Marina - Artigas - Iglesias: Analisis Poemas de Lit II PDF

Marina_Artigas_Iglesias
www.wuolah.com/student/Marina_Artigas_Iglesias
1198
analisis poemas de lit II.pdf

analisis obras
2º Literatura Inglesa Ii
Grado en Estudios Ingleses
Facultad de Filología
US - Universidad de Sevilla
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su
totalidad.
a64b0469ff35958ef4ab887a898bd50bdfbbe91a-990915
POPE
The rape of the lock
Arabella Fernor (Belinda)
Lord Robert Petre (the Baron)

-‐ In a tea party he cut a lock from her and kept it as a token. It caused
controversial.
-‐ Lock: chastity belt.
-‐ Homer’s model: illiad and odyssey.
-‐ Machinery: introduction of supernatural beings. Sylphs: air, gnomes:
earth(negative connotations, erotism), nymphs: wáter.
-‐ A arabella al principio no le gusta, pero después si.
-‐ Ironia y satira (arabella es la mas maravillosa del mundo)
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
-‐ Pope era un misógino de mierda y presenta a Belinda obsesionada con su
belleza (BIBLIA)
-‐ The poem satirises a minor incident by comparing it to the epic world of the
gods. It was based on an actual incident:
-‐ Arabella Fermor and her suitor, Lord Petre, were both from
aristocratic recusant Catholic families, at a time in England when Petre, lusting
after Arabella, had cut off a lock of her hair without permission, and the
consequent argument had created a breach between the two families.
-‐ He utilised the character Belinda to represent Arabella and introduced an
entire system of "sylphs", or guardian spirits of virgins, a parodised version of
the gods and goddesses of conventional epic.
-‐ Pope's poem uses the traditional high stature of classical epics to emphasise
the triviality of the incident. The abduction of Helen of Troy becomes here the
theft of a lock of hair; the gods become minute sylphs; the description
of Achilles' shield becomes an excursus on one of Belinda's petticoats. He also
uses the epic style of invocations, lamentations, exclamations and similes, and
in some cases adds parody to imitation by following the framework of actual
speeches in Homer's Iliad. Although the poem is humorous at times, Pope
keeps a sense that beauty is fragile, and emphasizes that the loss of a lock of
hair touches Belinda deeply.
CANTO 1
-‐ The action of the poem begins with the rising sun awakening the residents of a
wealthy household. Though everyone, including the lapdogs, has
risen, Belinda remains asleep. She dreams of a handsome youth who informs
her that she is protected by a “thousand bright inhabitants of air:” spirits that
were once human women who now protect virgins.
-‐ The youth explains that after a woman dies, her spirit returns to elemental
form; namely, to fire, water, earth, and air. Each element is characterized by
different types of women. Termagants or scolds become fire spirits or
Salamanders. Indecisive women become water spirits. Prudes or women who
delight in rejecting men become Gnomes (earth spirits). Coquettes become
Sylphs (air spirits).
-‐ The dream is sent to Belinda by Ariel, “her guardian Sylph” (20). The Sylphs are
Belinda’s guardians because they understand her vanity and pride, having been
coquettes when they were humans.
-‐ Ariel warns Belinda of an impending “dread event,” urging her to “Beware of
all, but most beware of Man” (109, 114). Belinda is then awoken by her lapdog,
Shock. Upon rising, she sees that a billet-‐doux, or a love-‐letter, has arrived for
her, causing her to forget the details of the dream.
-‐ Now awake, Belinda begins her elaborate toilette. Pope endows every object
from combs and pins to billet-‐doux and Bibles with significance in this ritual of
dressing: “Each silver vase in mystic order laid” (122). Belinda herself is
described as a “goddess,” looking at her “heavenly image” in the mirror (132,
125). The elegant language and importance of such objects thus elevate the
process of dressing to a sacred rite.
-‐ The Sylphs assist in Belinda’s dressing routine, setting her hair and
straightening her gown. Fully arrayed, Belinda emerges from her chamber.
-‐ The first verse-‐paragraph also introduces Pope’s epic subject matter: a war
arising from “amorous causes” (1). Unlike Menelaus’ fury at Paris’ theft of
Helen or Achilles’ quarrel with Agamemnon over Briseis in The Iliad, however,
the poem’s “mighty contests rise from trivial things”
-‐ Pope uses the mock-‐heroic genre to elevate and ridicule his subjects
simultaneously, creating a satire that chides society for its misplaced values and
emphasis on trivial matters.
-‐ much the way that the gods and goddesses of The Iliad would influence the
progress of the Trojan War. Ariel is the guardian of Belinda.
-‐ Each personality type—scolds, undecided women, prudes, coquettes—
becomes a Salamander, Nymph, Gnome, or Sylph, respectively. These four
types are associated with both the four humors and the four elements. Having
been “light coquettes” as human women, the Sylphs are most closely affiliated
with Belinda. Belinda herself is a coquette
-‐ Pope explores the role of the coquette in this first canto. He demonstrates that
womanly priorities are limited to personal pleasures and social aspirations
-‐
-‐ Pope depicts a society that emphasizes appearances rather than moral
principles. This focus on appearance extends to attitudes towards honor and
virtue. Society dictates that women remain chaste while enticing suitable
husbands. Of course, if a woman seemed to compromise herself, society would
censure her as though she had lost her virtue. This concern about female
sexuality represents the underlying anxiety in The Rape of the Lock: the theft of
the lock (a metonymic substitution for Belinda’s chastity) creates the
appearance of lost virtue
-‐ This depiction of Belinda as an epic hero establishes the mock-‐heroic motifs
that occur throughout the poem.

