While James Wright’s poem “Lying in a Hammock” accentuates the hopelessness in the quickly fleeting moments in time, and Franz Wright’s poem “Flight” exposes the consequences of a distant father on a son longing for a relationship he never had, the two poems are linked by the underlying theme of detachment. It is evident, by juxtaposing these two works, divided by literary devices such as style or syntax, the underlying themes are circumstantially shared and induced by the hardship of life itself.
John Wright sets the scene at another’s farm, lying in a hammock; the poem comes across as being in a conscious dreamlike state. The butterfly is asleep and blowing like a leaf- Wright paints these dreamy images of nature, his mind moving from the butterfly to the empty house to the retreating cowbells, to the horse golden droppings, to the time of day, and to the lone hawk. Each example, each personification blurs the line between human and non human life, the edge of reality. Every line, every image- sight or sound- is held with higher regard, ever building on the last. Each phrase is a critical part of the process, no note should go disregarded. Not the two trees, or the horse droppings beautified, not even the title should go without a pause and a thought.
The title tells the reader that Wright is essentially out-of-place; he is at another’s farm, engrossed by his surroundings, subconsciously compelled by the ethereal painting of nature to feel as though he does not belong. Regrettably, the reader might not fully understand this until the end of the poem, in which he declares that he has wasted his life. The reader is compelled to believe that part of his appreciation is a kind of sadness that comes with the poet’s lack of tangi...
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...-far, light years away Wright jerks back from a gaping distance to no distance- closer than his bones- systematically arranged for emphasis. The memory of his father is like a wound that refuses to heal. The reader can sense the direct absentia, the pain.
In the fourth and final segment of Flight, past and present collide; set in 1963 the poet retains his age of 45. Both James and Franz Wright share the feeling of being trapped behind a wall of glass, James from the outside world and Franz from his father. At the end of Franz’s poem the wall does not dissolve but expands to encompass father and son. Franz Wright’s final section relieves him of some of the longing he has been consumed by. Wright’s dream is the only place where he can be reunited with his father, the only place where they can be “together, walking and happily talking and laughing, and breathing.”
Page 2 - “I sat on a park bench near a willow tree. I thought about something Rahim Khan said just before he hung up, almost as an afterthought. I looked up at those twin kites.”
In order for Wright to get away from the situation he was living in, which was a very industrial area, he created poetry about nature. Wright used imagery to describe these scenes of nature and then occasionally used personification to enhance the image in the reader’s mind. The James Wright’s poem “Lying in a Hammock…” depicts the calm scenery that surrounds him as he is lying in a hammock at his friend 's farm. He notices little details like “I see the bronze butterfly, / Asleep on the black trunk,” (1-2). The poet also sees “as the evening darkens and comes on. / A chicken hawk floats over, looking for a home.” (11-12). For Wright to be able to notice and describes these details show how relaxed he is. Wright found himself in a place where he had no thoughts on his mind and nothing to worry about other than to focus on the world around him. This poem allows readers to daydream along with Wright and to be momentarily taken away from the situation they are currently in. Authors, Jeffrey Gray, Mary Balkun, and
William Faulkner overwhelms his audience with the visual perceptions that the characters experience, making the reader feel utterly attached to nature and using imagery how a human out of despair can make accusations. "If I jump off the porch I will be where the fish was, and it all cut up into a not-fish now. I can hear the bed and her face and them and I can...
In the poem, the reader finds themselves trapped in the harsh and unrelenting landscape of drought stricken Australia, only to be witness to the sheer relentlessness and devastation of the drought that is readily consuming the land. It is a witnessing that quickly becomes a warning, one repeatedly reinforced and capitalised on by the loud and strange cries of a dingo. Throughout the poem, Wright clearly outlines the importance of life and the harsh yet fragile reality of nature, by including many depictions of dead or dying animals and plants. Towards the end of the poem the narrator finds themselves propping a dead horse outside the gate of the ‘thirty mile dry’ in hope of warning people not to come this way, or they too, will face a horrible demise at the hands of the relentless
Through the use of narrative and metaphor, Terry Tempest Williams beautifully depicts her life story in a poetic memoir. She describes the daily struggles she faced with change in her family, while her mother battled with cancer that eventually led to her death. She also describes the fluctuating lake levels, and how they affected the birds that migrate in the area. Through her experiences with the birds she learns how to cope and accept her mother’s death. Eventually, she moves on with the birds and learns how to love and not be afraid of death.
