14 Poems

Chyrsella Patrick =]

POEM:THE VOICE:

Point Of View: The poem is written using the second person, addressing the deceased woman herself. Much of the impact of the poem derives from its metrical complexity and its extended rhyming system: consider how the rhythms communicate and define the poets changing emotions. The Voice, Is displayed in second person allowing the effect to be loss because Hardy uses this technique to memories his wife and the times they spent when she was alive, it allows the reader to feel things of sorrow. The reason the effect is loss because the poet depicts the reader to feel loss as he enters the poem with women much miss. Imaginary. Rhyme, Rythem,Allow to reader to image such things in the Voice Hardy introduces, in the third stanza, the mocking fear that all he hears is the wind and that Emma's death has marked the end of her existence - which she has been dissolved and will be heard no more. The lively anapaestic meter of the first three stanzas gives way, in the final stanza, to a less fluent rhythm, capturing the desolate mood of Hardy as he falters forward, while the leaves fall and the north wind blows, as Emma (if it is she) continues to call. But by the end, a belief or fear that the voice is imaginary has replaced this hope. Though the vigorous anapaestic meter of the poem helps convey this initial hope, it proves unwieldy for Hardy, as is evident in the clumsy third stanza, where listlessness rhymes with Hardy's unfortunate coinage (invented word) existlessness, and we find the gauche and repetitious phrase no more again in the stanza's final line. Language and Tone: Thomas Hardy in his poem 'The Voice' deals with the tone of the consequences of grief and loss. He addresses this theme by means of examining his own feelings at his wife's death, his wish to relive the past, his wish to be reunited with her and his feelings of despair and hopelessness at what life has become for him without her. To convey his theme to the reader, Hardy uses a range of language and literary devices such as juxtaposition, varied line length, sound devices, imagery, connotation, word choice, rhetorical question and repetition. In the first stanza Thomas Hardy illustrates his great grief at the loss of his wife. He misses her a great deal and senses that she is calling out to him. He longs for her and longs to be with her. The depth of his grief is clear from the use of the word 'much' in "woman much missed" and the repetition of "you call to me". A consequence of his grief and loss is that he believes she calls to him and that she has changed back to the girl he first met and married and when they were happy, "when our day was fair. Grief clearly has a great impact on individuals Shape and Sound: The Voice is left aligned; Hardy uses the space and shape of his poem to creating a rhythm effect ABABA scheme. The poem changed his ideas dramatically between each stanza within the poem. The title the voice allows the reader to concentrate on a voice in the poem giving the effect of loss, the 1st stanza, is loss emphases in his view.

POEM:TIME:

Point Of View: The poem Time is all about the abstract concepts of time. The poet is writing in first person, as he is the wind. I am is repeated rapidly amongst the poem. Throughout the poem the poet is switching between past, present and future. By doing this hes achieving the point of how time is always moving and there is nothing we can do to stop it. Now, becomes then. In the line I am the water-race and the rust on the railway lines, the poet first uses water as a metaphor for something which is constantly moving and impossible to control. Then he talks about railway lines symbolizing the past. How much time it has been since the railway has been used. I, Time, call down, condense, confer shows the poet is using the repetition of the c sound. This creates a calm steady be at to the line, making it complete, and final. At the end he says Though I am here all things my coming attend; I am, you have heard it, th e Beginning and the End. This is a beautiful ending to such an abstract poem. First he explains how time is everywhere, in the leaves, in the office, in our everyday life and then he says that even though time is all of this, they are still the same. Here he creates some confusion by saying that time has a beginning and an end, even though in the rest of his poem he has been explaining how time have no start nor ending. It is just there, guiding us through life. Imaginary: It is Time himself, the persona talking about him. It is a bit like an autobiography of him. He wants the audience to know who he is. If you read the poem, Time is everywhere. Time can do anything. It is the reason why we have memories, why things exist in our world. He is everything. Time is more than what we can imagine; he is the thing that we cannot deny. It is part of our life, and it is the reason why we are born at first, and died in the end. In my opinion, I think Time is pretty arrogant and his tone makes it as if he is powerful, and pervasive. You can say that the more you read about Time, he gets even more arrogant and makes himself a huge deal out of himself. Pretty egoistic to me. Language and Tone: Curnow attempts to personify time into an entity that is all existent. Throughout most of the poem, he portrays time as being arrogant and full of conceit but he also reveals why time has the right to be so. He uses many Biblical references that suggest the fact that time is god-like, and also portrays to us its constant nature. Judging by the overall image we get of time, Curnow has been quite successful in his attempt to describe something so mysterious and unimaginable The Time poem basically refers to defining t he meaning of time. In the first four stanzas the poet starts introducing each line by utilizing the phrase I am, and then goes on in gi ving examples of where time is seen, how time is seen and used, and what time is. The repetition of the words I am represents a metaphor fo r time, and time it is also being personified with human-like qualities. From stanzas five to seven, the poet mainly focuses on basically saying that time is everything, and he does this by using strong words; such as I, time, am all these, yet these exist. This is a very good way of letting people know/understand what the poem is about, that line is direct to the reader and does not leave us wondering of the meaning of the line. The poet is completely clear with the readers, he makes his points clear and we can see how confident he is with his writing. Shape and Space: You look at various things when trying to analyses poems. First you look at the central idea of the poem and how it relates to the title. Here Time relates to the central idea of the poem, because the stanzars trying to make amends for the long and tiring day. Then you can look at the description and the language used as well as the choice of words. So Amends has personification, Imagery, Similes and Metaphors and other literary features. You can look at certain adjectives and verbs used and say why they are effective. Look at the Mood/atmosphere of the poem and how the words help create this mood or effect for the reader. Here the choice of words is very subtle at times but it varies throughout the poem. This gives the reader the idea of some kind of flow. You can see the movement throughout the poem be it by the pouring, flicking, picking or exploding. Then you can look at more technical features of the poem the structure is split up into 4 stanzas with 4 lines each.