CANTO 2
Belinda sets off for Hampton Court Palace, traveling by boat on the River Thames. A
group of fashionable ladies and gentlemen accompanies her, but “every eye was fixed
Descarga gou! y comparte coche por la city ahorrando pasta - www.goucar.es

on her alone” (6). Her “lovely looks” and “quick” eyes command the attention and
adoration of those who see her (9, 10). Belinda’s glittering raiment includes a
“sparkling cross,” which she wears on her “white breast,” inspiring the worship of her
admirers (7). Her most striking attribute is the “two locks which graceful hung” in
ringlets on her “ivory neck” (20, 22). Pope describes these curls as labyrinths of love
intended for the “destruction of mankind,” imprisoning any hearts that get caught in
their snares (19).
One of her devotees, the Baron, greatly admires her ringlets and has resolved to steal
them for himself, “by force [...] or by fraud” (32). On this particular morning he rose
early to build an altar to Love at which to pray for success in this venture. He created a
pyre to makea sacrifize.
As the boat makes its way to Hampton Court, Belinda and her companions enjoy a
lighthearted journey. Ariel, however, is anxious, remembering the foretold “impending
woe” (54). Concerned for Belinda’s safety, he summons an army of Sylphs to protect
her.
Ariel charges a phalanx of Sylphs to act as her bodyguards He therefore chooses fifty
select Sylphs to guard her petticoat,

Pope relies on martial language to situate his poem within the epic tradition and
reinforce his satiric manipulation of the genre. Much like the combs, pins, and
cosmetics that Pope assigns military value in the first canto, Belinda’s physical
appearance is defined within militaristic terms. The beauty of her curls attracts
admirers, which Pope compares to a trap meant to ensnare enemies.
he commands an army of fifty Sylphs to take defensive positions around the petticoat,
ready to defend Belinda’s virtue from amorous assailants (119). Pope, however, makes
the Sylphs’ militaristic role ironic: they are not guarding against Belinda’s failure but
rather protecting her from excessive success at attracting admirers. Pope thus
critiques society’s contradictory expectations with regard to female sexuality.
he theft of Belinda’s hair has sexual implications, specifically in the poem’s title: The
Rape of the Lock. Pope’s use of the word “rape” denotes explicit sexuality in the
cutting of Belinda’s curls. Pope’s word choice in the second canto strengthens this
sexual imagery. The poem indicates that the Baron has resolved to steal the locks “by
force to ravish” (32). The use of the words “force” and “ravish” emphasizes this theme
of sexual violation. The phrase “by fraud betray” with regard to the Baron’s desire for
the curls similarly equates the theft of the lock with a man taking advantage of a
woman’s innocence (32).
The sexual implications of The Rape of the Lock culminate with the locks themselves.
Though Pope describes Belinda’s ringlets as hanging down her “smooth ivory neck,”
the sexualized double-‐readings throughout the second canto suggest a more explicit
secondary reading of Belinda’s curls
religious imagery He builds an altar—a feature of both pagan and Christian worship—
to celebrate Belinda’s beauty.
The poem’s comic attitude towards religion implies that the worship of beauty
amounts to sacrilege. Pope crystallizes this religious perversion in the cross that
Belinda wears. The cross seems to serve not a religious function but rather an
AUTOESCUELA CIUDAD JARDÍN - Sácate el Carnet por sólo 185*

ornamental one, much like the equation of the Bible with billet-‐doux and French
romances.
Pope even sexualizes this traditionally religious object, placing it on Belinda’s “white
breast”. By subverting established principles of religious worship, Pope critiques
society’s willingness to value appearances and other insignificant matters over a moral
lifestyle.


