She sought refuge in the hills of England. She was very appreciative. She thought it was wealth. She thought of the undulating land as blessed or sacred as can be seen in parenthesis in line 14, ‘As if God’s finger touched but did not press.’ As a result of Browning’s Evangelist childhood, her poems were filled with biblical allusion. Browning over-exaggerates the features and beauty of the nature of England almost making them come alive with her use of personification.
Through the visual imagery of “gathering rosebuds,” the rosebuds are a symbol for purity and innocence we can draw the conclusion that the speaker is telling the virgins they are innocent and pure, but soon they will bloom and that is when life should be lived to the fullest, for example by having sex, marrying and having a family. He continues the first stanza by personifying a flower with the ability to smile – the bloom, and he states, “And this same flower that smiles to-day/ To-morrow will be dying” (lines 3-4). From this statement, the reader
However in this poem she cannot find a happier memory and recalls a dream instead, “I dreamed once long ago, that we walked among day-bright flowers.” Her use of positive imagery such as the “day-bright flowers” lightens the mood and achieves the same effect of the memories in The Violets, as she stops thinking of death and causes the reader to forget the unhappy nature of the initial memory and be emotionally moved by the warmth of the following memory where she is “secure in my father’s arms.” In her poems The Violets, Father and Child and At Mornington Gwen Harwood demonstrates through her use of memories, her loss of innocence, the love for her parents and how quickly time moves. Her memories also serve to engage the reader and make us feel her sense of happiness, sorrow and
Her word choices “remembered” and “were in love,” Waniek emphasizes a sentimental memory. Waniek’s diction allows the reader to relive the memory through the speaker’s perspective. The speaker describes how she remembered "play[ing] in its folds and be chieftains and princesses" (11-12). She uses these lines to demonstrate how the quilt represented her youthful and energetic days with her sister. Through the descriptive use of colors, Waniek creates a vivid picture of the quilt: “Six Van Dyke brown, squares, two white, and one square yellow of Meema’s cheek” (lines 15-17).
She is connected to the chrysanthemums. “ You can feel how it is”(691). “They never make a mistake”( 691). “They’re with the plant”(691). He starts talking about the flowers and how beautiful they are, and this makes Elisa feel beautiful and valued.
In the poem, the author reminds the reader that a patchwork quilt, like any other blanket, is merely meant to keep someone warm, but the Century Quilt comes to focus on other purposes, such as the consolation of something special in someone’s life. Through the poet’s imagery of the quilt, the reader can see that it becomes symbolic of values that are important to the persona. The poem expressed how one particular item can play significance on discovering your family heritage. The girl in the poem hopes to obtain her grandmother’s Indian blanket, but it is instead given to her sister. Although she does not have this part of her heritage, the persona finds a quilt that she says, “I’d like to die under” (Line 14) .
Use of Language in “Birthday Party” Katharine Brush wrote with vivid language in “Birthday Party” to portray the typical 1940s married couple. The phrase “unmistakably married”(1) sets the somber tone in the story. The language in the description of the birthday cake leads in the direction that there is a deeper meaning behind the “Occasion”(5). When Brush uses irony in the story, she reveals a different context than the literal meaning of the word or phrase. She used the language to develop a deeper and more complex story than it appears on the surface.
According to Neil Gaiman, people celebrate this goddess, but do the people who are celebrating know that she is a goddess and not just a Christian holiday. He is questioning the American people to really think about the history of this well-know and highly celebrated holiday. Wednesday challenges Easter to see how many know her as Eostre the goddess of the dawn. She agreed to join after his comment. Easter is a perfect example of how through years things change in
In the first stanza, the poem opens by portraying the warm days of early autumn in their finest, representing a mother’s pregnancy and the birth of a new life. Newly-born autumn and the “maturing” sun are personified as “conspiring… how to load and bless / With fruit the vines that round the thatch-eaves run” (3-4), closely associating young autumn with the aging sunlight while alluding to the Christian belief that the father God, through his son Jesus, blesses those who take the path of the righteous with the “fruits” of joy and peace. It is curious that Keats would use the word “conspire” with such positive intentions on part of autumn and the sun, suggesting a sort of kind-spirited wittiness that is common among the nymphs and mythical creatures of Greek and Roman lore. Keats goes on to write that autumn and the sun “bend with apples the mossed cottage-trees” (5); one would not expect something as short and stumpy as an orchard tree to grow something as rich as apples, providing an implied sense of irony and an appreciation that life “knows no bounds,” as one would put it. Keats expands this idea of growth being a merciful bounty by using the olfactory and gustatory imagery of providing “flowers for the bees” (9) and “fill[ing] all
He first describes his surroundings with things such as “sunshine and great bursts of leaves growing on the trees” which convey happiness and fresh start (4). He compares this to movies, saying that it grows just as fast and he shows hope by saying that “ life was beginning over again” (4). While utilizing these particular words, the author develops a cheerful mood and a bright outlook on what may happen to Nick in his future in the West Egg. Rhetorical Analysis Chapter 4-6 Thesis: In this passage, Fitzgerald uses affectionate and admiring diction to describe Gatsby’s feelings towards Daisy. (90-91) The author sets an