For instance, after he is relieved from frontline duty, Paul gains a deep reverence for the natural world around him: “We hear the muffled rumble of the front only as very distant thunder, bumblebees droning by quite drown it. Around us stretches the flowery meadow. The grasses sway their tall spears; the white butterflies flutter around and float on the soft warm wind of the late summer” (9). The beauty of this sense of f life is even more outstanding because it is the opposite to the death and bloodshed of war. The soldiers then develop an appreciation for the world, which
He claims that it “bullets by or stands in space to take aim”, distinct images of war. “There are battle-shouts and death-cries everywhere”, writes Hughes in describing the implications of warfare as the dragonflies chase and capture their prey. Hughes sets up a concrete image of violence and fierceness among the dragonflies, but he contrasts this with the human perspective of the scene. Because the cries are “inaudible”, the human eyes “see the colours of these flies”. The human mind and eye is blind to nature’s true turbulence, so instead of killers we see elegant, gentle creatures with rainbow wings.
Sacred Meadows focused his vision on the figure and recognized it as a raven. Several more flew over and joined the first one in flight. Sacred Meadows stared, mesmerized by the magical way they dipped and careened in unison composing themselves in one fluid unit. Enraptured in their beauty, Sacred Meadows did not see the hunters walk past him. A hunter
To this degree, “Sympathy” is a captivating poem worthy to be studied and analyzed semantically, semiotically and pragmatically. “Sympathy” is a poem that provides a clearly perceptible surface meaning that can be analyzed in isolation from its context. Semantically, “Sympathy” is about a caged bird being deprived from freedom. This poem starts with a bird glancing from the openings of the secure bars of the cage to see the beautiful nature and the bright sun shining (Hess). Dunbar talks about the great pleasure and satisfaction to see the surrounding world and how the smell of freedom attracts the caged bird (Russel).
Gallimard continues to feel empowered and undergoes a sense of masculinity when he has control over Song, specifically, control over her actions and emotions. Gallimard thinks he can be a “…Western man who catches a butterfly, pierce its heart with a needle, then leave it to perish. [He] began to wonder: had I too caught a butterfly who would writhe on a needle?” (28) Gallimard’s thoughts of cruel action towards Song - his desire to “pierce” and “writhe” her, gives him a sense of liberation as he knows that she will still return to him. Even by using the word “caught”, he treats Song as an object, indicating that she is his property and only he can control and harm her. Furthermore, Gallimard knows that “this little flower was waiting for [him] to call, and, as [he] wickedly refused to do so, [he] felt for the first time that rush of power – the absolute power of a man” (28).
The characterisation of the man who visits Hang act as a metaphor for a tainted Vietnam and subsequently allows her to gain greater knowledge of herself. The author then creates the feeling of hope as Hang moves forward from the looming 'shadow' that is her culture, her family and responsibility in the final passage. Huong employs natural imagery in the final passage to bring focus and show contrast between Hang's past and present, while simultaneously aiding the decisions of her future. Hang recalls the 'beauty' of the 'swans as they floated, regal and serene across the rice paddies', she is then abruptly interrupted as a 'screech owl cried' making her 'jump'. These examples of natural imagery provide a sudden shift to the present supporting Hang's belief that beauty 'existed only in her memory'.
The Flier sees the miracles different from the Emperor. The Flier sees the beauty in the sky, when he flies away from the ground. For example, he said “I looked down on all the sleeping houses and gardens.” Also the Flier enjoys the wind when the wind moves throw the Flier like birds. In the other words, he said, “The wind blowing me here like a feather, there like fun.” Above all the Flier invented the “flying machine” that was made up of paper and reed. Indeed, he was the first human to fly in the sky.
Scene 1: The Introduction (Lights are dim, scary music is playing in the background.) Narrator 1: Let me tell you a story of a war between the monstrous insects and the humans at the border of North and South Dakota. Narrator 2: It is a scary time for the insects as many of them are dying each day because they are being attacked by deadly missile launches from the humans in North Dakota. (They both quietly exit out of the stage.) Scene 2: The War Has Begun (Setting is a cold and gloomy night in the forest in South Dakota.
Sleepless In Seattle In the film “Sleepless In Seattle”, music is an important background because it creates an atmosphere, and tells the audience the emotions of characters. Music in film is used at the right time therefore it makes the movie more effective, increasing the romantic in scenes also help character express their sentiment. In a scene that Tom Hanks' character standing on his porch watching the fireworks over the Seattle bay, remembering his wife. The song “ Stardust” resounded with the meaningful lyric, thus it makes the audience understand and sympathize with character. At the beginning of the film, "As Time Goes By" is used as a symbol that predict a love story of 2 main characters.
Auden vs. Williams on Icarus Both W.H Auden and William Carlos Williams were inspired to write about an amazing masterpiece of the 16th century by Peter Brueghel, "The Fall of Icarus". Both "Musee des Beaux Arts" and "Landscape with the Fall of Icarus" are poetic representations of and expectations on the famous painting. They are both shedding light on ancient myth explaining their similar points of view. Stylistically both poems are written differently, yet both try to convey the same meaning. In the painting, the focus is on the farmer plowing his field, while in the corner one can see the legs of Icarus drowning in the sea.