A Critical Analysis of Wind By Ted Hughes
Hughes's opening line is sculpted in such a way that it gives the
reader an abundance of sensations. The poet achieves amazing
efficiency in the line "far out at sea all night" in that the reader
is exposed to distance, time and environment. The metaphor of the
house being "out at sea" projects the image of a boat "far out"
feeling totally isolated. The house faces wave upon wave of
inexhaustible pounding from the wind as a boat would from an enraged
sea. The time scale of "all night" could literally mean all night or
it may refer to the perception that the wind is so acutely intense
that it feels prolonged. The words "crashing", "booming" and
"stampeding elevate the wind to one of biblical proportions which
sounds like an orchestra thumping out a killer crescendo. The line
"stampeding the fields" accentuate the brutality of the wind attacking
the natural surroundings. In keeping with the oceanic metaphor the
house "floundering" evokes a sense futility. The alliteration in
"black" and "blinding" impose emphasis upon the words and a heightened
sense of awareness in the reader.
The second stanza is a witness to the winds legacy. The magnitude of
the winds power is illustrated with "the hills had new places". The
ultimate measure of the winds potency is that its changed the
environment which we would normally imagine reassuringly permanent.
The personification in the "wind wielded blade-light" makes the wind
dangerous and randomly spiteful. I think the " black and emerald,
flexing like the lens of a mad eye" refers back to the sea metaphor in
the first stanza. A stormy sky like a stormy ...
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last two lines of the poem Hughes writes the "window tremble to come
in" and "stones cry out". The personification in "tremble" and "cry"
show that even inanimate objects are displaying signs of fear and
distress.
The theme for the poem is ultimate respect for nature's weapons and
total humility for anything caught in the conflict. In some instances
respect turns to terror as if hiding from an omnipotent tyrant. The
structure of the poem is consistent throughout with six stanzas of
equal length. Hughes uses a lot of alliteration to break up the
reading fluency to reflect the choppy subject of the poem. Hughes's
use of metaphor skilfully illustrate the scale and nature of the wind
whilst drawing attention to the way the wind exploits the delicacy of
the surroundings we usually consider so dependably solid.
Reverend Jeremiah Brown - Hillsboro's minister. He is a hard- hearted man who feels no qualms about convincing the town to condemn Bert Cates and his daughter as incorrigible sinners.
With concern over global warming growing, people are starting to turn a more serious eye toward cleaner sources of energy. Instead of solar power making a comeback as the ideal form, we are seeing a growth in the use of wind power. Wind farms are beginning to crop up all around the country. This new trend has gathered significant attention. Questions are being raised concerning the effects wind farms may have, from critics and supporters alike. Michelle Nijhuis, in the article “Selling the Wind” discusses the arguments on behalf of and in opposition to the increasing use of wind power, addressing what the consequences may be on the United States.
E.K. Hornbeck through his language in “Inherit the Wind” (1955) tries to show the town of Hillsboro the way that their thoughts are harmful and wrong. Hornbeck backs that up by using a sarcastic tone to show them how ridiculous they are being, by using metaphors and similies to give the citizens context from the outside world that they might not always consider due to their closed mindedness, and by using syntax to prove that he is better than them and making himself and his views credible. His purpose is to get the town to change their viewpoint so they can see that they need to move forward with the time. He establishes a superior relationship with his audience of small town people with narrow viewpoints who need to learn to be more accepting.
Henry Drummond is an acclaimed criminal-defense lawyer and recognized agnostic, so how could a man such as this respect and appreciate the life of the fundamentalist Christian Matthew Harrison Brady? Throughout the play Inherit the Wind Drummond demonstrates that though his opinions are much different than Brady and many of the townspeople of Hillsboro when it comes to religion, he is able and willing to respect these people’s values and beliefs. After being told of Brady’s death, Drummond’s respect for the man only seems to intensify. Despite Drummond and Brady’s evident past concerning both their old friendship and contrasting views on religion, Drummond still has a fair amount of respect for Brady, and though this does not affect the trial, it does affect the play.
Although the world is filled with air, it is perceived to be invisible. Only when one is thinking about air does it become considered visible. As the protagonist develops throughout the novel, Battle Royal, created by Ralph Ellison, he quickly witnesses how microscopic his achievements are to the “Big Shots” in his dominantly white community. To discover that he was just as human as the white men, he had to learn that he could only become visible to them when they wanted him to be. He will never get that constant gratitude of being an individual, instead, like air, he will only seem important when thought of. On his grandfathers deathbed, his father was told to tell him to never be a traitor to not only his culture but more importantly himself.
Initially the reader is bombarded with an intense image of the fish; he is "tremendous," "battered," "venerable," and "homely." The reader is sympathetic with the fish's situation, and can relate because everyone has been fishing. Next, Bishop compares the fish to familiar household objects: "here and there / his brown skin hung in strips / like ancient wallpaper, / and its pattern of darker brown / was like wallpaper;" she uses two similes with common objects to create sympathy for the captive. Bishop then goes on to clearly illustrate what she means by "wallpaper": "shapes like full-blown roses / stained and lost through age." She uses another simile here paired with descriptive phrases, and these effectively depict a personal image of the fish. She uses the familiar "wallpaper" comparison because it is something the readers can relate to their own lives. Also the "ancient wallpaper" analogy can refer to the fish's age. Although faded and aged he withstood the test of time, like the wallpaper. Bishop uses highly descriptive words like "speckled" and "infested" to create an even clearer mental picture. The word "terrible" is used to describe oxygen, and this is ironic because oxygen is usually beneficial, but in the case of the fish it is detrimental. The use of "terrible" allows the reader to visualize the fish gasping for breaths and fighting against the "terrible oxygen," permitting us to see the fish's predicament on his level. The word frightening does essentially the same thing in the next phrase, "the frightening gills." It creates a negative image of something (gills) usually considered favorable, producing an intense visual with minimal words. Another simile is used to help the reader picture the fish's struggle: "coarse white flesh packed in like feathers." This wording intensifies the reader's initial view of the fish, and creates a visual, again, on the reader's level.
