Analysis Of Composed Upon Westminster Bridge

Another technique of emphasis used throughout the poem is the use of imagery. Coleridge personifies the nature around him by comparing it to abstract nouns - the white flowerd Jasmin represents Innocence, the broad-leavd

The poem’s stylistic value comes from its lack of a complete, overbearing structure. Whereas a strict meter would inhibit a poet from fully expressing the breath of their emotions, using the words they feel are best suited to their meaning, the loose, almost free-verse Anglo-Saxon structure allows for the poet

Romantic imagery is depicted from the starting point of the poem in order to demonstrate how the woman’s beauty has blanketed his heart with desire. In order to portray the speaker’s feelings for this woman and show his Romantic ideals, he pours, “She walks in beauty, like the night of cloudless climes and starry skies” (Byron 1-2). The speaker creates a metaphor that captures specific Romantic characteristics, including the idealizing of women, the awe of nature, and the display of passionate feelings. Byron gives a glimpse to the audience on his enthrallment of the woman’s aurora that surrounds her. Beauty essentially engulfs the woman with each step that she takes and causes the author to compare her to a night filled with stars. Her beauty and light from the stars had illuminated the darkness deep within the

She catches your eye, and you can't believe how beautiful she is. As she walks past you, you can't help but take notice of how dark her hair is and how it's the perfect contrast with her light skin. She is not just a beautiful face though she radiates her happiness and innocence with the grace in her walk. In the poem "She Walks in the Beauty" Byron describes his mystery women similar to this. In the first stanza, he compares the women to the night. In the second stanza, he is explaining how the balance of her beauty is "one shade the more, one ray the less" meaning that her beauty is perfectly balanced. The final stanza shows how her beauty reflects her innocence and goodness as a person ("She Walks in Beauty"). Byron is so intrigued by the women that he starts to mix up his senses the line “ Thus mellowed to that tender light” illustrates how Byron is confusing tender and light. Byron is describing the light as tender which would be a synesthesia, because tender is a sense of touch and light is sense of sight. In line eighteen, Byron uses her heart to represent her as a whole person, he says " A heart whose love is innocent!"("She Walks in Beauty"). Byron is using her heart to describe how she is innocent as a person this would be a synecdoche. The rhyme scheme is ABABAB the reason Byron did this was that the poem was originally supposed to be sung ("She Walks in the Beauty Analysis"). The tone of this poem would be how men

Many Romantic poets embrace the concept of self -expression through the use of imagination to convey their personal visions of love and life. The power of emotion is evident in Lord Byron's poems. It can be possible that light can be emitted through the darkness of night. In his poem, "She Walks In Beauty", Lord Byron epitomizes the balance between two opposing forces. The two forces involved are the darkness and the light at work in a woman's beauty both internal and external. Throughout the poem, Byron uses imagery through the visual senses that allows us to observe the symmetry between a woman's beauty and the mixing of the darkness and light.

This poem supposedly was written to praise his cousin Mrs. Wilmot, who was still in mourning and was wearing a black, sequin dress, which contrasted to her youthful beauty. The reason, “The poem uses images of light and darkness interacting to describe the wide spectrum of elements in a beautiful woman’s personality and looks”(“She Walks in Beauty”). The poem was written on June 11, 1814, the same night Byron met her, in iambic tetrameter: “It is written in iambic tetrameter, a style typically used for hymns. This makes perfect sense for the Hebrew Melodies collection was intended to be – literally – a collection of Old Testament-themed melodies” (Hanson). The poem was originally written as lyrics of a song to be included in the Hebrew Melodies Collection (Hanson). This poem is not the typical love poem; instead, “Unlike common love poetry, which makes the claim that its subject is filled with beauty, this poem describes its subject as being possessed by beauty” (“She Walks in Beauty”). This porem describes her internal, external, spiritual, and intellectual beauty. In lines 16,17 Byron describes Lady Wilmot Horton’s internal beauty: “But tell of days in goodness spent, a mind at peace with all below” (Byron 16,17). Because of her goodness and peace of mind, this is exhibited through her external beauty, which he describes her beautiful hair and soft face: “Which waves in every raven

Although these poems have conflicting themes, they mutually share an appreciation of nature, specifically the night. In "She Walks in Beauty," the speaker is associating the qualities of a woman to the qualities of a night sky. This simile is introduced instantly in the first line, "She walks in beauty like the night." By doing so, Byron alludes to the comparisons that occur during the remainder of the poem. This leaves the reader wondering how the woman can compare to the night and forces him/her to continue reading. "So We'll Go No More A-Roving" also has the night play a key visual aspect. Byron begins and ends the poem by speaking of the bright moon.

