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A little learning poem analysis
English Essays from poetry
Essay on poem analysis
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‘An Arundel Tomb’, by Philip Larkin, is written to preserve the image portrayed by a sculpture located on a tomb in Arundel. The poet uses this poem to convey the feelings, which the sight of this tomb induces for him. The whole poem itself is describing how an idea or identity in history is preserved through this sculpture.
The poem consists of seven stanzas, mostly in trochaic tetrameter. The rhyming pattern for each stanza is ABBCAC.
‘Side by side,’ immediately brings forth the idea of the union of the sculptures around which this poem’s conclusion is based. The phrase ‘their faces blurred,’ conveys an image of weathering over time. The image that is portrayed by the sculpture is of ‘The earl and countess’ who ‘lie in stone,’ solidly preserved. Larkin uses the phrase ‘Their proper habits’ and ‘jointed armour, stiffened pleat,’ to preserve the feeling and idea of aristocracy and importance once possessed and still displayed by the occupants and sculptures of the tomb. The following two lines convey the poet’s cynicism of the people of the time when the sculpture was made, ‘And that faint hint of the absurd -/The little dogs under their feet.’ These lines, Larkin also uses to preserve the feeling that he gets from this addition to the tomb, that it is unimportant. ‘Such plainness of the pre-baroque/Hardly involves the eye,’ gives us the feeling that this sculpture is nothing special, that it is not really worth our attention. The sudden transition that occurs after that comma though, is used to preserve the amazement that he felt, the unexpected shock of what is not immediately obvious as being important.
‘until
It meets his left-hand gauntlet, still
Clasped empty in the other, and’
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...ed with the line ‘the very houses seem asleep’ which personifies the houses to preserve the image that there is no sign of active life at this time in the morning. The last line, ‘And all that mighty heart is lying still!’ puts into words the power and majesty that the author feels as this wondrous sight is beheld.
In ‘Composed upon Westminster Bridge’ Wordsworth preserves the images and the feeling of wonderment, awe, peace and beauty through magnificent visual imagery and pure repetition of the beauty, which he beheld.
Larkin uses ‘An Arundel Tomb’ to preserve the ideas which enter his mind when studying the tomb. He uses less imagery, but instead, he uses complex language to describe his feelings. There is also an idea in Larkin’s poem that he is not just preserving his own thoughts, but that he is backing up what the sculpture itself is trying to preserve.
These are the philosophical conclusions the narrator comes to and then summarises in the coda. This essentially states that archaeology is unimportant due to its failure to capture the human spirit. The archaeologist himself, therefore, might be a personification of archaeologists or archaeology as a whole. Exact details about his study are not included, and the ambiguity of his conclusions, the most emphasized fact, applies to all ancient history. Personification of concepts or large groups are present the poem: e.g. "the criminal in us." This simplifies the concepts being referred to, both making them more accessible, and expressing them in fewer words. Therefore, doing this tightens the structure of the poem. The archaeologist’s inability to answer the questions posed by the narrator both parallels his lack of awareness of the narrator's viewpoint, and discredits him to the audience. This vindicates the narrator's final dismissal of 'history'. The narrator, of course, can only make discoveries if they are a character themself, with a unique perspective which may or may not reflect the authors. If not, they are a persona used to consider an issue from a new perspective. The visibility of the narrator is demonstrated through their use of colloquial language - "that's a stumper". In the coda and title, attention is also
...ttachment or emotion. Again, Heaney repeats the use of a discourse marker, to highlight how vividly he remembers the terrible time “Next morning, I went up into the room”. In contrast to the rest of the poem, Heaney finally writes more personally, beginning with the personal pronoun “I”. He describes his memory with an atmosphere that is soft and peaceful “Snowdrops and Candles soothed the bedside” as opposed to the harsh and angry adjectives previously used such as “stanched” and “crying”. With this, Heaney is becoming more and more intimate with his time alone with his brother’s body, and can finally get peace of mind about the death, but still finding the inevitable sadness one feels with the loss of a loved one “A four foot box, a foot for every year”, indirectly telling the reader how young his brother was, and describing that how unfortunate the death was.
The idea of graves serving memory is introduced in Part I of the collection within the poem
The author is faced with the struggle of coming to terms with his homosexuality, which parallels the “internal” struggle of the form of the poem. The opening sentence of the poem, “In the hall of mirrors nobody speaks,” (Cole 1) sets the gloomy tone through the author’s use of imagery to create before the reader a silent dark hallway with mirrors. The other attribute that describes the bath, “An ember smolders before hollowed cheeks,” (2) ...
The text begins with, “Now can you see the monument? It is of wood/ built somewhat like a box. No. Built/ like several boxes in descending sizes/ one above the other.”(line 1) The narrator starts off the poem by telling the audience to look at the monument with the statement, “Now can you see the monument?” It is important that the audience is fully aware of the monument as it is the main focus of the poem and requires close attention.
..., the content and form has self-deconstructed, resulting in a meaningless reduction/manifestation of repetition. The primary focus of the poem on the death and memory of a man has been sacrificed, leaving only the skeletal membrane of any sort of focus in the poem. The “Dirge” which initially was meant to reflect on the life of the individual has been completely abstracted. The “Dirge” the reader is left with at the end of the poem is one meant for anyone and no one. Just as the internal contradictions in Kenneth Fearing’s poem have eliminated the substantial significance of each isolated concern, the reader is left without not only a resolution, but any particular tangible meaning at all. The form and content of this poem have quite effectively established a powerful modernist statement, ironically contingent on the absence and not the presence of meaning in life.
