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The bells edgar allan poe analysis
Literary analysis of the bells poem edgar allan poe
The bells edgar allan poe analysis
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The Bells
Edgar Allen Poe
Poetic Commentary
This poem, "The Bells" by Edgar Allen Poe describes a common object in the everyday life, but brings out the meaning behind the symbol of a bell. Poe reveals the different dispositions of the bells including the silver bells, golden bells, brazen bells, and iron bells. The plot in this poem is not straightforward in the four stanzas written but rather inducing the sentiment of each bell through lines of imagery and musical devices. Poe writes that the silver bells show a "world of merriment" with their small "tinkle." The golden bells are "the mellow wedding bells" and that "their harmony foretells...a world of happiness." Poe shows that the brazen bells signal "a tale of terror" and "scream out their affright." The iron bells have a "melancholy menace [in] their tone." In all of these stanzas, Poe incorporates musical and sound devices as well as auditory and visual imagery.
Poe uses a variety of techniques, including alliteration, assonance, onomatopoeia, and rhyming. He also has many similes and examples of personification. In the first stanza, Poe uses onomatopoeia constantly, such as the word "tinkle." These words of onomatopoeia often rhyme with other words such as "oversprinkle" and "twinkle." The first stanza is where the reader first comes upon the line "in a sort of Runic rhyme." Runic has a double meaning, one which means an old-fashioned poetry method written after the Runic alphabet. The other means an undistinguishable and confusing written piece. The second stanza is longer and has auditory imagery throughout. "What a gush of euphony voluminously wells!" These lines have internal rhyming with words such as "euphony" and "voluminously. Assonance is present with words such as "molten-golden." These two stanzas have an overall happy tune, the first of holidays and merriment while the second of marriage and happiness.
Tone changes rapidly as Poe describes the third type of bell, bringing on the alarum and terror of brazen bells. In this third stanza, Poe has the usual onomatopoeia along with consonance and internal rhyme. "With a desperate desire, And a resolute endeavor" the brazen bells warn people of the danger and horror that is approaching. That line also has consonance as well as a significance of brazen bells. The last stanza also has the same mournful mood and now a solemn tone of the bells. The last stanza uses a lot of end rhyme; almost all of the lines have end rhymes and usually internal rhyme.
Kenneth Slessor was born at orange, N.S.W., in 1901, and educated in Sydney. He worked as a journalist on the staffs of several Sydney and Melbourne newspapers, becoming eventually editor of the paper Smith's Weekly. During the Second World War he accompanied the troops in Greece, North Africa and New Guinea as official war correspondent. In 1956 he became editor of the periodical Southerly. With the notable exception of `Beach Burial', Slessor wrote very little after 1944, the date of publication of a collection of his poetry entitled One Hundred Poems.
Critique of School Bells by Lewis Lapham I found Lewis Lapham’s article “School Bells” in the August, 2000 edition of Harper’s magazine to be not only convincing, but also easy to relate to and truthful. The contents of the article have far-reaching and thought-provoking implications. Much of his argument rests on the nearly indisputable belief that if we, as a nation, devoutly wished to reform or even revolutionize the educational system in place, we undoubtedly could. Factual proof of this is found throughout the history of the United States. We have made significant scientific and societal advances in the last one hundred years as evidenced by the computer, the automobile, the civil rights movement, the list goes on.
The ability of words to calm a child’s fears is shown in “A Barred Owl.” Additionally, the author conveys the idea that even though one may say everything is alright, what one makes up in one’s mind is often worse than reality. The rhyme scheme in “A Barred Owl” helps depict the simple and soothing tone of the poem. Not only the rhyme scheme but also the repetition of certain consonants and sounds such as, “the warping night air having brought the boom / of an owl’s voice into her darkened room” help emphasize Wilbur’s i...
