Memories and meandering thoughts, related to personal experiences, are explored throughout At Mornington where the persona shifts between the past and present and dreams and reality. This is similar to Father and Child where Barn Owl is set in past test and Nightfall is set in the present, symbolic of appreciation and understanding of the complexities of life which the child learns. At Mornington opens with an evocation of an event from the persona’s childhood which establishes the temporary and ever changing nature of human life. Reflected through the shifts between past and present tense, the persona is attempting to use past experiences in order to appreciate the present and accept the future. The poem provides a reflective and personal point of view accompanied by the recurring motif of water which symbolises the persona’s transition from childhood to the acceptance of the inevitability of death. In the third stanza, the persona refers to a more recent past where she had seen pumpkins growing on a trellis in her friend’s garden. The action of the pumpkins is described as “a parable of myself” which allows the persona to reflect on the meaning and quality of her own life and existence. The metaphor between the pumpkin vine and the persona suggests that like the pumpkin, human…
Literally, the persona of the poem is outside when some aspects of the nature around her, like violets and a blackbird, trigger a memory from her childhood. The poem then flashbacks to a childhood memory of the persona as a young girl, which is shown through the indentation of the stanzas, where the girl wakes up in the afternoon thinking it is morning and becomes upset when she wonders ‘Where’s morning gone?’. This continues until she falls asleep in the memory, and we are brought back to the present. The last stanza sums up some of her most valued childhood memories which continue to ‘drift in the air’ and remain with her.…
To begin with, Thomas writes in rhyming couplets which create an on-going effect of the individuals story also reflecting the oral tradition of the English countryside. He also writes in narrative lyric which gives this poem a song like undercurrent carrying the story fluidly and seamlessly. AOMWN is a narrative poem with an irregular rhyme scheme, Frost here reflects the conflict between man and nature as death approaches. Even though the poem is irregular in rhyme, frost makes use of internal rhyme such as assonance and alliteration which may illustrate how the character feels comfortable inside but has a fear of the natural environment, feeling almost as if it is against him.…
In the poems, “Mont Blanc” and “Tintern Abbey” their is a description of a landscape that, for the writer, the sight brings upon a philosophical questioning and reflection in which both writers gain a better and deeper relationship with nature. In “Tintern Abbey”, Wordsworth writes:…
Chaucer's The Canterbury Tales has a very complex point of view. The complexity arises from the fact that there are two Chaucers in the poem: Chaucer the pilgrim that narrates poem and Chaucer the poet. Chaucer the narrator is almost unfailingly simple minded where as the poet is anything but simple minded. The intellectual disparity between them leads to not only the complexity of the point of view but also the use of irony. Chaucer the poet transcends Chaucer the pilgrim/narrator and thereby there is the mortal or humane within the latter. For example, the pilgrim Chaucer shows emotional weakness for the Prioress through the insistence on the adverb 'ful' which means very. The narrator uses the adverb to underscore the excellence of prioress, but its real effect is to communicate his being enraptured by her excellence. The narrator is accountable for the verbalizing of the text and for the perspectives it posits where as Chaucer the poet is responsible for the fact that the verbalizing is poetic.…
This passage is split into three sections; a broad description of the mountain and the vale below it, a strictly narrative passage where Wordsworth tells of how he and his friend were lost upon the mountain and crossed the Alps without realising, and finally a lyric interruption or 'hymn ' (Romantic Writings p123 ) to 'Imagination ' (The Prelude, Book Sixth l525). First the speaker describes the setting, the natural world around him and how it effects his emotions, then he returns to the narrative, telling us of the event that has caused him to relay us this tale and finally he conveys to us the moral implications of the event and how it has shaped his 'poets mind '.…
British poets during the nineteenth century, a period of great social, economic and environmental change, experienced an astounding shift in poetic style, in which many based their work on the ‘beauty’ of their surroundings, and how mankind affected this. Of this period, two of the leading nature poets in British literary history, Gerard Manley Hopkins and William Wordsworth became known, renowned as great figures in British literary history. Both adopted a ‘sacramental’ view of nature, that is they saw beyond the obvious features commonly associated with the natural world such as phenomenal features of the landscape. Writing during the Industrial Revolution, both poets considered the divinity and holiness at a deeper level and found that the world was imbued with spiritual influence. Not only did this event change their perception on a spiritual level, it also affected their general tone and outlook on life, which is evident in the way the poets write. In God’s Grandeur and The World Is Too Much With Us, the Petrachan sonnet form is used, a conventional style which became popular among English poets, in that they felt they could be more expressive using the Italian form, rather than the typical Shakespearean style. In this, they exploit the typical use of an octet or the first eight lines principally develop their argument or concern, while the sestet or the final six lines focus on the proposed solution offered by the poet.…
