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Figure of speech in poetry
Summary of the poem the writer by richard wilbur
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A fire truck explication
“A Fire Truck” is a display of excellent poetry writing. Although a passing fire truck is a menial topic and the poem itself is brief, Richard Wilbur is able to brilliantly recreate this ordinary event through the use of rhythm, sounds and figurative language. The author captures, absorbs and retells this event in a way that the readers could almost physically experience the passing of a fire truck as did the speaker.
The essence of this poem is the author’s mastery of sound and rhythm and his excellent use of figurative language. Richard Wilbur purposely chose words that have few a syllables and require little to no change in mouth size and tongue movements to appease to the reader when read aloud. There is an ABAB rhythm scheme
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on the last word of each line in every stanza, rhymes in first stanza such as blast with past and curb with verb.
The author is able to so descriptively express this common event by dedicating each stanza to a different perspective involved. The author begins the poem with a protruding inexplicit situation, captivating the reader’s interest and provoking curiosity to help create imagery. Much like a thesis of an essay, the author states “blurring to sheer verb” at the end of the first stanza, he restates the true simple nature of this topic. Wilbur next describes the surrounding in reaction to the fire truck, showing the reader the flamboyancy and power of the fire truck. At the end of the second stanza, the author italicizes the line “thought is degraded action!” This could be interpreted as the speaker’s thoughts, suggesting that those ringing bells remind him that thinking is but the inferior form of action. In the third stanza, the author focuses on the effects of the fire truck on the speaker, helping relate the reader to the thoughts of the speaker as he experiences this event. Corresponding to the ending of the second stanza, the speaker is reminded of the true nature of thoughts, thus letting go of his worries “I stand here purged of nuance and my mind a blank. All I was brooding upon has taken wing.”
Lastly to conclude, Wilbur restates the speaker’s thoughts and feelings towards the fire truck, allowing the readers to further visualize the moment as the fire truck drives away, the siren sounds become dull and the speaker continues his walk while thinking about fire trucks. The author’s true intentions for each stanza might remain unclear, but it is without a doubt that Wilbur purposely arranged this poem to follow a specific rhythmic pattern. All of the stanzas have only 4 lines; the first two stanzas have a 5 5 5 3 foot pattern and the last two stanzas follow a 6 5 5 3 foot pattern. In each of these stanzas, Wilbur extensively uses rhythmic devices such as consonance, assonance and alliteration, these rhythmic devices might have had a contribution to the reader’s auditory imagery. This poem is compact, immediate and brief, similar to a passing fire truck. To write about such a simple and common event in everyday life, the piece should be a fitting length so that the readers do not lose interest, however a short piece does not amount a simple piece. In just 16 lines and 159 syllables, Wilbur is able to express a common event to its fullest details through the use of well-planned rhythm patterns and rhyme scenes.
From the combination of enjambed and end-stopped lines, the reader almost physically feels the emphasis on certain lines, but also feels confusion where a line does not end. Although the poem lacks a rhyme scheme, lines like “…not long after the disaster / as our train was passing Astor” and “…my eyes and ears…I couldn't think or hear,” display internal rhyme. The tone of the narrator changes multiple times throughout the poem. It begins with a seemingly sad train ride, but quickly escalates when “a girl came flying down the aisle.” During the grand entrance, imagery helps show the importance of the girl and how her visit took place in a short period of time. After the girl’s entrance, the narrator describes the girl as a “spector,” or ghost-like figure in a calm, but confused tone. The turning point of the poem occurs when the girl “stopped for me [the narrator]” and then “we [the girl and the narrator] dove under the river.” The narrator speaks in a fast, hectic tone because the girl “squeez[ed] till the birds began to stir” and causes her to not “think or hear / or breathe or see.” Then, the tone dramatically changes, and becomes calm when the narrator says, “so silently I thanked her,” showing the moment of
His outside actions of touching the wall and looking at all the names are causing him to react internally. He is remembering the past and is attempting to suppress the emotions that are rising within him. The first two lines of the poem set the mood of fear and gloom which is constant throughout the remainder of the poem. The word choice of "black" to describe the speaker's face can convey several messages (502). The most obvious meaning ... ...
Another way that Trethewey brings this poem together is through the use of
This poem is divided into six stanzas with four lines each. The poem opens with “When the black snake flashed on the morning road” (1-2). The narrator uses “when” to signify the beginning of the story and introduces the snake as the main character. Labeling the snake as “black” gives it a dark and sinister appeal. The word “flashed” is used to demonstrate how fast the snake moved, and how quickly this event occurred. “Morning” is applied to the time of day that this event occurred. The narrator sees the snake quickly flash across the road. This sets up the scene in our minds. The “truck could not swerve” (3) implies that this was an accidental death. The poet uses “truck” to suggest a big vehicle that is unable to make quick moves or sudden stops. The narrator sees the snake flash across the road, into the path of a big truck that is unable to stop or swerve. “Death, that is how it happens” (4). The word “death” is italicized, emphasizing its importance. The p...