WORDSWORTH

A night thought
Wordsworth himself proclaiming that he enjoys the distant beauty of the moon, and
even when it is hidden behind the clouds beneath it it is still admirable and beautiful.
The moon is always bright as if it were smiling constantly, whereas man, who is spoiled
by the many pleasures of the earth along with his fortune, always seems to have a sad
look upon his face. Wordsworth enjoys the sight of the moon compared to the chaos
and turmoil of the world around him that man has created on earth for themselves
due to the continuous fighting from the wars. It appears as if Wordsworth is envious of
the peace that the moon has about it. He wants to go against the same rule that his
fellow human beings have to follow. Basically, he wants to be as happy and bright as
the moon always is.

A character
This first stanza is fairly simple. It is talking about how amazing it is that humans can
show such a vast variety of contradicting emotions on one face. It then goes on to give
examples, such as happy and sad, an excited face and a relaxed one, or even one that
is so deep in thought and one that is blank.

There's weakness, and strength both redundant and vain;
Such strength as, if ever affliction and pain
Could pierce through a temper that is soft to disease,
Would be rational peace-‐-‐a philosopher's ease.

contradictions with weakness and strength, "redundant and vain”. humans tend to
repeat our strengths and weaknesses. In the next line it refers to our temper, or
composure which is "soft to disease", it is easily punctured or afflicted by other forces
such as pain. It is our strengths or our weaknesses that either stop or let in this pain.
They last line is about understanding why this happens. The human character's mind is
at peace from understanding that it is our own weaknesses that have caused the pain
to get to us.

There's indifference, alike when he fails or succeeds,
And attention full ten times as much as there needs;
Pride where there's no envy, there's so much of joy;
And mildness, and spirit both forward and coy.

In the beginning of this stanza it gets back into contradictions of the human character.
It says we act like we don't care whether we fail or succeed, yet we pay so much
attention to whether we do or not. Then suddenly towards the end of this stanza we
begin to see positive qualities of the human character, like pride, joy, even calmness
and spirit. Though in the last line there is still is a contradiction. The human character
is spirited, which means enthusiastic, and energetic, is blunt and shy. This is
makes something that should be good seem like it's not.

There's freedom, and sometimes a diffident stare
Of shame scarcely seeming to know that she's there,
There's virtue, the title it surely may claim,
Yet wants heaven knows what to be worthy the name.

Here it begins talking about freedom and how the human character is not confident or
not aware that it is there. Then it talks about how many like to call themselves
virtuous, but in the next line it says "yet heaven know what to be worthy the name"
referring to the fact that no one can really call themselves virtuous because nobody is
perfect. As discussed throughout the poem, everyone has their flaws.

This picture from nature may seem to depart,
Yet the Man would at once run away with your heart;
And I for five centuries right gladly would be
Such an odd such a kind happy creature as he.

In the last stanza, the themes of the poem are tied into one. It talks about how even
though humankind is so incredibly flawed we still have the ability to fall in love. In the
last two lines the speaker says that despite all this, they are happy to be a human.

COLERIDGE

Kubla khan
Coleridge composed his poem, Kubla Khan is a state of semi-‐conscious trance either in
the autumn of 1797 or spring of 1798 and published in 1816. The whole poem is
pervaded by an atmosphere of dream and remains in the form of a vision. The vision
embodied in Kubla Khan was inspired by the perusal of the travel book, Purchas His
Pilgrimage. Coleridge had taken a doze of opium as an anodyne, and his eyes closed
upon the line in the book, “At Zanadu Kubla Khan built a pleasure palace.” But this
opened his creative vision, and the poem of about 200 lines was composed in this state
of waking dream. On being fully awake, he wrote the poem down. The theme of the
poem is unimportant. It describes the palace built by Kubla Khan, the grandson of
Chengis Khan, the great rule of central Asia.
This poem is the finest example of pure poetry removed from any intellectual content.
Being essentially of the nature of a dream, it enchants by the loveliness of its colour,

artistic beauty, and sweet harmony. Its vision is wrought out of the most various sources
–oriented romance and travel books. Its remote setting and its delicate imaginative
realism renders it especially romantic. The supernatural atmosphere is evoked chiefly
through suggestion and association. The musical effect of the poem is unsurpassed. The
main appeal of the poem lies in its sound effects. The rhythm and even the length of the
lines are varied to produce subtle effects of harmony. The whole poem is bound
together by a network of alliteration, the use of liquid consonants, and onomatopoeia.
The judicious use of hard consonants has given occasionally the effect of force and
harshness.
In Xanadu did Kubla Khan