Kenyon’s choice of a first person perspective serves as one of two main techniques she uses in developing the reader’s ability to relate to the poem’s emotional implications and thus further her argument regarding the futility of mankind’s search for closure through the mourning process. By choosing to write the poem in the first person, Kenyon encourages the reader to interpret the poem as a story told by the same person who fell victim to the tragedy it details, rather than as a mere account of events observed by a third party. This insertion of the character into the story allows the reader to carefully interpret the messages expressed through her use of diction in describing the events during and after the burial.
Heaney’s play The Burial at Thebes is a version of the Greek tragedy Antigone by the Athenian dramatist Sophocles (c496-406 BCE). According to Heaney it is not a translation but a version as he was “looking for meaning not language” (Heaney, 2009, CDA5937, The Burial at Thebes - Interviews). This is in keeping with the commissioning of the play to celebrate 100 years of the Abbey theatre in 2004 as the founders, W.B Yeats and Lady Gregory, were Irish “cultural nationalists” (Hardwick, 2008, p193) . The change in title from the traditional Antigone to The Burial at Thebes moves the emphasis away from the characters to the “controversial question of the burial of a prince, who was regarded as a turncoat” (Theocharis, 2009, CDA5937, The Burial at Thebes - Interviews) enabling Heaney to intertwine the tradition Greek ideology with Irish nationalism.
Throughout Grave’s poem, “Warning to Children,” a recurring theme can be observed – that life is full of diversity. This diversity is represented in the poem with the usage of colour, “…blocks of slate enclosing dappled red and green, enclosing tawny yellow nets, enclosing white and black acres of dominoes, where a neat brown paper parcel…” This thematic material is repeated several times throughout the poem, and creates an image of a never-ending cycle of colourful, wondrous things. The theme and the image that goes with it creates an allusion of the life that everyone wishes that they have – one that is forever full of different things to see and do. In this sense, this poem reflects upon part of Santayana’s quote: “The subject matter of art is life.”
Theo and the young Narrator similarly discover the revelatory capacity of art through a single pivotal painting and author respectively, both which become significant motifs in either text. Tartt utilizes an existent painting ‘The Goldfinch’ as a fixed point of reference, which, for both Theo and the reader provides a sense of reality and constancy ‘rais[ing him] above the surface’ of an otherwise tumultuous childhood. Whereas Proust uses a fictional author, ‘Bergotte’, to communicate the universality of art, and invite the reader, through the vivid immediacy with which the Narrator’s early reading experiences are described, to participate in his epiphanic discovery that art can translate ‘imperceptible truths which would never have [otherwise] been revealed to us’ (97). Artistic imagery becomes a motif in Proust’s descriptions of scenes of domesticity and nature. In a scene recounting Francoise ‘masterful’ preparation of a family meal the Narrator describes asparagus in the technical language of painting as ‘finely stippled’ provoking an association between his observations of asparagus and the creation of a painting. By forming this improbable link he elevates unremarkable asparagus to the ‘precious’ status of art in the eyes of the reader. Proust’s presentation of his Narrator’s ‘fascination’ and pleasure at their ‘rainbow-loveliness’, forces the reader to consider asparagus with unfamiliar and attentive appreciation, conveying the idea that art can uncover the overlooked beauty of the mundane. Though Theo reveals a far more cynical view of ordinary life as a ‘sinkhole of hospital beds, coffins and broken hearts’ Tartt conveys the similar belief in art’s capacity to create a ‘rainbow-edge’ of beauty between our perceptions and the harshness of reality. In the most
The subject of this poem is drawn from a line in Shakespeare’s Measure for Measure: ‘‘Mariana in the moated grange.’’ This describes a young woman waiting for her lover Angelo, who has abandoned her upon the loss of her dowry. From the outset Tennyson creates an impression of profound disrepair and decrepitude, the ‘sheds’ are left broken and abandoned, the thatch is ‘worn’ and covered in weeds. Everything is coated in rust, moss or dust, unmoving, inactive and still. This strong suggestion of stagnation recurs throughout, and is emphasized by the refrain of the poem:
Primarily in Lines composed a Few Miles above Tintern Abbey the mortality of creativeness and imagination is expressed by Wordsworth. This is a poem about the beauty of an old cathedral called Tintern Abbey. He hasn’t been there in five years and he brought his sister along. Even though imagination isn’t immortal, there is a way to reclaim it, “That time is past, / and all its aching joys are ...
Elegy in a Country Courtyard, by Thomas Gray, can be looked at through two different methods. First the Dialogical Approach, which covers the ability of the language of the text to address someone without the consciousness that the exchange of language between the speaker and addressee occurs. (HCAL, 349) The second method is the Formalistic Approach, which allows the reader to look at a literary piece, and critique it according to its form, point of view, style, imagery, atmosphere, theme, and word choice. The formalistic views on form, allow us to look at the essential structure of the poem.
The poem is written in iambic pentameter with a rhyme scheme of ABAB CDCD EFEF GG. Giving the poem a smooth rhyming transition from stanza to stanza.
It is this moment of recollection that he wonders about the contrast between the world of shadows and the world of the Ideal. It is in this moment of wonder that man struggles to reach the world of Forms through the use of reason. Anything that does not serve reason is the enemy of man. Given this, it is only logical that poetry should be eradicated from society. Poetry shifts man’s focus away from reason by presenting man with imitations of objects from the concrete world.