She uses assonance to create a rhythm in ‘house’ and ‘up’, as well as in ‘is’, ‘in’, ‘ruins’, ‘fix’ and ‘it’, keeping to a similar sound range. Ending the poem with enjambment on the word ‘up’ could suggest that the poem is uplifting and has a positive beginning. In the following line, the vocabulary sounds more comforting, with consonance of the ‘n’ sound in words ‘and’, ‘snug’, ‘hands’, ‘knock’ and ‘into’. There is also assonance with the ‘a’ – ‘and’, ‘make’, ‘hands’, ‘shape’ – and ‘u’ sound that continues from the previous line in ‘snug’. With the third line, she starts a new stanza in the middle of a sentence, which could signify the fact that the fixing of the house is dragging on.
The new part was “important for its contribution of exploration and discovery as a metaphor for the spiritual journey of the soul to union with God” (Oliver 20). In the same year, a third issue was published; it added another supplement titled ‘‘After all, Not to Create Only.’’ The final 1872 issue included one more separate “book” of poems, “As a Strong Bird on Pinions Free,” which comprised seven new poems and a preface. This succession of issues indicates that the poet “was not entirely certain about the shape, organization, and direction of Leaves of Grass in the 1870s” (Eiselein 21). This edition also “demonstrates that Whitman was not finished as a poet: he started seeing new creative possibilities for Leaves of Grass and cultivating ‘the ambition of devoting yet a few years to poetic composition’’’
I didn't quite get it until I looked at the poems of villanelles to get the rhyme scheme and rules down. A villanelle has a sort of "circular refrain" that repeats lines and rhythm through stanzas, a total of 19 lines broken up into five three-line stanzas and a refrain of four lines. Within the poem the first and second line of the first stanza become the last line in the second and fourth stanza and the third line of the first stanza becomes the last line in the third and fourth stanza, confusing to read but much easier to visualize when looking at the poem. With a rhyme scheme of aba and the last line of the first and second stanza become the last line of the refrain makes it for what sounds like a twisty poem. One line that I found interesting, "Figural development in a poem is possible in a villanelle.
Lullaby by W. H. Auden consists of 4 stanzas of 10 lines each. There is no particular rhyme pattern although each stanzas line 3 and line 7 rhyme. The poem is a trochaic tetrameter poem. The poem begins with the image of time and sickness detracting from the image of the beauty of childhood in the same stanza. It is due to age (“time”( line 3)) and sickness (“fever”( line 3)) that childhood is “ephemeral”(line 6), lasting only for a short time.
The comma allows for a balanced clause and mirrors the point in which the sun eventually breaks out. Another example would be in a poem where she announces, “The Birds began at Four o’clock -,”(#783) . The tendency for stating the hour at the beginning of her poems is something to investigate. In a letter to her friend Thomas Higginson, Dickinson states “I never knew how to tell the time by the clock until I was 15. My father thought he had taught me but I did not understand.” This written statement demonstrates an obsession with time and an infatuation to pinpoint the hour in her poetry .
Poem number eleven within his notebook starts with the lines, “‘The shepard blew upon his reed a strange fragility of notes’” which is a clear imitation of the first few lyrics of Blake’s Songs of Innocence. It was also discovered that the twelfth poem titled The Shepherd to His Lass contained early imitations of pastoral lyrics, which can be reasonably attributed to Blake’s influence, given Thomas’s great interest in Blake (13-14 Grant). Dylan Thomas’s concept of the Divine Image can also be given credit to Blake’s influence from Vala; much of the imagery used in Thomas’s In the Beginning is very Blakean and can be traced to similarities in The Book of Urizen. The use of imagery that incorporates blood and anatomy is consistent with both poets while they tend to see the world in human form. For example, they both view the creation of the world as the creation of the human body and views the world in it’s “fallen form” in terms of a “giant sleeping body” (Grant 17).
One example of this is the addition of an accent mark that occasionally appears over the second “e” in the word “ecchoed” in the fourth stanza of the poem. Another example of this is the quotation marks that are sometimes found in the second, third, and fourth stanzas. In addition to an accent and quotation marks, some printings of this poem include punctuation marks that separate lines, such as periods and semicolons (David, 48). While these may seem like minor changes, even something so small as an accent mark can make a difference in interpretation and understanding. William Blake, having trained as an engraver for seven years, printed his own poems (Phillips), which created small differences in printings of the same poem.
1.) Choose an image from each of the poems you have selected and analyze how the image is created, and what common literary techniques have been used in the four poems. The high communicative value of poetry stems out of its ability to trigger emotional responses. The creation of images through the use of literary techniques can enhance the emotional response to a topic. This can be seen in Sonnet 130 by William Shakespeare, where and image of the poets mistress is shown, as well as in an An African Thunderstorm by David Rubadiri, where and image of villagers preparing for an oncoming storm is portrayed.
Blake writes about London in the late 18th century, whereas Dharker writes about an Indian slum in the late 20th century. Although these are very different, they both convey similar messages; London and the slums were bad places to be, and the poets wanted to change this by bringing awareness through their writing. The setting is stated straight away in the poems. London’s first two lines of the first stanza is “I wander thro’ each charter’d street, near where the charter’d Thames does flow”, immediately making it clear that he is talking about London, and Living Space’s opening describes the buildings and what it all looks like, by saying “Beams balance crookedly on supports” and “nothing is flat”. Another theme that is shown through the poems is confinement.
The persona draws the attention of the audience through this natural metre. The next half of line one emphasizes the irregularity in the actions of the persona who ‘sometimes’ seeks them. The arrangements of stressed and unstressed syllables in the poem not only helps create rhythm but also draw the attention of the audience to the message