Imagery

Imagery has been used in literature for centuries, with ancient cultures such as the Greeks and Egyptians utilizing vivid descriptions in their works. In modern poetry, imagery plays a crucial role in allowing readers to visualize and connect with the poet's message. While no single person can be credited with establishing imagery, it has evolved over time as a powerful literary device.

Imagery is picture, so find a topic and elaborate on what it looks like . For Example, instead of 'the autumn leaves change color' you can elaborate on it by adding words to describe the texture, color and the like, changing the sentence into 'The autumn leaves shone brilliant oranges, the most ostentatious of reds, and were complemented only by the undertones of gold of the yellow leaves soaring through the evening sky.' In which I elaborated onto many subjects creating a mental picture. =)

Pleading eyes refer to eyes that convey a strong or urgent request for help, forgiveness, or understanding through their expression. This look is often characterized by softness, vulnerability, and a sense of desperation that may evoke empathy or sympathy in the viewer.

Descriptive adjectives and vivid verbs are the parts of speech that will help create imagery within your writing. Adjectives provide details about nouns, while verbs can paint a picture by showing actions and movements. Using sensory language and figurative language can also help to enhance the imagery in your writing.

Edna St. Vincent Millay's descriptive imagery transports readers to various destinations, allowing them to immerse themselves in the vivid landscapes and atmospheres she creates through her poetic language. This experience enables readers to engage deeply with the settings and emotions depicted in her writing, making their travel through her words both sensory and evocative.

one example is in book 4, lines 110-114 (may be different depending on what version of the text you have) Where Menelaus mentions how upset Odysseus' family must be, however he does not know he is speaking to Odysseus' son, Telemachus

In "I Know Why the Caged Bird Sings," Maya Angelou uses powerful imagery to convey the struggles and oppression faced by the caged bird. For example, she describes the bird's wings clipped and its feet tied, symbolizing confinement and limitation. Additionally, the contrast between the caged bird's song of freedom and the free bird's ability to "dip his wing" and "claim the sky" paints a vivid picture of disparity and longing for liberation.

"On the Cusp of" or "On the Verge of" are both idioms that mean that the subsequently referenced event is going to happen soon.

E.g "That boy is on the cusp of adolescence" means that the boy being referenced will very shortly be going into going into the stage of adolescence in the speakers opinion.

In the poem "Limbo" by Seamus Heaney, the imagery includes vivid descriptions of the bog landscape, such as "the dark, peat-stained water" and the "coiling roots of the sods" that evoke a sense of claustrophobia and entrapment. The poem also uses sensory details like the "cold glitter" of the frogs' eyes and the "gargled" sound they make, creating a haunting and eerie atmosphere.

Victor Hugo uses vivid imagery in the poem "Russia 1812" to convey the brutal realities of war, depicting scenes of destruction, death, and despair. Through his detailed descriptions of burning cities, frozen landscapes, and fallen soldiers, Hugo captures the devastation and horror of the French invasion of Russia. The imagery serves to evoke strong emotions in the reader and emphasize the tragic consequences of war.

Imagery effects refer to the mental pictures or visualizations that are created in the mind when reading or listening to descriptive language in literature or poetry. These effects help to engage the reader's senses and emotions, bringing the text to life and enhancing the overall impact of the writing.

The shepherding imagery is used in various contexts to convey themes of guidance, protection, and care. It draws on the traditional role of shepherds as caretakers of their flock, symbolizing a leader's responsibility towards their followers. This imagery also emphasizes the relationship between the shepherd and the sheep, highlighting qualities such as vigilance, compassion, and sacrifice.

The imagery in "A Separate Peace" emphasizes the boys' world by highlighting the contrasting elements of peace and war, both internal and external. The natural surroundings at Devon School, such as the tree where Finny falls, reflect the characters' inner struggles and the loss of innocence during a time of conflict. The changing seasons and weather patterns also serve as symbols of the boys' evolving emotions and relationships.

The sense devices implemented in the poem "Ozymandias" include visual imagery, which paints a vivid picture of the ruined statue and desert landscape. The use of tactile imagery also evokes a sense of touch, as seen in descriptions of the sand and decay. Additionally, auditory imagery is employed through the silence and absence of sound in the desolate setting.

