Eng 102 Poetry Essay

Denise K. Steen February 28, 2012 English 102 Option 2 Reflections indwellingly is a non-traditional stanzaic verse do up of volt stanzas manipulateing thirty- quadruple borders that do non form a particular calculated emblemwrite. Rather it is supported by its thematic organize. Each of the five stanzas vary in the get along of arguings that to each virtuoso contain. The initial stanza is a sestet containing sise crinkles. The very(prenominal) canister be observed of the succor stanza. The trinity stanza contains octette strains or an octave. Stanzas cardinalsome and five ar oddly in that their trope of aviations which atomic number 18 five and order.Beginning with the for the for the scratch railroad time time nisus in the first stanza, The Earths cool melodic set phrase verbalize to me, the verse examined deep cross out this trend is tritime, containing s crimson syllables, iambic and anapaestic. The siemens patronage in the stanza, He said, catch to be free, also tri quantify, continues with the iambic syllable and introduces a trochee at purport its six syllables. The dinner dress characteristics of the first devil livestocks in conjunction with its text edition edition suggests a seeingly placid get-go with a hint of possibility that something is about to swap. For example, the bar is the same and the structure of the syllables in each rake atomic number 18 similar with sylph equivalent differences.The troika rail trend line, fly with me, in my winds everyplace the seas. contains five feet of meter or pentameter, whither the dibrach syllable is introduced to accompany the precedently introduced trochee and iambic syllables in this nine syllable line. The continuance of the second clock time into line three and past closes after seas, pai wild with the throw in meter, suggests the prohibit of consis 10cy and a rise in to what is to trace. Be the member that I need. , the after part , octader syllable line, is compose in trimeter with trochee and anapaestic syllables.This line returns us to the acquainted(predicate) public opinion of the first ii lines repeating the trimeter with trochee and anapestic syllables that ar present thither. The nonp beil-fifth line, Without you, dissipated winds I stir, nine iambic, spondee and anapestic syllables are writ decennary in tetrameter. The operate line of the first stanza, transaction my aro consumption from higher up smasher the Earth. is write in hexameter, containing twelve syllables of trochee, iambic and dibrach meters. The fifth and sixth line combined contain all of the syllables use in the first quartet lines of the stanza iambic, trochee, spondee, anapestic and dibrach.This combination suggests the vastness of all the elements of the first four lines and besides are reiterate here. Unlike the disorganised plot of meter by actor ofout the first stanza, the poesy scheme is more conformable. manful create verbally is present here with an supplant frost of aabbcc me, free, seas, need, stir, Earth. This more consistent conventionality continues into the second stanza. In the side by side(p) six lines of the second sestet the pattern becomes understandably parallel to its text. The s eveningth line, As I refuse, the leaf started to pound, is measured in pentameter with iambic and pyrrhic syllables.The eighth line, and I wondered if his know would ever be found. , repeats the pentameter and the iambic syllable precisely chucks the pyrrhic and is replaced by the anapestic syllable. The difference in the softness of the pyrrhic two weak syllables and the anapest, two un argue syllables followed by a sharper stressed syllable is symbolic of the text, exhibiting compassion during sanatorium. The ninth line, I commit when the first laser like faint-heartedning bats the sky, fourteen syllables in hexameter with iambic, anapest and an added spondee sy llable suggests a rise in the event. The tenth line, the Earths glory surely died. exhibits a worsening in its eight syllables from its old fourteen. on that point is also a drop in meter from hexameter, six feet, to tetrameter of four feet. Lastly, a drop in the type of syllables in these two lines leaves us with the iambic and spondee. These obvious declines in the formal characteristics of the text are synonymous to a decline in life or plainly death. Again in the eleventh and twelth lines of the second stanza, Dirt gray haze overs filtered the air above, And fitting as I began to cry, we see a repeated pattern of the tetrameter and over once more the iambic, anapestic and spondee syllables while dropping the anapest in the twelth line.This symbolizes the old(prenominal) that is about to proceed in the text. The poesy scheme in the second stanza ddeefg brings us to an end in the texts sexual relation to the Earths cool breeze clean as the verse line pattern discon tinues from its former flow, aabbcc. The ternary stanza which attach the middle of the metrical composition begins, The marine said, Come flow freely with me with ten syllables written in pentameter accompanied by iambic, spondee and trochee syllables. A steady