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Of mice and men literary analysis
Essay on poem analysis
Basic elements of analyzing a poem
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John Clare’s “The Mouse’s Nest” introduces the setting of the story in the first line, “the hay.” All of the 14 lines have ten syllables; some lines are in iambic pentameter, which contains an unaccented followed by an accented stress. This consistency of the rhyme indicates the steady life of the rural life Clare presents. The “a” sound of the simple words “grass” and “hay” seems to be similar in meaning, which reflects the simplicity of life in this rural environment. The observer’s point of view seems to be close when he sees the ball of grass. But in line 2, he “passed and went away,” indicating a shift in perspective as if there is nothing going on. The assonance of “as” and “passed” highlights the observer’s ignorance, as if his focus is not on the grass ball anymore. The repetition of “and” in line 3 and 4 suggests that the speaker continues with his reactions to the things around him. In line 3, the partial rhyme of “ed” of “looked,” “fancied” and “stirred” emphasizes the action of the speaker. He seems to acknowledge something when he looks and ignores the grass nest a moment ago; this “something” catches his attention. As he “fancied something stirred,” this suggests that the observer is curious about something and seems to draw the reader into his world. In line 4, there is an answer to the observer’s curiosity as the word “and” leads the line again to support the parallel structure of these three lines. The “and” in the middle of line 4 with the “and” in the beginning as an internal rhyme contributes to this parallelism. Clare continues to emphasize the verbs end in “ed” with “turned” and “hoped.” The observer is anxious when he anticipates a “bird.” He does not seem to pay attention to what is going on around him mu... ... middle of paper ... ...turn” in the last two lines. Clare presents a different impression from the rest of the poem as indicated by a period before these two lines. The natural life of the farm is disrupted by the water, pebbles, and the cesspools in line 14. The “cesspools glittered in the sun” is an unusual image because normally cesspools are dirty tanks, but here is is “glittered.” Clare might illustrates the idea that one person might see something beautiful that the other does not; there are always different points of view. As the observer watches the mouse and interacts with the environment, he becomes involved in shaping the world. Life is unexpected and keeps changing; the life of nature may be different from human life. The last line and the sonnet(presents love and appreciation of both world) suggest that they can be unified just as the “cesspools” are unified with “glittered.”
The repetition of the words “waited” (13), and “watched” (14), throughout the stanzas adds anaphora and mystery to the vivid disapproval surrounding the family. Moreover, the use of repetition deepens the focus on the shame and guilt the young girl and her family are experiencing. The anaphora used throughout the poem intends that there is something being waited for. Therefore, the colonialist settlers are continuously waiting and watching for something to happen. In the last stanza Dumont states, “Or wait until a fight broke out” (55), suggesting that this is the action being waited for. As a result, the negative action causes the family to feel shame and regret. Overall, the use of musicality and anaphora successfully allows the reader to experience the pressure of
The Cone Gatherers written by Robin Jenkins covers many topics. The two topics I shall mainly focus on are the eventual insanity of Duror the gamekeeper and also his evil towards Calum and Neil, the two cone gatherers. As I read the book, I discovered that Duror was an evil and disturbed human being who was driven to insanity by his hate towards the cone-gatherers.
At the beginning of the poem, the speaker starts by telling the reader the place, time and activity he is doing, stating that he saw something that he will always remember. His description of his view is explained through simile for example “Ripe apples were caught like red fish in the nets of their branches” (Updike), captivating the reader’s attention
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
The informal language and intimacy of the poem are two techniques the poet uses to convey his message to his audience. He speaks openly and simply, as if he is talking to a close friend. The language is full of slang, two-word sentences, and rambling thoughts; all of which are aspects of conversations between two people who know each other well. The fact that none of the lines ryhme adds to the idea of an ordinary conversation, because most people do not speak in verse. The tone of the poem is rambling and gives the impression that the speaker is thinking and jumping from one thought to the next very quickly. 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.
