The word ‘stab’ used reminds readers of blood and shows how bright that red shirt is compared to pale sky. Second example of imagery is shown in line, “The beach glows grainy under the sun's copper pressure, air the colour of tangerines” (Woman on a Beach, 7). This is an example of figurative imagery. Michaels is making the comparison of the colour of the air to that of the colour of tangerines describing the sunset. Readers are able to visualize the intensity of the sun’s heat with the word, “glow”, because sun’s rays are radiating against the sand and creating a “glow”.
Sonnet 18, in comparison, focuses on a description of summer and emphasizes a person’s beauty as being more beautiful than a summer’s day. The styles of these poems differ in how they use comparison of landscapes with the quality of certain people or events in the poems. The statue’s serious, cold expression and the commanding words of the statue contrast with the bare desert. This represents the king’s loss of power upon the whole flourishing world. The lands that he once dominated have become a deserted land of sand and desolation.
A simile is also used in Train’s song when it says, “Acts like summer and walks like rain” (Stanza 1, Line 3). Lastly, the use of personification gives the song the ability to be a poem. It can be seen when Train says, “Did Venus blows your mind,” in stanza 6. All of the these elements are typically found in poetry. Train’s “Drops of Jupiter” is a bitter song about the loss of a loved one could stand alone as a poem.
The images created through the poet's retelling of experiences use symbols to convey their emotions. It is in the closing stanzas of Rimbaud's poem, however, that the utter hopelessness of 19th century life seems to overcome the poet, and his tone shifts from one of casual nostalgia to despair. Rimbaud's boat has seen many wonderful and exciting things, from "the low sun... Lighting with far flung violet arms," to "fantastic Floridas" (Rimbaud 1174).
Wombing is an unusual verb used by Shakespeare to mean 'enclosing'; it is the final word of the first stanza but leads through enjambment to the 'wild seabirds' in the first line of the second stanza, as if the sea is about to give birth to the birds. In stanza two, which is six lines long, Nichols continues the theme of dreaming about the island as the fisherman set out to sea and the sun rises 'defiantly' (in contrast to London weather, of course). The images are again based in nature, and the colours in these initial stanzas are rich and beautiful: 'blue surf' and 'his small emerald island'. Stanza two ends, however, with the phrase that tells us how the man has to emerge from his dream 'groggily groggily'; these words set to one side to emphasise that the dream has ended and a different setting is being introduced. The repetition of 'groggily' also serves to portray the idea that this is a reluctant, slow awakening.
What Hambling is trying to achieve within her paintings is the intense, powerful moment when a wave comes crashing down. She is also trying to create the sense of sound in the paintings, the sound of the sea when the waves are being thrashed about, Hambling states that ‘it laughs, it cries and it also has angry outbursts.’ That is what she is trying to capture, the emotions of the sea. So overall ‘movement’ is what Hambling list as a key essential element to her artworks. The subject matter that Hambling is trying to put across is about ‘Time’ and how that the sea is like life. It comes to us and then it goes quicker than you think, and how that when the tide comes in it erodes the land much like us getting older.
The rhythm and meter of Alfred, Lord Tennyson’s poem “Break, Break, Break” sets the stage for the conflicting, unstable, and erratic emotions of grief the speaker is feeling and expressing. The poem starts out with the sharp and stressed words “Break, break, break” which jar and call to attention what the speaker is saying. Tennyson could have simply wrote, “Break on thy cold gray stones, O Sea!” but he did not write break just once, he wrote it three times to emphasize it and startle the reader. The sea is breaking, perhaps like his heart? In comparison to the rest of the poem, the first line feels jilted and disjointed.
For example, the “slumber” and consequent “harsh birth” in Sleep and the death conveyed in Beach Burial are imminent and inevitable parts of human life. For example, Beach Burial is able to lament both the “convoy of dead sailors” while at the same time focusing on an individual “unknown seaman.” This gives the poem the power of combined universality and particularity of reference. This is again mirrored in Sleep through the portrayal of the universal concept of birth, while still marginalising the subject through the second person “you” used in the first stanza. Both poems also delve into the totality of nature and Slessor executes this through using intermittent references of the ocean throughout both poems. In Sleep, the “huger waves” immediately evoke an image of the ocean; however, this may be used as a metaphor for the all-encompassing nature of a mother’s womb.
Dover Beach Analysis With the arrival of Darwin’s Origin of Species, the Victorian period marked an increasing scepticism towards traditional conservative religious beliefs. Many Victorians faced the dilemma of whether they could accept Darwin’s new ideas without compromising their previous feelings about their religion. Dover beach, a poem by Matthew Arnold, reflects the author’s feelings of being stuck between the two realms of belief. The first stanza of the poem uses imagery to describe a beautiful, natural picture of the sea at Dover, as Arnold uses personification, writing `the sea is calm tonight` and `the moon lies fair`. The use of `calm` and `fair` also give the poem a soothing atmosphere, which is reinforced by descriptions of the rhythm of the sea, whose waves `begin, and cease, and then again begin`.
But even in a cloudless sky when “the broad sun is sinking down, in his tranquility” and “the gentleness of heavens on the sea,” the spectacle presented to the eye is full of claim beauty. For some time after the sun has set, the sky is suffused with delicate tints of colour, until the first stars begin to appear on its darkening surface, and day finally gives place to night. In the beginning and the end of the monsoon we have splendid specimens of cloudy sunset, such as surpass the most vivid description given by English poets, and would, if faithfully depicted on canvas, be condemned as