Cap and Bells (Yeats)

The poem, "The Bells," by Edgar Allan Poe, reveals the theme of changing seasons through word choice, symbolism, and poetic elements, like onomatopoeia, alliteration, and metaphors. Each stanza represents a different season with different meanings. The first stanza represents spring; a jolly, happy season. This stanza includes multiple samples of onomatopoeia and words that indicate mood. Lines that indicate this include lines 1, 3, 8, 11, and 14. These lines say, "Hear the sledges with the bells... what a world of merriment their melody foretells... With a crystalline delight... To the tintinnabulation that so musically wells... From the jingling and the tinkling of the bells." The words, "sledges," "merriment," "crystalline delight," and "melody" all mean happiness. The calm and joyful sound of the bells that are "jingling and tinkling" indicates the joyfulness and calmness of the beginning. Spring is a joyful season, with blossoming flowers and being able to enjoy the sun after winter. Then, the second stanza mostly relates to summer, an also happy and enjoyable season. The second stanza represents an also jolly and harmonizing mood. Lines 15, 17, 19, and 35 show characteristics of onomatopoeia and symbolism. The lines show, "Hear the mellow wedding bells... what a world of happiness their harmony foretells... how they ring out their delight... to the rhyming and the chiming of the bells!" This indicates the "mellow wedding bells," an iconic example of symbolism. The wedding bells show a time of happiness, as it's usually a memorable and joyful event for many. Then, the "world of happiness their harmony foretells" and how they "ring out their delight" shows examples of onomatopoeia, which lets the reader realize that it's a harmonizing and peaceful sound. This stanza resembles the season of summer; a time to relax and have memories and fun. Then, as the poem progresses, it reaches a more dark state. The third stanza represents a sad and somewhat scary mood. Examples of alliteration and onomatopoeia are present throughout this stanza, like on paragraph 38, 40, 45, 58-59, and 69 have numerous examples of this. The lines indicate, "What a tale of terror, now, their turbulency tells... how they scream out

The similarities between the poems lie in their abilities to utilize imagery as a means to enhance the concept of the fleeting nature that life ultimately has and to also help further elaborate the speaker’s opinion towards their own situation. In Keats’ poem, dark and imaginative images are used to help match with the speaker’s belief that both love and death arise from fate itself. Here, Keats describes the beauty and mystery of love with images of “shadows” and “huge cloudy symbols of a high romance” to illustrate his belief that love comes from fate, and that he is sad to miss out on such an opportunity when it comes time for his own death.

The use of connotative words in this piece is the foundation of this poem and it provides an idea of what this poem is going to be about. In the first stanza he describes the woman as “lovely in her bones,” showing that her beauty is more than skin deep comparing her virtues to a goddess of “only gods should speak.” In the second stanza, the reader can see and feel the love between the two people. The woman taught him how to "Turn, and Counter-turn, and Stand," showing that she was the teacher in the relationship and taught him things he thought he never needed to know. The speaker shows how when they are together, she was “the sickle” and he was “the rake” showing that this woman taught him what love is.

This stanzas opening “Now I’ve found a quilt I’d like to die under” is a small change in tone but it is not minor in scope. The slight change from a calm nostalgia to more exited nostalgia is very important resulting in a change of diction. The narrator begins to describe the quilt with phrases that contain allusions to her past like “the yellowbrown of Mama’s cheeks”. The change of tones impetus fuels these allusions which attribute to the complex meaning of the century quilt that family is the blanket of life which keeps one safe through the darkness(night). The immense amount of illusions continue on into the third stanza strengthening the complex meaning. Whilst being the longest paragraph the third paragraph is also a hive of hidden meanings with allusions to the future and of what’s to come of the quilt. The most essential part of this paragraph is the use of the word “dreams” and

One of two ways that the author’s use of dashes and unusual capitalization are used to contribute to my understanding of the theme of darkness in the poem is by having a dash after the word “dark” in the very first line of the poem it draws attention to the word, this is shown in the following excerpt “We grow accustomed to the Dark --” this is strengthened when in the second line, when the author chose to capitalize the word “when” before the phrase “…light is put away--” therefore, strengthening the theme of darkness. Another way that the author’s use of dashes and unusual capitalization are used to contribute to my understanding of the theme of darkness in the poem is by capitalizing the words “a” and “moment” they caused a sense of hesitation,

In stanza six, we see the end of visiting hour, and the persona’s loss of control as he is overran with emotion. The phrase, “black figure in her white cave” creates an image of an intruder in her sanctuary. The black and white contrast suggests he is a shadow of his former self and also that he is trying to detach himself. The phrase, “clumsily rises” gives connotations of his state as he is physically affected by his feeling of loss. Furthermore, “swimming waves of a bell” is a metaphor which has connotations of water. This is used to illustrate that he is drowning in the realisation that she is dying. Finally, “fruitless fruits” is an oxymoron used to reinforce that there is no hope or going back, for her.

