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Critical analysis of the wanderer poem
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“The Wanderer,” by an anonymous Anglo-Saxon scop, focuses on the themes of personal exile and societal change. The elegy, which came from The Exeter Book, reveals the frustration, isolation, and helplessness a speaker feels in the face of Wyrd, or Fate. He is powerless as his warrior way of life is disappearing on a personal level as well as on a societal level. The times are changing, and he is struggling to adapt. Though he feels painfully alienated and is suffering from survivor’s guilt, he reminisces about the former days. The first section is a prologue by the scop that introduces the speaker’s words of uncertainty about his present life. He “longs” (1) for mercy and is “troubled” (2) about exile. Unhappily, he acknowledges the …show more content…
Labeling himself as a “friendless man” (45), he feels bereft of “counsel” (38) in this “wretched exile” (40). To escape his lonely reality, he fantasizes about the stable way his life used to be and dreams of “the earlier days [of] the gift-throne” (44). Yet he must face reality and the memories that torment him - memories of lost kinsmen and their “clasps,” “kisses” (41), and “voices” (55). The tactile and auditory imagery is vivid in the dreams; unfortunately, he must awake to a stark, depressing reality.
The fourth section is primarily a brief interpolation that damages the elegy. The Wanderer briefly expands his personal loss to bewail the loss of a way of life: “Thus this middle-earth/ droops and decays every single day” (62-63). Unfortunately, then the scribe wanders off into a repetitive, priestly homily about what a man “must be” (65). The brief, trite interpolation distracts from the grandeur of the
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“Where has the horse gone? Where is the rider? Where is the giver of gold?/ Where are the seats of the feast? Where are the joys of the hall? (92-93). He is confused and alone, lamenting the changes that he cannot control: “time has . . . slipped into nightfall” (95-96). Attributing his powerlessness to Wyrd, the mighty” (100), he is resigned to the fact that “the working of wyrd changes the world” (107). The parallelism of these final lines (108-109) and the repetition of “fleeting” (108) indicates the helplessness of the individual before impersonal forces that control his life. His last word “empty” (110) summarizes his emotional state and bleak outlook on the
In the end of the narrator’s consciousness, the tone of the poem shifted from a hopeless bleak
In the poems “Feliks Skrzynecki” and “St Patrick’s College”, Peter Skrzynecki explores the relationship between understanding and belonging through his experiences, both with his father and at school. Brandon Sanderson delves into the effects prejudice can have on acceptance in the novel “Mistborn: The Final Empire”. These texts all demonstrate how inclusion can be prevented by a reluctance to accept or engage. Peter feels estranged from his father in “Feliks Skrzynecki” and disconnected with his school in “St Patrick’s College”. The concepts of disconnection and estrangement are further revealed in “Mistborn: The Final Empire”, along with perceptions of exclusion. Collectively, the texts
The subsequent section is concise as it provides the depressive historical context of the poem. The usage of factual period of time 1949 and the war / Now four years dead- conveys the suffering of the exiles and their endurance of the lengthy wait to migrate as they weren’t economically or physically capable to leave earlier.
“It was a large, beautiful room, rich and picturesque in the soft, dim light which the maid had turned low. She went and stood at an open window and looked out upon the deep tangle of the garden below. All the mystery and witchery of the night seemed to have gathered there amid the perfumes and the dusky and tortuous outlines of flowers and foliage. She was seeking herself and finding herself in just such sweet half-darkness which met her moods. But the voices were not soothing that came to her from the darkness and the sky above and the stars. They jeered and sounded mourning notes without promise, devoid even of hope. She turned back into the room and began to walk to and fro, down its whole length, without stopping, without resting. She carried in her hands a thin handkerchief, which she tore into ribbons, rolled into a ball, and flung from her. Once she stopped, and taking off her wedding ring, flung it upon the carpet. When she saw it lying there she stamped her heel upon it, striving to crush it. But her small boot heel did not make an indenture, not a mark upon the glittering circlet.
