Literally, the persona of the poem is outside when some aspects of the nature around her, like violets and a blackbird, trigger a memory from her childhood. The poem then flashbacks to a childhood memory of the persona as a young girl, which is shown through the indentation of the stanzas, where the girl wakes up in the afternoon thinking it is morning and becomes upset when she wonders ‘Where’s morning gone?’. This continues until she falls asleep in the memory, and we are brought back to the present. The last stanza sums up some of her most valued childhood memories which continue to ‘drift in the air’ and remain with her.…
Dickinson's use of metaphors in this poem compares the traditional ways of religion and the church with a different perspective. She effectively compares nature with religion through her imagery. The comparisons between the lack of attendance at church has always been associated with not getting into Heaven, and Dickinson brings comfortable support for those that feel differently. The truest form of prayer and belief starts from within a person. Emily Dickinson confirms that with this brief but powerful…
The poem starts off in a body of water, with the narrator introducing the scene using figurative language. The first stanza appeals to the readers sense of ‘wrongness’ with saying the narrator was “stubbing an oar on a rock where none should be,” (line 1). Automatically the reader feels an amorality; stubbing refers to the (usually painful) experience of jabbing two objects together. Whilst this action becomes in some way wrong to the reader as it is followed up by “were none should be.” further emphasizing the amorality.…
The first thing that is very noticeable is the narrative structure. The speaker provides us with the image of the character’s footsteps through the structure of the poem, which indicates the struggle that he is going through. He uses gaps and indents throughout the poem to express his movement in the swamp and how he moves from one side to the other in order for him to be able to free himself from this struggle. The syntax of the poem cannot be described as stanzas or paragraphs, because the poem itself is one broken stanza which depicts the character’s misery while moving in the swamp.…
Immediately revealing the central theme of the poem as well as alluding to the narrator’s apparent self-doubt, the first stanza is an imperative aspect of this piece. The speaker begins by stating that she has “been thinking at random on the universe, or rather, how nothing in the universe is random”. So commences her journey to solve the question: Is there a predetermined course of events, or do we hold the power to create our own futures? The author has subtly presented the question to the reader in a sentence that makes use of chiasmus, thus capturing the reader’s attention by invoking personal thought and reflection. In addition, through the chiasmus, Boland skillfully manages to both characterize the narrator as a reflective, introverted individual, as well as foreshadow her uncertain opinion on the matter at hand. Such chiasmus’, oxymorons, and contrasting stanzas are seen repeatedly throughout the piece. They are essential in establishing a light, reflective tone and mood which, coupled with the use of the first-person perspective, enables the reader to form an unquestioning, intimate connection with the speaker.…
Another representation of the supernatural in this poem was the woman-spirit and her death mate. The Mariner said, “Is that a death? And are there two? Her lips were red, her looks were free, Her locks were as yellow as gold: Her skin was as white as leprosy” (line 88-92) What the Mariner really saw was a supernatural entity because there was no woman in the crew and all the shipmates were dead.…
Emily Dickinson writes her poems using words that can be translated differently by nearly every reader. Though she presents obvious truth when reading the surface of her poems, she provides a creative, much deeper meaning behind the first impression if one dares to expand their minds outside of their normal thought range. “I know that He exists” is a substantial poem that twists the ideas and opinions of our views about God and the life we were created to live.…
Within the first two stanzas, the speaker uses repetition of “It was not” to eliminate the possibilities or ideas of being dead “for I stood up/And all the dead, lie down.” The speaker represents different attributes of emotion with the use of personification as she felt “Siroccos – crawl” which gives a sort of chilly or warm landscape/setting, something only the mortal could feel. She also uses personification by making the bells “Put out their tongues, for noon.” Or in greater terms the afternoon bells were ringing. Therefore she should be nothing other than alive if she can still sense things like this. She then uses imagery to show that her psychological state and surroundings affect every aspect of her life when she says “And yet, it tasted, like them all,” The different feelings encountered by the speaker have come together probably enforcing her to be in the rather chaotic state that she’s in. As the speaker states that the figures she have seen were “Set orderly, for Burial” the mind of the speaker automatically shifts back to a funeral which brings her…