A stately pleasure-‐dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round;
And there were gardens bright with sinuous rills,
Where blossomed many an incense-‐bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.
In these lines from the poem Kubla Khan, the poet Samuel Tayler Coleridge narrates how
Kubla Khan ordered a stately pleasure house to be built and what was subsequently
done to get it built. Kubla Khan ordered the erection of a magnificent pleasure palace
on the banks of the sacred river ‘Alph’ which flowed underground for a long distance
through unfathomable caves into a sea where the rays of the sun could no penetrate.
Accordingly, for this purpose, a plot of fertile land covering ten miles was enclosed with
walls and towers all around. On one side of this land, there were gardens full of aromatic
trees where sweet-‐smelling flowers bloomed. There were meandering streams flowing
through these gardens making the place exceedingly beautiful. On the other side of the
land were thick primeval forests as old as the hills within which there were plots of
grassy land warmed by the rays of the sun.
Thus, Coleridge creates a vaguely but suggestive romantic palace. “In reading it “,
Swinburne observes about these artistic touches, “we are wrapped into that paradise
where music and colour and perfume are one; where you hear the hues and see the
harmonies of heaven.”
But oh! that deep romantic chasm which slanted

Down the green hill athwart a cedarn cover!

A savage place! as holy and enchanted

As e’er beneath a waning moon was haunted
By woman wailing for her demon-‐lover!
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced:
Amid whose swift half-‐intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher’s flail:
And mid these dancing rocks at once and ever
It flung up momently the sacred river.
Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean;
And ’mid this tumult Kubla heard from far
Ancestral voices prophesying war!
While describing the beautiful grounds, the poet seems to have been attracted by the
most remarkable mysterious chasm which stretched across the hill covered with cedar
trees. It simply defied all descriptions. It was a highly romantic place and wore a
mysterious aspect. It seemed an enchanted place haunted by demons and fairiers and
frequented by a disappointed lady-‐love weeping for her demon-‐lover under the light of
the fading moon.
The vagueness and mystery of this place suggested witchcraft and its practice as they
are associated with such surroundings. From this chasm a fountain appeared and threw
up huge fragments of rock which tossed up and then fell to the ground in all directions
like hail stones from the sky or like chaff flying about when crushed with a flail.
From this chasm also sprang up the sacred river, Alph which flowed with a zig-‐zag course
for five miles through forest and valley and then fell into the calm and tranquil ocean
through the unfathomable caverns. As it fell into the ocean, it created a great roaring
sound. In the midst of this uproarious noise Kubla Khan heard the voices of his ancestors
prophesying that the time was near when he should indulge in ambitious wars. In the
pleasure-‐house Kubla Khan became addicted to luxury so his ancestors urged him to
shake off his lethargic and luxurious life and be ready to life of adventures and wars.
The shadow of the dome of pleasure

Floated midway on the waves;

Where was heard the mingled measure
From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure-‐dome with caves of ice!
A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid
And on her dulcimer she played,
Singing of Mount Abora.
These lines further describe the charms of displayed by the pleasure palace of the
emperor at Zanadu. The pleasure-‐house of Kubla Khan was a very romantic
and beautiful palace. The poet here says that the reflection of the pleasure-‐dome fell
between the fountains mingling with the echoing sound coming out of the caves created
for the onlooker an illusion of a really rhythmical music. The palace was a construction
of a rare design and a wonderful triumph of architecture as it combined in itself a
summer and a winter palace. The top of the building was warm because it was open to
sun while the low-‐lying chambers were kept cool by ice which never melted.
In the next lines Coleridge introduces a beautiful girl brought from a distant country, to
complete the picture of the romantic atmosphere. He says that once in his dream he
saw a girl who was brought from Abyssinia. She was singing of her native land Abyssinia
and Mount Abora.
Could I revive within me

Her symphony and song,
To such a deep delight ’twould win me,
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread
For he on honey-‐dew hath fed,
And drunk the milk of Paradise.