POEM:DOVER BEACH:

Point of View: The poet/persona uses first-, second-, and third-person point of view in the poem. Generally, the poem presents the observations of the author/persona in third-person point of view but shifts to second person when he addresses his beloved, as in line 6 (Come), line 9 (Listen! you), and line 29 (let). Then he shifts to first-person point of view when he includes his beloved and the reader as co-observers, as in Line 18 (we), Line 29 (us), Line 31 (us), and line 35 (we). He also uses first-person point of view to declare that at least one observation is his alone, and not necessarily that of his co-observers. This instance occurs in line 24: But now I only hear. This line means but now I alone hear. Imaginary: The most poignant image is the sea. The sea includes the visual imagery, used to express illusion, as well as the auditory imagery, used to express reality. A vivid description of the calm sea in the first eight lines allows a picture of the sea to unfold. However, the next six lines call upon auditory qualities, especially the words Listen, grating roars, and eternal note o f sadness. The distinction between the sight and sound imagery continues into the third stanza. Sophocles can hear the Aegean Sea, but cannot see it. He hears the purposelessness of human misery, but cannot see it because of the turbid ebb and flow of the sea. The allusion of Sophocles and the past disappears abruptly, replaced by the auditory image, But now I only hear/ its melancholy, long, withdrawing roar/ Retreating to the breath/ of the night-wind, down the vast edges drear/ and naked shingles of the world (Line s 2428). The image is intensely drawn by Arnold to vividly see the faith disappearing from the speakers world. The image of da rkness pervades the speakers life just like the night wind pushes the clouds in to change a bright, calm sea into dark, naked shin gles. In the final stanza, the speaker makes his last attempt to hold on to illusion, yet is forced to face reality. Language and Tone: The tone of the piece is determined by the constant presence of melancholy and misery in the poem that stretch on into the distance with a long withdrawing roar The calmness of the narrative voice with which the piece is set to work (the sea is calm to-night). The tide is full, the moon lies fair.) Is essential for the descriptive nature of the first stan za. Yet, later on its role is to emphasize the negativity in the tone of the poem: But now I only hear /its melancholy, Into his mind the t urbid ebb and flow /of human misery The end of the piece, however, implies that the alteration of the things around us is something inevitable. The tone changes in the last verse of the poem in the sense that it now not simply resents mutability, but is also a tone pleading with the reader to realize nothing is as stable and reliable as one perceives it, not to take the world for granted, and to stay true/ to one another. Bitterness is suggested when Arnold exclaims Ah, love to show that in this changing world, one can only rely on the partner, and be trustful and true. Sarcasm is used to describe the modern world as a land of dreams as there is no more hope for the world, as there is no more faith. Shape and Space: over Beach" is a poem with the mournful tone of an elegy and the personal intensity of a dramatic monologue. Because the meter and rhyme vary from line to line, the poem is said to be in free verse--that is, it is unencumbered by the strictures of traditional versification. However, there is cadence in the poem, achieved through the following: How do long-winded comments full of compound/complex sentences help the reader to comprehend a rather basic poem in any way whatsoever? Sure, you can bask in the sun of your own verbal skills as you muck about in the offal of your own linguistic excesses - 'Let my skills weave their magic! Soon enough you'll be as entranced as I am with my ability to confuse and tantalize the wayward reader who falls headlong into the trap I've built with nothing but indirection and cunning, ' you'll boast. What in the world does Craddock mean by the following? 'Arnold writes a poetic invention to solve and address the conflict of ideas and attitudes (sic) the scientific challenge of Darwinism, and the religious doubt and confusion it produced in some with a sudden abandonment of God wrought upon the psyche of diminishing belief. (What?) Count the words and the parts of speech in this monster of a sentence (simple? compound? complex? compound complex?) and separate the dependent clauses from the independent clauses as you try to make out the confusion 'wrought' by noun/pronoun confusion!

POEM:AMENDS:

Point Of View: In Amends the poet uses a Third personal to symbolize an effect of making the reader see and capture the hurt of Moon and the way its neglected but yet does such powerful things. Adrienne Rich's poem 'Amends' is primarily about the relationship between moonlight and human beings: how moonlight lights up various features as it progresses through the sky, how it wishes to make amends, sympathizes with the lives of the sleepers. Perhaps most remarkable about the poem is the personification of moonlight, and the sensuous details employed to describe its action. Language and Tone: This poem is basically about the relationship between the moonlight and the humans. The moonlight wishes to make amends, because it sympathizes with the lives of the sleepers. As night heals up, and also helps the sleepers to get away with bad memories. The first stanza is about how at night in the dark it is very cold with stars showing up, lighting up every single piece of stone that is on the ground. The second stanza is telling us about how the stars light up the greater stones it starts showing more, and then rests on the sand, as it reaches the broken ledge, it lights up the high cliff. The third stanza is about how it continues lighting up the rest of the land. And at last, the fourth stanza is about how the star light gets through the cracks of windows and how it gets on the eyelids of sleepers as if it wants amends. In general it is telling us how better the night star light is better from the day light. How the star light lights up every piece of ground at night and how it moves slowly lighting up as much as it can. The poem has no rhythm or rhyme. The mood of the poem is not neutral; it is normal and very Imaginary: There is a lot of alliteration and the tone of this poem is quite sad to be honest, how the poet wrote it makes it sounds as if the poem is not supposed to be explaining beautiful how the star light is nice at night. The topic of childhood is addressed much more with simple language and makes it easy to read, and not more scientific words and much more difficult explanation. However it sounded quite nice and interesting. The Poem is a successful poem and that a lot of readers would enjoy reading this poem and have their own opinions on this poem and make their own movie in their heads when reading it. Space and Shape: Moonlight is personified as in 'picking at small stones'[line] and 'as it licks the broken ledge'[line]. Examples of sensuousness include: 1. 'Laying its cheek for moments on the sand'[line] 2. 'As it dwells upon the eyelids of sleepers'[line 15] The poem consists of four 4-line stanzas having lines of unequal length. The whole poem, in all its 16 lines, goes on and on through run-on until the moonlight reaches the point of making amends to mankind. The poem is very sparingly punctuated, rather unpunctuated, through to the end. The repeated use of 'as it'--eight times in all-- and the anaphoric repetitions at the beginning of lines 7-8 & 15-16, should also be taken good note of. All the four verses are unrhymed. The first stanza is about how at night in the dark it is very cold with stars showing up, lighting up every single piece of stone that is on the ground. The second stanza is telling us about how the stars light up the greater stones it starts showing more, and then rests on the sand, as it reaches the broken ledge, it lights up the high cliff. The third stanza is about how it continues lighting up the rest of the land. And at last, the fourth stanza is about how the star light gets through the cracks of windows and how it gets on the eyelids of sleepers as if it wants amends. In general it is telling us how better the night star light is better from the day light. How the star light lights up every piece of ground at night and how it moves slowly lighting up as much as it the poem has no rhythm or rhyme.

POEM: Full Moon and Little Freda

Point Of View: This Poem is in both first and second person. The poem testifies in its delicacy of utterance, its utterly fresh sense of wonder, to the possibility of knowing the redeemed life of joy in normal daily experience, when, with an unspectacular acce ss of grace, the elements of a scene - human, animal, domestic, rural, cosmic - suddenly cohere to express a plenitude, all the malicious negatives miraculously melted away. There is no self-consciousness to close her, she points at the moon with an amazement the moon can only reciprocate, like an artist whose work has come to life or perfectly reflects the life of its creator who has created innocent and experience at the same time. The poem is really picturesque and imagist along with the theme of masculinity: Imaginary: In the last two lines Ted Hughes imagines that the moon looks down from the sky like an artist who admires the painting he has just completed painting. Just as Ted Hughes the poet has created a beautiful picturesque painting of the English countryside with words the moon is compared to the artist who has painted the same picture with its beautiful moonlight. And of course the centre of attraction in the moon's artistic creation is Frieda. The personification of the moon and the verbs that describe its actions form an integral part of the poem Amends. The rhyming words picks, licks and flicks are soft words that show how very light the moons touch is some would say a feminine touch. Rise, laying and flow, also from the second stanza, are light, calm and smooth verbs a s well. The image of the moon laying its cheek is a very soothing, and possibly motherly, gesture that cements this nurturing persona o f the moon. Language and Tone: The poem describes very movingly and vividly Ted Hughes' excitement in observing his daughter's joy and surprise at seeing a full moon suddenly coming into her view against the canvas of a picturesque English countryside. Its that time of t he evening when the cows - described as "a dark river of blood, many boulders" because of their dark brown colour- are returning home and its just the time when the evening dew is about cover the countryside. Up in the sky the first star of the evening is about to appear, "to tempt a first star to a tremor," just then Frieda on seeing the full moon exclaims in childish joy "moon! In the last two lines Ted Hughes imagines that the moon looks down from the sky like an artist who admires the painting he has just completed painting. Just as Ted Hughes the poet has created a beautiful picturesque painting of the English countryside with words the moon is compared to the artist who has painted the same picture with its beautiful moonlight. And of course the centre of attraction in the moon's artistic creation is Frieda. Space and Structure: It is very important that any explanation of individual words does not close down the richly suggestive meaning of this poem. It is always true of poetry that each reader must explore the words herself or himself. Here, it is especially true. Line 2: In the second stanza, the images might be taken either as physical details in Their own right or as metaphors to describe Friedas intense listening. Line one contains a metaphor comparing the evening t o the sound of a dog's barked or clank of a bucket. 2. "The moon has stepped back like an artist..." is a simile. 3. Star's tremor and cows going home are examples of personification. 4. Alliteration and assonance is used throughout the poem, particularly the repetition of w, l, and the "t" sound. 5. Of course, imagery is present. It is very strong to the reader in the description of the spider web and the moon gazing amazed. Personification achieves a similar goal in Full Moon and Little Frieda. The spiders web, tense for the dews touch build s up an anticipation of an event, as if even now inanimate objects can sense that something is about to happen. The image of the moon stepping back gives it not the matriarchal character of the moon in Amends, but that of an artist who is taking in the pleasure of what he has created. Thus, the moon develops a distinct identity, and the way the poet used language to do this makes it compelling to readers

POEM:Lament: Language and Tone: lament is an elegy, an expression of grief. It can be a sad, military tune played on a bugle. The poem uses the title as the start of a list of lamented people, events, creatures and other things hurt in the war, so after the word lament, every verse, and 11 lines, begin with for.: The poem is about the Gulf War, which happened in 1991 when Iraq invaded Kuwait, and the United States, with Britains help, bombed Iraq. This war has never really stopped. As we begin a new school year, it still threatens the world. War cant be waged without grave damage to every aspect of life. All the details i n the poem came from reports in the media Point of View: Even in the title she is starting with a gloomy picture by sating everything in third person. Lament means the expression of sorrow or regret. By not using a well-known word such as regret she is creating a sense of mystery and importance over the poem. In the line For the cormorant in his funeral silk, she is talking about death, where she creates the image of funeral, being black and silk, and being oil. It is well known that thousands of birds die each year because of the oil leaked into the ocean. Using oil as the murder weapon she is putting the blame on mankind, seeing us as the killer. This makes the reader feel guilty, and while putting a sense of guilt on our mind she raises the understanding of the problem we are creating. Shape and Size: Paragraph 1 - Introduction Include the title and author, a general explanation of the subject matter, a summary of what the poem is about, and what the key themes of the poem are (if there are any).Paragraph 2 - Include detailed, stanza-by-stanza (or section-by-section, with line references) analysis of what is actually happening in the poem (without the greater depth of analysis coming later).Paragraph 3 - Discuss the subtext and the implied. Look at the way that the poet hints at wider meaning, how a greater range of interpretation can be applied. This paragraph should lead in to the analysis of style in Paragraph Paragraph 4 - This paragraph should be a focused discussion of the way the poem is written and structured with regard to style analysis of diction, rhythm and rhyme, figurative imagery, mood and tone, alliteration and assonance, the way that pace is controlled and atmosphere created with detailed reference to the text in the form of quotation and line references. Paragraph 5 - Link this poem with any other literature (especially poetry) you have read or studied. What are some common themes possibly how different poets address similar issues, such as the topic of childhood? Paragraph 6 - Conclusion Discuss your overall feeling about the poem, its abiding images, and whether it is successful or not in what it sets out to do. The octave describes summer and the grasshopper while the sestet describes winter and the cricket. Keats uses a tone of admiration and softness in this poem and uses gentle and soft sounding word such as poetry, earth, birds , voice, hedge and luxury. Imaginary: Burnt earth and the sun put out, again suggests something disastrous had happened, since there is no light and the earth is burning. There is reference again, about the damaged ocean mainly to emphasize the point. The word scalded, backing up the point from earlier of mortal, shows that the ocean has been damaged significantly by the oil that we have poured out into the ocean. Vengeance has also been used to remove the innocent aspect of the poem and bring in the angry side of it. It could mean that the revenge we all seek so dearly is the cause for all this.

POEM: On the Grasshopper and the Cricket

Imaginer: Keats is describing the delicate balance of the nature. For everything that exists there must be something present with opposing properties to make everything beautiful. For the presence of light there must be darkness and for the presence of good there must be evil. Similarly there are differing personalities in the world just like the grasshopper and a cricket. According to Keats the uniqueness of each organism is what constitutes true natural beauty. The starting lines of both the octave and sestet are similar, that is; The poetry of the earth is never dead. And The poetry of the earth is ceasing never. Keats does this as he wants to reinforce what he is try ing to say and it also acts as a divider between the octave and the sestet. Keats refers to nature as the poetry of the earth because nature just like poetry consists of different elements, tones and voices and can be perceived in different ways by the interpreter. Point Of View: John Keats wrote the poem On the Grasshopper and the Cricket in an attempt to capture the eternal beauty of nature using the perspectives and lifestyles of two very different and unique insects. The grasshopper and the cricket have been personified but they do not only symbolize two different personalities but also two different seasons; summer and winter. The grasshopper is a carefree insect and can be heard frolicking in the grass and bushes and is well known by all those around him. The cricket however prefers solitude and works hard all year. However when the grasshopper goes into hiding in the winter, the crickets shrills can be heard but many mistake this as the grasshopper due to their ignorance. The cricket is unique and manages to enjoy itself in the harshest of conditions in which even grasshopper dares not roam. This shows that nature is eternal and beauty always existent just as stated in the opening line of the poem The poetry of the earth is never dead. Language and Tone: John Keats wrote the poem On the Grasshopper and the Cricket in an attempt to capture the eternal beauty of nature using the perspectives and lifestyles of two very different and unique insects. The grasshopper and the cricket have been personified but they do not only symbolize two different personalities but also two different seasons; summer and winter. The grasshopper is a carefree insect and can be heard frolicking in the grass and bushes and is well known by all those around him. The cricket however prefers solitude and works hard all year. However when the grasshopper goes into hiding in the winter, the crickets shrills can be heard but many mistake this as the grasshopper due to their ignorance. The cricket is unique and manages to enjoy itself in the harshest of conditions in which even grasshopper dares not roam. This shows that nature is eternal and beauty always existent just as stated in the opening line of the poem The poetry of the earth is never dead. Shape and Space: Title: the grasshopper is a diurnal insect, the cricket nocturnal. They both like warmth, hence the reference to the stove as a home for the cricket. Line 8: weed: the poetic use of this word denotes a small plant and is quite neutral, with no implications of not being wanted or being out of control. This poem is a type of elegy that is why it is entitled "Lament". It is a lament for war and each stanza outlines a particular thing. The poetry of earth is never dead" which is the opening line of the octave and the poem; and "T he poetry of earth is ceasing never which is the first line of the sestet. Keats asserts emphatically that no matter what the season, whe ther it is the peak of scorching summer or the bitterly cold winter season the music and 'poetry' of Mother Nature will be omnipresent and add vitality to the environment. The octave and the sestet compare and contrast a hot summer day and a bitterly cold and lonely winter evening. It's so hot that the usually chirpy and active birds have taken shelter amongst the shady trees and the whole countryside seems to be quiet, but just then one can hear the ever active grasshopper chirping away merrily in the hedges. Similarly when one is cozily sheltered in the comfort of his home in front of a warm stove from the cold frosty winter and is beginning to feel lonely, the silence is shattered by the shrill chirpings of the cricket which adds meaning to the lonely winter evening without filling it up by reminding him of the music of the grasshopper in the summer months.

