Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The figure a poem makes analysis
Imagery analysis on poem essay
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The figure a poem makes analysis
“The Tide Rises, the Tide Falls” -- Analysis of Imagery on Characterization
In the poem, “The Tide Rises, the Tide Falls” by Henry Wadsworth Longfellow, the author uses sight, touch, and sound to compare a mortal man to the immortality of the tide. The tide is described to be slow and ceaseless, and therefore an everlasting cycle. Longfellow describes the beach around the time that “twilight darkens,” giving a strong visual representation of the “damp and brown” coast. These dark, natural colors of the purples and blues of twilight, and the earthy brown of the beach are colors often associated with tranquility. With tranquility comes slow-moving; the tide is slow-moving. n addition to the peace and slow nature of the tide is the idea of
…show more content…
Knowing that people often walk on beaches, it can be assumed that the tide will continue to erase footprints on its shores, creating the idea of a cycle; footprints are left behind, the tide wipes them away, more footprints are made, and so on. These two characteristics in the tide contribute to the idea that the tide has a quality of immortality. On the other hand, a traveler’s actions are written to contrast the tide’s immortality, and emphasize the human’s own mortality. At the beginning of the poem, after describing the beach at twilight, Longfellow describes a traveler who “hastens” towards town. The word “hastens” creates a strong visual of a quickly hurrying man. Becase this is included in the same stanza as the tide’s description, it is clearer to readers the difference between the scurrying man, and the serene tide. Slow and fast are complete antonyms, emphasizing just how different the man is from the tide. Near the end of the poem, the traveler “nervermore returns to the shore.” This shows that the traveler has no cycle like the tide’s, since he will never repeat his actions. The final line of the poem again shows how different the tide is from the traveler, by saying that the tide rises and falls. This line is
Published in 1944, the poem itself is an elegy, addressing the melancholy and sorrow of wartime death, as indicated by the title ‘Beach Burial’. This title gives clear meaning to the sombre nature of the work, and the enigmatic nature of it holds the attention of the audience. The entirety of the poem is strewn with poetic devices, such as personification of dead sailors as “…they sway and wander in the waters far under”, the words inscribed on their crosses being choked, and the “sob and clubbing of the gunfire” (Slessor). Alliteration is used to great effect in lines such as that describing the soldiers being “bur[ied]…in burrows” and simile in the likening of the epitaph of each seaman to the blue of drowned men’s lips and onomatopoeia is shown in the “purple drips” (Slessor). The predominant mood of the work is ephemeral, with various references to the transient nature of humanity. The ethereal adjectives used to describe and characterise objects within the poem allow a more abstract interpretation of what would normally be concrete in meaning. The rhythm of this piece is markedly similar to the prevalent concept of tidal ebb and flow, with lines falling into an ABCB rhyme scheme and concepts
In Longfellow’s poem, The Tide Rises, the Tide Falls, Longfellow states “The little waves, with their soft white hands, / Efface the footprints in the sands.” By personifying the waves in the ocean, longfellow reveals the truth that all humans eventually die and their mark on the world is erased, like the waves wash away the footprints. In this imaginative way, Longfellow shows how no one lasts forever. Multiple times in other parts of the poem, Longfellow writes “And the tide rises, the tide falls.” Longfellow is expressing that the ocean is continuous, regardless of what happens. After losing his second wife, Longfellow was very depressed, and in this poem he is accepting that life goes on after someone dies. Using his imagination, Longfellow states the truth of the inevitability of death and the fact that life does not stop in the event of
He describes how the sand on the beach flows and moves on the shore. For example, in the first line of stanza two, he says, “Slush and sand of the beach until daylight.” This description of the sand really helps you visualize it.
One way Longfellow establishes his message is through the personification of snow and the ship that the skipper was sailing. Personifying the snow that “fell hissing in the brine” (line 23) contributes towards the central theme of the poem. A hissing noise makes the scene seem more deadly and dangerous than people would think it is. It resembles the hidden imminent dangers that are present if people get overconfident. The hissing sound of the snow
Choosing the first person form in the first and fourth stanza, the poet reflects his personal experiences with the city of London. He adheres to a strict form of four stanzas with each four lines and an ABAB rhyme. The tone of the poem changes from a contemplative lyric quality in the first to a dramatic sharp finale in the last stanza. The tone in the first stanza is set by regular accents, iambic meter and long vowel sounds in the words "wander", "chartered", "flow" and "woe", producing a grave and somber mood.