These lines conclude the unfinished poem. When the poet saw an Abyssinian girl singing
a melodious song and producing exquisite melody on her dulcimer in the pleasure
palace of Kubla Khan, his imagination was seized by the great power of music. In these
lines, he says that if he could recall or learn the ravishing music of the Abyssinian girl, he
would build the beautiful palace of Kubla Khan in air. He would be filled with his swelling
notes.
Helped by his quickened imagination he would be able to reconstruct the whole scene.
The long practice of this divinely inspired music will enable him to reproduce the whole
palace in the air as beautiful and ethereal as the palace of Kubla Khan together with its
sunny dome and caves of ice.
His inspired imagination would create “a willing suspension of disbelief” and the readers
would feel that the entire beauty of the palace has been captured for them. They would
be struck with awe created by his flashing eyes, steaming hair and lips.
His frenzied condition would frighten them so much that they would guard themselves
from coming into close contact with him. In order to save themselves from being
infected by his magical charm, they would confine him within a magical circle three
times.
BLAKE
The tyger
"The Tyger" is the sister poem to "The Lamb" (from "Songs of Innocence"), a reflection
of similar ideas from a different perspective (Blake's concept of "contraries"), with
"The Lamb" bringing attention to innocence. "The Tyger" presents a duality between
aesthetic beauty and primal ferocity, and Blake believes that to see one, the hand that
created "The Lamb", one must also see the other, the hand that created "The Tyger”:
"Did he who made the Lamb make thee?"
The "Songs of Experience" were written as a contrary to the "Songs of Innocence" – a
central tenet in Blake's philosophy, and central theme in his work.[1] The struggle of
humanity is based on the concept of the contrary nature of things, Blake believed, and
thus, to achieve truth one must see the contraries in innocence and experience.
Experience is not the face of evil but rather another facet of that which created us.
Kazin says of Blake, "Never is he more heretical than ... where he glories in the
hammer and fire out of which are struck ... the Tyger".[1] Rather than believing in war
between good and evil or heaven and hell, Blake thought each man must first see and
then resolve the contraries of existence and life

The angel

“I dreamt a dream! What can it mean?
And that I was a maiden Queen

Guarded by an Angel mild:

Witless woe was ne’er beguiled!”

What can it mean? Blake begins a journey into the subconscious mind, the one that
makes you dream all kinds of odd and unusual things. In this one, the dream is of an
innocent queen, protected by a guardian angel. The inclusion of “what can it mean?” is
interesting; it enforces the image of a subconscious idea that the narrator itself is
unaware of. What does it mean to be visited in your sleep by an angel? It’s a good
question.
The word “maiden” is another interesting addition, because it is a word that typically
refers to an unmarried girl, particularly one who is a virgin. At the time this poem was
written — the volume it appears in was first published in 1794 — the theme of
innocence would have strongly correlated with this word. The narrator dreamed they
were in a state of perfect innocence, and that innocence was guarded by an angel that
would not be deceived or beguiled by stupidity or sorrow, but would defend the
innocence of its Queen.

“And I wept both night and day,
And he wiped my tears away;
And I wept both day and night,
And hid from him my heart’s delight.”

And like any good angel, the narrator’s guardian was there for him, day and night,
night and day. Whenever there was any kind of weeping, the angel would be there.
“Weeping,” of course, does not have to mean literally crying. As I’m sure everyone
reading this page can attest to, growing up is a long, difficult journey, filled with its fair
share of struggle. And when experiencing hardship, what can compare to the simple
joy of being held by another being, and told sincerely that we are going to be fine?
Unfortunately, this comes back to hurt the dreamer, who begins to hide their
happiness from the angel.

“So he took his wings, and fled;
Then the morn blushed rosy red.
I dried my tears, and armed my fears
With ten-‐thousand shields and spears.”

The angel, leaves. This marks the final transition of the dreamer into “growing up;” the
morning rose, a new day, and the dreamer is alone now. There is no longer any need
to cry over falsehoods, but there are still reasons to cry, still fears out there in the
world — so without an angel nearby, the dreamer arms their fears, and is armed as
well.

“Soon my Angel came again;
I was armed, he came in vain;
For the time of youth was fled,
And grey hairs were on my head.”


The angel, to his credit, returns to the dreamer, but it’s too late — they’ve grown up,
chosen their approach to life, and it is too late to change. The maiden Queen has
become an independent ruler, and is armed against its childhood friend. The fact that
the dreamer is entering old enough age to be finding grey hairs suggests that a lot of
time has passed, despite the use of the word “soon” — this is, after all, a dream,
where time is relative.

