Please help me please will give brainliest to read the story and and tell me the (literary devices)

the story name
Fern Hill
DYLAN THOMAS-1914 -1953

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PERSONIFICATION: Line 2: “lilting house”, lilting is an old school style of Gaelic singing, hence the house is personified.

Line 4 and 5: “Time” is personified as the speaker’s playmate.

Line 12: the sun has been personified and is defined as young.

Line 13: “time” is once again treated as the speaker’s friend.

Line 29: the farm is personified by the word “shoulder”.

ASSONANCE: Line 7: “trees” and “leaves” are vowel rhymes. They don’t rhyme perfectly, but the long “e” binds them together.

Line 8: “daisies” and “barley” are again vowel rhymes.

CONSONANCE: Line 9: “rivers” and “windfall” are consonant rhymes, where the “v” of rivers and “f” of windfall binds them together.

IMAGERY: Line 15: the speaker calls himself “green and golden” as a “huntsman and herdsman”.

ALLITERATION: Line 14: “mercy of his means”.

ANAPHORA: Line 21-23: the “and” is the word that these three lines begins with, this builds up the momentum of the poem.

SIMILE: Line 28: the farm is described as “a wanderer white/ with the dew”.

ALLUSION: Line 30: the call of Adam and Eve is a major allusion.

FERN HILL

Fern Hill (1945) is a poem by Dylan Thomas, first published in the October, 1945, Horizon magazine, with its first book publication as the last poem in Deaths and Entrances. The poem starts as a straightforward evocation of his childhood visits to his Aunt Annie's farm:

Now as I was young and easy under the apple boughs

About the lilting house and happy as the grass was green,

In the middle section, the idyllic scene is expanded upon, reinforced by the lilting rhythm of the poem, the dreamlike, pastoral metaphors and allusion to Eden. By the end, the poet's older voice has taken over, mourning his lost youth with echoes of the opening:

Oh as I was young and easy in the mercy of his means,

Time held me green and dying

Though I sang in my chains like the sea.[1]

The poem uses internal half rhyme and full rhyme as well as end rhyme. Thomas was very conscious of the impact of spoken or intoned verse and explored the potentialities of sound and rhythm, in a manner reminiscent of Gerard Manley Hopkins. He always denied having conscious knowledge of Welsh, but "his lines chime with internal consonantal correspondence, or cynghanedd, a prescribed feature of Welsh versification".[2]

The house Fernhill is just outside Llangain in Carmarthenshire. Thomas had extended stays here in the 1920s with his aunt Annie and her husband, Jim Jones. His holidays here have been recalled in interviews with his schoolboy friends, and both the house and the Thomas family network in the area are detailed in the same book

Explanation:

introduce and provide context for each quotation

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