A bird came down the walk analysis

Nevertheless, in the poem ‘Nesting time’, Stewart interprets a personal experience in first person of the appearance of a bird that lands upon his daughter and forgets the thought of the harsh world. Stewart’s descriptive language repeatedly explains the poem as if seen in his viewpoint, beginning with an interjection, ‘oh’ communicating of his incredulity of an ‘absurd’ bird. Symbolizing the bird with strong coloured imagery its ‘mossy green, sunlit’, described to be bright and joyful, with sweetness shown with the type of bird, ‘honey-eater’, Douglas Stewart takes the time to describe its admiration juxtaposed to the dangerous world surrounding it. While visualizing the birds actions, ‘pick-pick-pick’ of alliteration and repetition of its

The writer makes use of diction to express his feelings towards the literary work and to set the dramatic tone of the poem. Throughout the poem, there is repetition of the word “I”, which shows the narrator’s individual feeling of change in the heart, as he experiences the sight of hundreds of birds fly across the October sky. As the speaker effortlessly recounts the story, it is revealed how deeply personal it is to him. Updike applies the words “flock” and “bird” repetitively to the poem, considering the whole poem is about the sight of seeing so many birds and the effect this has on a person. When the speaker first sees the flock of birds in lines 8-10, alliteration is applied to draw attention to what the narrator is witnessing. In line 29, Updike

Unlike Audubon’s lengthy, complex syntax, Dillard employs a variety of sentence lengths and structures. She uses simple sentences and complex sentences to show the constant movement and rhythm of the birds. Dillard also uses a multitude loose sentences to emphasize her descriptions of the murmuration. For example, she writes, “They seemed to unravel as they flew, lengthening in curves, like a loosened skein,” which allows each additional phrase to deepen her description. Dillard used words such as “strayed… unraveling… sifting… rushing” to describe the murmuration of starlings. These words all create an image of movement and life. She also mentions

Nature is first described in a peaceful and confident mood as something majestic, with the sun as the powerful being which controls this nature. However, by the end of the first stanza, “The hawk comes”. This phrase is said as if the narrator is afraid of the hawk and its presence is going to change the mood of the rest of the poem. The next stanza suddenly uses sharp diction, such as “scythes”, “honed”, and “steel-edge”, to illustrate the hawk’s stunning motions and the powerful aura of the hawk that is felt just from its existence, causing the mood of the poem to slowly transition to fearful, yet respectable. The narrator adores this change the hawk is causing on nature, and describes the scene with the hawk in awe, showing how the poet finds the changing of nature attractive.

Diction affects the tone of the passage. Starting from line 14, the diction evolves into a more negative view. He uses biblical reference towards the beginning of the stanza. He begins to analyze his surroundings more rigorously, and sees the differences in how they look from a distance, to how they appear close by. Once this negative connotation has begun, the flock is said to be “paled, pulsed, compressed, distended, yet held an identity firm” (Lines 20-21). The author’s choice of words as in “less marvelous” (line 25) indicates his intention for making his lines definite, giving it a solid state of meaning. It symbolizes that the feeling of someone longing for something, and once they receive it are not as impressed by it. The diction plays a critical role when the tone of the qualities of nature are exposed. The author conveys the “trumpeting” of the geese as an exaltation to the beauty and simplicity of nature. “A cloud appeared, a cloud of dots like iron filings which a magnet underneath the paper undulates” (Lines 16-18). The iron filings in this phrase symbolize the issues the man faces. Once he looks closely at the flock, he realizes that these issues are only miniscule and do not add up to life in general. This elates him, thus concluding him to lift his heart.

The use of this allusion at this point in the novel is a strange moment of irony, and a dark foreshadowing for the fate of the Congo. Throughout the novel, Methuselah and the Congo lead parallel journeys. Methuselah is locked in a cage for so long that once set free, he is unable to fly—still dependent on his captors—very similar to that of the relationship between the Congo and its colonizers. As Methuselah’s death falls on the day of the Congo’s independence, Adah sees his death in a hopeful light, drawing a literal comparison of Dickinson’s poem to his feathers meaning hope. She then decides that he has now finally achieved freedom, alongside the Congo. So in the moment, despite Methuselah’s fallen feathers meaning his murder, his feathers are a sign of hope and freedom to the reader. However, once the reader learns of the Congo’s fall at the hands of the United States, the poem and Methuselah’s death take a very different meaning.

The Sea-Drift is one of the few poems that recount Walt Whitman’s childhood. Whitman takes us through journey to imagine his childhood in way that is straightforward. This poem gives me the vibe of song and musical because use of the language. This poem Sea- Drift sounds like song lyric maybe, because the bird crying to the ocean and which creates a chirping sound, nature sounds. I think this is iconic because it illustrates the imagination of a child observing nature as it makes him curious to figure out microscopic things in nature, although birds are visible but to investigate the nest of the birds and count its contains are bit unbelievable.

