Richard Wilbur’s poem “A Barred Owl” consists of 2 stanzas, of six iambic pentameter lines each in rhymed couplets. Each stanza consists of one sentence. The first stanza consists of several commas, followed by a question mark in a quotation at the end. The second stanza consists of a run-on sentence followed by a period at the end. In the opening line of the first stanza, the “B” in “boom” recalls the “B” in “brought”.
The poem is full of examples of slant rhyme which is spread throughout the poem. The “whisky” and “breath” in line one, and in line ten, “battered” and “knuckle” have the same “uh” sound. The “dizzy” in second line and “easy” in forth line have the “zyy” sound. The poem contains a different forms of figurative language to emphasis put upon the meaning of poem. Roethke is discussing the relationship
Language and Style in the Poem: The poem is made of four quatrains made up of two couplets each and the rhyme scheme for each of these quatrains is AABB. There is a variety in the meter in the poem. Pure use of iambic tetrameter is found in lines 2,4,14, 16. The rest of the lines are variations of the iambic tetrameter in the form of trochaic trimeter and catalexis. The Speaker and the Subject/Focus of the Poem: The recurring use of ‘I’ in the beginning of the lines of the first stanza suggest the speaker’s obsession with himself.
ENG 220 She Walks in Beauty by George Gordon, Lord Byron She Walks in Beauty is a poem written in 1814 by Lord Byron. It is believed Byron wrote the poem after meeting his cousin in black mourning clothes. The poem describes her outer appearance as a symbol of her inner beauty and purity. Poets like Lord Byron use their poetic structures to reflect what the poem’s main concerns are. Poetic form; stanzas and meter, and content; what the poem is about, are always connected and go side by side.
The most common chord structure uses three chords: Chord 1, chord 4 and chord 5. For example: G (I) G (I) G (I) G (I) C (IV) C (IV) G (I) G (I) D (V) C (IV) G (I) G (I) However in all blues minor seventh are added to some of the chords making them sound clashy. This is where blues notes are used. This is the chord sequence for all blues: G7 G7 G7 G7 Gm7 Gm7 G7 G7 D7 # 9 E flat7# 9 D7 #9 G7 G7 Rhythm uses a time signature of 6/4 so that the chord sequence falls into 12 bars. cross rhythms and syncopation are features of the rhythm used The first bar is marked swing quavers.
The author uses the poetic device of rhyme at the end of every line. If you start at the beginning the ending to the first line rhymes to the next consecutive line. For example, “gold and hold “, “flower and hour “, and “leaf and grief “are all rhyming pairs. In the second line of the poem the author uses alliteration when repeating to initial consonant sound “ H “ when saying “ her hardest hue “. The rhyme and alliteration in the poem help to set the rhyme scheme of the poem.
The word-setting is syllabic. The second motif “Shall be revealed” has a descending sequence and the word ‘revealed’ is melismatic as it has several notes to each syllable. The third motif “And all flesh shall see it together” has a short descending figure that is repeated twice. The last motif “For the mouth of the lord hath spoken it” has many long notes, which are mostly at the same pitch, this helps to emphasize the words. Texture: The four motifs are often paired together, 1 with 2, and 3 with 4.
Part I: Scansion and Analysis The poem being introduced will be “Love is Not All (Sonnet XXX)” by Edna St. Vincent Millay. The form of this poem is laid out in a sonnet form with four stanzas in an A, B, A, B rhyme scheme till the twelfth line ending with a couplet. One strange thing is the meter is strangely inconsistent as well as consistent, there are six lines that are flowing smoothly with ten syllables then it goes into six lines of eleven syllables that is split in half by a ten syllable line and ends in one as well. Millay also follows a conventional grammar style for sonnets', each letter on the first line starts off capitalized. While her punctuation breaks off each statement individually; her first break off is at line two stating
The highly structured villanelle is a nineteen-line poem with two repeating rhymes and two refrains. The form is made up of five tercets followed by a quatrain. The first and third lines of the opening tercet are repeated alternately in the last lines of the succeeding stanzas; then in the final stanza, the refrain serves as the poem's two concluding lines. Using capitals for the refrains and lowercase letters for the rhymes, the form could be expressed as: A1 b A2 / a b A1 / a b A2 / a b A1 / a b A2 / a b A1 A2. Strange as it may seem for a poem with such a rigid rhyme scheme, the villanelle did not start off as a fixed form.
The two poems that are going to be compared in this essay are ‘To His Coy Mistress” and “In Paris With You”. Each line in ‘Coy Mistress’ has 8 syllables which shows an iambic tetrameter. ‘IPWY’ doesn’t have an iambic anything as on every line there is a different amount of syllables. The rhyme scheme in the two poems are different to each other as in ‘IPWY’, the rhyme scheme is ABCCB and also features internal rhyme, “earful” “two” “wounded” “maroonded” “you”. These words are the last words of each line of the first stanza.