Links from the poem below are best read in order from the beginning of the poem to the end
..., 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.
The poem is set up so that every line rhymes with the lines in its own stanza, otherwise known as a monorhyme (AAA BBB CCC DDD), in order express his rational and relaxed emotions. It is important to note his state of mind when writing this literary piece because of the mention of
Now the reader will be ready to tackle the poem again in order to notice and drink in its subtle nuances. Bishop's artistry will lie plain, particularly her capacity to impart life to a rather unnerving redundancy of objects and to project a lofty poetic vision from a humble, prosaic incident.
The poem begins by explaining the sluggishness of time and sets the mood for the rest of the piece. The repetition of the word “slow” was employed by the author in order to emphasize that changes in life occur very slowly and may even pass unnoticed. However, it is still important to recognize that time is progressing, but it takes so long that it’s hard to realize so. The last sentence expands on this idea by introducing “palsied apples”, comparing time’s speed of movement with that of a paralyzed being. It is also important to highlight the relevance of the syntax present in the first lines of the poem, as its analysis will lead to an interesting contrast with the last stanza. Nevertheless, in the first stanza, the author describes a “copper-coated hill”, and in fact, the author continues to describe the setting of his poem by employing a variety of warm colors to capture the true essence of autumn.
"Love Calls Us to the Things of This World" sets up, in the first stanza, the feeling that something otherworldly is going to be in the picture. "The morning air is all awash with angels" brings in the image (or concept) of heaven, which Wilbur refers to again later in the poem. In the 2nd stanza, again the concept of not-of-this-world is brought into play with the mention of the halcyon, which is a mythical bird. One literary device that Wilbur seems to draw upon heavily in this poem is the use of oxymorons, contradictory terms together. The angels are rising together in "calm swells." When I think of swells, calm is not necessarily the word that comes to mind. He also states that the angels are "flying in place...moving/ And staying like white water." Flying implies movement, so "flying in place" is not a phrase that is commonly heard. Later in the poem he uses the term bitter love, and while I understand that this concept does in fact exist, it is still two words which are somewhat contradictory. In the last stanza he mentions the "heaviest nuns" trying hard to keep their "difficult balance." This reminded me of that concept of funambilism that we discussed in class. This work seems to utilize the idea of balance (indirectly) in many aspects. The use of the contradictory terms that I discussed earlier could be thought of as balancing each other out. This poem overall was very well put together, with sentences that caught your attention, and my favorite sentence was "The soul shrinks/ From all that it is about to remember."
The constant rhythm throughout the poem gives it a light beat, like a waltz; the reader feels like s/he is dancing. The rhyme pattern of...
Chaos and drudgery are common themes throughout the poem, displayed in its form; it is nearly iambic pentameter, but not every line fits the required pattern. This is significant because the poem’s imperfect formulation is Owen making a statement about formality, the poem breaks the typical form to show that everything is not functioning satisfactorily. The poem’s stanza’s also begin short, but become longer, like the speaker’s torment and his comrades movement away from the open fire. The rhyming scheme of ABABCDCD is one constant throughout the poem, but it serves to reinforce the nature of the cadence as the soldiers tread on. The war seems to drag on longer and longer for the speaker, and represents the prolonged suffering and agony of the soldier’s death that is described as the speaker dwells on this and is torn apart emotionally and distorts his impressions of what he experiences.
Dickinson begins the first line of her poem by writing in iambic tetrameter. In the second line she switches to iambic trimeter and proceeds to alternate between the two. This rhyme scheme proves to be particularly effective in complimenting the subject of the poem-- the ocean. When a reader looks at the poem it is easy to see the lines lengthening then shortening, almost in the same fashion that the tide of the ocean flows and ebbs.
Originally published in November 1915 and then included in Harmonium, 1923. The poem is separated into seven parts. The narrator tells a dynamic story of a woman casually having a late breakfast on her porch one Sunday morning, with a surprising absence of guilt for not going to church because of her admiration for the beautiful wildlife around her. The woman then daydreams a visit to Christ’s tomb and compares the value of Christian faith to nature’s ability to give one paradise. The narrator furthers the story by discussing how the causes life and death change, the purpose of life, and nature’s endurance. As a whole, the work is very dynamic and complex; however it is centered around justifying nature’s ability to fulfil one’s need for
In the second stanza the poet describes the things while he was praying for his daughter. He walks for an hour and notices the "sea-wind scream upon the tower", "under the arches of the bridge", "in the elms above the flooded stream." They probably represent the dreaming of the human beings and they are decisive. They are all about the present things and they block people from thinking about the future events. The last four lines of the second stanza clearly explain this idea: