Poetry Analysis Essay “Spring” by Gerard Manley Hopkins (1918) is a sonnet divided into two distinct sections, the octave and the sestet. The author’s use of alliteration, rhyming and vivid imagery takes the reader from an energetic view of springtime to a desperate prayer for the innocent. Analysis The poem’s opening statement catches the reader’s attention. From this line, “There is nothing more beautiful than spring” (line 1), Hopkins continues to describe elements of spring through similes and metaphors. “Thrush’s eggs look little low heavens” (line 3) is an example of a simile that uses alliteration to not only give the reader a vivid picture of a birds eggs that are evident in spring but to also make it pleasing to read and say aloud with the repeated ‘l’ sound. Other terms throughout the octave such as “the glassy peartree” (line 6) that begins to bloom, the blue sky and “racing lambs” (line 8) express the beauty of spring. Hopkins uses alliteration in “weeds, in wheels, shoot long and lovely and lush” (line 2) to slow the reader into a sense of strolling through a mead...
Phillis Wheatley, a poet of early modern poetry discloses a sonnet to Scipio Moorhead labeled To S.M., a Young African Painter, on Seeing His Works. The start of Wheatley life was being purchased by a white family and shipped off to Boston. She was an extremely intelligent child that was beginning to learn how to read, write and how to strongly connect to the Bible. When knowing the background of this poet, we realize first-hand how her childhood impacted her poetry. This piece of poetry was in the point of view of first person. Many poets use a type of sound devices or figurative language to enhance their message within. Wheatley introduces a sound device known as end rhyme as a way of intensifying the experience to the reader. The poet stated, “When first thy pencil did those beauties give, and breathing figures learnt from thee to live” (409) uses end rhyme to give connection between those two lines. My outsight on these two lines would be summarized as the poet trying to interpret the beautiful people the artist has drawn in her own words. Also, Wheatley communicates figurative language into this poem by using the several metaphors to put emphasis on her writing. The metaphor heavily absorbed by me would be, “Whose twice six gates on radiant hinges ring: Celestial Salem blooms in endless spring” (410) creating an image of Heaven.
It is far too easy for a reader of The Scarlet Letter to simply brand Chillingworth as evil. The reader must pay attention to the complexities of the position which Chillingworth is forced into to understand that he is not evil or bad, at least not completely. Chillingworth is only a human put into a terrible position which he reacts to. In fact, it is not beyond reach to say that under his circumstances, Chillingworth was actually the hero, the protagonist; and Hester and Dimmesdale are the true villains.
Nathaniel Hawthorne’s The Scarlet Letter is one of the most respected and admired novels of all time. Often criticized for lacking substance and using more elaborate camera work, freely adapted films usually do not follow the original plot line. Following this cliché, Roland Joffe’s version of The Scarlet Letter received an overwhelmingly negative reception. Unrealistic plots and actions are added to the films for added drama; for example, Hester is about to be killed up on the scaffold, when Algonquin members arrive and rescue her. After close analysis, it becomes evident of the amount of work that is put into each, but one must ask, why has the director adapted their own style of depicting the story? How has the story of Hester Prynne been modified? Regarding works, major differences and similarities between the characterization, visual imagery, symbolism, narration and plot, shows how free adaptation is the correct term used.
For each seasonal section, there is a progression from beginning to end within the season. Each season is compiled in a progressive nature with poetry describing the beginning of a season coming before poetry for the end of the season. This is clear for spring, which starts with, “fallen snow [that] lingers on” and concludes with a poet lamenting that “spring should take its leave” (McCullough 14, 39). The imagery progresses from the end of winter, with snow still lingering around to when the signs of spring are disappearing. Although each poem alone does not show much in terms of the time of the year, when put into the context of other poems a timeline emerges from one season to the next. Each poem is linked to another poem when it comes to the entire anthology. By having each poem put into the context of another, a sense of organization emerges within each section. Every poem contributes to the meaning of a group of poems. The images used are meant to evoke a specific point in each season from the snow to the blossoms to the falling of the blossoms. Since each poem stands alone and has no true plot they lack the significance than if they were put into th...
The Scarlet Letter illustrates that the illumination of self-deception gapes open after one like the very jaws of hell. This is apparent through all the main characters of the novel. Although Hawthorne's work has several imperfect people as the main characters, including Hester Prynne, Arthur Dimmesdale, and Roger Chillingworth, the worst sinner is Roger Chillingworth. Chillingworth commits the greater sin because of his failure to forgive; he has an insatiable appetite for revenge; he receives extreme pleasure in torturing Dimmesdale. Hester Prynne, however, has committed sins of almost the same magnitude.
In the literary classic, The Scarlet Letter, readers follow the story of a Puritan New England colony and the characteristics of that time period. Readers begin to grasp concepts such as repentance and dealing with sin through Nathaniel Hawthorne’s indirect descriptions of these detailed and complex characters by their actions and reactions. The character Roger Chillingworth symbolizes sin itself and deals with internal conflict throughout the course of the story. The narrator describes Chillingworth in a critical attitude to reveal to the reader the significance of repentance and revenge by the use of many literary techniques such as
The poem opens upon comparisons, with lines 3 through 8 reading, “Ripe apples were caught like red fish in the nets/ of their branches. The maples/ were colored like apples,/part orange and red, part green./ The elms, already transparent trees,/ seemed swaying vases full of sky.” The narrator’s surroundings in this poem illustrate him; and the similes suggest that he is not himself, and instead he acts like others. Just as the maples are colored like apples, he
Therefore, Oliver’s incorporation of imagery, setting, and mood to control the perspective of her own poem, as well as to further build the contrast she establishes through the speaker, serves a critical role in creating the lesson of the work. Oliver’s poem essentially gives the poet an ultimatum; either he can go to the “cave behind all that / jubilation” (10-11) produced by a waterfall to “drip with despair” (14) without disturbing the world with his misery, or, instead, he can mimic the thrush who sings its poetry from a “green branch” (15) on which the “passing foil of the water” (16) gently brushes its feathers. The contrast between these two images is quite pronounced, and the intention of such description is to persuade the audience by setting their mood towards the two poets to match that of the speaker. The most apparent difference between these two depictions is the gracelessness of the first versus the gracefulness of the second. Within the poem’s content, the setting has been skillfully intertwined with both imagery and mood to create an understanding of the two poets, whose surroundings characterize them. The poet stands alone in a cave “to cry aloud for [his] / mistakes” while the thrush shares its beautiful and lovely music with the world (1-2). As such, the overall function of these three elements within the poem is to portray the
We are all sinners. Although one may try hard not to sin, all humans eventually succumb at some time or another to sin. While people may not able to avoid the fate which awaits them, the power of free will allows people to decide how they will respond to sin. While some may respond with guilt and regret, others may react with a sense of redemption and a renewed sense of responsibility.
Nathaniel Hawthorne’s The Scarlet Letter is a study of the effects of sin on the hearts and minds of the main characters, Hester Prynne, Arthur Dimmesdale, Roger Chillingworth. Hester, Dimmesdale, and Chillingworth. Sin strengthens Hester, humanizes Dimmesdale, and turns Chillingworth into a demon.
Guilt and shame haunt all three of the main characters in The Scarlet Letter, but how they each handle their sin will change their lives forever. Hester Prynne’s guilt is publicly exploited. She has to live with her shame for the rest of her life by wearing a scarlet letter on the breast of her gown. Arthur Dimmesdale, on the other hand, is just as guilty of adultery as Hester, but he allows his guilt to remain a secret. Instead of telling the people of his vile sin, the Reverend allows it to eat away at his rotting soul. The shame of what he has done slowly kills him. The last sinner in this guilty trio is Rodger Chillingworth. This evil man not only hides his true identity as Hester’s husband, but also mentally torments Arthur Dimmesdale. The vile physician offers his ‘help’ to the sickly Reverend, but he gives the exact opposite. Chillingworth inflicts daily, mental tortures upon Arthur Dimmesdale for seven long years, and he enjoys it. Hester, Dimmesdale, and Chillingworth are all connected by their sins and shame, but what they do in regards to those sins is what sets them apart from each other.
In both, out of some onomatopoeic words for a bird song and realistic sceneries of nature, the true beauty and ugliness is doubted. While we all suppose spring to be the most beautiful fantastic global fete, the poet shows us a mocking unpleasing view out of that. Or on the other hand he shows us a delicate heartsome scene in the lifeless vapid "Winter."
In “Written at the close of Spring,” Smith’s second sonnet, she focuses on the wonderful ability nature has in rejuvenating itself each year. Smith personifies Spring in the way it “nurs’d in dew” its flowers as though it was nursing its own children (“Close of Spring” 2). While it creates life, Spring is not human, because it has this ability to come back after its season has passed. Human beings grow old and die; we lose our “fairy colours” through the abrasive nature of life (“Close of Spring” 12). Smith is mournful that humans cannot be like the flowers of Spring and regain the colors of our lives after each year.
The consistent pattern of metrical stresses in this stanza, along with the orderly rhyme scheme, and standard verse structure, reflect the mood of serenity, of humankind in harmony with Nature. It is a fine, hot day, `clear as fire', when the speaker comes to drink at the creek. Birdsong punctuates the still air, like the tinkling of broken glass. However, the term `frail' also suggests vulnerability in the presence of danger, and there are other intimations in this stanza of the drama that is about to unfold. Slithery sibilants, as in the words `glass', `grass' and `moss', hint at the existence of a Serpent in the Garden of Eden. As in a Greek tragedy, the intensity of expression in the poem invokes a proleptic tenseness, as yet unexplained.
Moran, Daniel. “Sonnet XXIX.” Poetry for Students. Ed. David Galens. Vol. 16. Detroit: Gale, 2002. 146-147. Print.