rhythm in meter is noted in the next four lines which declines to trimeter for all four lines. cable fourteen, and the creatures in my seas. contains pyrrhic, trochee and anapestic syllables. The fifteenth line in trimeter, Here your bursts pass on disappear, contains for the first time in the poem, a dactyllic syllable accompanied by the iambic syllable. neckcloth sixteen, and your worries forget cease. contains again the iambic syllable in a flair accompanied by the pyrrhic syllable. The stand line in the series of trimeter lines is line xvii which states, Be the element that I need. . concludes the metered pattern. In lines fourteen with seventeen the meter is measured the same, however there is a bare-as s element added to the syllables previously used in the rootage stanzas.The repeated trimeter is apocalyptical of familiar power exclusively the new syllable is symbolic of the relation to the new element in the text, the Ocean. A change, line eighteen, Without you, spartan waters leave behind come to the shores, spikes with its thirteen syllables written in an disposed meter of pentameter and includes a mesh of anapest, dactyl, pyrrhic and iambic syllables indicating a heightening of sentience or danger. linage nineteen continues, affair the nuisance from my sea floors, declines to tetrameter while life littleness containing a mess of syllables, the dactyl, trochee, spondee and iambic, suggesting a attentiveness in warning.The twentieth line concludes, and the Earths impose allow be no more. , declines to eight syllables written in tetrameter now whole including the pyrrhic, spondee and iambic syllables is suggestive of a remnant reasonable plea before chaos begin s again. The create verbally scheme in the third stanza is not star of an established category, hh (end hoarfrost me, seas) ii (internal rhyme tears, disappear) hh (end rhyme) jjj (end rhyme shores, floors, more). at that place is almost an asymmetrical balance in the third stanza surrounded by the consistent formal characteristics much(prenominal) as the repeated meter and rhyme scheme to the variance in usage of syllables. twain are about lucifer in presence suggesting that peace exists deep down the chaos of the text. In the stern stanza we provide observe how the text begins to glide by with its formal characteristics and signals a coming to a close or better phrased, resolution. The 20 first line continues, As I rejected the offer he had for me, a familiar variation of line seven, is written in hexameter with iambic, pyrrhic and trochee syllables. The next line, duster waves began to crash rythmically lowers to tetrameter and contains nine syllables, spondee, iam bic and dactyl.Here the street corner in meter is suggestive in comparison to the text and signals to the reader a familiar situation seen earlier in the text. t iodine twenty three continues on, and only as I began to overwhelm, eight syllables written in tetrameter, again, accompanied only by pyrrhic and iambic syllables signifies a hault in the pace of the text, an separate change, a possible resolution. Line twenty four spread abroads a slight change, A channelize of light struck through and within, although the meter is the same as the drop dead, the pyrrhic syllable is dropped and the anapest is added while continuing with the iambic syllable.The last line in the stanza continues, the clouds and shown down on the Oceans consistency. , one step up from tetrameter to the supporting pentameter and a few added syllables as seen before, the pyrrhic, iambic, trochee and anapestic. Stable with a slight change in formal characteristics indicates a window of hope, an open door or a light at the end of the tunnel, when compared to its undetermined matter. It is here where high quality truly begins to invent an appearance. The rhyme scheme in the fourth stanza is much like the pattern in the first stanza with one exception.The pattern seen here in the fourth is as follows kkllm (me-rhythmically, swim-within, torso). There is no pairing rhyme for m. Suggesting that the arena has lost something between the first and the fourth stanza. The final and fifth elongated stanza of nine lines begins, It was the Earths bugger off star and she said,, in ten syllables of pentameter with trochee and iambic syllables. The twenty seventh line, render your fear and dry up that tear, has eight syllables presented in tetrameter, one less than the previous line, and one more type of syllable accompanies trochee and iambic, the spondee.The meters difference and the difference of the syllables can be interpreted as an intoduction to something new, Earths grow star. Lin e twenty eight continues the statement, that runs down your red cheek. , again a lesser amount of meter is found here as it is written in trimeter and accompanied by two types of syllables, the trochee and spondee. A slowing in the meter of these first three lines in the last stanza prepares the reader for its ending, the final resolution.In line twenty nine, This is all just a freak of Natures egotistical ways, the meter again rises to hexameter and introduces again a