PERVY SHELLEY

Love’s philosophy

The fountains mingle with the river
And the rivers with the ocean,
The winds of heaven mix forever
With a sweet emotion;

The poem begins with four lines describing how nature comes together. This implies
that it is natural to be united, that nothing or nobody is or should be alone. It also
shows a blanket connectedness, that all is connected to everything else through a
chain. The chain shown here goes from a fountain to a river to the ocean. Wind is
everywhere and, as being so, is connected to everything. The line that follows,
“Nothing in the world is single;” directly states what the first four lines intended to
show. It can be inferred that the speaker will testify love as another form of
connection. This is also expressed as a “sweet emotion” in a fourth line. This exhibits
some personification for the nature described at the start, as rivers and oceans do not
feel emotion. However, this is used to make a point of union in nature and to set up
the conveyance of the speaker’s emotion.
All things by a law divine
In one another’s being mingle; —
Why not I with thine?

The last three lines of the first stanza serve to further indicate the speaker believes
love is an important relationship between people. He or she clearly believes everything
in the world naturally share a relationship. The speaker is equating the connection
between two people to that of different aspects of nature. In declaring these amorous
feelings, the idea that intermingling with the object of affection should also be natural.
The imagery of everything coming together was set up as an argument that the person
the speaker loves should understand and, hopefully, reciprocate his or her feelings. It
is especially compelling because it is through a law divine, or sacred law, that all bonds
occur.
See the mountains kiss high heaven,
And the waves clasp one another;

Again, the speaker is making use of beautiful and vivid imagery to make a point. When
looking at the peak of a mountain, it can indeed appear to be kissing the heavens. The

speaker, however, is likely alluding to the idea of kissing the person to whom this
poem is dedicated. In a similar fashion, the way the “waves clasp one another” is a way
someone in love longs to hold a loved one. This goes hand-‐in-‐hand with the notion
that the speaker is not only describing a beautiful scene in nature but also hinting at a
desire. Just as different wonders in the world touch and bond this way, he or she longs
to forge a similar relationship with the loved one.
No sister flower would be forgiven
If it disdained its brother;
And the sunlight clasps the earth,
And the moonbeams kiss the sea;

These lines further exhibit the attachment between everything. They serve to solidify
the statement of the earlier line, “Nothing in the world is single.” It is with that belief
system that the lines, “No sister flower would be forgiven / If it disdained its brother;”
are brought forth. Just as loyalty in the bond of family is so established, the speaker
believes love should demonstrate the same loyalty. The speaker believes the two
should intertwine and come together just as everything else and everyone else.
What are all these kissings worth,
If thou kiss not me?

The final lines insinuate this love is not reciprocated. This is in keeping with the rest of
the poem, in which the speaker poses an argument using beautiful imagery and the
nature of the world and its relationships. If the love were mutual, there would likely
not be a need to make such a strong point in the declaration. This is accentuated in the
final two lines, where the speaker finally admits it all pales in comparison to the kiss of
the loved one. However, the poem ends with a question of significance. The speaker is
pointing out that these other connections may be great and wonderful, but they
crumble due to the fact he or she cannot receive true love’s kiss. Unfortunately, the
speaker is single unlike the earlier line of the poem, “Nothing in the world is single.”
This poem establishes itself as an epitome of romance with such grand illustrations
and emotions.

Mutability
A first-‐person poetic persona compares people to restless clouds. Clouds speed
brightly across the sky but disappear at night, presumably like a human life. The
persona then compares people to lyres, stringed instruments, that are always playing
different tunes based on different experiences. The persona then complains that
whether we are asleep or awake, a bad dream or a “wandering thought” interferes
with our happiness. Whatever we think, however we feel, “It is the same,” meaning
that all will pass away and people will change. Thus, the one thing that endures is
“Mutability.”

The purpose of the two comparisons is to emphasize the eternal human condition of
change, in other words, to be mutable. This is both a natural condition, such as the
clouds that are one minute here and the next minute there, “restlessly speeding,
gleaming, quivering, and streaking across the dark night” only to be soon thereafter
“lost for ever,” on the one hand, and a human-‐caused phenomenon, such as a lyre,
“whose strings give a various response to various blasts” and on which no new
“modulation sounds like the last.” The point is that all things, natural or created, are
always changing. Nothing is constant.

