Alternatively the rest of the tale is written in the third person, and as such allows the reader to form his or her own opinion on whether we can still learn from the past or whether it is too far away. Whilst the story is technically Tennyson’s, it is not from his perspective. It adds a more story-like feel to the poem to show us that his poem is only an adaption of the original story. Tennyson also uses direct speech, which breathes some life into the characters of the story and makes them seem more like real people.
Often in myths and legends we forget that the people in them are actually real. Also allows the reader to sympathise more with Godiva’s cause as we can actually hear exactly what she thinks and says to the Earl. Justifies her trip through Coventry in the nude. Tennyson deliberately uses archaic language that is out dated and old fashioned even in Victorian times. Words such as ‘blade’ and ‘ay, ay, ay’ are good examples of this blatant archaism. The archaic language places the time period of the poem distinctly in the past and separates it clearly from modern times in which Tennyson is writing.
It also displays certain nostalgia for the past and the stories of English myth and legends on Tennyson’s part. It also shows that there are still things we can learn from the past, even in an age of discovery like the industrial revolution. Archaic language is contrasted to language of modern times such as ‘the flying of the wheel’ (the train), to demonstrate that even though we have moved on drastically in terms of technology, morality and the human mind itself hasn’t progressed at all and we can still relate back to the issue of the past with ease.
The Essay on Uncertainty Of The Future Saleem Past Story
Midnight's Children essay Salman Rushdie's creation, Saleem Sinai, has a self-proclaimed 'overpowering desire for form' (363). In writing his own autobiography Saleem seems to be after what Frank Kermode says every writer is a after: concordance. Concordance would allow Saleem to bring meaning to moments in the 'middest' by elucidating (or creating) their coherence with moments in the past and ...
The way in which Godiva is presented whilst she undresses is also very interesting. Tennyson builds up a sense of anticipation through the use of the word ‘unclasp’d’ and then covers Godiva and is very discreet in his description. She removes the Earl from herself symbolically by unclasping the belt (a gift from the Earl).
She remains ‘half dipt in cloud’, almost as if some kind of magic is covering he and keeping her decent. She sneaks from ‘pillar to pillar’; even the house itself is trying to cover her up. Time slows down during this section; every detail is mentioned.
Tennyson wants us to linger over the thought of Godiva’s sensual loveliness, yet simultaneously denies us any clear view of her. The use of sibilance is also important; it sounds almost as if she is sneaking around, especially in the use of ‘slid’. This makes her seem ashamed and also a bit sneaky as she tries to slip out unnoticed. Pathetic fallacy is used throughout Godiva’s naked streak through the town. The ‘low wind hardly breathed for fear’ which shows that her display of nakedness is so shocking and surprising that even the wind itself is gasping.
It also encourages the reader to hold their breath in exception. Sensory imager is used in which silence is used to great effect within Godiva, to make us wonder and be in awe of Godiva undressing and parading through the town. The whole poem makes the reader stop and think about what is happening, as everything is so silent. There are contrasts between noise and silence, such as the exclamatory speech of Godiva and the Earl in comparison to the serenity displayed whilst Godiva is undressing.
There are a number of semantic fields within the poem (religion, nature, wealth and purity).
The use of words such as ‘sunbeam’ emphasise the natural beauty of Godiva as nothing is more natural that the sun itself. She rides forth ‘clothed with chastity’ and her pureness of heart and character is enough to cover her even in the absence of clothing. Dynamic movement is also used as a language technique throughout the poem as Godiva is forever moving in the poem, whether it be undressing or when she rides through the town.
The Essay on Paper Analysis on the Poem Dulce Et Decorum Est
Wilfred Edward Salter Owen born 8 March 1893, died on 4 November 1918. Were an English soldier and poet (one of the leading poet in World War 1). Wilfred Owen was born at Plas Wilmot, a house in Weston Lane, near Oswestry in Shropshire, on 18 March 1893, of mixed English and Welsh ancestry. He was the eldest of four children, his siblings being Harold, Colin, and Mary Millard Owen. Line By Line ...
Unlike the poem ‘Mariana’ in which Marian remains static, Godiva is seemingly always doing something. This emphasises her proactivity and makes the poem exciting. The farming device shows us that the story in indeed a legend rather than a story fabricated by Tennyson and that there may still be some truth in it. The poem is written chronologically and from a clear problem to a clear solution. In conclusion, Tennyson uses many literary devices to portray the nature and attitudes of Godiva.