In "The Pearl," examples of personification include phrases like "the stars whispered in the sky," where stars are given the human quality of whispering, or "the wind cried and sobbed," where the wind is described as crying and sobbing. These instances create vivid imagery and help to convey emotions or atmospheres through the natural elements in the story.

In the poem "The Frog Prince" by Stevie Smith, imagery is used to convey themes of transformation and deception. The image of the frog symbolizes both ugliness and the potential for change, while the princess represents beauty and desire. The vivid descriptions of the frog's appearance and actions create a contrast between the external and internal qualities of the characters.

In "Ode to the West Wind," Shelley uses the wind as a symbol of change and transformative power. The poet's personal despondency is reflected in his yearning for the wind to bring change and renewal, as he feels stagnant and in need of a creative resurgence. Through the imagery of the wind and its ability to destroy and renew, Shelley expresses his own feelings of despair and hope for a rebirth.

It is generally a message of change written at a time (1820) when the poet was feeling the loss of his son, William and far from home where action was needed and he would urge, or become, the wind of change.

GENERATION of Canadian schoolchildren and university students has grown up knowing the story of a mountain climber who fell 50 feet to a narrow ledge, was badly injured, then pushed off the ledge to his death by his friend in an act of mercy. The climber's name was David, also the title of the story. Its author was Earle Birney. At one time or another in the last 25 years, David has been required reading for high schools and universities in every Canadian province. Mountains that are actually on the map near the Banff-Lake Louise area - Inglismaldie, Assiniboine and the Sawback Range - form part of the setting. Reaction on the part of teachers and students has been swift and marvelous: many fancied themselves literary detectives, deciding that Earle Birney had pushed his friend David off a high ledge to death in a remote Rocky Mountain valley. Which is murder, by some definitions. Birney was exasperated and frustrated by these interpretations of his fictional story. Carried to a most fantastic length, it didn't seem entirely improbable that he might be hauled into court and charged with homicide. And sentenced to real death for committing a fictional murder? In fact, a number of schoolteachers in Ontario protested against having to teach a poem that "advocated mercy killing". One Alberta university professor said in a 1971 essay: "... there is proof that this was no fictional story. Birney's companion on that fatal mountain climb was a real David. His death was reported as being due to a rockslide." In a 1963 Canadian Alpine Journal there's an article about Birney's imaginary Finger Mountain, entitled "How Many Routes on the Finger?" It begins: "Modern legend, based on a poem written by Dr. Earle Birney, has led at least 10 climbing parties in the last few years to an intriguing rock climb near Banff. It is not known whether the hero in David actually climbed the spire..." Of course that article assumes David to be a real person . Another odd thing: when Birney wrote his poem, the Finger was imaginary and did not exist. But since that time (1942) a mountain near Banff has actually been given the name. Chills must run up and down a writer's back as the people in a fictional landscape gather round him with accusing glances. It's little wonder that Birney doesn't want to include the poem in his university readings. Or that he displays impatient irritation if some fledgling sleuth says to him: "Why did you kill David?" Especially since the poem's genesis actually derives from a newspaper story in the twenties, about a student mountain climber. This man had broken his spine while ascending a mountain. His fellow climber, unable to move him, had guided rescuers back to the accident within a few hours. But the real-life David was dead from his injuries and exposure. Birney appropriated his name for the poem. Birney is sick of the subject of David, and since I've known him for some 20 years, I have some idea of his feelings. It must be like being taken over by a Doppelganger or the ventriloquist's puppet into which you've thrown your own voice. Still, I'm fascinated by the idea of part of your personality getting away on you, having an existence of its own. And that is the ultimate tribute to the writer's art, and to Birney himself. The poet-novelist-man-Birney is six feet tall, thin and built like a whiplash. Blue eyes and sandy-grey beard, with an energy that drives him pacing round the living room from typewriter to balcony to boxes storing hundreds of books, then back for more talking. His energy is something I've always envied. Birney is 15 years older