of seeing so many birds and the effect this has on a person. When the speaker first sees the flock of birds in lines 8-10, alliteration is applied to draw attention to what the narrator is witnessing. In line 29, Updike
Mary Oliver’s passage from “Owls” is composed of various stylistic elements which she utilizes to thoroughly illustrate her nuanced views of owls and nature. Oliver’s use of intricate sentence structure–syntax– and a speculative tone are formal stylistic elements which effectively convey the complexity of her response to nature. Oliver’s passage is largely constructed with complex sentences, which provide insight into her views of nature. Following her discussion of various types of owls which she is accustomed to seeing and hearing, Oliver connects her experiences of wondering about nature to her own life, stating: “The world where the owl is endlessly hungry and endlessly on the hunt is the world in which I live too.” In this example, Oliver’s sentence is composed of “endlessly” twice, a technique which emphasizes the connection between the owl that is incessantly active and the same environment in which she lives.
Mary Oliver’s passage from “Owls” is composed of various stylistic elements which she utilizes to thoroughly illustrate her nuanced views of owls and nature. Oliver’s use of intricate sentence structure–syntax– and a speculative tone are formal stylistic elements which effectively convey the complexity of her response to nature.
Particularly in 'Barn Owl' and 'The Spelling Prize', Harwood examines children's sadness as they go on their journey from innocence to experience. As time progresses and children begin their development towards adulthood, certain experiences and the way they respond to them can have a significant impact on their growth. In reference to the poem, 'Barn Owl', Harwood suggests that through experiencing and seeing it with their own eyes, they begin to realise the horror of reality. It can have an impact on children's growth as it will be a memories that will be with them permanently. Harwood goes on a journey where she transitions from being an 'obedient, angel-mind' child into a child who has unwittingly tortured an innocent creature. The fact that
The next use of imagery is the “final glade” (Wilbur, line 6) where the toad will come to rest for
hint of death within the abeyance of the forest. This is shown by the “half-drowned”
The whole second half of the poem is one giant extended metaphor! Wilbur compares the difficulties of growing up those of an ‘iridescent creature’ – a ‘dazed starling’ that in spite of difficulties, ultimately flies free. It serves as a metaphor for life’s ups and downs.
The owls in this story represent the quiet Floridian town of Coconut Cove as a whole. When Roy finally unites the town to stop the bulldozing of the burrowing owls home, it symbolizes the town uniting to defend itself from big cooperation, who just want to walk all over them. “Look, every day we’ve been reading about regular people, ordinary Americans who made history because they got up and fought for something they believed in. Okay I know we’re just talking about a few little and I know everybody is crazy about Mother Paula’s pancakes, but what’s happening out there is just plain wrong” (Hiaasen 248). In this quote, Roy asks his classmates to not stand by but to rebel against this corporation in order to save the owls, and by analyzing the motif, to save themselves as
Wilbur creates this by illustrating the previously harmless owl as a violent predator, “Borne up to some dark branch and eaten raw” (Line 12). I believe that the grander purpose that was portrayed in the poem was the unpredictableness of nature
animalistic predator as Rachel maintains the same physical alertness to the owl as she did to him. The positioning of the owl stands in directly for Harry in the form of familiar imaging as the owl is side lit and angeled just has harry was in the scene prior. As the scene prose close up shots of both an owl and bunny reveal another fairytale like moment in the storyline that is reminiscent of a fable. Cutting back to Rachel the scene ends with her in a medium shot relaying a parable like message of the world hardships for “young things”. Overall, “very little real world pretense was used as sharp lines symbolic detail through technical elements where used to create “highly” detailed and “stylized” environment in which the “expressive power” was achieved to depict the symbolic depiction of good versus evil through cinematic use of staging, lighting, and shot scale.