Image means "a concrete picture" (Harper Handbook 235).  In daily language image is usually a composite of visual details, but literary images can be those of sights, sounds, tastes, touch and smells.   When your composition teacher asks you to give concrete, sensory details in your narrative, you are asked to recall/re-create images of your experience so that your readers can experience and feel them, too.  If you give your images figurative meanings or other meanings beyond the literal level, you are creating figurative images (metaphors or similes) or symbols.  

In other words,  

• "When an image is made to stand for two things, as when a rose represents itself and also the color in a young woman's cheeks, the image turns into a METAPHOR, SIMILE, or other form of FIGURATIVE LANGUAGE.  [e.g. "A Simile for her Smile"]
• When an image is used so as to suggest complex or multiple meanings, as when a rose represents itself, young women generally, and also beauty and fagility, it becomes a SYMBOL." [e.g. the yellow wallpaper] (Harper Handbook 236)

Imagism is a movement -- led by some American poets (e.g. E. Pound, W. C. William, etc.) in early twentieth century -- against "Romantic idealism and Victorian moralism" (Harper Handbook 238)  
For instance, Pound defined the image as "that which presents an emotional and intellectual complex in an instant of time." He released "A Few Don'ts for an Imagist" which included three principles  
1) direct treatment of the "thing", whether subjective or objective,  
2) using absolutely no word that does not contribute to the presentation, and  
3) to compose in the sequence of the musical phrase, not in the sequence of the metronome." (from Imagists)

1. Look at the colorful version of this poem.  Although it looks "colorful," the colors on this page are actually non-existent.  When you put all the color images together, you see a contrast between white and the other colors.  What symbolic meanings are suggested out of this contrast between white color and the other colors? 
2. Why do you think about the drunk and sleeping sailor who "Catches tigers/In red Weather?" 
3. What do you think about the poem's repetition of words, the parallel sentences and the rimes?  Do they create a kind of power as that in Langston Hughes' poems?  Or do they suggest monotony?

1. The word "tone" here is a pun.  Find out its meanings.
2. What tones (attitutes) does the speaker take towards the woman he speaks to?  Why does he speak to her?  What has happened between them?  Why does he talk about this past experience when probably the lover ("you") is no longer present ? 
3. Analyze the image pattern of the poem.  The poem is divided into two parts: the first three stanzas about a moment in the past, the fourth, the "lessons" the speaker learns. 
• In the first part, several images-- figurative and literal--work to present the scenery, the speaker's mood as well as the relationship between the two.  First, try to group them into different clusters (for instance, image of color, winter and death), and analyze how they express both literal and figurative meanings.
• Second, analyze how the images in the last stanza are related to each other, and those in the previous stanzas?  The second part about the speaker's memory offers a fusion of the images of the lover's face with those of the scenery.   It offers a succinct conclusion to a failed love story, and it also shows how memory works--that we frequently think/feel in terms of visual images. 

1. This poem is not as dense with images as "Neutral Tones" is, yet it has the "wall" as the major symbol.   To find out the connotations of this symbol, you need to examine both how it is presented and the images/characters associated with it.  As we suggested in the general questions, there are four major characters, each is associated with different images:  

neighbor --   "Good fences makes good neighbors."  old-stone savage; in darkness

for

wall

against

Something --  frozen -ground - swell  hunters --  yelping dogs  the speaker --   Spring

Examine the images associated with these agents who are for or against the wall, and find out the the meanings of the wall, as well as the speaker's attitudes toward it.  (Why does the speaker inform his neighbor of the gap if he does not find the wall necessary?  Why is Spring both a time for mending , and creating mischief in the speaker?) 
  
2. Like "The Disillusionment of Ten O'Clock," this poem has a lot of repetitions (e.g. "Something"; "To each the boulders that have fallen to each/And some are loaves and some so neatly balls" ).  Moreover, it has a regular form (iambic pentameter).  What are the effects of the repetitions and regularity in form?