In this art, Mary Oliver uses this entire poem as a metaphor to compare the struggles of escaping a thick and murky swamp to the hard knock lives of people in the world. The “cosmos” can be likened to the universe that the people of earth live in. Cosmos are a never ending universe. Now compare that to a marshy, foggy, and muggy forest. It feels like walking on a sponge.
Sheers writes of ordinary everyday happenings such as digging a field in preparation for planting and in so doing bones of dead soldiers are found. Mametz Wood is about these wasted lives but Sheers puts them into a context of nature that rolls over these events and in effect ignores them. The actual falling leaves in this poem symbolise the falling solidiers who are dying in the battlefield. The poet uses what we call in poetry an extended metaphor. The leaves are the soldiers.
Winter was characterized by "long stretches of sunless cold" while the sky "poured down torrents of light and air on the white landscape." Images of "starved apple-trees writhing over a hillside," and sparse orchards whose "boundaries were lost under drifts" further demonstrate the debilitating effects of the harsh winters on the land and the men who work it. Winter also strips man of life, spirit, and the will to survive, as seen through Frome's ramshackle farmhouse. The years of tumultuous storms leashing down on the house impregnate it with a barrenness and isolation. The farmhouse is described as "worn," "stunted"
Ray’s memoir of her childhood effectively humanizes the destruction of virgin long leaf pine forests. On page 49, Ray describes a fight involving her grandpa as “blind desire,” which alludes to the blind desires of clear cutters. Kabir brilliantly evokes emotion in his poetry. Kabir writes that “we sense that there is some sort of spirit that loves/ birds and animals and the ants/ perhaps the same one who gave a radiance to you in/ your mother’s womb/ is it logical that you be walking around…” which presents emotion as a way of knowing truth (Bly
The black man is a symbol of Satan in this book, he is brought up by Hester. Hester thinks that the scarlet "A" is the black mans mark. She notices this on Dimmesdale's chest, he symbolically is always touching his hand to his chest right where the letter is branded onto his skin. By bringing satan into the story he brings up a point if humans are born evil. The black man likes to hang out in the woods leaving him to be even more judged as satan because the forest is unknown and evil.
Sartys constant feeling of despair and grief is sounded out through the limp of his father. Faulkner states, “the peace and joy, ebbing for an instant as he looked again at the stiff black back, the stiff and implacable limp of the figure which dwarfed by the house…” (Faulkner 149). This paints a vivid picture in Sarty’s mind of the evil traits with his father. In ‘The Myth of the “Barn-Burning”’, Volpe supports this idea by suggesting the Abner Snopes’s stiff foot symbolically relates to the cloven hoof of Satan. (Volpe 1484) Through out “Barn-Burning”, there are many descriptions geared towards the Satan-like qualities of Abner Snopes.
Stewart brilliantly demonstrates the moths movements as the mass of moths move like a ‘wind’, assuming the colour of ‘dusk’ and enveloping the foliage and blossoms. The extensive visual detail in R.Cobb’s “Scenic Drive” is totally opposite to the visual images we acquire in Stewart’s poems. The visual image we gain in “Scenic Drive” is of a congested and overpopulated city full of debris and junk. The title of the cartoon itself “Scenic Drive” is a play on words as it mocks and challenges what mankind has done to his environment (Nature).The ironic sign post in the cartoon, “Scenic Drive-Next 2 miles” further displays the powerful satiric tone of the
Shelley draws from the characteristics of gothic fiction influenced by The Romantic Movement, through employing sinister connotations that forebode Victor’s downfall, “…the rain pattered dismally against the panes, and my candle was nearly burnt out…” This portrays the reality that the value of creating life is unattainable, which is furthermore explored in Blade Runner, as Scott presents a world in which technology has eliminated the defining features of humanity. Shelley also alludes to The Promethean Myth and the symbolism of oppressing fire, “…the glimmer of the half-extinguished light…” to emphasise the danger of attaining knowledge beyond accepted boundaries. Shelley’s admonition of excessive knowledge is explored additionally within Blade Runner. Blade Runner is dominated by capitalism and social hierarchy, therefore mirroring the values of the 18th century context of Frankenstein. Scott, influenced by the gothic-novel features in Frankenstein, has employed the style of
2. Grendel is stuck in a tree and longing to be free and back on the ground. He recalls, “Poor Grendel will hang here and starve to death," I told myself, "and no one will ever even miss him!" The thought enraged me” (Garner 18). B.
His thoughts make note of the trees and natural splendour that had made way for the buildings and structures of civilisation. This contrasts with ‘A Long Long Way’ which within the mechanical slaughter of war there are scenes of natural beauty and tranquillity presented by Barry, ‘small blue birds seemed to be everywhere, gathering scraps and things for their nest. In that part of camp there was a corner full of snowdrops’. These images of life, rebirth and vitality not only contradict the fury and deadness of war, but also contrast with the poisoned, disintegrated nature in Gatsby’s world. A Marxist reading of Fitzgerald’s novel would argue that the greed and financial excess of the twenties in America are here rendered through the corruption of the natural world, a corruption of nature’s resources.