than I am, and he's leaving the country for London, Paris, Cairo, Bangkok, Singapore and Australia - with a zest for all the onrushing strangeness of other countries and the friends there he will see again. He thinks of it as his "last hurrah". Earle Birney is one of the two best poets in Canada (the other is Irving Layton). Honors have poured on him throughout a long life of writing and teaching: the Governor-General's Award twice, a first Borestone Mountain poetry award, the Lorne Pierce Medal for Literature, several Canada Council awards. Beginning in 1942 with David, he has published some 20 books, including the two-volume Collected Poems published this fall. Projected works include one volume each of plays, short stories, political writings, Chaucer essays (he's an authority on Geoffrey Chaucer), travel, literary essays and reviews. I suspect there are several more books gestating, although he says, "I know too much about poetry!" Meaning that mass accumulation of knowledge can overwhelm and stifle creativity. It doesn't seem to have worked that way in his case. Earle Birney was born in a log cabin on the banks of the Bow River in Calgary in 1904. Until the age of seven he lived on a remote farm in northern Alberta. When the family moved to Banff he played hockey in the days of the seven-man team. Because of his speed and agility he was the rover, the man expected to go everywhere on the ice. "But I was so light and skinny, I kept getting injured. Where other kids got bruised, I came out of a scrimmage with broken bones. We were playing miners' sons from Canmore in high school hockey; big hard kids, some of them 200-pounders. I learned to skate fast just to escape being killed." And the young Birney wanted desperately to be part of school athletics. "As a boy, I felt superior in some ways, in others inferior. But never equal. I always wanted integration with other people - on my own terms." But that time of racing the wind on Bow River ice ended in 1917. The family moved again, this time to Erikson, British Columbia, near Creston in the Kootenay Mountains, where, tragically, there was no ice. They lived, Birney and his parents, on a 10-acre farm only partly cleared of bush. He was an only child, wanted to be average, but "I was always getting into quarrels and being beaten up." There were compensations. His mother was religious, but a "complete mom", and his father a restless man who kept moving from place to place, prototype of the compulsive wanderer Birney himself became. He rode a horse or sleigh in summer and winter to high school in Creston, and at the age of 14 "romance reared its lovely head". The girl was Beatrice, a year older than Earle, and it was a "wrestling romance". Not in the way that description sounds, but because Beatrice's twin younger brothers told Earle, "We don't let any guy go out with our sister, not unless he can wrestle her down!" Birney's first thought was that the twins themselves intended to beat him up. But no, they had decided he must prove himself a better man than Beatrice by wrestling her to a standstill. The great Olympic gladiatorial contest took place in a barn loft. Earle went into battle expecting at least minimal co-operation from Beatrice. She had other ideas, and struggled against him like fury. The idea of her brothers standing watching made her fight all the harder, but at last her shoulders were pinned to the hay-covered floor." Great," said the twins in unison, "now kiss her." But Beatrice wouldn't co-operate in that either, and renewed the battle with even greater fury. Thus ended the first romance. The first job was at the Bank of Commerce in Creston when Birney was 16, wages $15 a week. He was a "promising young man" when the bank transferred him to Vernon in the Okanagan Valley. Vernon was a three-day boat trip, and passing a waterfall on the Kootenay River he wrote his first poem - a very bad one, he says. Later he worked at some of the same jobs as the picaresque army private, Turvey, the hero of his first novel: swamper, rock-driller and ditch-digger around the Vermilion Lakes, axeman and rodman to surveyors on the Continental Divide. In some modern sense he was a mountain man, having fished the Kootenay canyons; pack-horsed into lakes in Banff National Park; guided tourists into the high ranges; hunted fossils on cliffs for museums and strung meteorological cable on Sulphur Mountain.

No

Some of her poems may use them, but the definition of onomatopoeia is:

The formation of a word, as cuckoo or boom, by imitation of a sound made by or associated with its referent.

I have no idea what the word personification means.

Something like that could do...

like just write what you think like "Do you know what the word personification means?"

fearlessness can be most closely associated with pride.

the lion is the most common symbol for pride.

however. the honey badger is recognizably the most fearless animal on the planet