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Walt Whitman as Poet and Person
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The Spider and Soul in Walt Whitman's A Noiseless Patient Spider
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In “A Noiseless Patient Spider”, Walt Whitman compares the images of a spider creating a web to catch its prey to his own soul. In the first stanza, he describes the spider creating its web. In the second stanza, he begins to describe his own soul searching for something it needs. Throughout the poem, Whitman is relating the spider to the human soul by showing how both would pursue and capture what they need to continue to exist in this life.
In line one, “A noiseless, patient spider” shows a spider that seems to be waiting for what it is searching for. Perhaps it is waiting for a chance to strike at its prey if it were detected in time. The soul seems to be doing nearly the same thing when Whitman says the soul is “ceaselessly musing” (line 8). Musing is when someone is pondering about something in silence. Both images are being described as moving in careful silence. The spider seems to be planning to trick the prey into being caught. Perhaps whatever the soul is looking for must be tricked into being caught. If both were to let their presence be known, their elusive prey may disappear.
In order for either the spider or the soul to capture its prey, first they both must create a way to trap what they need and trick it into being caught. “It launched forth filament, filament, filament, out of itself, ever unreeling them, ever tirelessly speeding them” (lines 4-5). These lines are describing the spider while it makes its web. The poet uses the word “tirelessly” to show that the spider must complete its task of finding sustenance in order to survive. The repetition of the word “filament” shows how deliberately t...
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...er and the soul are alike in how they search for what will continue their existence. For the spider, it is waiting patiently as he tries to find a way to trap his prey in order to continue its life. As for the soul, it must be patient and hold on to what it knows as religious truth as it waits to be nourished by the one that it truly serves. Both the spider and the soul must hold onto their anchor in order to wait for their prey. Once it is spotted, they must move quickly to it in order to ensure that they catch it. Once it is within their grasp, their existence may continue. But, if they are sidetracked by what goes on in their immediate surroundings instead of concentrating on their prey, then they may lose their opportunity for life. That is why the spider and the soul must be patient, noiseless, and ever ready to obtain what they have hunted for so long.
…the world is like an enormous spider web and if you touch it, however lightly, at any point the vibration ripples to the remotest perimeter and the drowsy spider feels the tingle and is drowsy no more but springs out to fling the gossamer coils about you who have touched the web and then inject the black, numbing poison under your hide.(188-89)
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.”
As a way to end his last stanza, the speaker creates an image that surpasses his experiences. When the flock rises, the speaker identifies it as a lady’s gray silk scarf, which the woman has at first chosen, then rejected. As the woman carelessly tosses the scarf toward the chair the casual billow fades from view, like the birds. The last image connects nature with a last object in the poet's
To that end, the overall structure of the poem has relied heavily on both enjambment and juxtaposition to establish and maintain the contrast. At first read, the impact of enjambment is easily lost, but upon closer inspection, the significant created through each interruption becomes evident. Notably, every usage of enjambment, which occurs at the end of nearly every line, emphasizes an idea, whether it be the person at fault for “your / mistakes” (1-2) or the truth that “the world / doesn’t need” (2-3) a poet’s misery. Another instance of enjambment serves to transition the poem’s focus from the first poet to the thrush, emphasizing how, even as the poet “[drips] with despair all afternoon,” the thrush, “still, / on a green branch… [sings] / of the perfect, stone-hard beauty of everything” (14-18). In this case, the effect created by the enjambment of “still” emphasizes the juxtaposition of the two scenes. The desired effect, of course, is to depict the songbird as the better of the two, and, to that end, the structure fulfills its purpose
“Yet in languid/frenzy strove, as/one freezing fights off/sleep desiring sleep;/strove against/ the canceling arms that/suddenly surrounded/me.” (Hayden 4). The use of sound in the last six lines of the poem causes the reader to feel the need for air and the fear of death. “Reflex of life-wish”/Respirators brittle/belling?