Therefore, Oliver’s incorporation of imagery, setting, and mood to control the perspective of her own poem, as well as to further build the contrast she establishes through the speaker, serves a critical role in creating the lesson of the work. Oliver’s poem essentially gives the poet an ultimatum; either he can go to the “cave behind all that / jubilation” (10-11) produced by a waterfall to “drip with despair” (14) without disturbing the world with his misery, or, instead, he can mimic the thrush who sings its poetry from a “green branch” (15) on which the “passing foil of the water” (16) gently brushes its feathers. The contrast between these two images is quite pronounced, and the intention of such description is to persuade the audience by setting their mood towards the two poets to match that of the speaker. The most apparent difference between these two depictions is the gracelessness of the first versus the gracefulness of the second. Within the poem’s content, the setting has been skillfully intertwined with both imagery and mood to create an understanding of the two poets, whose surroundings characterize them. The poet stands alone in a cave “to cry aloud for [his] / mistakes” while the thrush shares its beautiful and lovely music with the world (1-2). As such, the overall function of these three elements within the poem is to portray the
Poe also uses figurative language. Poe word choice just adds to the feeling of how composed and how well put together his writing is. Poe like to pull good objectives and good word choices , to put into detail, “ Its pendulum swung to and fro with a dull, heavy, monotonous clang; and when the minute-hand made the circuit of the face, and the hour was to be stricken, there came from the brazen lungs of the clock a sound which was clear and loud and deep and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse of an hour, the musicians of the orchestra were constrained to pause, momentarily, in their performance, to hearken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and the more aged and sedate passed their hands over their brows as if in confused revery or meditation’ (5). In this quote Poe loves using lots of descriptive words, even if the sentence is short , to describe the pendulum swing for example, one adjective is not enough, Poe uses three, “dull, heavy and monotonous
The entire poem including the first stanza, as scanned here, is octametre with mostly trochaic feet and some iams. The use of a longer line enables the poem to be more of a narration of the evening's events. Also, it enables Poe to use internal rhymes as shown in bold. The internal rhyme occurs in the first and third lines of each stanza. As one reads the poem you begin to expect the next rhyme pushing you along. The external rhyme of the "or" sound in Lenore and nevermore at then end of each stanza imitates the haunting nature of the narrator's thoughts. The internal rhyme along with the same external rhyme repeated at the end of each stanza and other literary devices such as alliteration and assonance and give the poem a driving chant-like sound. The musicality of the rhyme also helps one to memorize the poem. This helps keep the poem in your head after you've finished reading it, lingering in your thoughts just as the narrator's thoughts are haunting him. The rhyme also helps to produce a humming beat in the readers mind driving him on steadily..
The number of beats and stresses in each line during the poem are scattered, but this serves a purpose by letting ideas flow from one to another. Each idea is connected by using the word “ring” or “ringing.” The overall message of the poem is the constant “ringing” Turner remembers from war experiences affects his everyday life. Turners tone of voice in the beginning of the poem differs from the tone of the voice in end of the poem. In the first couple of lines Turner introduces what the ringing is and why it is constantly in his head. Then towards the end of the poem, Turner uses more vivid language to describe certain images and events he went through to get the constant ringing playing in his mind. For example, in the beginning, words like; “this ringing,” “bullet borne,” and “static,” are used to describe what the ringing represents, and what it can be compared to. Then in the end language like, “muzzle-flash,” and “gravestones,” describe images he remembers from war. The change in the language creates different atmospheres. In the beginning the reader just feels they are reading descriptive language, but the language in the end makes the reader feel they are there in the setting of the poem. This specific structure is important for ideas to flow
The Portable Edgar Allen Poe, edited by J. Gerald Kennedy, is a phenomenal compilation of works from one of America's greatest writers of the nineteenth century. Published in 2006, the book contains short stories, poems, and letters, written by Edgar Allen Poe. Full of lies, hope, revenge, and guilt, the stories in this assemblage are suspenseful and convey powerful messages.
Edgar Allan Poe primarily authored stories dealing with Gothic literature; the stories were often quite dreary. Poe possessed a very sorrowful view of the world and he expressed this throughout his literary works. His goal was to leave an impression with every detail that he included in his stories. Although Poe’s stories seem very wretched and lackluster they all convey a certain idea. A trademark of Poe’s is his use of very long complex sentences. For instance, in his work The Fall of the House of Usher, Poe tried to ensure that every detail was as relevant as possible by integrating a wide variety of emotion. In the third paragraph, of page two hundred ninety-seven, Poe wrote, “Feeble gleams of encrimsoned light made their way through the trellised panes, and served to render sufficiently distinct the more prominent objects around…” This sentence illustrates the descriptiveness and complexity that Edgar Allan Poe’s works consisted of. The tormented cognizance of Poe led him to use a very gloomy diction throughout his writing. Edgar Allan Poe’s use of symbols and the way he conveyed his writing expr...
