In order to emphasise Larkin’s outlooks onto time and it’s passing, one can highlight the similarities and differences between Larkin and Abse’s poetry. In ‘Love Songs In Age’, Larkin illustrates the view that time and it’s passing merely leads to many disappointments. The enjambment he uses amongst all three stanzas, “and stood/relearning” in the first and second and “more/the glare” between the second and third; this implies the suggestion that love cannot stop the passing of time and the instances that happen within it, for example the death of the woman’s husband. During the first stanza, Larkin uses imagery to create a memoir of the music sheets that the woman has found, “one marked in circles”, “and coloured”, suggesting that the joy of life, love and happiness isn’t appreciated until age shows what one has missed during their youth. We can then imply from this suggestion that Larkin feels time is only appreciated during the older years of one’s life.
Edgar Allen Poe demonstrates in his written works of “Lenore”, “Annabel Lee”, and “To Helen” an element that seemingly attempts to give the reader exceptional emotional sadness. Poe does this by telling the poem in a point of view where a man tells the story of the death or remembrance of a young love or woman. He also puts a sense of gloom in each of his poems. This allows for the reader to create a mental image if the setting, without him having to directly point it out. As well, the gloominess of his poetry could also be due to his longing effect of sadness that he attempts to express.
‘Sonnet 29’ and ‘First Love’ both meditate upon love, however ‘Sonnet 29’ chooses to reflect on the transience of love and how it leaves you vulnerable, whereas ‘First Love’ cogitates about how love is uncontrollable and everlasting. Both poems are quite pensive but share completely different views. ‘Sonnet 29’ starts with the anaphora of “Pity me not…”. This makes it seem as if the poet, Edna St Vincent Millay, is being defensive as she becomes frustrated and reveals her annoyance, hinting that she may be feeling vulnerable and feeling insecure which links back to the poems theme of love leaving you alone and uncertain. This notion is reflected upon in ‘First Love’, where John Clare uses the oxymoron, “silent voice”.
Discuss ways in which Edward Thomas presents a sense of dissatisfaction in ‘The Glory’. In The Glory Edward Thomas reflects his feelings of emptiness in comparison to the perfect beauty and glory of nature. It reflects his inability to feel happiness and displays his feelings of failure and dissatisfaction which contrast his blissful surroundings. At the start of the poem, the rhyme scheme begins in a structured and regular way, rhyming words such as “dove” and “love” which creates a positive tone. However this soon breaks up as we see the form of the poem reflect its meaning.
A feeling of desolation was presented here when Hurst implied that summer was born with great promise that eventually evanesced without being fulfilled. Another emotion stirred up by the two phrases was a slow passage of time that seemed to go on forever. This was revealed by seasons that had ended without the next one coming. When James Hurst wrote the starting paragraphs of his short stories, he added in death. "Graveyard flowers who spoke softly of the names of the dead," written in "The Scarlet Ibis," hinted that there was a nearby graveyard filled with deadly air.
The past is a recurring theme in Thomas’ poetry. He feared the changes England was undergoing, both physical, as in ‘As the Team’s Head Brass,’ and social, seen in ‘Aspens’. His poetry often celebrates an England that is passing; a theme expressed in ‘Gone, gone again’. The past is the subject of the title and the opening line; the speaker is looks back on his life with feelings of regret and sorrow. Thomas gives the sense that a significant portion of time has passed by quickly with the repetition of the words "gone" and "again“.
Train’s “Drops of Jupiter” is a bitter song about the loss of a loved one could stand alone as a poem. It contains a poetic format, and includes poetic devices such as personification, simile, alliteration, rime, and
Poetry Explication of “The Raven” by Edgar Allen Poe “The Raven” is a poem written about a man who is grieving about his lost lover. He has great difficulty with dealing with her death and the object in the poem that is used continually to remind him of the lack of her presence is that of the raven. Starting with the first stanza, there is indication of in climate weather and it also tells us that the setting is at night. There is an air of uncertainness and a definite dark side to the poem with the uncovering of some great tragedy that has befallen the narrator and he also has a fear of something coming to disturb him at rest. We find more out about what this tragedy that befell him is and we discover that the supposed date of this unfortunate happening occurred in the month of December.
Autumn, in literature, frequently symbolizes the weakening of life. Fall is a melancholy time of dryness and crumbling decay, much like Gatsby when he loses Daisy for a second and final time. Also, when a dream dies, many deaths are sure to follow. Gatsby’s death was foreshadowed when his dream – the American Dream that he clung to for all his young adult life – was shattered. He died along with his hopes.
stoicSonnet 30 tells us that the speaker is a person who has long been disspationate , whose tears have for a long time been unused to flow. In the situation sketched in the poem, he begins by deliberately and habitually making these tears flow again; he willingly--for the sake of an enlivened emotional selfhood--calls up the griefs of the past. In receding order, before the weeping "now", there was the "recent" dry-eyed stoicism; "before that," the frequent be-moanèd moan of repeated grief; "further back in the past," the original loss so often mourned; and "in the remote past", a time of achieved happiness, or at least neutrality, before the loss. This time-line is laid out with respect to various lacks, grievances, and costs, as we track the emotional history of the speaker's responses to losses and sorrows. The initial, habitual "now" of weeping, is at the end surprisingly transformed into a final, actual "now", which resembles the remote happy past when one had love, precious friends, and the full enjoyment of those vanished sights, before sorrow entered, extended itself in mourning moans, and (even worse) hardened the soul into stoicism.