In these lines Wordsworth writes about when he was younger and the memories he has which he can never replicate. He's haunted by the beauty of the the rocks, the mountains and the woods. He thinks about the charms of the scenery, how it looks at the time, how it looked in the past and it’s gifts. He gains pleasure from the scenery and reminisces about how nature inspired him even in his younger days, how it what he was looking at would possibly inspire him in later days.…
The speaker seems to search for solitude, as he rides through the woods in search of solitude he realizes his obligations to the things in his life. The speaker thinks of the man who owns the land and that “His house is in the village though” (2). This line highlights that Frost acknowledges that he knows the man who owns the place where he goes to escape. Frost has a sense of acceptance that the solitude he crafted for himself isn’t real. As much as Frost seeks escape he knows that it is illogical and his “horse must think it queer” that he has left society (5). The “horse” in this poem represents the speaker’s sensibilities, the speaker rides into the woods, yet his horse questions what he is doing. The horse questions stopping “without a farmhouse near” the horse is personified by the word “farmhouse” instead of a barn or stable. The horse, being part of the speaker knows it belongs inside and not in the woods. The speaker’s”horse” or in a literal sense his conscience, creates an internal struggle between the speaker’s want for solitude and his involvement in society. As much as the speaker wants to fulfill his self-prescribed solitude he knows that he has “promises to keep” (14). The speaker finds himself conflicted but ends up knowing that his allegiances lie with the world and other…
As the poem develops through stanza two, three and four Atwood begins to point out differences between the Canadian landscape and her mind, but particularly in stanza two Atwood reveals…
In the first stanza, the walk through the woods is set up, and the choice he faces is presented. In the first line, "Two roads diverged in a yellow wood", he words "yellow wood" indicates a "scared world". When having to make a big decision in life, having to choose which way to go, many are scared. Line two shows that the option of taking both paths and shying away from making the decision is not an option, which is unfortunate. The last three lines of the stanza really indicate he is by himself and he thought long and hard about the decision. Lines 4-5 show that he tried to "look down one", meaning he tried to see his future if he followed the path. He looked down "to where it bent in the undergrowth", meaning he could only see as far as to where it was time to, in a sense, grow up. Frosts use of narration is quite helpful in this because it makes relating to the poem easy for the reader, as he is in an almost "all mighty" narrator, speaking for himself and everyone else.…
The first thing I noticed in reading the poem was the calm and serene atmosphere that the speaker was describing. "The buzz saw snarled and rattled" in the first line depicts ferocity as if he was trying to foreshadow the saw 's role in the poem. The speaker goes on to describe a nostalgic, happy scene in the country, on a homestead in the mountains of Vermont. He creates this mood by using words and phrases such as "sweet-scented stuff" and "breeze drew across it". "Five mountain ranges...." and "Under the sunset far into Vermont" depicts the location as in the wilderness up in the mountains of Vermont at dusk, where he (the speaker) and the boy were about to call it a day.…
The figurative language in this poem has a huge impact on the poem. This poem uses very realistic and graphic mental imagery. The poems repeating phrases make you think of a man horseback riding through a dark, dismal place, trying to get to his lover. It also creates a sense of King George's soldiers progressing down that road the horseman was on hunting him down. The language helps enhance the setting of the story. The story takes place in a dark spooky town, with an aged inn on a stormy night. What keeps the reader focused on the story is the intensity of the spookiness on that black, alarming night.…
In his passage, Emerson states that "Within [the] plantations of God, a decorum and sanctity reign, a perennial festival is dressed, and the guest sees not how he should tire of them in a thousand years." With this, he means that there is such vastness and difference in nature that someone who visits it can’t possible think of how it could bore them. Its beauty is so wonderful that being bored is inconceivable to them. He states that "In the presence of nature a wild delight runs through the man, in spite of real sorrows," to express that nature evokes happiness that even if they were to be under the worst imaginable circumstances, that happiness could not fade away. Of course, his enjoyment is expressed when he writes, "Crossing a bare common [park or grassy square], in snow puddles, at twilight, under a clouded sky, without having in my thoughts any occurrence of special good fortune, I have enjoyed a perfect exhilaration. I am glad to the brink of fear." The strong imagery that he portrays with the puddles and clouded sky brings the reader closer to the image of nature that Emerson saw.…
The child’s imagination allows them to form an intense bond with nature. In Tintern Abbey, Wordsworth has several boyish encounters where his emotions are prime as opposed to intellectual endeavours. As a boy, he thought of and imagined the mountains and woods. Their appearance manifested to him as “an appetite” or “a feeling and a love” (line 80). These raw emotions, which Wordsworth experiences is not due to external influences but because of the child’s imagination. Having “no need of a remoter charm” (line 81), nature appears to Wordsworth solely based on his youthful imagination and senses. It is an ecstatic exchange, in which all of nature seems holy and sacred to Wordsworth. This allows him to immerse himself in nature and truly become one with it.…