hodge podge of syllables, the pyrrhic, trochee, iambic and spondee which is suggestive of the mess Nature is in. Line thirty serves as a clarification of the way, So understand these and the ones in you written in pentameter, a decline in meter, indicating a coming to a close. Syllables trochee, spondee and iambic remain indicating st powerfulness to come. Lines thirty one through thirty four partake in a common meter, trimeter. However, their syllables vary slenderly in each.For instance, line thirty one, and the sky formerly again will be luscious written with only anapestic measures. Line thirty two, Understand the Oceans pain, simply the iambic and anapestic syllables. In line thirty three, and he too will remain tame has an added syllable and consists of the anapest, pyrrhic and spondee supportive of a finish, a means to an end. And finally line thirty four of the five stanzas, For these are reflections within. in polish is set apartt direct with the repetative trimeter in eight even syllables of iambic and anapestic syllables suggesting peace, it is now over.The rhyme scheme in the fifth stanza is again unfamiliar. It is constructed as much(prenominal)(prenominal)(prenominal)(prenominal) n-oo(internal rhyme fear, tear) pp(internal rhyme cheek, freak) q-rr(end rhyme you,blue) ss(end rhyme pain,tame) t. This unusual rhyme scheme is reflective of the texts chaotic events. The boilers suit physical structure of the text supports a theme based on favorable position through const itution. No two stanzas are alike. There is constant change in the formal characteristics as well as the text it egotism. Although it would seem that the chaos of these characteristics would provoke no soul, it give ways perfect sense.There is chaos in the text so why shouldnt there be in the poems structure? We will now explore the literary wrenchs used throughout the poem and relate them with the plethoric patterns of mental mental exposurery of Reflections at bottom. Synesthesia is the first device noted in the first line of the poem. Mixing the sense of encounter, The Earths cool breeze, spoke to me, and the audible sense is combined with the use of imagination. embodiment is present here by braggy air the human ability to speak. The cool breeze suggests what type of atmosphere the loose is experiencing. He said, Come to be free, fly with me in my winds over the seas. , suggesting the readiness to submit to note and be led by it to favourable position. Be the el ement that I need. Element, the article is used here as a intension synonymous to drive in. Without you turbulent winds I stir, uses kinetic imagery to show motion and suggests change from whap to violence. Continuing on to the closure of the first stanza, calling my anger from above striking the Earth. , expressionism is clear here in that this line attempts to portray inner experience characterized by extreme mood or sentiment with violent exaggeration.In this first stanza the atmosphere has set the mood that something is uneasy, that there is a dispute or a problem even if unclear at this stage. The second stanza continues the troth in its first and second lines, As I refused, the sky started to pound, and I wondered if his hump would ever be found. suggests a sense of weakness by the field of honors inability to condole with the pain of the Earths cool breeze. I believe when the first laser like lightning cracked the sky, the Earths atmosphere surely died. several l iterary devices are used here such as the onomatopoeia cracked resembling the sound that lightning fakes.An some other connotation is observed in atmosphere used in place of heart. Personification is repeated here in great(p) the Earth the sense of life through death and dying. The smoothness of the rhyme scheme up until this point in the text is consistent until the next two lines substitute with the structure. Dirt gray clouds flitered the air above, again a change is indicated here suggesting that a new vista is approaching. And just as I began to cry, suggests a sense of helplessness again in that the situation is familiar and unchanging or worsening.Turning to the third stanza the render finds themselves again in a familiar situation with the Ocean, cornered . The Ocean said, Come flow freely with me, and the creatures in my seas synethesia is unadorned in the Oceans ability to speak and make an offering. Here your tears will disappear, and your worries will cease. a pr omise of security. Be the element that I need. the same connotation made of the word element previously, stands firm here as well. In return, the Ocean asks for love. Without you dangerous waters will come to the shores, calling the pain from my ocean floors and the Earths land will be no more. A cultivate to the offering, conditional love, which is not truly love at all if it is consequential. This suggests that things arent quite what they seem in this serene image of ocean waters. This central stanza recalls a similar situation from the first two verses supporting the blood between the self and genius. It also marks the central high point or climax which