Dickinson and Whitman also use similar poetic devices in "Hope is a Thing with Feathers” and “O Captain! My Captain!” Each poem contains an extended metaphor. In Dickinson’s poem, a bird clearly symbolizes hope. The first stanza introduces the bird metaphor: ‘Hope is the thing with feathers--/That perches in the soul.’ The next lines ‘And sings the tune without the words--/And never stops—at all—’ illustrate the interminable nature of the bird and hope. The second stanza expands the metaphor by saying ‘And sweetest—in the Gale—is heard—.’ The bird’s song, or hope, is the sweetest during a Gale, or troubled times. The first lines in the final stanza ‘I’ve heard it in the chillest land--/ And on the strangest Sea’ describe the bird, or hope, as being

The use of this allusion at this point in the novel is a strange moment of irony, and a dark foreshadowing of the fate of the Congo. Throughout the novel, Methuselah and the Congo lead parallel journeys: Methuselah is locked in a cage for so long that once set free, he is still dependent on his captors and unable to fly—very similar to that of the relationship between the Congo and its colonizers. As Methuselah’s death falls on the day of the Congo’s independence, Adah sees his death in a hopeful light, drawing a literal comparison of Dickinson’s poem to his feathers. For her, both Methuselah and the Congo have finally achieved freedom. So though Methuselah’s fallen feathers mean his murder, it’s still a sign of hope for the reader. However, once the reader learns of the Congo’s fall, the poem and Methuselah’s death take a very different meaning.

Two of Dickinson’s universal techniques are metaphor and the fresh application of language; both techniques result in powerful images, and can be seen in two of her poems that focus on nature themes, “ A Bird came down the Walk” and “narrow Fellow.” She closes the poem, “ A Bird” with a stanza equating flight through the air with movement through water,

However, Dickinson’s poem is very different from Whitman’s in structure and language. In “324,” the speaker explains how they observe Sabbath, in nature rather than going to a service, when saying “With a Bobolink for a Chorister — / And an Orchard, for a Dome —” (lines 4-5). Dickinson, like Whitman, provides visual imagery; of a bird instead of the Church choir and an orchard instead of the “Dome,” which represents a church. In these lines, readers can envision the beautiful nature scene that the speaker treasures. Furthermore, as Whitman also did, Dickinson uses auditory imagery as the speaker explains further how the spend their Sabbath, “And instead of tolling the Bell, for Church, / Our little Sexton — sings” (lines 8-9). Here, the sounds of the Church’s bell is what the speaker traded for the charming bird’s song in their form of worship. Like Whitman, Dickinson uses imagery to illustrate to readers her preference for nature that connects her to God and religion, unlike for many others who choose to attend church. Moreover, in contrast to Whitman’s poem, Dickinson writes in an abcb rhyme scheme where the second and fourth lines rhyme and have a meter. To demonstrate, every even-numbered line rhymes; Home” and “Dome,” “Wings” and “sings,” “long” and “along.”

The poet orders his listener to behold a “solitary Highland lass” reaping and singing by herself in a field. He says that anyone passing by should either stop here, or “gently pass” so as not to disturb her. As she “cuts and binds the grain” she “sings a melancholy strain,” and the valley overflows with the beautiful, sad sound. The speaker says that the sound is more welcome than any chant of the nightingale to weary travelers in the desert, and that the cuckoo-bird in spring never sang with a voice so thrilling. Impatient, the poet asks, “Will no one tell me what she sings?” He speculates that her song might be about “old, unhappy, far-off things, / And battles long ago,” or that it might be humbler, a simple song about “matter of today.” Whatever she sings about, he says, he listened “motionless and still,” and as he traveled up the

The speaker furthermore conveys the idea that nature is a grandeur that should be recognized by including the element of imagery. The poet utilizes imagery as a technique to appeal to reader’s sense of sight . It is “the darkest evening of the year” (line 8) and a traveller and his horse stop “between the woods and frozen lake” (line 7). By writing with details such as these, readers are capable of effortlessly envisioning the peaceful scenery that lies before the speaker. The persona then draws on reader’s sense of sound. “The only other sound’s the sweep / Of easy wind and downy flake.” The illustration allows readers to not only see,

She uses a number of literary devices in the poem. One primary example of the figurative language that she uses is a the personifications do symbolism of hope. A symbol is an image that represents an abstraction. For example, a red rose may represent love, or a stone may represent hardheartedness. In “’Hope Is The Thing With Feathers,” the poet assigns hope the symbol of a ‘thing with feathers,’ more specifically a bird. Even though that, by the end of the poem, readers can definitely conclude that Dickinson used a metaphor by saying ‘hope is a bird,’ she does not make that clear until the very end. The metaphor began as only a “partial one: a ‘thing with feathers’ is not yet a bird, but some sort of object, not easily envisioned and defined only by the fact that it is feathered, that is, winged, capable of flight. It is a transient human experience, one that ‘perches’ in the soul but does not live there. It ‘sings the tune without the words,’ that is, a song in which rational, lexical meaning plays no role, while melody is all. Finally it ‘never stops at all’” (Leiter). The symbolism of saying that hope is a bird assists the reader in having a better understanding of how the virtue of human desire exists in side one’s soul, and is always singing – always alive – even when times get drastic. A bird is used to represent hope since “birds are often viewed as free and self-reliant, or as symbols of spirituality” (Rose and Ruby). The feathered fowl in this poem is “courageous and persevering, for it continues to share its song under even the most difficult conditions” (Rose and Ruby). Providing imagery of a bird also helps one to form connections as to what hope would act like if it were personified as said

The second stanza, that talks about "That perches in the soul," uses the imagery of a bird to explain hope. She believes hope perches in people's souls as the hope becomes the home for hope. The subject is viewed as a metaphor as hope rests in people souls the way a bird is known to rest on its own perch. In both the third and fourth stanza the poem talks about a bird singing the tune without any words and does not stop at all. Dickinson makes use of the imagery of continuous bird's songs to depict eternal hope as the bird does not stop singing the hope song. The fifth stanza, which states "And sweetest in the gale is heard", explains the song of hope by the bird as sweetest to the wind (Dickinson & Vendler