In the stanzas of Elizabeth Bishop’s poem, the speaker very honestly observes the scenes from outside her apartment. From her point of view, she sees a both a bird and a dog in the process of sleeping. The speaker views these animals as having simple lives unbothered by endless questions or worries. Instead, the two live peaceful, uninterrupted existences, rising every morning knowing that “everything is answered” (ln. 22). However, the speaker lives in contrast to this statement instead anxiously awaiting the next day where uncertainty is a likely possibility. Unlike the dog and the bird, the speaker cannot sit passively by as the world continues in its cycle and she carries a variety of emotions, such as a sense of shame. It is evident here that the speaker has gone through or is currently undergoing some sort of struggle. When she states that “Yesterday brought to today so lightly!” she does so in longing for the world to recognize her for her issues by viewing the earth’s graces as so light of actions, and in doing so, she fails to recognize that she can no longer comprehend the beauty of nature that it offers her. In viewing the light hitting the trees as “gray light streaking each bare branch” (ln. 11), she only sees the monotony of the morning and condescends it to merely “another tree” (ln. 13.) To her, the morning is something
Therefore, Oliver’s incorporation of imagery, setting, and mood to control the perspective of her own poem, as well as to further build the contrast she establishes through the speaker, serves a critical role in creating the lesson of the work. Oliver’s poem essentially gives the poet an ultimatum; either he can go to the “cave behind all that / jubilation” (10-11) produced by a waterfall to “drip with despair” (14) without disturbing the world with his misery, or, instead, he can mimic the thrush who sings its poetry from a “green branch” (15) on which the “passing foil of the water” (16) gently brushes its feathers. The contrast between these two images is quite pronounced, and the intention of such description is to persuade the audience by setting their mood towards the two poets to match that of the speaker. The most apparent difference between these two depictions is the gracelessness of the first versus the gracefulness of the second. Within the poem’s content, the setting has been skillfully intertwined with both imagery and mood to create an understanding of the two poets, whose surroundings characterize them. The poet stands alone in a cave “to cry aloud for [his] / mistakes” while the thrush shares its beautiful and lovely music with the world (1-2). As such, the overall function of these three elements within the poem is to portray the
Wright's troubled past begins as a sharecropper while only a child. His childhood remained dark and abandoned. Richard Wright's father left him and his mother while he was only a child. The several episodes of dereliction resulted in the brief introduction of the orphanage. Subsequently his mother grew ill, and he lived with his grandmother whom treated him with brutality. Shortly after, he began a journey of rebirth and renewal, from the discriminant south to an opportunistic Chicago 1927. At this point in time, Wright began to develop his works through study and reading. His many jobs gave him the wealth and experience, along with many hardships and personal encounters to write about. Therefore, in his newfound love for literature and writing, he began to establish a firm foundation for himself by publishing an increasingly large amount of poetry and writing the early versions of Lawd Today and Tarbaby's Dawn. However, his name did not only attract those who wanted to appreciate a modern style of literature that would shake that grounds of racial distortion, but also attract the prying eyes of the public whom viewed his involvements in the Communist clubs, such as the Chicago John Reed...
As a way to end his last stanza, the speaker creates an image that surpasses his experiences. When the flock rises, the speaker identifies it as a lady’s gray silk scarf, which the woman has at first chosen, then rejected. As the woman carelessly tosses the scarf toward the chair the casual billow fades from view, like the birds. The last image connects nature with a last object in the poet's
She describes the September morning as “mild, benignant, yet with a keener breath than the summer months.” She then goes on to describe the field outside her window, using word choice that is quite the opposite of words that would be used to describe a depressing story. She depicts the exact opposite of death, and creates a feeling of joy, happiness, and life to the world outside her room. After this, she goes into great detail about the “festivities” of the rooks among the treetops, and how they “soared round the treetops until it looked as if a vast net with thousands of black knots in it had been cast up into the air”. There is so much going on around her that “it was difficult to keep the eyes strictly turned upon the book.” Descriptions like these are no way to describe a seemingly depressing story about a moth, but by using these, joyful descriptions, Woolf connects everything happening outside to a single strand of energy. These images set a lively tone for the world around her, and now allow her to further introduce the moth into the story.