BYRON

She walks in beauty
The poet describes a woman who “walks in beauty, like the night/Of cloudless climes
and starry skies” (lines 1-‐2). Immediately the light of stars and the shadow of night are
brought forth as contrasts, foreshadowing the further contrasts the poet notices
regarding this beautiful woman. Seeing her eyes, he declares that in her face “all that’s
best of dark and bright” are joined. Her beauty is contrasted to the “gaudy” daylight.
In the second stanza, the poet reflects on the balance in the woman’s beauty: “One
shade the more, one ray the less” (line 7) would hinder the “nameless grace” which
surrounds her. He then turns to her inner life, seeing her external beauty as an
expression of thoughts that dwell in a place (perhaps her mind, or her beautiful head
and face) both “pure” and “dear” (line 18).
The final stanza returns to her face, but again sees the silent expression of peace and
calm in her cheek, brow, and smiles. Her pleasant facial expressions eloquently but
innocently express her inner goodness and peacefulness.
When we two parted

expressing his 'grief' at the end of the relationship

The poem has four stanzas of eight lines each, but these lines are rather unusual in
their form. They are largely written in falling rhythm, and the lines tend to have two
'feet', meaning that you can scan the poem as dactylic dimeter but the lines are
irregular in length, pattern and weight. You can feel this by counting syllables (5, 5, 5,
5, 6, 4, 6, 4) or, more obviously, by counting stressed syllables: 'When we two parted
| In silence and tears | Half broken-‐hearted | To sever for years'.

This broken pattern gives the poem a stilted, stop-‐start, uncomfortable rhythm that
begins to move, then hesitates, then moves on again, just as the poet is struggling to
move on from his memories.

In the second stanza Byron sets the poem in the 'morning' of some day long ago and
explains that the 'dew' dampened his head. When he writes 'It felt like the warning |
Of what I feel now' he changes the tense of the verb 'felt' to make it 'feel' so that we
have a sense of how the emotion has continued in time.

By the end of the poem, When We Two Parted, Byron looks towards the future, but is
unsure of what will happen, not writing what 'will' or 'shall' be but what 'should' be 'if'
another meeting ever takes place. He asks a rhetorical question which the poet
answers with the same words he used to describe the parting 'years' ago: 'With silence

and tears'. Clearly, he feels that on their next meeting, he will still be feeling the grief
of the end of their relationship.

KEATS

When I have fears that I may cease to be
When I have fears that I may cease to be
Before my pen has gleaned my teeming brain,
Before high-‐pilèd books, in charactery,
Hold like rich garners the full ripened grain;
In the opening lines, the speaker has clearly identified one of his fears for the reader. It
is not merely the cliché death that worries the poet, but the very specific and mildly
unique fear that he may not achieve his full creative potential (“full ripened grain”) by
the time death arrives (in the form of “high-‐piled books” he has written). Such anxiety
is relatable to any artist and any human being who is dissatisfied with his or her
current state, or those who fear the limitations of life despite the unlimited nature of
their ideas (before his pen has even “gleaned” his “teeming brain”).
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;
The speaker looks up at the sky’s mighty constellations, perhaps beautiful, and he
fears that he will “cease to be” before even tracing their shadows. The artist’s job, of
course, is to trace or represent in his or her respective medium—for that is the
definition of art. We have thus established Keats’s fear of achieving artistic success and
fame (as he will identify later). However, the use of the word romance can also be
taken in the more cultural sense relating to romantic relationships—a vital component
of Keats’s fears:
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
The “and” tells the reader that in addition to this fear of failure in the poetic
department, the speaker is also concerned with having never experienced the majesty
of solid love or getting another chance to see this potential lover (who is limited by,
and at the mercy of, time as she is but a “creature of an hour”). This can be read that
the fear exists during the present—not that he will “never look upon [her] more” or
“never have relish in the fairy power” because he will be dead but because of the fact
that he will never succeed in doing so in life (nor will he have unlimited time to do so).
This establishes the second and final components that make up the speaker’s fears:

failure in the realm of love. These two aspects make up the overall truth that can be
better generalized by saying that, “The speaker simultaneously faces the opportunities
life holds for him and the threat of his own untimely death” (Fay 7).
When these fears occur, however, then the speaker goes to the shore—a limitation, a
boundary:
Of the wide world I stand alone, and think
Till Love and Fame to nothingness do sink.
These last two lines sound even more nihilistic than existential, as the reader might
envision Keats himself standing alone on the edge of the universe, trying to get
perspective and reflect on these fears. Keats thinks that such woe seems hard to
despair because in the end, these desires he feels so panicked to attain despite time’s
“cruel hand,” as Shakespeare wrote in Sonnet 60, sink to nothingness, lost
Bright star

In the first line, the poet expresses his desire for an ideal-‐-‐to be as steadfast as a
star-‐-‐an ideal which cannot be achieved by a human being in this world of change or
flux, as he comes to realize by the end of the poem. In fact, he is unable to identify
even briefly with the star; immediately, in line 2, he asserts a negative, "not." And lines
2-‐8 reject qualities of the star's steadfastness . Even the religious imagery is associated
with coldness and aloneness; moreover, the star is cut off from the beauties of nature
on earth.
Once the poet eliminates the non-‐human qualities of the star, he is left with just the
quality of steadfastness. He can now define steadfastness in terms of human life on
earth, in the world of love and movement. As in so many poems, Keats is grappling
with the paradox of the desire for permanence and a world of timelessness and
eternity (the star) while living in a world of time and flux. The paradox is resolved by
the end of the poem: joy and fulfillment are to be found here, now
JOANNA BAILLIE
Song, woo’d and Married and A

