Femininity In Mulan Analysis

The poem is separated into two parts, each with sixteen lines, and is loosely based on an iambic pentameter metre. The rhyme scheme is ABAB throughout the poem, with the noticeable exception of the last four lines of part II, in which it changes to

Then, in the second half of the octave, he alters it with ACCA rather than a repetition of ABBA. In the closing sestet, he abandons any traditional rhyme scheme for the ending of DEFDFE. Over the course of the poem, the tone changes from quietly appreciative to reverent of nature and the focus switches from admiration of the view and its divinity to an appreciation of that same divinity in a young girl by Wordsworth’s side. Wordsworth shifts from “It is a beauteous evening, calm and free,” to “Thy nature is not therefore less divine:” (ll. 1, 11). This shift in tone and focus after the first octave is emphasized by the unpredictable rhyme scheme. The odd rhyme scheme also creates in the reader an understanding that, to Wordsworth, nature is not something that can be contained by any structure or format.

Wordsworth demonstrates his use of tone and syntax in the following stanza, “Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in a sprightly dance.” The tone of the stanza is joyful because he is happy when he talks about how beautiful the daffodils are. This shows how his relationship with nature is positive since he is happy when watching the daffodils. Wordsworth uses traditional syntax in this stanza. He uses several phrases divided by commas to describe the daffodils and their movements. This gives the stanza a playful pace which again expresses that his relationship with nature is happy and

Reflections Within is a non-traditional stanzaic poem made up of five stanzas containing thirty-four lines that do not form a specific metrical pattern. Rather it is supported by its thematic structure. Each of the five stanzas vary in the amount of lines that each contain. The first stanza is a sestet containing six lines. The same can be observed of the second stanza. The third stanza contains eight lines or an octave. Stanzas four and five are oddly in that their number of lines which are five and nine.

Structure is a defining device in poetry; however, readers often overlook its importance. The structure of the poem emphasizes certain aspects of a poem and reveals clues regarding the overall meaning of a piece. In Tony Hoagland’s poem, Special Problems

Wordsworth says that, wandering like a cloud floating above the hill and valleys, he encountered a field of daffodils beside a lake, in the poem. “I wandered lonely as a cloud” A poet could not help but to be happy in such a joyful company of flowers. William stared and watched but did not realize what wealth the scene would bring him. Whenever he feels “vacant” or “pensive” the picture would flash upon “that inward eye / That is the bliss of solitude. : and his heart fills with pleasure, “and dances with the daffodils.” (Wordsworth, I Wandered Lonely as a Cloud). Wordsworth also created songs of innocence such as “Daffodils Song”. The Romantic poets, predominantly Wordsworth and Blake were spellbound by the natural world. The author used pastoral landscapes to evoke joy, to create peaceful scenes that were only darkened by the threat of urbanization and the Industrial Revolution. (William Wordsworth: Artistic Reaction to the Industrial Revolution, Fed 14, 2000)

In this stylistic analysis of the lost baby poem written by Lucille Clifton I will deal mainly with two aspects of stylistic: derivation and parallelism features present in the poem. However I will first give a general interpretation of the poem to link more easily the stylistic features with the meaning of the poem itself.

Throughout “I Wandered Lonely as a Cloud” William Wordsworth shows his relationship with nature through his choice of diction, fantastic descriptions, and shifting mood of his poem. There are also many words and phrases that Wordsworth included into his poem that shows how he feels about nature. These phrases are well written, extremely descriptive, and show how Wordsworth is influenced by the wild: “I wandered lonely as a cloud”, “When all at once I saw a crowd, a host, of golden daffodils", “Continuous as the stars that shine and twinkle on the milky way, they stretched in never-ending line along the margin of a bay: ten thousand saw I at a glance, tossing their heads in sprightly dance”, “The waves beside them danced; but they out-did the sparkling waves in glee”, “I gazed—and gazed—but little thought what wealth the show to me had brought”, and “For oft, when on my couch I lie in vacant or in pensive mood, they flash upon that inward eye [...] and then my heart with pleasure fills, and dances with the daffodils.” Another phrase, which indicates that the flowers were so beautiful that no true poet could be sad in their presence, also builds upon Wordsworth’s relationship with nature. These particular lines in “I Wandered Lonely as a Cloud” show how Wordsworth’s mood shifts from somber and lonely to joyous and content. The lines also show how the gorgeousness of nature sticks with

significance of this section in the poem is the underlying relationship between what the narrater

In Wordsworth’s Preface to Lyrical Ballads, he writes, “I have wished to keep my reader in the company of flesh and blood, persuaded that by so doing I shall interest him” (297). With this assertion, Wordsworth highlights his desire that readers of his poetry respond with sentiment when presented with genuine, unembellished characters. His attempts to prove this claim can be seen in the poems Michael and The Ruined Cottage. Observing how the two poems handle certain rhetorical devices—a frame of narration, personification of nature, meditation on ordinary objects, and Biblical allusion—reveals their intended purpose as promotions of empathy. Discerning the similarities and differences between Michael and The Ruined Cottage allows the moral lessons within Wordsworth’s poetic experimentation to be uncovered.

Wordsworth’s Lyrical Ballads were published in 1789, with no preface as an “advertisement.” Another Lyrical Ballads, this time with two volumes, a preface, and no poetic diction, was published in 1800. In 1802, another Lyrical Ballads was published with two volumes and a preface. Wordsworth’s Elegiac Stanzas are an internalization of epic. Nature, memory and imagination all play a huge role in the poem, as does imagination’s relationship with knowledge. Wordsworth talks about imagination as an absolute ideal, although that is dangerous because it divorces us from the rest of the world.

“The relationship between the energies of the inquiring mind that an intelligent reader brings to the poem and the poem’s refusal to yield a single comprehensive interpretation enacts vividly the everlasting intercourse between the human mind, with its instinct to organise and harmonise, and the baffling powers of the universe about it.”

In "Daffodils", we again see all the features that make this poem fit into the tradition of Romanticism and Romantic Poetry. Wordsworth describes nature and says how beautiful it is and the beauty he sees when he looks at the daffodils. "when all at once I saw a crowd, a host of golden daffodils".

Wordsworth continues to relay his experience in nature as he expounds upon the affiliation between the daffodils and another natural element. Applying simile, the poet connects the flowers to the stars, "Continuous as the stars that shine / And twinkle on the milky way" (7-8). A mental picture of infinite flowers is created, while "shine" and "twinkle" produce an image of light. Wordsworth uses the light imagery to link the two aspects of nature; the luminous stars of the night and "golden" daffodils of the day. The link shows the reader the connection the poet sees in different facets of nature. The second stanza continues the description of the dance "Ten thousand saw I at a glance, / Tossing their heads in sprightly dance" (12). The image created is of large numbers of flowers moving in unison and expresses the harmony the poet finds in nature. The usage of "sprightly" makes another reference to light, but in the sense of movement and weight as "cloud" and "floats" were utilized in the first stanza. Diction in the second stanza provides the reader with a multi-dimensional prospective of Wordsworth's imagery by giving the images action, feeling and weight.

you feel calm and relaxed while you read the poem, as it has nice and