Wordsworth relates the sense of community with nature in a more clear way than Blake who clearly leans on religious elements more and both poems seem complementary to each other as one being Jesus, the lamb, and the other being the Devil. Blake speaks of the Lamb as if it is the thing that brings forth life and is a youthful and joyful child. The Tyger on the other hand appears to smile at things that cause destruction and pain: fire, tears, hammer, and chains. In the world is too much with us, Wordsworth connects humanity with the world we reside in very well in The word is too much much wit hus. We are wasteful of our gifts and resources. Everything is moving too fast (we are out of tune) and our connection with nature and God in a sense is fading yet, we are not moved. The speaker takes pride in watching the peaceful sea and its residents. In It is a beauteous evening, calm and free, The evening is time when the world is peaceful and we can pretend that we are one with nature again and away from the busyness. In the evening we can listen to the mighty Being being awoken and without knowing it, we are connected to nature.
It Is A Beauteous Evening Literary Devices
The poem is very simple to understand, as it is written in simple language and a deliberate omission of metaphors and other complex literary devices. Wordsworth might have done this to put his point forward. The poem is about simplicity, about seeing nature and admiring its beauty. The poem is about learning from the simplicity of nature.
With its stock diction ("azure skies," "beauteous islanded") and awkward syntax (see especially the third and fourth stanzas), "Shelley" does not represent Carman at his best, but it is nevertheless remarkable for two interrelated reasons: (1) its suggestion that Shelley's "soul" might be more at home in a natural, unspoiled Canadian environment than in the carceral, historied space of Europe (see Bhojwani 42); and (2) its association of the English poet with a Canadian landscape that he never visited or described (see Glickman 25). In effect, Carman creates a literary site where none existed before, transforming the animate and inanimate features of an island in New Brunswick into a "representational space" whose "affective kernel or centre" is Shelley. After reading Carman's poem, it would be difficult, if not impossible, at least for a while, to hear the thrushes of Frye Island without thinking of the author of Alastor, "Adonais," "Ode to the West Wind," and "To a Sky-Lark." 2ff7e9595c
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