The silent pause that accompanies the text is suddenly broken to the sweet sound of tweeting birds (introduction to ‘the hills are alive’ in the sound of music) This cheery sounding tweeting accompanied by the question indicates that Elvis’ twin sister is a good thing. It portrays her sweet character opposed to what we imagine a famous celebrity like Elvis would be. Then video then cuts to footage of a nun speaking and other nuns tending a herb garden behind her. The video has a sepia effect on it to soften the colours and suggest to the viewer that the nun is the good example in the essay. This introduces the idea of Elvis’ sister’s spirituality, being a nun.
femininity against masculinity in "A White Heron" Since its first appearance in the 1886 collection A White Heron and Other Stories, the short story A White Heron has become the most favorite and often anthologized of Sarah Orne Jewett. Like most of this regionalist writer’s works, A White Heron was inspired by the people and landscapes in rural New England, where, as a little girl, she often accompanied her doctor father on his visiting patients. The story is about a nine-year-old girl who falls in love with a bird hunter but does not tell him the white heron’s place because her love of nature is much greater. In this story, the author presents a conflict between femininity and masculinity by juxtaposing Sylvia, who has a peaceful life in country, to a hunter from town, which implies her discontent with the modernization’s threat to the nature. Different from female and male which can describe animals, femininity and masculinity are personal and human.
In this poem, the lady autumn teams up with the sun, basks in the breeze of a granary, and takes lazy naps in a field. Lines 2-3: Autumn is personified for the first of many times in the poem. She and the sun whisper together like a bunch of gossipy teenage girls. But the goal is serious and necessary: they are responsible for the bounty of fruit and crops that will sustain people through the winter. Line 12: The speaker asks a rhetorical question to introduce a connection he believes the reader will recognize, between autumn and the harvest.
Here, he uses the image of birds singing in response to Juliet’s beauty that shines as brightly as the sun. When Juliet discovers Romeo in the garden and rightly wonders how he came to be there, he answers “With love’s light wings did I o’erperch these walls” (2.2.71). Romeo now presents himself as birdlike, and says that his love for Juliet enabled him to fly over the walls that separated him from
Ode on a Grecian Urn and Ode to a Nightingale and a part of Keat’s Greatest Odes of 1819. This paper will attempt a close reading first of Ode to a Nightingale and then a close reading of Ode on a Grecian Urn. A comparison of the two will follow the close readings. Keat’s Ode to a Nightingale opens with a declaration of the heartache and “drowsy numbness pains” that the speaker feels. He speaks to an unseen “light-winged Dryad of the trees,” a nightingale, of feeling a “drowsy numbness” from sharing in the nightingales happiness because it is singing of summer while sitting hidden in a plot of trees and shadows.
This theme dominates her “Aunt Jennifer’s Tiger”. It is a visionary poem, which dreams of a happy and fearless life free of male domination, which may give equal and parallel opportunities to the womankind. Aunt Jennifer appears as a symbol of the oppressed women in this poem. In “Aunt Jennifer’s Tiger”, we find that the life of Aunt Jennifer is ‘mastered’ by the male-dominated society especially the ‘ordeals’ of marriage. Aunt Jennifer reveals her dreams of a happier life in her needlework.
In the afternoon hush the volume of sound was startling. Winston and Julia slung together, fascinated. The music went on and on, minute and minute, with astonishing variations, never once repeating itself, almost as though the bird were deliberately showing off its virtuosity. Sometimes it stopped for a few seconds, spread out and resettled its wings, then swelled its speckled breast and again burst into song. Winston watched it with a sort of vague reverence.
What I cared most are only my wife and our new born babies’ stomachs. Every time when I saw their satisfied smiles after dinner, I felt warmth from my heart, as it was bathing the sunshine. I ran to the top of the only mountain of this limitless forest, yelled to the deep blue sky. I saw my white tusks shinning under the moonlight, like polished daggers. I was proud of them.
She writes she believes flowers and plants grow just for the purpose of bringing smiles to the faces of humans, even if the people have little or no money. In addition to her poems that are strictly about nature, Dickinson also incorporates references to nature in her other poems. For instance, in Poem 254 Dickinson uses the idea of a bird to describe the nature of hope. Although she does not name this image a bird until the second stanza of the poem, her references to feathers, singing, and perching in the first stanza lead the mind to picture hope as a bird. Rather directly or indirectly Dickinson frequently uses nature as a form of human expression.