• What type of imagery and language does each poet use?
• How do the images and language relate to the themes of the poems?
• How do the literary devices of personification and the use of the refrain affect each poem?
Make sure your answer includes at least three well-developed paragraphs.
Poems.
July, by Susan Hartley Swett
When the scarlet cardinal tells
Her dream to the dragonfly,
And the lazy breeze makes a nest in the trees,
And murmurs a lullaby,
It's July.
When the tangled cobweb pulls
The cornflower's cap awry,
And the lilies tall lean over the wall
To bow to the butterfly,
It's July.
When the heat like a mist veil floats,
And poppies flame in the rye,
And the silver note in the streamlet's throat
Has softened almost to a sigh,
It's July.
John Keats TO AUTUMN
When the hours are so still that time
Forgets them, and lets them lie
Underneath petals pink till the night stars wink
At the sunset in the sky,
It's July.
SEASON of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss’d cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o’er-brimm’d their clammy cells.
2.
Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reap’d furrow sound asleep,
Drows’d with the fume of poppies, while thy hook
Spares the next swath and all its twined flowers:
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings hours by hours.
3.
Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,—
While barred clouds bloom the soft-dying day,
And touch the stubble plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The red-breast whistles from a garden-croft;
And gathering swallows twitter in the skies
The use of imagery and language that the poets use is to show the coming seasons.
This refers to the use of visually descriptive words in order to show an event to create a mental image of it in the minds of the readers.
Hence, we can see that from the two poems, there is the narration of the coming season and how the lazy breeze and the scarlet cardinal foretell that July has come.
The use of personification by showing that the scarlet cardinal is able to talk also helps to show and create emphasis and also add color to the poem.
Read more about personification here:
#SPJ2
Answer:
It's a simple sentence.
Explanation:
A simple sentence consisting of one topic and a single verb to express an entire thought, is also known as an independent clause. The subject is "who," and the verb in this instance is "let." The sentence is a question, indicating that it is asking for information. The sentence does not contain any other clauses or combinations, which makes it easy to read.
A stock character is a fictional character that is based on popular social or literary stereotypes. The names, manner of speech, and characteristics of these characters are usually based on stereotypes.
A stereotype is a fixed image or idea that has been emotionally colored by prejudice or bias, i.e., by consistent evaluation. Educational stereotypes are behavioral, cognitive, and affective criteria that guide a teacher's professional educational activities.
Stereotypical thinking implies an overreaction to information that generates or confirms a stereotype and an underreaction to information that contradicts it. If new information changes the group's most distinguishing feature, stereotypes can shift. Stereotypes, whether they are minor or major characters, can help an author construct a story. It may assist a writer in explaining a character's personality or actions, or it may simply be easier to assign a stereotype to a character in order to work on developing other aspects of the story more fully.
Learn more about a stereotype here:
#SPJ2
The answer is........... To offer a specific interpretation of the play
"You've cut off your hair?" asked Jim, laboriously, as if he had not arrived at that patent fact yet even after the hardest mental labor.
"Cut it off and sold it," said Della. "Don't you like me just as well, anyhow? I'm me without my hair, ain't I?"
Jim looked about the room curiously.
"You say your hair is gone?" he said, with an air almost of idiocy.
"You needn't look for it," said Della. "It's sold, I tell you—sold and gone, too. It's Christmas Eve, boy. Be good to me, for it went for you. Maybe the hairs of my head were numbered," she went on with sudden serious sweetness, "but nobody could ever count my love for you. Shall I put the chops on, Jim?"
Out of his trance Jim seemed quickly to wake. He enfolded his Della. For ten seconds let us regard with discreet scrutiny some inconsequential object in the other direction. Eight dollars a week or a million a year—what is the difference? A mathematician or a wit would give you the wrong answer. The magi brought valuable gifts, but that was not among them. This dark assertion will be illuminated later on.
Jim drew a package from his overcoat pocket and threw it upon the table.
"Don't make any mistake, Dell," he said, "about me. I don't think there's anything in the way of a haircut or a shave or a shampoo that could make me like my girl any less. But if you'll unwrap that package you may see why you had me going a while at first."
White fingers and nimble tore at the string and paper. And then an ecstatic scream of joy; and then, alas! a quick feminine change to hysterical tears and wails, necessitating the immediate employment of all the comforting powers of the lord of the flat.
For there lay The Combs—the set of combs, side and back, that Della had worshipped long in a Broadway window. Beautiful combs, pure tortoise shell, with jeweled rims—just the shade to wear in the beautiful vanished hair. They were expensive combs, she knew, and her heart had simply craved and yearned over them without the least hope of possession. And now, they were hers, but the tresses that should have adorned the coveted adornments were gone.
But she hugged them to her bosom, and at length she was able to look up with dim eyes and a smile and say: "My hair grows so fast, Jim!"
And then Della leaped up like a little singed cat and cried, "Oh, oh!"
Jim had not yet seen his beautiful present. She held it out to him eagerly upon her open palm. The dull precious metal seemed to flash with a reflection of her bright and ardent spirit.
"Isn't it a dandy, Jim? I hunted all over town to find it. You'll have to look at the time a hundred times a day now. Give me your watch. I want to see how it looks on it."
Instead of obeying, Jim tumbled down on the couch and put his hands under the back of his head and smiled.
"Dell," said he, "let's put our Christmas presents away and keep 'em a while. They're too nice to use just at present. I sold the watch to get the money to buy your combs. And now suppose you put the chops on."
The magi, as you know, were wise men—wonderfully wise men—who brought gifts to the Babe in the manger. They invented the art of giving Christmas presents. Being wise, their gifts were no doubt wise ones, possibly bearing the privilege of exchange in case of duplication. And here I have lamely related to you the uneventful chronicle of two foolish children in a flat who most unwisely sacrificed for each other the greatest treasures of their house. But in a last word to the wise of these days let it be said that of all who give gifts these two were the wisest. Of all who give and receive gifts, such as they are wisest. Everywhere they are wisest. They are the magi.
What aspect of the setting is most important to this story?
A. the flat
B. the hair-shop
C. Jim and Della's financial situation
D. the city