Begins: The sea has many voices. ….man is first in pre-existence, rocked and comforted, and then is born into an earthly world. “Man is a fighter and when not fighting he is a farmer, earth is his element” One day he will return to grains. But first his life is full of shifting forms.…
The title of the poem, 'Beach Burial', has an ironic slant, as beaches are commonly associated with life and pleasure. Instead, the poem consists of the opposite: death and sorrow. Similarly, the poem first two stanzas include low, soft sounds, such as "softly", "humbly", "convoys" and "rolls", with the rhythm and alliteration of "swaying and wandering", which present a calm, soothing tone. However, this soothing calm is more of a grief, as illustrated by the onomatopoeia, in "sobbing and clubbing of the gunfire". The main place or action is sensed as afar, so the washing up of "dead sailors and "tide wood" represents a calm after a storm, wherein the storm is a battle out to sea.…
Schweitzer claims that the sea is a motherly realm; however, like a lover, “the voice of the sea is seductive; never ceasing, whispering, clamoring, murmuring, inviting the soul to wander for a spell in abysses of solitude; to lose itself in mazes of inward contemplation” (Chopin 18). Though Schweitzer and Chopin allude to the sea as possessing competing metaphorical implications, the former makes the intriguing claim that the sea possesses two internal contradictions: a voice which guides one to solitude through a language without words, and a touch which surrounds one in a gentle, loving embrace (Schweitzer…
In the first four stanzas, the setting of twilight on the beach is described at the start- ‘Day was verging towards the night, There beside the moaning sea’. This setting then continues into the second half of the poem but the reader becomes aware of the attempt Rossetti is making for the setting of the sea, which represents society, to be almost up against Jessie Cameron’s character. Rossetti writes ‘But now her feet are in the foam, The sea-foam sweeping higher.’ The strength of the sea, or her opposition as society, is gaining power against her stubbornness, and will for independence. The setting then looks to the ‘darkening beach’. It is perhaps here that the reader is encouraged to assume that the pair drowned, as the darkening of the scene almost reflects the move from life into death. Therefore, Rossetti primarily tells this story using the reinforcement of the powerful imagery that is linked to the setting, in order to reflect upon the rumours that structure the story.…
Rationalism believed in reason alone but European factories showed that is had its limits. Therefore, romantics escaped reason and found themselves immersed in intuition, imagination, and emotion. They wanted to feel the emotion that came with the natural beauty of arts. So then, when looking at “The Tide Rises, the Tide Falls” we assess the truth through our emotional experiences. When we look at the symbolism of the tide, we don’t look at it as a scientist would rather we learn the truth through imagination and emotion. This poem shows the eternal cycles of nature in contrast to our fatality just like “The little waves, with their soft, white hands, Efface the footprints in the sands” of time (8-9). This represents how romantics rejects Neoclassical values and beliefs finding a truer way to life. This was just on of the many sources for the romantics in their ingrained…
In The Beach Boys song “God Only Knows,” the singer declares his everlasting love and contemplates life without his partner. Several literary elements demonstrate that the lyrics could very well serve as poetry. The song is told from the first person point of view. "Poets who write in the first-person point of view allow the reader to experience the imagery of a poem through the direct perception of the narrator" (Cascio). These lyrics are written so tenderly and deeply that you feel like a private and intimate moment is personally shared with you.…
Inner conflict is explored throughout Time and Tide as Winton recalls, through memories, the decay of his personal image of the ocean by the very people he grew up around, and even by himself. The piece begins with Winton using visual imagery to recall his view of the ocean as a positive concept, “peered down into the turquoise blur to see wild mobs of silver trevally ride”, and also makes the reader feel as if they are recalling the same memory as him. As the text progresses, more negative adjectives are introduced as Winton realises how carelessly people treat the ocean, such as “gross”, “choking” and “dead”. The juxtaposition of humans doing horrible things but describing them as enjoying themselves doing it, “men in beanies and seaboats cheerfully tore blubber” and “thousands of blowfish on the wharf where children had stamped them playfully to their death”, makes Winton’s point that human beings treat the sea with “a kind of thoughtless contempt”. He also uses personal pronouns, “We took and took and took”, to show that he also feels partly responsible for the damage being wrought upon his own childhood playground. Through Winton’s use of powerful visual imagery and juxtaposition, we are…
Hughes picks up on the inferiority of mankind in comparison to “unkillable” nature. Hughes conveys the idea that nature is immortal and lives off our deads’ remains, we see this through the listing of “tributary graves” being part of what the North Sea “swallows”. This imagery is morbid and voices Hughes’ anti-pastoral feeling. He uses this poem to establish that nature is not clean, pure and innocent but instead has been dirtied and thrives off our dead and waste. Nature has destructive power as well as creative power.…
Matthew Arnold uses many literary techniques to make Dover Beach such a prominent and well-known poem. By rhetorical schemes, tropes, and imagery, Arnold demonstrates a theme that can connote many different ideas. However by analyzing this poem, I interpreted Dover Beach to be about Christianity.…