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
Michael Ondaatje is very much like the narrator of his novel. Both share similar aspects of their lives beginning with the fact they share the same name: Michael. It is perhaps because Ondaatje himself experienced the same voyage as eleven year old Michael that the novel seems so very realistic. Both are born in Colombo, Sri Lanka and each, at age eleven take the voyage of a lifetime by boat from Sri Lanka to England. It seems appropriate that as the narrator of the book recalls his past as a journalist deep in adulthood, the same may be said of the novels true real author. Only Ondaatje himself knows how connected the two journeys are and this blend of truth and fiction are married perfectly to create a dreamlike quality to young Michael’s story.
The poet begins by describing the scene to paint a picture in the reader’s mind and elaborates on how the sky and the ground work in harmony. This is almost a story like layout with a beginning a complication and an ending. Thus the poem has a story like feel to it. At first it may not be clear why the poem is broken up into three- five line stanzas. The poet deliberately used this line stanzas as the most appropriate way to separate scenes and emotions to create a story like format.
In the poem, Mouse, the first message is that the man and the mouse are similar in many ways. When the plow destroys the mouse’s house, the man apologizes to the poor mouse and watches it run away. He realizes that their lives are similar when he begins to think longer about what happens.
Each poem describes a scene where a man learns from his experience and interaction with nature. In “The Meadow Mouse” the man instantly finds himself a father-figure to the mouse that he finds. When the mouse leaves, he thinks of the dangers of nature such as, “the turtle gasping in the dusty rubble of the highway.” From his instant love and pain of losing the mouse, he learns how he truly feels about nature. Set in a different scene, the fisherman in “The Fish,...
The first literary device that can be found throughout the poem is couplet, which is when two lines in a stanza rhyme successfully. For instance, lines 1-2 state, “At midnight, in the month of June / I stand beneath the mystic moon.” This is evidence that couplet is being used as both June and moon rhyme, which can suggest that these details are important, thus leading the reader to become aware of the speaker’s thoughts and actions. Another example of this device can be found in lines 16-17, “All Beauty sleeps!—and lo! where lies / (Her casement open to the skies).” These lines not only successfully rhyme, but they also describe a woman who
Not only the words, but the figures of speech and other such elements are important to analyzing the poem. Alliteration is seen throughout the entire poem, as in lines one through four, and seven through eight. The alliteration in one through four (whisky, waltzing, was) flows nicely, contrasting to the negativity of the first stanza, while seven through eight (countenance, could) sound unpleasing to the ear, emphasizing the mother’s disapproval. The imagery of the father beating time on the child’s head with his palm sounds harmful, as well as the image of the father’s bruised hands holding the child’s wrists. It portrays the dad as having an ultimate power over the child, instead of holding his hands, he grabs his wrists.
Do you know what it’s like to be separated from your family and you have no one else to help you?
The consistent pattern of metrical stresses in this stanza, along with the orderly rhyme scheme, and standard verse structure, reflect the mood of serenity, of humankind in harmony with Nature. It is a fine, hot day, `clear as fire', when the speaker comes to drink at the creek. Birdsong punctuates the still air, like the tinkling of broken glass. However, the term `frail' also suggests vulnerability in the presence of danger, and there are other intimations in this stanza of the drama that is about to unfold. Slithery sibilants, as in the words `glass', `grass' and `moss', hint at the existence of a Serpent in the Garden of Eden. As in a Greek tragedy, the intensity of expression in the poem invokes a proleptic tenseness, as yet unexplained.
3. The first stanza has an observative tone to it. The narrator is telling their observation of a spider, plant, and a moth. The tone turns cynical in the third line where the narrator describes the moth as a “rigid satin cloth.” It describes its fragility when compared to a satin cloth but the rigidness conflicts with it frailty as well. The second simile that compares the subjects of the poem to a witches’ broth turns into a disgusting connotation.