POEM: Flower-Fed Buffalo

Point Of View: The poem The Flower-Fed Buffaloes by Rachel Lindsay is evidently in Second personnel the beginning of the poem, the poet talks about how the buffaloes roamed around the beautiful prairie and the natural environment. This optimistic and delightful atmosphere is interrupted by the phrase But the flower-fed buffalos left us long ago. In the last 5 lines of the poem, the author is describ ing how the buffaloes and Indians have vanished from the fields forever, leaving the prairie empty and lifeless with only human technology remaining on the fields. railroad in the area was the Illinois and Central Railroad chartered in 1851. The construction of the railroad hastened the depletion of the buffaloes. Shape and Space: Line 14: Blackfeet and Pawnees are two American native tribes. The population of The Pawnees in the early nineteenth century was about twenty to twenty-five Thousand, but it declined rapidly in the later part of the nineteenth century mostly Because of smallpox and cholera, but also through falling prey to traditional enemies. The structure is also easy. The start shows what it was like years ago when the buffaloes were still around. The middle ('wheels and wheels etc.') explains why the buffaloes have gone, because humans have replaced the land with farmland for wheat, and built railways over it too. The end is them reminiscing about the past again, stating the things that they won't be able to do any more in their absence. the last 3 lines show the tribes there were in the area which have now gone, which is shown through how the length of the line gradually shortens towards the end, just like the numbers of buffalo do. Language and Tone: For language and tone and theme Ill give you some examples....'tossing, blooming, perfumed grass' shows all the positive sides of the nature there was, with 3 strong adjectives right next to each other to emphasize this. The word 'swept' shows how fast the change of humans has taken place. Wheels, and wheels and wheels' show the rhythm and repetition of the trains. The word 'bel low' shows a bit of an angry tone towards the humans for driving them away, which is really present across the whole poem which is really just blaming mankind for destroying the nature. The poem The Flower-Fed Buffaloes by Rachel Lindsay talks about how the nature is changing because of time passing and talks about modernization happening. The poet conveys his message by telling us how the change happens and telling us the difference between the past and present. She talks about the place where a lot of buffaloes stayed in the spring, which then changed to where locomotives now are, by writing The flower-fed buffaloes of the spring and Ranged where the locomotives sing, which suggests that the time of the past passed and now it is time for modernization to take place. Rachel Lindsay tells us how the grass that once was eaten by buffaloes turned into wheat by writing The tossing, blooming, perfumed grass and Is swept away by the wheat, which reinfo rces the idea of development and time passing. She also writes Wheels and wheels and wheels spin by, which has a repetition of a vowel e w hich tells us that everything goes forward and time never stops. In the end of the poem the poet, Rachel Lindsay, writes Imaginary: The poet conveys his message by using alliteration, assonance and repetition to furthermore express his feelings. Here is a perfect example of assonance, Wheels and wheels and wheels spin by. The poet uses the long e sound to give the reader a sense of time passing by quickly, and since the wheel is a symbol of movement, progress and the future, it could at the same time represent the rapid development of a civilization. In the beginning of the poem, the poet mentions, The flower -fed buffaloes of the spring, if you read this line o ver and over again, you will notice that there are a lot of Fs. The repeated F sounds give the buffaloes a fluffy and fat feeling to them. This is an example of a successful attempt at alliteration. It adds more emotion, depth and feelings to the poem. Towards the end of the poem, the poet mentions lying low three times. With the Blackfeet, lying low, With the Pawnees lying low, Lying low. We think it is to add a sense of humiliation upon the different tribes. It could also reinforce the idea of the disappearance of the tribes. The poet also creates a rhythm and a flow by rhyming some of the lines together, and as you know, this makes it much more enjoyable to read. My favourite couples of lines are, The tossing, blooming, perfumed grass is swept away by the wheat. The point that the writer is trying to make is that, the wild, fun, col ourful grass is replaced by rows of organized wheat. I think the poet has successfully reached his goal and has expressed his feelings clearly to the audience.

