In Cut Grass, Philip Larkin hires onomatopoeia, color and flower symbolism, and punctuation to assign that devastation is inevitable, and is unaware of specific circumstances. By contrasting the turn up booby with the typically vibrant, lively month of June, Larkin describes the harsh nature of shoemakers last, and its thin towards its surroundings, turn simultaneously providing a sense of desire at once death does arrive. In the first stanza, Larkin uses onomatopoeia to compose a vivid paradigm of mown grass. The sharp sounds of neck grass imply fierceness, while the next phrase lies frail, is aware of helplessness and weakness. He continues to mate sounds by using phrases such as brief is the breath, and exhale, whose sounds jibe their respective actions. Through his use of onomatopoeia, Larkin connects the reader to the grass, and thus evokes sympathy. magic spell the reader is bleak towards the death, it n bingletheless continues, regardless of the liveli ness of young-leafed June. Larkin in like musical mode contrasts the brief breath with long death to show that slit and butter is relatively brief when compared to the eternity of death. He makes the absolute majority of the meter, in describing death, one sentence, from long, long... until the end, in order to illustrate the elongate and slack up dying. He describes the death at summers footstep; a vacant and dawdling movement that disregards its blooming surroundings.
He shows that death is unavoidable, and is continually occurring, even at supposed sunny moments. However, Larkin also ends the poem w ith movement, to show that death, although i! nevitable, is not necessarily final, and that on that point is potential for an afterlife. The ingeminate reference to white also serves to show the two sides of death; while it is pure and innocent, it is also melancholy. By personifying death, Larkin shows that though one can evaluate death from dissimilar perspectives, it... If you want to discover a full essay, order it on our website: OrderCustomPaper.com
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