...ration, onomatopoeia, rhyme etc. One of the sound types I will be looking at is Full or perfect rhyme. This sound type is significant as in Dulce Et Decorum Est at the end of each sentence rhymes with the one before the last. This is significant as when reading this poem you notice this rhyming scheme and take more time to stop and ponder over the significance of the language it is based around and what connotations that word has: “Bent double, like old beggars under sacks” and “Till on the haunting flares we turned our backs”. This is one of the most effective rhyming schemes in the poem. Due to every second line rhyming this makes your remember what the poet was trying to put across in the previous lines as all the different lines have a way of tying in with one another.
Along with imagery and symbolism, Poe incorporates many poetic elements to express his feeling. These include assonance, alliteration, and rhyme. Assonance is the repetition of vowel sounds. For example ?For the race and radiant maiden, whom the angels name Lenore.? This repeats the vowel sound of ?a?. Poe also used a lot of alliteration. For example, ?Doubting dreaming dreams no mortal level, dared to dream before?. Notice the repetition of the ?d? sound. One last element used in ?The Raven? is rhyme.
Poe utilises the device of trochaic octameter meaning that the trochee begins with a syllable that is stressed followed by a weak (unstressed) syllable (Study Institution, 2013). The overall aim of using trochaic octameter is to exaggerate the stressed words, creating hyperbole. Using the first two lines of the first stanza as an example, “Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore…” it is evident that every pair of words is a trochee, a set of stressed and unstressed syllables (Dictionary.com, 2015). When hyperbole is apparent, it also allows the alliteration to be enhanced. In the fourteenth stanza, the first two lines exhibit these two devices working together, “Then methought the air grew denser, perfume from an unseen censer, Swung by Seraphim whose footfalls tinkled on the tufted
Poe utilizes a gradual change in diction as the poem progresses. Initially, he begins the poem with melancholic diction when the narrator is falling asleep: “while I pondered, weak and weary,” “nodded, nearly napping,” and “of someone gently rapping” (1-4). The utilization of alliteration in these lines supply a song-like rhythm, which is soothing to the reader. This usage of diction conveys a mellow tone. Further into the poem, when the increasingly agitated narrator becomes vexed at the raven, he lashes out at the bird. Here, he states, “Get thee back into the tempest and the Night’s Plutonian shore! / Leave no black plume as a token of that lie thy soul hath spoken! / Leave my loneliness unbroken!--quit the bust above my door! / Take thy beak from out my heart, and take thy form from off my door!” (98-101). Here, his uses archaic words and phrases such as “thee,” “Night’s Plutonian shore,” and “thy soul hath”. This usage of unorthodox language creates a theatrical, dramatic, and climactic effect, which leads to an impassioned tone. By presenting both tones, Poe is able to show the contrast between the two. This transformation from a tone that is mellow to one of frustration and anxiety represents the spiraling downward of the narrator’s mental state.
Through the use of alliterations, assonances, and onomatopoeias, “The Bells” expresses a cheerful tone. As the poem progresses, the sounds change to suggest a progression of life. In stanza one, or the beginning of life, Poe’s alliterate words help the poem flow. Sequentially, the flow of the poem helps illustrate the delightfulness of the silver bells and their tinkling. Poe also includes the long i assonance to show the bells joyful ringing. The short e sound also contributes to the merry and delightful tone because it justifies the merry melody that the bells create. In conclusion, the onomatopoeia supports the musicality of the poem. Poe uses words such as tinkle jingling, and tintinnabulation to mimic the chiming of the bells. Ultimately, Edgar Allen Poe conveys a happy tone in “The Bells” through the use of alliterations, assonances, and onomatopoeias.
The mysterious mood it conveys and deep meaning take you beyond the text into an almost nightmare-like illusion. Poe claimed that the poem was inspired by a talking raven in Barnaby Rudge: A Tale of the Riots of Eighty by Charles Dickens. It is also noted that Poe used the intricate rhythm and meter of Elizabeth Barrett’s poem “Lady Geraldine’s Courtship” in making the internal rhyme as well as alliteration. What really makes the poem so powerful are the elements Poe uses. First he sets the scene, “Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore-.”