The poem’s structure as a sonnet allows the speaker’s feelings of distrust and heartache to gradually manifest themselves as the poem’s plot progresses. Each quatrain develops and intensifies the speaker’s misery, giving the reader a deeper insight into his convoluted emotions. In the first quatrain, the speaker advises his former partner to not be surprised when she “see[s] him holding [his] louring head so low” (2). His refusal to look at her not only highlights his unhappiness but also establishes the gloomy tone of the poem. The speaker then uses the second and third quatrains to justify his remoteness; he explains how he feels betrayed by her and reveals how his distrust has led him

My interpretaion of ¨The Bells¨ is about how Poe´s relationship with his wife from marriage to death. To begin with, the bells in the poem seem to represent his life and how he feels. For instance, the first stanza states, ¨What a world of merriment their melody foretells! ¨(3) This shows that the bells in the first stanza is about cheerfulness and it gives off a holiday feeling. This is the begginning of Poeś new relationship with his significant other, which is filled with love and joy. Furthermore, the bells from the second stanza represent when Poe and his wife get married. In stanza two it states, ¨What a world of happiness their harmony foretells!¨ I could assume that he is extemely happy and this is the highest peak in Poeś life because

Imagery plays an imperative role in creating emotional duality throughout the text. The reader is presented to the narrator being called upon by the Queen. When the narrator looks behind, “[the Queen’s] expression, at first quizzical, now turned joyous, showing brilliant white and perfect teeth” (lines 3-4). Verghese’s use of imagery through this line magnificently illustrates the Queen’s enthusiasm to see who she has called upon. At first, the quizzical countenance of the Queen’s face arouses misperception in the reader, questioning why she is puzzled to lay eyes on the narrator, but soon resolved when her expression turns joyous. The joyous mood created through this line is epitomized through the dazzling imagery as she shows her brilliant white and perfect teeth through her smile. Soon after, the narrator ascertains the Queen as Tsige, as he “towered over her…tongue-tied” (line 9). The use of the idiom, tongue-tied illustrates to the reader

The poems, "The Wild Swans at Coole" and "The Great Scarf of Birds," unconsciously play off one another. Yeats and Updike paint similar pictures about similar topics. Although these poems consist of similar subjects, the authors' diction and details are at completely different ends of the poetry spectrum.

“Breaking the surface, shatter an old silence” evokes a sense of commotion as if everything was so silent you could hear a pin drop and all of a sudden there was excitement. This shows that the previous poems she read mean nothing close to what the poems she is reading now. This description provides a distinction between the previous poem she read and this current one. “The lake flowed out again, the swans, the darkening sky”(32-33) shows that there is stuff happening compared to the silence before. The darkening sky causes the girl to lose her doubts further showing how powerful this rush is. The figurative language of describing the swans as having question mark necks shows that the girl may be having allusions as a side effect of how much she is being impacted by the poem. The rush she feels from how interested she is in in poems causes her to lose her morals and her mind for a few moments. The girl is looking at the swans and is thinking about stealing the book “my breath came quickly, thinking it over- I had no money, no one was looking”(39-40). The question mark necks show how truly she was uncertain on what to

In the first stanza Yeats expresses his conflicting loathing and admiration for modernity through the juxtaposition of “vivid faces” and “grey houses”. This represents the possibilities that modernity can bring; the revitalising of the community or the destruction of tradition and age old energy already lost by the modifications in the city. The repetition of the phrase “A terrible beauty is born” in the first and fourth stanzas articulate this inner turmoil revolving around modernity. This oxymoronic declaration is emphasised throughout the text by Yeats’ confusion towards the rebellion and its necessity. The fourth stanza embodies this conflict, removing the previously represented idea that life in pre-rebellion Ireland was a “casual comedy”, alluding to an Elizabethan play where the characters were content. By asking the rhetoric questions “was it needless death” and “O when may [British rule] suffice?” Yeats parallels the unresolved contradiction of “terrible beauty”. However, this sensitive treatment of conflict allows the retainment of ambiguity and can be related to any change within life, hence allowing audiences to superimpose their own beliefs and ideas into the poem. Yeats continues to explore his aversion towards modernism in The Second Coming with the appointment of a new “gyre” standing as the symbol for a new age. The fear of

The poem begins in a manner suggestive of a lover scorned. Yeats talks about how passionate women, which at this point in time is not necessarily a compliment, don’t consider love that is a sure thing worth their time and energy. Essentially it is a poetized version of the “Nice guys finish last” argument, along with the idea that people only desire what

“The man wore motley. He had on a tight-fitting parti-stripped dress, and his head was surmounted by the conical cap and bells.”

The fifth stanza describes the quality that Yeats came to see as at the very heart of civilized life: courtesy. By courtesy he understands a means of being in the world that would protect the best of human dignity, art and emotion. And in his prayer for his daughter he wishes that she will learn to survive with grace and dignity in a world turned horrific. He explains that many men have hopelessly loved beautiful women, and they thought that the women loved them as well but they did not.