In her work “Song: Woo’d and Married and A,” Joanna Baillie uses several techniques
to make the piece more effective. These techniques include dialect, rhyme, and meter,
and each serves to show the time period of the poem, as well as to better describe the
voice of each character in the poem.
Because the poem is short, Baillie could not rely on a great deal of description to
explain her characters, but must instead cast them with what they say. During the
mother’s speech in the poem she says “In my pouch I had never a plack; On the day
when I was a bride.” This serves to show the mother’s sympathy for her daughter, as
well as her support. The father on the other hand is shown to be skeptic of her
daughters’ marriage, and not necessarily trusting of her groom. The last character to

speak, the young bridegroom, is shown to be unworried, and thrilled to be marrying
such a girl. Assuring the parents “I’m rich, though my coffer be toom, Wi’ the blinks o’
your bonny bluee een., Im prouder o’ thee by my side.”

the daughter is never given a chance to speak in the poem. Her only roll in the poem is
to blush, and smile (line 49). It seems that this overlook may be a comment on the
social status of young woman, and their ability to control their futures. By not giving
the bride a voice in the poem, Baillie shows how many young woman were either
forced into marriages, or sought out unhealthy marriages, simply because it was what
society expected of them.

THOMAS HARDY

A broken appointment
The poem has its origins in Hardy’s thwarted friendship with a woman named Florence
Henniker, but of course it transcends the narrowly personal and reflects something we
have all felt. In summary, in ‘A Broken Appointment’ Hardy laments the fact that his
lover (or rather, would-‐be lover) failed to turn up to their arranged rendezvous: he’s
been stood up. But the longer he stood there, waiting for her to show, the more his
feelings cooled towards her – not so much because she simply failed to turn up, but
because of what it suggests: that she doesn’t care for his feelings. Not liking him is one
thing; stringing him along and refusing to exhibit compassion or ‘lovingkindness’, is
worse.
In the second stanza, Hardy reflects on what this broken appointment means. The
woman doesn’t love him: fine. But, developing the sentiment he put forward in the
previous stanza, Hardy goes on to ask the absent woman: could she not have found it
in her heart to take pity on him, even though she doesn’t love him, to come and spend
an hour with him to ‘soothe’ him and let him down gently? Of course, the poem ends
with this question: no answer returns. The woman cannot answer: she isn’t there. This
is a poem that is also an example of apostrophe, an address to someone who is absent.

Marina - Artigas - Iglesias: Analisis Poemas de Lit II PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Marina - Artigas - Iglesias: Analisis Poemas de Lit II PDF

Uploaded by

Copyright:

Available Formats

Marina_Artigas_Iglesias

analisis poemas de lit II.pdf

Grado en Estudios Ingleses

Descarga gou! y comparte coche por la city ahorrando pasta - www.goucar.es

AUTOESCUELA CIUDAD JARDÍN - Sácate el Carnet por sólo 185*

Descarga gou! y comparte coche por la city ahorrando pasta - www.goucar.es

In Xanadu did Kubla Khan

But oh! that deep romantic chasm which slanted

AUTOESCUELA CIUDAD JARDÍN - Sácate el Carnet por sólo 185*

A savage place! as holy and enchanted

The shadow of the dome of pleasure

Descarga gou! y comparte coche por la city ahorrando pasta - www.goucar.es

Floated midway on the waves;

Could I revive within me

And drunk the milk of Paradise.

AUTOESCUELA CIUDAD JARDÍN - Sácate el Carnet por sólo 185*

Guarded by an Angel mild:

Descarga gou! y comparte coche por la city ahorrando pasta - www.goucar.es

AUTOESCUELA CIUDAD JARDÍN - Sácate el Carnet por sólo 185*

When we two parted

Descarga gou! y comparte coche por la city ahorrando pasta - www.goucar.es

When I behold, upon the night’s starred face,

And when I feel, fair creature of an hour,

AUTOESCUELA CIUDAD JARDÍN - Sácate el Carnet por sólo 185*

Song, woo’d and Married and A

Descarga gou! y comparte coche por la city ahorrando pasta - www.goucar.es

You might also like