Metaphoric Application in Poetry

The carriage passes the school, which stands for the learning processes of childhood, and the item that the children ar represented as striving rather than notwithstanding playing--and not in the classroom just now at recess--demonstrates that callowness is a period of na?ve engagement with the cosmos. To represent a field of grain as "gazing" is to show evidence of continuing engagement with the world, whether in labor or leisure, in adulthood, but also suggesting an effort at searching out pith. hardly the carriage not only simply passes the field by but also passes the setting sun, which stands for the aging process. In the beginning line of the fourth stanza the poet makes a sharp correction virtually what happened during the carriage ride ("Or rather--He passed Us"), which suggests that childhood, adulthood, and old age, as extended as they may seem, are all a mere instant of time compared to immortality, the province of death. At this hour the poet, clad in the light material (doubtless a shroud), gets a chill, which suggests an emotionally disturbing, possibly regretful, recognition that fleeting demeanor passed more than or less unheeded, until old age made it unacceptable to turn back time and start striving for natural action and meaning.

But the poet does not complain. The house before which they pause is the sound site, are n

Millay, Edna St. Vincent. "Spring." Second April. spick-and-span York: Mitchell Kennerley, 1921. 1.

The idea that the ousel stands for what is of ultimate concern, however elusive the meaning of ultimate may be, enlarges in VIII, when the poet speaks of salutary experience (" terrific accents / And lucid, inescapable rhythms"). Even in the midst of manifest recreation there is a vague uneasiness that sports are fleeting, third-year; the blackbird, as ultimacy, is always in the background, always involved in human experience. That sense pervades IX, X, and XI as well. In IX, level when the intuition of ultimacy seems to disappear, and in X, at the moment the pleasure of "euphony" reaches its heights, the blackbird has left its mark and can product at will.

In XI, the illusion of the most richly lived life as self-justifying is figured as the lavish horse and carriage (equipage), but the rider on the carriage of life is incorrect if he thinks that rich sense experience is equal to the nonphysical ultimate, represented by the blackbird. One is reminded of the subdued, civil carriage in Dickinson's poem, which does contain immortality.

The sound of ascending those particular stairs is an all-important(a) exercise in fiction because it articulates a general group and also alludes to an earlier verse on the same theme. move up the flight of uncarpeted, hence uncomfortable, stairs of life are bound to sound louder and more dissonant than steps up more comfortable, carpeted ones. Coupled with what the apparent truth that there is no death signifies, the sound described resonates with Macbeth's bitter and metaphor comparing life to "a tale / Told by an idiot, encompassing of sound and fury, / Signifying nothing"(V.iii). The aesthetic resonance is paid slay in the last line, where a simile compares April to an "idiot, babbling and spread flowers" meaninglessly and without purpose, closing the extended metaphor and allusion, and articulating despair.

In the first stanza (I) the blackbird has po
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