Within the poem considered his most famous work, Samuel Taylor Coleridge uses an abundance of literary devices to contribute to the effect of the poem. “The Rime of the Ancient Mariner” contains many elements, each of which enhances the way the poem conveys meaning. The extensive use of alliteration, varying metrical patterns, internal and external rhyme, anaphora, caesura, enjambment, and inversion add to the complexity of the structure and the overall meaning of “The Rime of the Ancient Mariner,” which could be interpreted as love for all living things.…
Both poets, Emily Dickinson and Walt Whitman, are writers of the same time; the Romantic one. Yet, even when they lived during the same era, the natures, as well as the looks of their poems are very much different. Emily Dickinson is a more private poet. When comparing “Out of the Cradle Endlessly Rocking” and “I started Early-Took My Dog” we clearly see the difference of those two aforementioned authors view of the sea. Walt Whitman feels comfortable with the sea as a natural element, gives it a female persona, understands both faces of nature and the sea, thinks himself in a relatively high position regarding the sea and finally reconciles himself with it. On the other hand, Emily Dickinson feels unwelcomed near the sea, gives it a male personification, does not fully understand the faces of both nature and the sea, feels inferior to it and never truly makes any useful connection with it either.…
Arnold starts by describing his surroundings, on the surface everything appears fine, the 'sea is calm' and the 'moon lies fair' but after deeper observation he notices the 'turbid ebb and flow of human misery' and hears the 'eternal note of sadness.' He uses the 'sea of faith' as a metaphor to show how man has lost his faith in God and religion. Arnold had his faith shaken by scientific beliefs. A man without his faith is no better than a beach that lies exposed, naked and vulnerable after the tide has retreated, or as insignificant as pebbles or gravel left on the shore once the sea has withdrawn, stripping him of the comfort and solace that faith in religion and god can alone provide him with. This thereby emphasizes on the insignificance of man without the sea of faith.…
The main streams constituting modern European and American thought, as imperialism, empiricism, rationalism, utilitarianism, racism and pragmatism, commenced from the Enlightenment and the prodigious series of changes following French and American Revolutions, and also ongoing Industrial Revolution. Historians as Thomas Hobsbawm has remarked that nineteenth-century debate in theology, politics, philosophy, economics and science were ultimately inseparable from an implied stance toward the bourgeois revolutionary ideals. Hence nineteenth-century thinkers could be seen as divided along the border line of obstruction and adherence to the interest of bourgeois class. Economic liberalists such as Smith, Richardo and Malthus and those advocating utilitarianism, such as John Staurt Mill and Jeremy Bentham, made their arguments on political and philosophical foundations given by the thinkers of bourgeois Enlightenment, such as Rousseau, Lock and Hume. Colossal theorists standing in the row of ‘opposition’ including almost the entire constellation of Romantic writers, anarchists and the French symbolists, Christian and Utopian socialists, and eventually the Victorian writers Carlyle, Ruskin, William Morris and Mathew Arnold. An important strand of thought inherited by writers was “Hetrological or alternative tradition (Habib, A History OF Literary Criticism, p503). This tradition exhibits some of historical continuity with the Romantics, the symbolists, and decadents as well as several afflictions with humanists such as Irving Babbit in America and Mathew Arnold in England, both of whom deplored the effects of French Revolution.…
WHEN Coleridge's The Ancient Mariner and T. S. Eliot's The Waste Land are juxtaposed, the two poems become mutually illuminating. Nor is the juxtaposition arbitrary, since both are essentially religious poems concerned with salvation. In both, the protagonist needs to recover from a living death, from spiritual dryness. Structurally, The Waste Land has almost no narrative thread, no story, but it sounds motifs that interweave, develop, recur, much as in music. The title points to the basic image that contains the dominant theme, the waste land, arid, stony, infertile. In its ugliness and emptiness this land symbolises a spiritual condition which is both a state of mind and a state of civilisation. The seven languages used in the poem and the various characters other than the protagonist who inhabit the waste land and share in its plight indicate the universal reference of the theme. A second motif, that of the Unreal City, with its brown fog, its dull canal, and its falling towers, suggests the collapse of a whole civilisation. Coleridge's poem seems on the surface much simpler. It begins with the Mariner's stopping 'one of three' and ends with the Wedding Guest, stunned and forlorn, a sadder and a wiser man. The strange tale of terrible solitude is set in the framework of relationship, the unattended wedding in the background. Within this framework, the Mariner tells his tale—of the voyage into ice and snow, of his shooting the albatross, and of the strange events that followed with the spectre ship carrying Death and Life-in-Death, with the Polar Daemon, and with the angelic spirits who animated dead bodies and carried the ship home. The story element in this poem is so strong that many readers accept the poem simply as a weird adventure tale.…
The entire poem of Arnold represents an extended metaphor that compares the desperation and loneliness that each individual feels to the solitary confinement of islands from larger bodies of land. From the first stanza of the poem, an extended metaphor is set up; as the poet compares humans to islands to address his point on isolation. In the first stanza of Arnold’s poem, the poet proposes by this extended metaphor how distant people are from one another. The…