As I read John Muir’s “A Wind Storm in The Forest”, I come to realize how passionate the author is pertaining to wind and nature. He uses descriptive language to bring out the full beauty of the winds. For example John Muir states in his narrative “A Wind Storm in The Forest” that “After one has seen pines six feet in diameter bending like grasses before a mountain gale, and ever and anon some giant falling” (526). The author gives winds the quality which no human could ever possibly obtain, and that is sheer power. However the author also describes the winds as always not beastly, but rather sometimes gentle and calm. John Muir wants the readers to understand that wind is has its many beauty’s and miracles; you just have to be willing to look
They pluck out mine own eyes!/Will all great Neptune's ocean wash this blood/Clean from my hand? No; this my hand will rather/The Multitudinous seas incarnadine, /Making the green one red (act II, scene iii, l 58-62).
The three scariest objects in this book are the “beast”, women, and trails. The book The Wind Through the Keyhole by Stephen King is a very spooky book. The objects mean a whole lot to the plot in this book.
Right now Breeze Burst was searching for Jazz. She wanted someone to play with her and everyone else she asked was working or busy. Jazz was the last person she could think of. Prowl wasn’t in the base right now. He and a few others were out on a mission. She didn’t really understand what the mission was about, but regardless she was lonely. Whenever Prowl wasn’t around, Breeze Burst felt upset. She didn’t like being away from him for too long. When she was with Prowl she felt safe. She really liked Prowl, unlike what some of the other bots would say, he was really nice and he didn’t mind her being around him.
“The Boy Who Harnessed the Wind” is about this young boy named William. William and his family have dealt with a lot of heart and pain in their life. However, through all of what he and his family has been through, William has learned that you must believe in yourself, and have faith that you can accomplish all of your dreams, if you just put your mind to it. William was born and raised in Malawi, Africa. His father was a farmer just like every other man in Malawi. Since William’s father was a farmer and his mother works around the house, his family didn't have a lot of money. William was always excited about school. School was one of his most cherished places to go. He attended Wimbe Primary School, where one mid-September, they took their
With the use of words the author also creates the novel's own private symbols that are key to the tone. The conch comes to symbolize authority, democracy and order. Upon the mentioning Piggy's glasses, images of insight and reason come to mind. With this highly connotative language, Golding creates many contrasts as well to convey his underlying theme. He compares the dazzling beach's "pink granite" [Page 12], green feathered palm trees and endless sand [Page 10] to the "darkness of the forest", full of "broken trunks", "cables of creepers" [page 28], and dense vegetation. He also compares the day's "torrid sun" [Page 176] to the night which makes everything as "dim and strange as the bottom of the sea" [Page 62]. The lagoon's security and the dangerous open sea are also contrasted when Golding qualifies them as "still as a mountain lake" [Page 10], "dark blue" [Page 31] and "deep sea" [page 62]. Golding also uses dark and inherently bad words such as "dark", "Jack", "broken", "torrid", "coarse" and "splintered" to describe sinister things and euphonious words such as "feathers", "glittering fish" and "Ralph" to describe more peaceful things.
The scene that introduces the audience to Matthew Harrison Brady, in Inherit the Wind, (Dir. Stanley Kramer. With Spencer Tracy, Frederic March, and Gene Kelly. MGM. 1960) uses dialogue, composition, camera work and music to develop Matthew Brady. Kramer reveals important information about the plot of the film in this scene. The scene opens with a bird's eye view shot of the town of Hillsboro, and focuses in on the movement of the parade below. The camera comes to rest on the convertible that transports Brady and his wife. The town of Hillsboro welcomes the well-known politician. He will serve the town by being the prosecutor in a trial about evolution, similar to that of the historical Scopes Trial. This scene, where we first meet Brady, reveals his strong character, and the role of savior that the town expects him to play. Through the development of Brady, Kramer also introduces us to the issues of religion and politics. Stanley Kramer, the director, introduces the audience to two key ideas in the very first shot of the scene. He does this through the use of background tools, like music and scenery. As the camera fades in from the previous scene, music begins to play, and a group of women sing a religious hymn, "Give me that old time religion." The extremely loud music continues for the duration of the parade. At first the audience doesn't know the source of the music, but as the parade comes to an end, the camera focuses on a group of militant looking women, who march and sing. This song draws the audience into the impending controversy over religion. It expresses the entire town's point of view on the issue. The audience can see that religion affects the soc...
... ways in which Bishop used particular similes, imagery in the last few lines, a narrative poem style, and punctuation has allowed her audience to transport into the life of the fish; thus, enabling the audience to understand her ideas of freedom and wisdom.
The author uses the imagery of a mystical Greek Hero Ulysses and his ship mariners to