Poetry Analysis †Coleridge, Tennyson, Hopkins Essay

The amatory poet Percy Shelley at erstwhile wrote, Poetry lifts the veil from the hidden steady of the world, and comprises familiar objects be as if they were non familiar. Both the Ro homosexualtic and the twee periods of numbers fol menialed Shelleys vision of poetry as they exposed their respective societal issues. Ro creationkindtic period sounded from1785 to 1830, a time in which England moved from an agrarian to industrial terra firma and over each(prenominal) nationalistic ideals threatened the individualism of the poets and artists. The Romantic period of poetry was at that placeof very reactionary.It was a reaction to paradise ideas, to the disregard for human vivification in revolutions, and to the uniform of nationalism. The decay of social cheer that withalk place in the latter crack up of the Victorian period spurred many writers to swop the context of their work from the Romantic natural forms to education, womens rights, and political ideologie s. though twain periods produced a momentous achievements in structure, language, and musicalness of the poetic movement, the Romantic period effectuated an intense feat in poetry in a mere fifty old age.Samuel Coleridges The Rime of the Ancient diddly-squat is a Romantic ballad in sevensome parts, with fairly regular quatrains. Its rook metre structure develops steady movement, al pocket-sizeing to the lectors engagement to grow as the record progresses and the verbalizers message is unveiled. The tetrameter structure reveals an explanation of the title the Ancient Mariner orally recites his tale, teaching a world(a) lesson on natures value and the earths deserving of respect. Coleridge characters twain dialogue and varying perspective to fix a credibility in his work. An omniscient narrator speaks of an instance where the bright-eyed Mariner tells his written report to a wedding-guest and the effect the tale has on him a sadder and a wiser man, / He break the mor row morn (Coleridge 624-625).Coleridge often utilizes the effect of exclaiming points when the Mariner is speaking to convey his passion, as in Fargon hearty, farewell moreover this I tell / To thee, thou Wedding-Guest / He pra until nowh well, who loveth well / Both man and bird and beast (610-613). By capitalizing the send-off letter in various important articles, Coleridge successfully enables to the ratifier to interpret a symbolic import behind the select terms. For instance, Albatross, though not a proper noun, is capitalized in each reference he makes to the creature soon enough when referring to the water-snakes and the sky-lark Coleridge does not capitalize the terms as they hold less symbolic value in the Mariners tale.Is this the man?By him who died on cross,With his cruel accede he laid full lowThe harmless Albatross.The spirit who bideth by himselfIn the land of mist and snow,He love the bird that loved the manWho snap fastener him with his bow.(Coleridge 397-4 05)The Albatross is capitalized to depict the pure white and divinity of nature and Gods creations. Further interpretation also shows Coleridges capitalization of the Albatross to allude to deliverer Christ.Alfred, Lord Tennysons Crossing the pothouse is a comforting and uplifting Victorian term verse ab appear the terminus of actions journey. Tennysons calm down language and peaceful externalizery wind the reader in consoling mildness rather than a miserable sadness at the thought of a loved- peerlesss passing. He introduces the dwindling of biographys candle as he opens with a illustration attractively comparing life ending and death to sun roundabout and flush star (Tennyson 1). Hoping for the end to be as painless as the sunset Tennyson alludes to the fall in-up the ghost of the nautical thrusting against the sandbar, And whitethorn there be no moaning of the bar, / When I frame up out to sea (Tennyson 3-4).Tennysons word choice through and throughout the ext ended metaphor of this verse impels the reader to think carefully about what his meaning is, rather than memorize the literal sense. For instance, when Tennyson refers to turning home again his home is not meant to be the scummy earthly abode in which hes carried out his years he preferably is alluding to nirvana (Tennyson 8). The imagery of the net stanza informs the reader of the entire poems meaning For though from out our boundary of Time and Place / The flood may bear me far, / I hope to get down upon my Pilot face to face / When I get down crossed the bar (Tennyson 13-16). here Tennysons meaning of the bar manifests as he alludes to meeting his creator in this striking image of crossing the oceans sand bar, the boundary of life and death, into the unknown afterlife.Upon reading Gerald Manley Hopkins Spring and walk out to a young child it becomes delicate to stop oneself from creating a tune to add the beat of this musical Victorian Era poem. With an AABBCCDDDEE FFGG rhyme scheme the poem begins with ternary rhyme couplets, followed by a rhyming triplet, and finishd by another set of three rhyming couplets. The varying account lengths express the drama in the verbalizers voice ranging from the short iambic triameter to the longer tetrameter exposing the speakers message. A fortified biblical message is surfaced by the melodic and hymnic movement of this piece. Hopkins uses alliteration to make his point clearly understood.The repetition of the W spoken communication, in Though worlds of wanwood leafmeal lie / And however you will weep and know why, is employ to tell Margaret about the changes maturity brings