When someone looks up at a bird they see something soaring through the sky free from the world’s troubles. Through out man’s history they have been trying to find a way to be as free as birds and learn to fly. Unfortunately it has been an unsuccessful feat for man to accomplish. Although man has never really been able to fly on their own, they are able to fly with the help from a little machinery and ingenuity. Macon Dead Jr, or milkman, the nickname he adopted because he nursed from his mother, the protagonist of Song Of Solomon by Toni Morrison, had been trying to fly all of his life. But until he discovers his family’s history and his self-identity he unable to discover the secret that has been plaguing man for many centuries, how to fly. All people want to be free, but it takes a great feat, like flying, for them to be able to. Morrison expresses this idea through the symbolism of flying and Milkman’s yearn to be free and fly, his family history, and the incident with Pilot and the bird. By discovering this Milkman is able to finally learn what it means, and how it feels to fly.
A prominent theme throughout Mary Oliver's poems is the appreciation of the natural world and all of its little details. Oliver is renowned for her ability to immerse the reader in the natural world through powerful language and imagery, allowing them to truly appreciate the beauty of nature. Her close observation of nature illustrates her intimate relationship with nature and is exemplified in one her most famous poems "The Summer Day," in which she questions the origins of nature. In this poem, Oliver conveys her love of nature through the speaker, who is not only a passive observer and admirer of nature, but also an active thinker and component of nature. By choosing nature as the poem's center of attention, Oliver is able to depict nature as a beautiful and mystical place, evoking the reader's awe and fascination. This poem is so beautiful because the speaker describes to the reader the lovely little idiosyncrasies that she notices within nature, illustrating how nature is infinitely complex and that even little insects are worthy of appreciation.
In “I wandered Lonely as a Cloud,” William Wordsworth accomplishes his ideal of nature by using personification, alliteration, and simile within his poem to convey to the reader how nature’s beauty uplifts his spirits and takes him away from his boring daily routine. Wordsworth relates himself in solidarity to that of a cloud wandering alone, “I wandered lonely as a cloud” (line 1). Comparing the cloud and himself to that of a lonely human in low spirits of isolation, simultaneously the author compares the daffodils he comes across as he “floats on high o’er vales and hills” (line 2) to that of a crowd of people dancing (lines 3-6 and again in 12). Watching and admiring the dancing daffodils as he floats on by relating them to various beauties of
The poem “I Wandered Lonely as a Cloud” by William Wordsworth is about the poet’s mental journey in nature where he remembers the daffodils that give him joy when he is lonely and bored. The poet is overwhelmed by nature’s beauty where he thought of it while lying alone on his couch. The poem shows the relationship between nature and the poet, and how nature’s motion and beauty influences the poet’s feelings and behaviors for the good. Moreover, the process that the speaker goes through is recollected that shows that he isolated from society, and is mentally in nature while he is physically lying on his couch. Therefore, William Wordsworth uses figurative language and syntax and form throughout the poem to express to the readers the peace and beauty of nature, and to symbolize the adventures that occurred in his mental journey.
“A Bird came down the Walk,” was written in c. 1862 by Emily Dickinson, who was born in 1830 and died in 1886. This easy to understand and timeless poem provides readers with an understanding of the author’s appreciation for nature. Although the poem continues to be read over one hundred years after it was written, there is little sense of the time period within which it was composed. The title and first line, “A Bird came down the Walk,” describes a common familiar observation, but even more so, it demonstrates how its author’s creative ability and artistic use of words are able to transform this everyday event into a picture that results in an awareness of how the beauty in nature can be found in simple observations. In a step like narrative, the poet illustrates the direct relationship between nature and humans. The verse consists of five stanzas that can be broken up into two sections. In the first section, the bird is eating a worm, takes notice of a human in close proximity and essentially becomes frightened. These three stanzas can easily be swapped around because they, for all intents and purposes, describe three events that are able to occur in any order. Dickinson uses these first three stanzas to establish the tone; the tone is established from the poet’s literal description and her interpretive expression of the bird’s actions. The second section describes the narrator feeding the bird some crumbs, the bird’s response and its departure, which Dickinson uses to elaborately illustrate the bird’s immediate escape. The last two stanzas demonstrate the effect of human interaction on nature and more specifically, this little bird, so these stanzas must remain in the specific order they are presented. Whereas most ...