Poem: Report to Wordsworth

Point Of View: This is in Third Person . Using those metaphors, he outlines the modern problems, as though saying that the damage that we are causing in our time is suffocating the glory of the past. Whereas Clark refers to a reasonably recent event, the Gulf War, that deals with modern problems, such as fight for oil and the vast damages caused by the weapons that man can make nowadays. The fact that Boey refers to Greek and Roman gods, and Clarke refers to the Gulf war, brings out the fact that both the West and the East are causing damage, by fighting internally and with each other. Yet both of the poems manage to leave the same impression on the reader, as the reality is not going to change, no matter how one portrays it. Imaginary: The image and words which have a particularly effective in the opening of the poem is the flowers are mute, and the birds are few. Here, Boey conveys that life never will be perfect or normal. Live hard and die hard is basically whats to r ecognize in this line and the whole poem. The way explores time in such a depressive manner it gives a subconscious feeling of severe depression or suicidal emotions. The words that are particularly effective in the opening poem is You should be here. Here Boey conveys his idea of how everybody is needed to help the Earth. That every little bit of contribution will be appreciated. Also, he puts responsibility upon the reader, enforcing the idea that everybody can help and that our planet depends on it. The image and words that are particularity effective in the opening of the poem is the flowers are mute, and the birds few. In the first part of this line, Boey conveys the image of the dying of the flowers which are mute. This suggests that the flowers are not moving at all or maybe even dead, which obviously means that they no longer make any noise. This is most likely due to our careless actions. In the second part of the line, the poet conveys the image of there being fewer birds that fly above. If you connect the fact that birds are animals that roam the skies and the fact that carbon dioxide emission also rises into the sky, it comes to a conclusion that we are also the ones responsible for the death of the birds. Shape and Structure: Line 1: the line starts with a direct echo of WordsworthsMilton! Thou shouldn't be living at this hour: England hath need of thee . . . The poet traces a direct line from himself to Wordsworth to Milton. The themes of Wordsworths poem in which he regrets the passing of certain values are similar to Chengs. Wordsworths We are selfish men is reflected in insatiate man moves in For the kill. Line 2: There are many echoes of The world is too much with us . . . these notes Do not intend to be exhaustive in exploring the references. Here Boey alters the Context of Wordsworths phrase, we lay waste our powers to She [Nature] has been Laid waste . . .' Lines 5 to 10: The references to the sea-gods are explicable with reference to Wordsworths sestet in the poem mentioned above: It moves us not. Great God! Id rather be A Pagan suckled in a creed outworn; So might I, standing on this pleasant lea, Have glimpses that would make me less forlorn: Have sight of Proteus coming from the sea; Or hear old Triton, blow his wreathed horn. However, Boey moves us out of mythology to contemporary reality with his image of The beached whale and man moving in for the kill. Lines 7 to 8: Triton was the son of Poseidon. He stilled the waves by blowing Trumpets in the shape of conch shells. As with the image of the whale above, Boey Brings a twentieth-century reality to the mythology as he shows the effects of Pollution. Line 11: Wordsworth ends his poem about a rainbow, 'my heart leaps up . . . with The words 'And I could wish my days to be Bound to each by natural piety. Line 12: again the poet pays homage to Wordsworths poem On Westminster Bridge while taking his last line out of context. Lines 13 to 14: It may be well not to close the poem down too much here as there Are rich allusions to be explored? However, there is clearly a reference to the ozone Layer in the wound widening in the sky which combines with the biblical echoes of the Last line, perhaps in the Crucifixion account. Language and Tone: The poet traces a direct line from himself to Wordsworth to Milton. The themes of Wordsworths poem in which he regrets the passing of certain values are similar to Chengs. Wordsworths We are selfish men is reflected in ins atiate man moves in for the kill. Line 2: There are many echoes of The world is too much with us . . . (These notes do not intend to be exhaustive in exploring the references.) Here Boey alters the context of Wordsworths phrase, we lay waste our powers to S he [Nature] has been lay waste. ..

Poem: First Love: Shape and Space: The vocabulary of this poem is very simple, although this in no way detracts from the vividness of expression. There are, however, some unusual images which are not easily explained. It would not be a good idea, however, to close down the poem for the students at an early stage. They should take pleasure in the challenge of trying to work at the meaning for them. Linage and Tone: This poem is about just what it says in the title: first love. The first time the speaker ever felt that tug of his heartstrings is described completely in this poem, after he sees her for the first time. The poem is about love at first sight and describes every step of the first love. The poet describes how he was affected, every time he saw her. He is trying to show the difference between love at first site and ordinary love. Clare shows us different steps when you experience love at first sight. Blood rushed to my face illustrates that when you experience love at first sight you start to blush and get nervous when you start to talk because you want to show your object of desire how perfect you are. They spoke as chords do from the string tells us that the person is trying to sing and show love to the other person. Point Of Time: Clare conveys his message through the rhythm and through the distinct beats of the iambic pentameter. He also expresses his message through all the metaphors used, and the words that describe a certain stage of the poets feeling. At the beginning of the stanza, Clare starts by writing down the thought he heard while he saw her. In the second stanza, he describes his feeling and what he felt, like hes trying to figure out what love is. He explains that Blood burnt round my heart when he saw her, giving a sense of strong passion and his heart beating rapidly. As he gets to the last stanza, Clare mentions his loneliness, and how the girl she loves stole his heart. Imaginary: This poem is about how love-struck and dumbstruck he is When he sees this women. Clare conveys this message by His choice of words, such as struck, sudden and rushed; this Gives us a sense that this scene happened very quickly and Unexpectedly. He also conveys this message by his choice of phrases. For example, My face turn pale a deadly pale suggests he was so shocked And confused that he thought he was so in love in an immensely short time. He conveys the message of not actually being in deep love but rather love at first Sight by using a rhyming pattern. The pattern is A, B, A, B C, D, C, D E, D, E, D F, G, F, G H, I, H, I E, J, E, J. This rhyming pattern conjures thoughts of frivolous love. Finally, the poet conveys his message by using metaphors Words from my eyes did start /they spoke as cords do from the string. This suggests how he is dumbstruck and his jaw wont let his mouth speak