The structure of the poem can be separated in to two parts. The first half describes the soul's perception of the surrounding world as it's body first begins to wake up. This is set during the period between true consciousness and the dream world. In this moment reality becomes pure and timeless. In the third line, the author describes the soul “hanging bodiless and simple.” Using this kind of diction to set the tone as a sort of mock-seriousness and creates a sense of suspension and detachment from the world. Still within the beginning of the poem, the tone seems to sway between humor and spirituality. As an example of the humor used, the author writes “The morning air is all awash with angels.” Still conveying a strong sense of spirituality, this line also serves as a pun towards the angels being described through the hanging laundry just outside of the open window. It also gives the spiritual world a likeness of heaven, full of angels. The humor is in the word choice “awash” because it serves a double meaning. The first meaning is that the air is “full” of the angels, and the other meaning is the fact that people “wash” their laundry to make it clean and fresh again. The first half of the poems…
-> In the first five stanzas, the author discusses the already submerged ship. "Stilly couches she," describes the ship resting on the bottom of the ocean. The lines, "Jewels in joy designed lie lightless, all their sparkles bleared and black and blind", point out the waste of money, technology and craftsmanship going down with the ship which is consistently mentioned in these stanzas. In the next six stanzas he describes the iceberg and the ship meeting together as one in destiny.…
This poem has five four-lined stanzas. The first and last lines rhyme with each other while the middle two lines rhyme with each other. This creates a song like quality to the poem. The first three stanzas of the poem end with questions. This structures the idea of parents mourning with unanswered questions. The last two stanzas are enjambed. This gives the effect of the parents realizing there's no point in questioning their deaths but to be at peace with it. This poem is giving some consolation to the people who have lost loved ones, mainly children, to drowning. The poem frequently refers to Greek mythology. There is an 'old king' whom is assumed to be the Greek god of the ocean Poseidon, who resides in the sea and takes care of drowned children. In this poem, the old king takes a 'shining haul' of children with his 'sure' net. This suggests that many children have been taken by him. The use of the word 'sure' implies that no one is really safe from him and that it is fated to happen. It could also mean humans cannot prevent nor control the ocean. However, the persona describes his care as 'solicitous' and 'tender'. This expresses that the king is kind and caring to the children. In an effort to ease the parents' distress, the use of mythology conveys the notion that the children are not just gone but instead they are being taken care of in a safe 'kingdom'.…
However, the poem begins with several oddities that hint to the fact that this poem expresses more than it’s literal words. For example, the poem follows the iambic tetrameter form with each stanza closing in an iambic trimeter line. The form of the poem as well as the speaker’s neutral attitude toward the events that take place create a philosophical and detached tone that suggest that the objects and events within the poem should not be interpreted according to their denotations. Also, the rhetoric of the first line illustrates that the words in that line do not simply describe the beach. The speaker uses…
Emily Dickinson's imagination is dynamic partly because she thinks of her mental world as always in flux and prefers not to adhere for long to any preconceived religious of philosophical doctrine. At different times she advances opposed positions on such central questions as the goodness of God, the reality of heaven, or the presence of the divine in nature. As a child of her culture, the fixed positions of her local Calvinism are inscribed in her mind and heart, while at the same time she distrusts them…
In the poem the speaker’s relationship with the woman has two sides. One emotion that the speaker reveals is that of undying love. He speaks of a time when the woman is “old and grew” (Line 1) and how his love will still be felt in the book she will read. The diction and imagery in the poem reveal much of how the speaker views the woman and his feelings for her. Using imagery like “shadows deep” (Line 4) the speaker expresses his admiration for her beauty. The speaker also uses diction such as “pilgrim soul” (Line 7) to describe the woman’s inner beauty that he also admired so much. The tone in these sections of the poem reflects the…
In the next stanza, the narrator is explaining the ways in which the mother would have been there to support her child. 'held out a huge finger, lifted atoms of dust with the point of a tissue '. Armitage uses the term, 'Huge finger '. A child would think their mothers hand is giant compared to there own. During this stanza, the narrator is beginning to deeply describe the childs ' eyes. They are looking closely into this eye and can notice every little detail. 'Imagined silvers of hair in the oil of the cornea '. The cornea is one of the most complex parts of the human body, and it is very difficult to understand. This person is marvelling at the bodies natural creation…