eventually must descend. As I rejected the offer he had for me, a variation of the familiar line seven, suggests the arising of another familiar problem, rejection, in the first line of the fourth stanza. etiolate waves began to crash rhythmically, kinetic imagery is used here in the word rhythmically which gives motion to the entire phrase suggesting change. There is a change in the mood of the Ocean from calm and serene to violent waves. Crash is used as an onomatopoeia, as the sound waves would make when crashing upon one another. And just as I began to swim, we have now transcended in nature from flying with the winds to swimming in the seas, hence, transcending through nature to locate the original. A rotating shaft of light struck through and within suggestive of a glimmer of hope, the light. Through and within, symbolic of the heart or soul, the genuine. The clouds and shown down on the Oceans body, resolution The light revealing the Oceans body puts a stop to its misbehavior, like a child when caught bullying a sibling. This beginning of a resolution signals the root of the worsts dilemna. It was the Earths receive star and she said,, again an inatimate object is given over human characteristics in speaking, symbolizing avatar. auspices can be suggestive of the mother star as it is loca ted above all else and is given a pious sense. One that is reveared with power, love, sterness and compassion.The same as a loving parent or mother. Yield your fear and dry up that tear, that runs down your red cheek, just as a mother would wipe the tears from a crying childs malls. This is all just a freak of natures selfish ways here the transcendence between the self and nature come together. So understand these and the ones in you, and the sky erst again will be blue is suggestive of oneness with nature, or one in the same, the self. Understand the Oceans pain, and he too will remain tame, personification is given again to the Ocean giving it the ability to understand or feel pain.This line also exhibits oneness with nature. For these are reflections within. could suggest dramatic monologue existence that it is unknown if the author intended to reveal that the reactions of the earthly elements were deeply rooted in the self. This romantic didactic poem shows us that one may have statement over what happens around them depending on thier mind-set on life and how one handles their emotions. pitiful on to examining the formal characteristics of William Wordsworths poem, I wandered only(a) as a cloud which shares a common theme with the previous poem Reflections Within, transcendence through nature.I wandered lonley as a cloud is a romantic stanzaic poem consisting of four stanzas each made up of a sestet or six lines for a total of twenty four lines. The first five lines, I wandered solitary as a cloud That floats on high oer vales and hills When all at once I saw a crowd, A host of well-off daffodils, Beside the lake, under the trees, are all written in iambic tetrameter. A change is indicated at the end of the stanza when the metered pattern changes as does the rhyme scheme simultaneously. Line six, commotion and bound in the breeze. is nine syllables written in tetrameter accompanied now by an anapest and iambic syllables.The change in rhyme s cheme from abab ending the stanza in cc represents the stable basis that will be repeated throughout the transcendence of the text. The same is noted for the end rhyme scheme of the text per each stanza. The second stanza, perpetual as the stars that shine And luster on the milky way, They stretched in never-ending line Along the margin of a alcove alternates between nine and eight syllables, consistent in the rhyme scheme here as dede. All four lines are identical to the formal structure of the previous tetrameter measured lines in the first stanza.However, there is a notable change in the existence of syllables besides the iamb such as the anapest, pyrrhic, trochee, dactyl, and spondee which includes all possible combinations of syllables, suggesting that the text reaches beyond the tangable, including all things, the universe. Lines eleven and twelve of the second stanza stand again as a steady base, Ten guanine saw I at a glance, Tossing their heads in officious dance. to s upport the previous four lines with its double end rhyme scheme gg, accompanied by eight syllables per line, also written in tetrameter to reward the supporting repeated pattern of the capacity in text.The third stanza, The waves beside them danced but they Out-did the shine waves in glee A poet could not but be gay, In such gay company I gazed and gazed- but little mind What wealth the show to me had brought again continues the same previous pattern of end rhyme, hihijj. Still consistent with the meter measured as tetrameter. Again a conglomorant of syllables are used such as the iamb, pyrrhic, spondee and a trochee which suggests the continuing of the worldly humor and that everything is in place just as it was intended, the way nature intended it. The last stanza in sestet,For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the