Poem: Marry Song Point Of View: Overall, the poem is significantly lacking in fluency, an effect which is brought about by the repeated use of caesurae. Most lines are broken by pauses, denoted by commas, such as that territory, without seasons, shifted in line 2, and full stops, like under his eye. An hour in line 3. The sudden stutter of All, all is particularly effective in disrupting the flow built up in the previous line. The syntax is often awkward, in places like learned her, quite and An hour he could be lost. This slows down the reader and creates a sense of uncertainty, and thus the writing is made to mirror the subject matter. The persona it seems has now sunken into a state of desperate depression. I Shape and Space: An extended metaphor runs through the entire text, which compares the wifes personality to a territory. The references to geography, landscapes, country and roads draw parallels between his wifes mind and a physical, newly discovered land, which he must explore, as suggested by charted and map. In doing so, it evokes associations of mystery and bravery in facing the unknown which seem entirely appropriate. However, there is quite a contrast between the images of a physical land, which we think of as being constant and natural, and the intellectual territory which shifted under his eye. This incongruity serves to make the description far more startling and surreal. The phrase her quarried hurt stands out as the most ambiguous in the poem. Quarries have hard stone walls, and are a source of stone for building materials, making it possible to interpret the phrase as a reinforcement of the image of walled anger. However, it could also be seen as a counterpoint, due to the contrast between the expansive, open nature of a quarry, which is essentially a pit in the ground, and the confinement or shutting out implied in walled. Language and Tone: In terms of content, this section summarizes the nature of the marriage, then moves on to definite actions by the husband: he accepted and stayed home. The resignation in accepted ends the confusion and frustration from the previous lines, while the fact that he is taking some sort of action gives the sense of a resolution. In combination with the shift in tone to bring the poem to a natural close. The effectiveness with which the interpersonal interactions are conveyed is, to a significant degree, due to the way Scott imbues the writing itself with the same attributes he is exploring. Through altering the pace, tone and fluency of the poem, he takes the reader on an emotional journey, evoking feelings of confusion, frustration and resignation which mirror those he conveys as being present in the relationship between husband and wife, and fosters further understanding by the consistent use of the metaphor of the land to great effect Imaginary: Throughout all the poem he compares her with various landscapes of nature because nature changes constantly and he is in a way being put into that geography where he explored her but sometimes found himself lost and he could never figure out what was going to happen next (we are always referring to her). He could not understand how it that her mood changes every day is and how their marriage went from bad to better. For example he says that one day you can "see cool water laughing where the day before there were stones in her voice", this is a good example to show how the author conveys nature with mood. When he remarks, He never learned her quite, the speaker may be amidst an interminable sea,

Poem: So, We Go No More-A roving Shape and Space: Bryon uses the moon as a symbol for the passion for his wish to make love. The phrase, So late into the night moon be still as bright suggests that Bryon believes that there is no difference between day and night to him. From the first stanza, we can infer that Bryon does not believe night is for sleeping, and wants to waste no time of his life and continuously indulge in affairs. In the last sentence of the poem, this same idea is reinforced as the poet accepts that he cannot continue this lavish love life by the light of the moon. The sword = represents his spirit the sheath = represents his body His body is tired and 'worn out' whereas his spirit is still young and wants to party. Comparing his spirit to a sword shows his fighting spirit and shows that he wanted to live his life to a full. Language and Tone: The poem Well go no more a-roving by Lord Byron, is about the fact that nothing can last forever and everything has to come to a stop at some point in life. The poet portrays this idea by writing about how his time in the army is coming to an end and is expressing his regret by comparing it to a general love affair. Point Of View: During the whole poem we can find a metaphor repeated all over it: the verb loving is really used to express Byrons disposition for going out. The tone of the poem is resigned as he assumes he is older and cant go partying anymore as when he was younger Poem starts off with the line So, well go no more a-roving, so late into the night. A-roving is the Old English for roaming or wandering. This is a reference to Lord Byrons late-night activities in his old army days as during the day, the army would run drills and such and during the night, they would enjoy themselves, i.e. most probably go out for a drink in order to release the pressure of the responsibilities that day to day life demands and get rid of their frustration of life. So late into the night, is Lord Byron telling Thomas Moore, how long the party last night had lasted. Proceeding to the next line, the poet writes Though the heart be still as living. Lord Byron thus adds a romantic element to the poem as he mentions his feelings of leaving. However, it is not specified if he is going to miss being in the army more or the late night partying. On the other hand, Lord Byron was known to have lived a life related to numerous scandals and huge debts, so it would be safe to say that he would miss the latter more. The last line of the first stanza is And the moon be still as bright. This is Lord Byron once again mentioning that although his heart is still into the late night partying, he has to move on and let go.

Poem: Sonnet 43

Shape and Space: The rhyme scheme of "Sonnet 43" is as follows: Lines 1 to 8--ABBA, ABBA; Lines 9 to 14--CD, CD, and CD. Petrarch's sonnets also rhymed ABBA and ABBA in the first eight lines. But the remaining six lines had one of the following schemes: (1) CEDE, CEDE; (2) CDC, CDC; or (3) CEDE, DEC. The first eight lines of a Petrarchan sonnet are called an octave; the remaining six lines are called a sestet. The octave presents the theme of the poem; the sestet offers a solution if there is a problem, provides an answer if there is a question, or simply presents further development of the theme. In Browning's Sonnet 43, the octave draws analogies between the poet's love and religious and political ideals; the sestet draws analogies between the intensity of love she felt while writing the poem and the intensity of love she experienced earlier in her life. Then it says that she will love her husband-to-be even more after death, God permitting. In the poem, Barrett Browning is using infrequent rhymes. An example of this is in the line I love thee to the depth and breadth and height and the third line My soul can reach, when feeling out of sight, where height and sight rhymes. This creates a flow to the poem, givi ng it a sense of purity and also she might be suggesting a sense of completeness in love. While reading poems, most people find it calming to (unconsciously) see the rhymes. When they are analyzing the poem, people will see that she chose her words with care and put a lot of thought into it. This is a very important key factor to a poem. Language and Tone: The word love, is repeated frequently in the sonnet, increasing the message. Also, the fact that she never uses any synonyms for love makes us realize that what she feels is love. That there is no other words that can be used to describe this, because love is such an abstract word and also is a very difficult word to describe. Sonnet 43 expresses the poet's intense love for her husband-to-be, Robert Browning. So intense is her love for him, she says, that it rises to the spiritual level (lines 3 and 4). She loves him freely, without coercion; she loves him purely, without expectation of personal gain. She even loves him with an intensity of the suffering (passion: line 9) resembling that of Christ on the cross, and she loves him in the way that she loved saints as a child. Moreover, she expects to continue to love him after death. He poet starts of by saying How do I love thee? Let me count the ways, by which she starts off with a rhetorical que stion, because there is no reason for love. Rather than using why she enforces this meaning. Point Of View: When the poet mentions With my lost Saints in First person she is referring to those people in her life that she trusted and loved, which in the end, betrayed her. When she says Saints she is referring to the glorification she put on them, how much she trusted them increasing the power of their betrayal. By using this in a poem about love she makes the reader think that the person writing this is not nave, that she is able to ask questions and not let everything pass her by. She is saying that people have betrayed her before, and that she has learned from her mistakes and that she is one hundred percent sure that he will not betray her, that he is The one. Ear lier on, Barrett Browning says I love thee purely meaning that there is no distrust, no judgment in their love. When something is pure it me ans that his has no flaws. But by saying this she also raises a question by which love really can be pure or if this is just a similarity. That it is as close to pure as possible. Also, in the line I love thee freely, as men strive for right she is saying that she loves him, without expect ing anything back. Also that she is willing to fight for him. The thing about this sonnet is that it is written in present. This enforces that i ts not a love that has been nor will be, it is something which is going on right now creating a sense of infinite flow to the poem. Poet then continues by almost going on by stating that her love for thee is pure, which means that there is nothing between her and her love. She also states that she loves with passion and with faith. Coming near to the end of the poem, the poet states that I love thee with the breath, smiles, tears, of all my life! This means that her love almost became necessary for her to stay alive, like bre athing. She cannot survive without love, same as she cannot survive without breathing. The last line of the poem is in my opinion very mysterious. I shall love the better after death. This could possibly refer to her saying that there is no way that she can love thee as much as thee deserves it, so she states that she will still love thee after her life is over. Imaginery: As the Poet describes her feelings you can feel and see the emotion through the poem they was she uses the word thee or love it allows the reader to feel exactly what she is feeling for her Love, Her Passion, Her Creation between a bondage. Th en the poem almost goes towards a negative direction. When the poet goes refers back into her childhood history, by stating that I love thee with a love I seemed to lose. By that line she refers that her ability to feel love was destroyed..

Poem: Sonnet 43 Space and Shape: Millay finishes the octave directly tying love to nature. Up to this point, love has not been explicitly addressed. Finally, she gets to the thrust of the poem, Nor that a mans desire is hushed so soon, and you no longer look on love with me. It is clear in this octave that Millay looks at the passing of love, the end of mens desire, as a natural par t of life. She seems resigned to it. She accepts it and declares, Pity me not the loss of these precious things, for there is no thing else which could happen. With the tone of the octave, she clearly does not sound so much as a tormented lover as she does someone who has become completely jaded to love altogether. Tone and Language: In the poem Sonnet 29 by Edna ST. Vincent Millay, it shows that the poet realizes the fact that the one she loves did not love her long enough, however, as much as her mind knows this her heart refuses to accept the reality of the situation. In the first six lines of this poem, the poet repeatedly says Pity me not as if to tell the reader that they should in no way feel guilty about anything and in turn feel bad for her. In the last two lines, it is told Pity me that the heart is slow to learn when the swift mind beholds at every turn. The whole objective that the first six lines tried to achieve has change d here as now she rather have it that the reader pity her. Millay, however, is talking about a different pity here. She wants one to pity her not for her pain but to pity her for being nave towards something she clearly knew was going to happen. Millay also feels bad for herself as she did not react to something she knew was coming, and somewhat allowed it to happen. Her former attitude caused her to be hurt badly and in turn ended up making her regret her foolishness. Point Of View: In the first four lines which her poem is displayed in First Person,, love is compared to beauties passed away. This refers to the degradation of love, and this is further emphasized in the next line. She describes the degradation of love as it changes From field to thicket. The term field refers to what may once have been an orderly and well -tended plot, to thicket which is an overgrown, uncared for patch of land, conveying how her love has been slowly broken down, and turned into a mess. As it takes a long time for a field to become a thicket, Millay insinuates that this slow dilapidation of love is painful as she has to endure that pain until the wound heals, and it takes a long time for it to do so. Imaginary: Following this metaphor, Millay further describes love as strewing fresh wreckage gathered in the gales. The fresh wreckage describes love as a trash which is slowly broken down, and scattered away, and therefore Millay believes that love is pointless and worthless, while the term gathering suggests that this love is slowly breaking down and is being collected. Once again, Millay truly feels that love is also a process which causes pain, from which it takes a long time to recover. There is also a sense of disconnection between the heart and mind despite her understanding and reality of how love consistently ends in the last couplet. Millay describes that the heart is slow to learn and still wants to become engaged with such intimacy, while compromising and stubbornly, almost navely, neglecting the logical thoughts of the mind when the swift mind beholds at every turn. Than the great tide that treads the shifting shore. Strewing fresh wreckage gathered in the gales: Pity me that the heart is slow to learn When the swift mind beholds at every turn. These last 4 lines are the highlight of the poem. They are the most dramatic and meaningful. The first two lines she again shows how much she loves him but then in the last two lines she shows that she is angry and upset that he left her or no longer loves her. She is showing this by saying that he should pity her. There is this effect because in the beginning of the poem she is explaining how he shouldn't pity her but know she just wants him to feel her sorrow and agony.