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Emerson's essay on nature
Emerson's essay on nature
Emerson's essay on nature
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Recommended: Emerson's essay on nature
The poem begins with an explanation for the existence of the poem itself. Emerson writes, “On being asked, whence is the flower,” (Lewis). The speaker starts off by saying this because the idea itself parallels with the entire theory of Transcendentalism. To a practicing Transcendentalist, the answers in life are provided by God through nature, so the question is present to explain that the through the poem God provides wisdom in his answer through nature’s Rhodora. In the poem, the word “whence” does not actually represent “when” so they are not asking when was the flower, but rather “why”. The idea here is that the Transcendentalist speaker is looking upon this flower and wondering why it exists, wondering what its sole purpose is and why he stumbled upon it. “[Through Transcendentalism] the speaker is moved by something in nature. He is open to what nature has to teach and, as a result, he gains something from the experience,” (Bussey 196). This moving feeling is what causes the poem to be written. From there, the speaker begins his journey of discovery by saying, “In May, when the sea-winds pierced our solitudes,” (Lewis 1). The use of a plural solitudes leaves reason to believe that the speaker is not alone in this journey, which would explain the origin of the question. His companion, from asking of the source of the flower, is also partaking in the spiritual journey. The word piercing helps to personify the sea winds that blow past the speaker and his companion along their walk, giving it an animated feeling. The idea of piercing is acting as a hyperbole due to the fact that it cannot actually physically pierce the body; however, the image behind piercing is to break or tear through something. In this sense, the speaker is ...
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... not share his transcendentalist beliefs about the value of
Works Cited
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Lewis, Joan Johnson. “The Rhodora by Ralph Waldo Emerson”. 3 September 2009. Emerson Central. 11 March 2014
Prebilic, Michelle. Critical Essay on “The Rhodora.” Poetry for Students. Vol. 17. Farmington Hills, MI: The Gale Group, 2002. Print.
Yoder, R.A. Critical Essay on “The Rhodora.” Poetry for Students. Vol. 17. Farmington Hills, MI: The Gale Group, 2002. Print.
As this poem characterizes the view of a native woman expressing feelings of passion relating to her culture, it also criticizes society, in particular Christianity, as the speaker is experiencing feelings of discontent with the outcome of residential schools. It does not directly criticize the faith, but through the use of a heavy native dialect and implications to the Christian faith it becomes simple to read the speakers emotions.
Influenced by the style of “plainspoken English” utilized by Phillip Larkin (“Deborah Garrison”), Deborah Garrison writes what she knows, with seemingly simple language, and incorporating aspects of her life into her poetry. As a working mother, the narrator of Garrison’s, “Sestina for the Working Mother” provides insight for the readers regarding inner thoughts and emotions she experiences in her everyday life. Performing the daily circus act of balancing work and motherhood, she, daydreams of how life might be and struggles with guilt, before ultimately realizing her chosen path is what it right for her and her family.
The speaker begins the poem an ethereal tone masking the violent nature of her subject matter. The poem is set in the Elysian Fields, a paradise where the souls of the heroic and virtuous were sent (cite). Through her use of the words “dreamed”, “sweet women”, “blossoms” and
This quote describes how Louise Halfe uses all four common elements of native literature in her writings. I have chosen to discuss two of the elements she frequently uses, Spirituality and Orality in relation to three of her poems: My Ledders, She Told Me and The Heat of my Grandmothers.
Burns, Robert. “Coming Through the Rye.” Passions in Poetry. N.p. n.d. Web. 28 January 2010.
...r’.” Poetry for students. Ed. Sara Constantakis. Vol. 43 Detroit: Gale, 2013. Literature Resource Center. Web. 30 Mar. 2014. http://go.galegroup.com/ps/i.do?>.
Allison, Barrows, Blake, et al. eds. The Norton Anthology Of Poetry . 3rd Shorter ed. New York: Norton, 1983. 211.
Connie Fife is a Saskatchewan, Cree poet who writes using her unique perspective, telling of her personal experiences and upbringing. This perspective is revealed to her audience through the poems “This is not a Metaphor”, “I Have Become so Many Mountains”, and “She Who Remembers” all of which present a direct relationship to her traditional background and culture (Rosen-Garten, Goldrick-Jones 1010). To show the relationship of her experiences through her poetry, Fife uses the form of dramatic monologue, as well as modern language and literal writing to display themes about racism presenting her traditional viewpoint to her audience.
Thieves of Language: Women Poets and Revisionist Mythmaking 8.1 (1982): 68-90. JSTOR. Web. 14 May 2014. .
Poetry, Drama, and the Essay. Ed. Joseph Terry. New York: Addison-Wesley Educational Publishers Inc, 2001. 123-154.
Poems, Poets, Poetry: An Introduction and Anthology. 3rd ed. Ed. Helen Vendler. Boston: Bedford/St. Martin’s,
Mays, Kelly. "Poems for Further Study." Norton Introduction to Literature. Eleventh Edition. New York: W.W. Norton and Company Inc., 2013. 771-772. Print.
“Lucille Clifton.” Poets.org. The Academy of American Poets, 1997-2014. Web. 12 Mar. 2014. http://poets.org/poet.php/prmPID/79 .
Belasco, Susan, and Linck Johnson, eds. The Bedford Anthology of American Literature. Vol. 1, 2nd Ed., Boston: Bedford/St. Martin's, 2014. 1190-1203. Print.
Mar. 1972: 86-100. pp. 86-100. Major, Clarence. American Poetry Review.