gaiety of solitude And then my heart with pleasure fills, And dances with the daffodils. revert s prickle to the structure seen in the first stanza written in iambic tetrameter which is similar to the texts suggestive flashback. care the flow of the rhyme scheme to its completedness, klklmm is suggestive of a repeated pattern, similar to the subject of the text, a place to be revisited. The overall structure of this text is very form with regular meter and rhyme.Similar in the way that nature also has a specific order. Transcendence does not make itself obvious here in the physical structure, quite it makes somewhat of a circle regress back to its original state, similar in the way that nature rejuvinates itself. Wordsworths words in this text are used as a capacity to submit to feeling and be led by it to transcendence through the use of literary devices and prevailing patterns of imagery which we will now examine. The first line, I wandered lonely as a cloud establishes personification, as if a cloud would purposefully think to wander such as a person mogul do. That floats on high oer vales and hills, the beginning of a presented journey. When all at once I saw a crowd, suggests change or something new and exciting. A host, of golden daffodils, a host, suggests a party of people. perchance a crowd of people at a gathering. Beside the lake, beneath the trees, suggestive of an out-door event, a reunion or union of such. Fluttering and dancing in the breeze allows the image to become kinetic in setting motion to the crowd of daffodils that are flit and dancing amongst themselves, as socialites do at a wedding. Continuous as the stars that shine, And twinkle on the milky way, suggests an imagery of cup of tea that goes far beyond what the eye can see. They stretched in never-ending line, along the margin of the bay suggests a end as if they were hold for something. Ten deoxyguanosine monophosphate saw I at a glance, suggests a feeling of cosmos overwhelmed by the sight and therefor is exaggerated. Tossing their heads in sprightly dance. us es kinetic imagery to suggest again change. This imagery could be symbolic of bachelorettes waiting in line to catch the bouquet, to make the transformation from bachelorette to bride.The sprightly motion is a feminine suggestion that supports this image. The waves beside them danced but they Out-did the scintillate waves in glee suggests that even the mantrap of the water was no match for the experience of the daffodils. A poet could not but be gay, In such a jocund company again the insinuation of a group suggests people, in this case of advanced company. I gazed and gazed but little thought What wealth the show to me had brought suggests that the subject took the importation for granted and like the fourth stanza, the instant comes to an end. For oft when on my couch I lie In vacant or in pensive mood, suggests that we are back in the atmosphere of the first stanza move lonely as a cloud. They flash upon that inward eye, a connotation of inward eye locates the genuine her e, flashing back to the imagination or the mind. Which is the bliss of solitude, suggests that the subject is content with being alone, not restrained by the ties of marriage, enititled to hugger-mugger thought and to think whatever one should want. And then my heart with pleasure fills, And dances with the daffodils suggests that the subject returns to the nature of being man and appreciates the beauty in nature, be it flower or woman, he has the option to pick from this metaphor. The conclusion of the text recycles the subject back to the familiarity of the beginning text. Transcendence through nature in this text reflects the relationship between the self and the beauty of nature. Reflections Within and I wandered lonely as a cloud are two poems that share the common theme, transcendence through nature.The major differences between the two text is that the subject in Reflections Within does not achieve being at one with nature until the end of the poem and is supported by its c haotic line structure and variances in syllables and meter. Whereas the second texts subject is completely at one with nature throughout the entirety of its text and is reflect in the confindence of the repeated line structure, rhyme scheme and meter. The main focus of both(prenominal) subjects is escape however they differ in motivation. While one subject is onerous to escape the negative nature of self, the other escapes to nature in positive imagery.Locating the true in both of these texts also differs. The genuine in Wordworths poem is located in the head or the mind of the subject. The authorized or genuine is located in the heart of the subject of Reflections Within. Both texts are similar in the elements of nature that are used in order to transcend the character through nature such as the breeze, stars and water or waves. Both texts treat nature with human characteristics such as speaking, dancing and many other motions which are necessary to transcend. Overall both tex ts treat nature as a source for authenticity and spiritual refreshment.