Many type of literatures expressed in more than one way in how to understand it. Those ways in order to understand particular literature called approach. In this case, poetry written by very well-known American poet, named Sara Teasdale. Sara Teasdale respected by all her wonderful works. Her poetries continued to be admired by many reader all over the world. One of those following reasons was very beautiful way she expressed her talent into it. Spring Night was created in same way as well as her other poetry. Of course as if beautifulness is one of her special character, Spring Night got this elements that embodied its entire stanzas. At the end, once again her readers got impressed from how wonderful the poetry was. All of those impression getting well as we appreciated by understand it by using biographical approach. What does this kind of this approach deal with Spring Night ? Well, we could not really tell until we proceed to next chapter.
2.1 Definition of Biographical Approach
Biographical approach is somehow close to what we called as historical approach. This type of approach is kind of approach that used to understand poem by looking at author’s life. By knowing her / his past, we as readers might be able to interpreted what its theme or what kind of idea did the poet what to showed up. Commonly biographical approach tell the reader closely about the author or writter’s past life. Because single poetry could be interpreted in many meaning by using different approaches, it possible that the result of interpreting got off of the rail. But anticipating using several poetry in one could help us to determine which result suit the poetry best. In this case, although using usual way to interpreted Spring Night already impressed us with its beautifulness, by using biographical approach, we realize the poetry carried deeper meaning we never expected. 2.2 Poetry Basic Versification
Spring Night (from Rivers to The Sea, 1915)
Park is filled with night and fog,
The veils are drawn about the world,
The drowsy lights along the paths
Are dim and pearled.
Gold and gleaming the empty streets,
Gold and gleaming the misty lake.
The mirrored lights like sunken swords,
Glimmer and shake.
Oh, is it not enough to be
Here with this beauty over me ?
My throat should ache with praise, and I
Should kneel in joy beneath the sky.
Oh beauty, are you not enough ?
Why am I crying after love
With youth, a singing voice, and eyes
To take earth’s wonder with surprise ?
Why have I put off my pride,
Why am I unsatisfied-
I, for whom the pensive night
Binds her cloudy hair with light-
I, for whom all beauty burns
Like incense in a million urns ?
O beauty, are you not good enough ?
Why I crying after love ?
There is no repeating sound in first stanza (ABCD). The first stanza leads with no spesific rhythm. But it is not same for second stanza. It follows with cross-like pattern as AB,AB. For third and fourth rhythm are entirely different. Its pattern follows same sound from previous line and start in different sound with same process (AA,BB,CC,DD).
1. Perfect Rhyme and Half Rhyme
As for rhythm in poetry that sounds identical, neither perfect nor half rhyme does not exists in first stanza. In second stanza and others, particular rhyme occurs which shows below : Second Stanza
Streets and swords
(first and third lines) are half rhyme.
lake and shake
(second and fourth lines) are perfect rhyme Third Stanza
be and me
(first and second lines) are half rhyme.
I and sky
(third and fourth lines) are half rhyme.
enough and love
(fifth and sixth lines) are perfect rhyme.
eyes and surprise
(seventh and eighth) are perfect rhyme.
References: How To Analize Poetry. Reaske Russel Christopher. Department of English Havard University.
On Wings of Verse. 1985. Malkoc Maria Anna. English Education Division Bureau of Educational and Cultural Affair. United States Information Agency. Washington D.C.
Please join StudyMode to read the full document