William Wordsworth (1770-1850) I Wandered Lonely as a Cloud I wandered lonely as a cloud That floats on high o’er vales and hills, When all at once I saw a crowd, A host of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze. Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance The waves beside them danced; but they Outdid the sparkling waves in glee; A poet could not but be gay, In such a jocund company; I gazed- and gazed-but little thought What wealth the show to me had brought: For oft when in my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my hearth with pleasure fills, And dances with the daffodils. Analysis: Wordsworth had nature as his religion, and that was the main theme of his work and also a characteristic of romanticism. And it’s also very clear on this poem. As literary devices, we have Alliteration on the second line of the first stanza, alliteration and assonance on the fifth line of the first stanza and personification on the last line of the first stanza.
On the second stanza, we have a simile on the first line, inversion on the eleventh line and personification on the last line. On the third stanza, we have assonance, alliteration and repetition of the word “waves” on the first line, and again repetition on the seventeenth line. On the forth stanza, we have antithesis on the twentieth line and a metaphor on the twenty-first line. We also have alliteration on the last line.
The Essay on Opening The Door Line Stanza Tone
Language and visual techniques used and an explanation of their effectiveness "Maybe" is in italics because it emphasises that what follows are only possibilities. The verbs "go" and "open" are in the imperative mood. In each stanza this contrasts strongly with the hesitant feeling of words like "maybe" and "if." The effect of this juxtaposition is to emphasise the change of tone, from the strong ...
Samuel Taylor Coleridge (1772-1834) Part II of the Rime of the Ancient Mariner The sun now rose upon the right: Out of the carne he, Still hid in mist, and on the left Went down into the sea. And the good south wind still blew behind, But no sweet bird did follow, Nor any day for food or play Came to the mariners’ hello! And I had done an hellish thing, And it would work ’em woe: For all averred, I had killed the bird That made the breeze to blow. Ah wretch! said they, the bird to slay That made the breeze to blow! Nor dim nor red, like God’s own head, The glorious Sun upr ist: Then all averred, I had killed the bird That brought the fog and mist. ‘Twas right, said they, such birds to slay, That bring the fog and mist.
The fair breeze blew, the white foam flew, The furrow followed free: We were the first that ever burst Into that silent sea. Down dropt the breeze, the sails dropt down, ‘Twas sad as sad could be; And we did speak only to break The silence of the sea! All in a hot and copper sky, The bloody Sun, at noon, Right up above the mast did stand, No bigger than the Moon. Day after day, day after day, We stuck, nor breath nor motion; As idle as a painted ship Upon a painted ocean. Water, water, every where, And all the boards did shrink; Water, water, every where, Nor any drop to drink. Analysis: Coleridge prefers to write on the supernatural subjects, that is also a characteristic of romanticism, and in this poem he deals with supernatural punishment and penance.
On the first stanza, we have alliteration and assonance. On the second stanza, we have alliteration on the first and second lines and assonance on the third. On the third stanza, we have assonance on the second line, alliteration on the second and third lines, an assonance on the fourth line and an alliteration on the fifth line. On the fifth stanza, we have alliteration on the second line. On the sixth stanza, we have repetition on the second line, we have antithesis on the last two lines. On the seventh stanza, we have assonance on the second line.
The Essay on Light Green Poem Line Stanza
After reading 'My Lover in White,' for the first time, I thought of a poem written by Shakespeare that seemed to be in some ways similar in content. The mention of the fair maidens outside the gate and the poet's observation that his love is not with the rest reminds me of Shakespeare's Sonnet C XXX. The poem is about the poets love of a woman that is not the most beautiful in comparison to most ...
On the eighth stanza, we have repetition on the first stanza. On the ninth stanza, we have repetition on the first and third lines and antithesis on the last two lines. Percy Bys she Shelley (1792-1822) Ozymandias I met a traveler from an antique land Who said: Two vast and trunk less legs of stone Stand in the desert. Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read, Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed, And on the pedestal these words appear:’ My name is Ozymandias, King of Kings: Look upon my works, ye Mighty, and despair!’ Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away. Shelley’s poetry reveals his philosophy, a combination of belief in the power of human love and reason, and faith in the perfectibility and ultimate progress of man, that is a characteristic of romanticism.
Analysis: On the first line, we have an assonance; on the fourth line we have an illustration. On the sixth line, we have an inversion and an alliteration. We have alliteration on the eighth, thirteenth and fourteenth lines. John Keats (1795-1821) When I Have Fears When I have fears that I may cease to be Before my pen has gleaned my teeming brain, Before high-pilled books, in charactery, Hold like rich garners the full ripened grain; When I behold, upon the night’s starred face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the fairy power Of unreflecting love-then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness to sink.
Keats is one of the masters of language that appeals to the senses. He had a philosophical view of life, that is very clear in this poem, which is also a characteristic of romanticism. Analysis: We have alliteration on the fourth, sixth, tenth and twelfth lines. George Gordon, Lord Byron (1788-1824) She Walks in Beauty She walks in beauty, like the night Of cloudless climes and starry skies, And all that’s best of dark and bright Meets in her aspect and her eyes; Thus mellow’d to that tender light Which Heaven to gaudy day denies. One shade the more, one ray the less, Had half impair’d the nameless grace Which waves in every raven tress Or softly lightens o’er her face, Where thoughts serenely sweet express How pure, how dear their dwelling-place. And on that cheek and o’er that brow So soft, so calm, yet eloquent, The smiles that win, the tints that glow But tell of days in goodness spent, A mind at peace with all below, A heart whose love is innocent.
The Essay on To Autumn Line Poem Stanza
One of the greatest poets of the English language, John Keats, wrote a beautiful ode To Autumn. This poem is composed of three parts and each of the parts represents the transition of the season of autumn. First part is about ready to harvest, the second part is in the middle of the harvest, and the last part of this poem shows his empty feeling after the harvest. As well as all men have life ...
Lord byron’s poems are colorful, vigorous, with their romantic pictures of castles and prisons, mountains and sea, involving nature, that is a romantic characteristic. This specific poem is about perfection. Analysis: On the first stanza, we have a metaphor and a simile on the first line. On the second line, we have alliteration and assonance. We have antithesis and alliteration on the third line. We have alliteration on the fifth and sixth lines.
On the second stanza, we have antithesis and assonance on the first line. We have alliteration and assonance on the second and third lines and we have alliteration on the fourth, fifth and sixth lines. On the third stanza, we have repetition on the first and second lines and alliteration on the second line.