In this poem about seeing from the shadows, the speaker?s revelations are invariably ironic. What could be a more unpromising object of poetic eloquence than mayflies, those leggy, flimsy, short-lived bugs that one often finds floating in the hulls of rowboats? Yet for Wilbur...
..., 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.
Whitman is giving a more graphic example of how sex is a natural thing. By comparing the act of reproduction to death he shows just how natural of an act sex is. Everything that is born will eventually die. He feels that the natural curiosities of the human sexual appetites should not be denied or not discussed because of social standards. Not only is sex a "miracle" that is a part of him, but also nature and the universe, and each individual part should be celebrated.
Nature is the force in this poem that has power to decide what is right or wrong and how to deal with the actions. The mariner reconciles his sins when he realizes what nature really is and what it means to him. All around his ship, he witnesses, "slimy things did crawl with legs upon the slimy sea" and he questions "the curse in the Dead man's eyes". This shows his contempt for the creatures that Nature provides for all people.
The theme of Time to Come presents the mystery of life after death and calls attention to how vulnerable it’s victims are. Whitman begins his poem with the strong metaphor “ O, Death! a black and pierceless pall” (1). This bold statement allows the reader quickly realize that the work will somehow be connected to death, but in an insightful manner. The alliteration of “pierceless pall” emphasizes death’s ruthless approach. Whitman then describes death as a “mystery of fate” that " No eye may see, no mind may grasp” (3-4). This points out that death lingers in the future, essentially waiting to seize lives and nobody can know when th...
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.
In "A Noiseless Patient, Whitman presents a simple analogy that compares a lone spider searching for a hold to his soul as...
Subsequently, the spider, “holding up a moth” draws out the evil or cruelty, which is nature. Frost accents this in the subsequent verse, “Like a white piece of rigid satin cloth” (Frost, 593). His play on words here is prodigious, “a white piece of satin cloth” (Frost, 593) this stanza demonstrates ...
In “On the Beach at Night Alone,” Walt Whitman develops the idea that everyone has a connection with everything else, including nature. Whitman uses a variety of writing techniques to get his point across. First, the repetition and parallel structure that his poems contain reinforce the connection between everything in nature. The usage of “All” 11 times emphasizes the inclusion of everything in the universe. The sentence structure remains the same throughout the poem, without any drastic change; however, the length of the lines in the poem vary. In addition, Whitman’s’ extravagance with his words further illustrates his idea of the Over-Soul. For example, “A vast similitude interlocks all” (4) shows his verbose nature. Whitman does not do directly to the point, but gives every little detail. Most importantly, Whitman’s’ use of catalogues stands as the most recognizable Whitman characteristic that illustrates his beliefs. These long lists that he uses set the mood of the poem. “All spheres, grown, ungrown, small, large, suns, moons, planets,” (5) shows the idea that everything is connected in nature. Similarly, “All nations, colors, barbarisms, civilizations languages.” (10) furthermore emphasize Whitman’s belief in the Over-Soul.
Perhaps the most complicated symbol within the poem "Out of the Cradle Endlessly Rocking" is that of the moon. Each time the moon appears, it appears in a way that is a striking reflection of the love of the bird.The most obvious object Whitman uses to communicate about love is the birds, the "feathered guests from Alabama". While the bird symbols in Lilacs and Cradle may seem very similar, the bird in Lilacs is a symbol of a transcendentalist view of death in the scheme of nature, and the bird in Cradle is a symbol of a much different view of deaththe personal, acute pain of a lover left to mourn. Although the birds love is significant, the boy is also an important theme and the relationship between the two may be key to understanding Whitman's intention. Another object of love is the boy in the poem, which the author's voice allows us to assume is Whitman himself.Another major factor affecting the communication of Whitman's ideas on death is the diction and tone of each poem. In Cradle, death is personal, grieving is acutely painful, and death is presented as an inevitable force oppressing ...