The style and the language of “London, 1802,” show how Wordsworth extended the range of his emotions critically by learning to control the syntax while changing his verse forms. Unlike “Chicago”, “London, 1802” poem is written in Pentameter system where the writer can break words

Wordsworth says that poetry is pleasure created through rhythmic beauty of feeling. Therefore, he uses the rhythmic beauty of words and describes the feeling of Nature with the sights and sounds of the phenomena. In the lines, "little we see in Nature is ours;", he uses the symbol of sight, as if to say that not only have we lost a connection with Nature, but that we are also limiting our view of the world beyond materialistic concerns. In the third stanza he comments again that he longs for "glimpses that would make me less forlorn; have sight of Proteus rising from the sea".

Imagery is also used in many other parts of the poem. “Like the leaves of the forest when Summer is green/ That host with their banners at sunset were seen:/ Like the leaves of the/ forest when Autumn hath blown,/ That host on the morrow lay withered and strown” (Byron 5-8). This is showing the visual aspects of the imagery, because, everyone can

Most people would argue that there is a constant battle between darkness and light, but in George Gordon, Lord Byron’s poem “She Walks in Beauty,” he explores the possibility that the two can coexist inside of a person. Robert Frost once said, “Poetry is when an emotion has found its thought and the thought has found words.” In this world, everyone just wants to be understood. Poetry can make people feel like they are not alone because someone else was able to bring life to his or her emotions, thoughts, and feelings. People read poetry for many reasons; some read poems to explore or discover the deeper meanings and connections of the world, while others are seeking self-understanding. Generally speaking, poetry is a form of

Byron elaborates on this ideology with the use of “she walks in beauty, like the night,” in order to suggest that the woman who is “walking” in beauty does not struggle to comprehend her appearance, for the beauty that she possesses comes to her through innocence (747). The author furthers this explanation in suggesting that the comparison between the woman and the night clarifies that the essence of “true” beauty is seen even in the darkest of hues. In association with the aforementioned selection, Byron writes “and all that’s best of dark and bright” to connect the representation of the societal views to the author’s belief of “true” beauty being contrasted with the use of the light and dark perceptions of reality (747). Byron continues his exploratory path with starting “a mind at peace with all below,” which emphasizes the concept of a woman who possesses “true” beauty being unable to be swayed by the seemingly facetious interpretations of beauty that the esteemed members of society have labeled the concept (747). The author concludes his remarks with the statement of “where thoughts serenely sweep express,” in order to accommodate the ideology of perception being the main adaptation of what the truth behind the concept of beauty is (747).

Simile is seen at the beginning with the quote, “She walks in beauty, like the night of cloudless climes and starry skies.” In this quote the woman is being compared to a cloudless and starry night probably because her mind is void of any troubling thoughts and the aura around her, or the atmosphere she carries, is twinkling beautifully like a starry sky. Imagery is used at the end of the first stanza in the quote, “Meet in her aspect and her eyes; thus mellow’d to that tender light.” This quote uses imagery when describing the woman’s eyes and complexion as “tender light” where you can feel the softness of the bright light which represents the woman’s physically soft, but happy facial features. Personification is used at the very end of the first stanza in the quote, “Thus mellow’d Which heaven to gaudy day denies.” From this quote I understand that the sun on bright days doesn’t allow the woman’s tender light to shine whereas the nighttime is perfect to witness her tender light. Also, personification is used in the quote, “And on that cheek, and o’er that brow, so soft, so calm, yet eloquent,” which explains how the blush on the woman’s face can act calm and eloquent which portrays the woman as respectable. In addition, personification is used once more in the quote, “The smiles that win, the tints that glow, but tell of days in goodness spent.” I can assume from this quote that the woman’s smiles tell us of all the good she has done throughout her life. Again personification is used in the poem with the quote, “Had half impair’d the nameless grace which waves in every raven tree.” Through this quote I understand that the woman’s indescribable beauty reflects in her gorgeous hair. Lastly, metaphor is used at the end of stanza two with the quote, “How pure, how dear their dwelling-place.” In this quote the speaker compares the woman’s mind to a dwelling-place for her sweet thoughts and

Composing it in a drawn-out procedure of self-investigation, Wordsworth worked his way toward an advanced mental comprehension of his own inclination, and hence more extensively of human instinct. Third, Wordsworth set verse at the focal point of human experience; in energetic talk he articulated verse to be nothing not as much as "the first and lastly learning it is as eternal as the core of man," and he at that point went ahead to make a portion of the best English verse of his

Where Wordsworth focused too on love and nature at first, he then took on more spiritual subjects. Further, if we assume that Wordsworth’s imitation of “The Retreat” was intentional, then Vaughan may have even been a poetic model (in some sense) for Wordsworth later in life. True, Wordsworth is not generally considered a religious poet; he would never have originally considered Vaughan a model because of the latter’s extreme religiosity. Yet if these two poems don’t echo in godly gestures per se, they do in a more spiritual sense—and perhaps Wordsworth, as a man confronted with his own mortality, found Vaughan’s treatise on the spirit’s immortality a sympathetic sentiment. Thus by comparing the two, we also might better understand Wordsworth’s poetic progression.