Relief,” Millay used a similar form of imagery to describe the rain that resulted in the remembrance of the persona’s love: “…I miss him in the weeping of the rain…” (Millay, 3). This description of the rain not only helped better visualize the rain itself, but also emphasized the sorrowful and desolate undertone of the poem. Another exemplification of visual imagery utilized in Millay’s poem was used to illustrate the tides: “…I want him at the shrinking of the tide…” (Millay, 4). The retreating of the tides was easily concei...
For one thing, the poet, Longfellow, creates suspense and a foreboding mood in his poem by using sound devices such as alliteration, repetition, and end rhyme. The first example to remember, by using alliteration to describe what is going on, Longfellow spawns tension. To emphasize, in lines 53, 55, and 56, Paul Revere’s friend sees “a shadowy something,” that looks
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.
Also the ocean was described as being “cold currents third, and turn to rhythmic tidal lyres,” which describes the ocean as being cold with waves that move rhythmically (Hardey). Both these lines show the Titanic in a dangerous position, isolated from everything, including any help, and also traversing the extremely cold and unforgiving ocean. It is used throughout the poem to give as much emphasis to the building of the iceberg as there was with the building of the ship. It states that “moon-eyed fishes are near. .
In this poem, Frost includes his fear of the ocean and exaggerates its destructive power. As Judith Saunders stated that “The first thirteen lines have depicted an ocean storm of unusual force, and through personification the poet attributes to this storm a malign purposefulness” (1). Frost provided human characteristics on the storm to help prove his point that the ocean has bad intentions and its only purpose is to hurt him. Frost does not describe the waves as a result of unfavorable weather; he explains them as having a malignant intention to destroy the world. This poem revolves around the forces of nature and could be included in the long list of nature themed poems by Robert Frost.
“Its deserted streets are a potent symbol of man and nature 's indifference to the individual. The insistence of the narrator on his own self-identity is in part an act of defiance against a constructed, industrial world that has no place for him in its order” (Bolton). As the poem continues on, the narrator becomes aware of his own consciousness as he comes faces nature and society during his walk. He embraces nature with the rain, dark and moon but he also reinforces his alienation from society as he ignores the watchman and receives no hope of cries for him. The societal ignorance enforces our belief that he is lonely on this gloomy night. “When he passes a night watchman, another walker in the city with whom the speaker might presumably have some bond, he confesses, ‘I… dropped my eyes, unwilling to explain.’ Likewise, when he hears a voice in the distance, he stops in his tracks--only to realize that the voice is not meant "to call me back or say goodbye" (Bolton). The two times he had a chance to interact with the community, either he showed no interest in speaking or the cry wasn’t meant for him. These two interactions emphasize his loneliness with the
Longfellow, Henry Wadsworth. “The Tide Rises, the Tide Falls”. Elements of Literature: Fifth Course. Austin: Holt, Rinehart and Winston, 2008. 196. Print.
Matthew Arnold begins his poem by describing a calm, beautiful scene. Dover Beach is lying "fair" in the moonlight. It is high tide and he sees the coast of France and "the cliffs of England... / Gleaming and vast, out in the tranquil bay." All seems lovely and quiet. According to Baum's research on the date and circumstances of the poem, Arnold is probably speaking to his new bride (86) as he says, "Come to the window, sweet is the night-air." But gradually the reader senses a shifting of mood and tone. Now he describes the "line of spray... / Where the sea meets" the land as "moon-blanched." And the tide, tossing pebbles as it comes, is a "grating roar" with a "tremulous cadence slow" that "bring[s] / The eternal note of sadness in." This melancholy mood grows deeper as he thinks of man's long span of history-- "The turbid ebb and flow / of human misery."
In the last line of the second stanza, the subject enters dramatically, accompanied by an abrupt change in the rhythm of the poem:
In both poems “Dover Beach” by Mathew Arnold and “Calm is all Nature as a Resting Wheel” by William Wordsworth, both poets use explicit imagery to make their poems an incredible work of literary art, in conveying their appreciation and love for nature.