This extract emphasises the lonely, outworld feeling that would have been felt living in such settings. This puts into perspective the feeling that will be felt during the coarse of the plot development.
Even with his prayer, and his wine-induced courage, the speaker still despairs. He compares himself to “the poor jerk who wanders out on air and then looks down” and “below his feet, he sees eternity,” when he realizes that “suddenly his shoes no longer work on nothingness” (5.12-15). It is as though he is submitting to the reality that, if he steps beyond the safe borders of the proven approaches to writing, there is no magic potion that will guarantee his success. Nevertheless, he appears to be willing to take his chances, and, ironically, he does so with this prayer, which is stylistically unconventional. In a desperate attempt to remind his readers that he was once considered a good writer in the event that this poem does not meet their traditional standards, he makes one final request: “As I fall past, remember me” (5.16).
War deprives soldiers of so much that there is nothing more to take. No longer afraid, they give up inside waiting for the peace that will come with death. War not only takes adolescence, but plasters life with images of death and destruction. Seeger and Remarque demonstrate the theme of a lost generation of men in war through diction, repetition, and personification to relate to their readers that though inevitable and unpredictable, death is not something to be feared, but to calmly be accepted and perhaps anticipated. The men who fight in wars are cast out from society, due to a misunderstanding of the impact of such a dark experience in the formative years of a man’s life, thus being known as the lost generation.
Through writing this he is facing every English professors dark night of their souls. The dark night of the soul though is not just a writer’s grievance for a lost art, it is the soul’s journey through dark and troubling questions that draw you into the darkness of your past, your nightmares, your fears, and it is facing those giants, slaying those dragons. St. John of the Cross
The poem begins by describing the lunatic as a man with very animal tendencies, “with starting pace” and “with wide and hollow eyes” (lines 2-3) These characteristics alone give the reader a vivid image of how this man acts, and immediately sets low expectations for his character in a social and intellectual sense. His primitivism shows as “his cold bed upon the mountain turf” (6) is mentioned, furthering the image of a wildly sav...
Throughout his life... was a man self-haunted, unable to escape from his own drama, unable to find any window that would not give him back the image of himself. Even the mistress of his most passionate love-verses, who must (one supposes) have been a real person, remains for him a mere abstraction of sex: a thing given. He does not see her --does not apparently want to see her; for it is not of her that he writes, but of his relation to her; not of love, but of himself loving.
Within the thin exterior of the cold dark building she called home, she wanted to keep the bodies of those in which she felt she had a connection. Whether it be a reasonable connection or not, she didn’t want to be alone. Her connection with her father brought her to keeping his corps in the house as well as the other man. Her distance from other people around her only drove her to madness causing nothing but isolation and a craving for any type of relation she could hold or be close
The epic Beowulf is one of the earliest known works in the English vernacular. The protagonist, Beowulf, is a hero with superhuman powers who fears nothing and no one. The poem follows his journey through life and specifically his defeat of the three antagonists: Grendel, Grendel’s mother and the dragon, who brings about Beowulf’s downfall. The chosen passage details the horrors of Grendel’s attack on Heorot, the domain of Hrothgar, King of the Danes and comes before Beowulf is introduced.
The image developed in the first stanza is especially striking, with its suggestion of once tame and friendly animals who have reverted to wildness and will no longer risk the seemingly innocent taking of bread from the speaker's hand. This stanza establishes at once the theme of change, a change from a special, privileged condition to one of apparent mistrust or fear, and the sense of strangeness (no explanation is given for the change) that will continue to trouble the speaker in the third stanza. Strangeness is inherent in the image itself -- "with naked foot stalking in my chamber" - -- and the stanza is filled with pairs of words that reinforce the idea of contrast: "flee"/"seek," "tame"/"wild," "sometime"/"now," "take break"/"range." Most interestingly, we are never told who "they" are.
The Norton Anthology of English Literature. Sixth Edition Volume1. Ed. M.H.Abrams. New York: W.W.Norton and Company, Inc., 1993.
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.