and the wretchedness of knowledge (Hopkins 8-9). The alliterations used in the last rhyming couplet impart the speakers firm religious beliefs to the reader as Hopkins states It is the blight man was born(p) for, / It is Margaret you mourn for. Hopkins uses the B and M words to emphasize the connection between her future day sins and those made by Adam and Eve. As the speaker both open and closes this short poem repeating Margarets hit he creates an alpha and omega image for the reader Margaret is her beginning and her own end. idol derived from mayhem would be an apt interpretation of William Wordsworths Ode Intimations of Immortality from Recollections of Early Childhood though perfection is not quite a befitting word to depict the pulchritude of this piece. This poem is both a reactionary piece, and a revelation of time, as the prefatory iv stanzas were written at least ii years prior to the latter seven. through the chaos of its structure comes the truelove of one of Wordsworths most renowned poems. hobby the aberrant nature of the Romantic poets, Wordsworths Ode is composed of eleven stanzas irregular in form, length, meter, and syntax.Though subtle in nature, this piece veraciously speaks the whispers of juvenescent truths as its title would suggest. Ode Intimations of Immortality from Rec ollections of Early Childhood, implies a commitment to the indications of eternal life, which from early childhood memories are stirred.Wordsworths way of adorning a beautifully worded poem with familiar images and symbolic undertones helps this poem to outshine others of its like. Swathed in epiphanic universal tenets this Ode is all only trivial. In the first two short stanzas Wordsworth introduces his dilemma the speaker has baffled touch with the celestial light which once had bedecked his corporeal life. He expresses his ability to prize the natural beauties of nonchalant life but knows there hath past out a glory from the earth (Wordsworth 18). Wordsworth identifies the poignancy in lifes realization when childhood innocence is lost. Left with lingering questions of his immature virtues transience he concludes the first portion of his poem enquire Whither is fled the visionary gleam? / Where is it now, the glory and the trance? (Wordsworth 56-57). With his questioning , Wordsworth obliges the readers musing on the eternal poignancy of this forsakenness.Two years time would pass before Wordsworth could conclude his enlightenment of the nouss cyclic journey and the effect it has on man. He begins the fifth stanza with an intriguing metaphor our fork out is but a sleep and a forgetting (Wordsworth 58). Extended throughout the poem, the idea, that the soul pulls away from the glories of heaven as man ages, is not easy for the reader to grasp thence Wordsworth explains heaven lies about us in our infancy but with age heaven and its splendor fade into the light of viridity day (Wordsworth 76). The paradox, between the fading light of God and the overpowering light of daily life, is harsh but, comprehendible. As man grows close set(predicate) to the natural earth he grows by from the virtues of the ethereal heaven.To explain the shift man weathers, Wordsworth discusses the ways sanguine children become artist by making plans and charts man takes gazump in learning organization but in the process slights imagination. He continues on to address a child flat thou Eye among the blind, metaphorically heavy the boy he provides a good vision to those who have outgrown a strong adhesiveness with glory (Wordsworth 111). Though this bond is fleeting, Wordsworth finds happiness in the idea that man is always questioning he realizes O joy that in our embers / Is something that doth live, / That nature yet remembers / What was so fugitive there is a connection deep within all(prenominal) man that drives him to search for the truths of life (Wordsworth 129-132). His use of ABAB rhyme scheme, alternating iambs, and the metaphor of the soul to a fire that burns low and hot makes this passage stand out to the reader and bring forth Wordsworths optimism.As he guides his reader through the climax of this Ode, Wordsworth incorporates heavy imagery and a more constant rhyme scheme. He explains that man cannot go back and live the virtue s of childhood but, will always have memories to bring him back to its gloriesThough midland far we be,Our Souls have sight of that graven image seaWhich brought us hither,Can in a moment travel thither,And bump into the Children sport upon the shore,And hear the mighty wet rolling evermore.(Wordsworth 161-167)He tells of how one is unable(p) to experience these past memories but, can instead look back and observe the blissfulness of childhood as these recollections are immortal. Having recognized the joys that still are attainable he realizes his appreciation for the mortality of the somatic world. Though he no longer rolls as freely as the brook, he loves its beauty more than ever.Wordsworth imparts the value of this brief life on earth. Man must not view lifes drift as a race. He reminds the reader of lifes impermanence, alluding to the Corinthians which suggest there is no great prize for first place in lifes race. Instead man should give give thanks Thanks to the human heart by which we live, / Thanks to its tenderness, its joys, and fears, / To me the meanest flower that blows can give / Thoughts that do often lie too deep for tears (Wordsworth 200-203). Humanity blesses men with the power to treasure the meek and the ordinary, as long as man step out of the race and stops to admire his surroundings.