Metrical Patterns In Mariana By Tennyson

The themes of loneliness, exile and escape from reality are important aspects that characterize the works of Alfred Lord Tennyson. During the 1800s, these aspects differentiated him from other Victorian poets, distinguishing him as one of the most popular poets of the Victorian era. In Tennyson's poems Mariana, and The Lady of Shalott, the artists express loneliness in their isolation from the rest of the world. The following essay will compare and contrast the displays of temporary and permanent loneliness of these artists through Tennyson's use of imagery, repetition, and word painting.

Through the use of punctuation (or lack thereof), repetition, and rhyme scheme, John Clare 's first stanza of “I Am” expresses the speaker 's distorted sense of self and vast understanding of his morose existence. The following stanza has been chosen as the analysis point for this paper:

The poet uses many metaphors, repetition and morbid diction to illicit the response I had to this poem. Firstly, Butson compared the emotions and internal struggles of a

In this essay, I will argue Catalina de Erauso’s experiences in Peru both confirm and challenge the expectations placed on masculine and feminine honor in early colonial Spanish America. For women to be considered honorable in colonial Spanish America, they either became nuns or they married and became women of families. (Milstead Lecture, 10/26/17) This meant they either devoted themselves and their virginities to the church and God or they devoted themselves to their husbands and children. An example of dishonorable women in colonial times were prostitutes. In the book Lieutenant Nun, de Erauso finishes her story with a threat to the harlots she encounters on the streets of Naples. “… and a hundred gashes with this blade to the fool who

Quotation 9: “Ay, sir, but she will none, she gives you thanks./ I would the fool were married to her grave.” (Rom. 3. 5. 144-145) Translation: I did (inform her that we decided she is going to be married). But she is having none of it.

However, the poem has fluidity despite its apparent scarcity of rhyme. After examining the alteration of syllables in each line, a pattern is revealed in this poem concerning darkness. The first nine lines alternate between 8 and 6 syllables. These lines are concerned, as any narrative is, with exposition. These lines set up darkness as an internal conflict to come. The conflict intensifies in lines 10 and 11 as we are bombarded by an explosion of 8 syllables in each line. These lines present the conflict within one's own mind at its most desperate. After this climax, the syllables in the last nine lines resolve the conflict presented. In these lines, Dickinson presents us with an archetypal figure that is faced with a conflict: the “bravest” hero. These lines present the resolution in lines that alternate between 6 and 7 syllables. Just as the syllables decrease, the falling action presents us with a final insight. This insight discusses how darkness is an insurmountable entity that, like the hero, we must face to continue “straight” through “Life” (line 20).

I'm Stephen Burton, a member of the Unitarian Universalist Fellowship of Beaufort. I pulled your address from the Pathfinders and Pathways section of the charlestonuu.org website. I lead the CUUPS group for our Fellowship, called Ancient Sea Island Continuum (ASIC). I am writing you to raise your awareness of a potential trust and safety issue and to ask your assistance on three items.

Complementary to the structure of the poems, the imagery evoked by the passages further exemplifies Wealhtheow’s more restrictive power in comparison with that of the Lady. The image induced of

Manipulation at First Sight The seductive poem “The Flea” by John Donne makes a more effective argument for why the love interest should yield to his affections than the seductive poem “To His Coy Mistress” by Andrew Marvell. Donne’s speaker is more effectively manipulative than Marvell’s, and Marvell’s speaker does not have the command of logic that Donne’s speaker has. The first and most consistent tactic used by Donne’s speaker in “The Flea” is alternating meter.

In these short verses, Plath encloses the concept of life and death—in an alternation between sensory and visual perception—expressing the eternal dilemma that sees in contraposition what is visible through the physical eyes (somehow mechanical) and what can only be perceived at the sensorial level. Hence, the intangible or not visible represents a mere figment of one’s imagination. The scenario portrayed in the first stanza brings to mind that typical feeling of incredulity one perceives when awakening from a vivid dream realizes it was an illusory perception, a mere trick of one’s mind. Moreover, the author expresses the desires to exert a sort of control over the outer world by closing her eyes as if to reject a reality that appears to be overly alienating and constraining. The sense of confinement is also emphasized by the parenthesis of the second refrain, which reinforces the concept of doubt that pervades the narrator’s imaginary world where just torment and obsession lie. Indeed, for its rigid and repetitive formula, the poetic form of the villanelle finds a perfect application in Plath’s work, by recalling a

Because the poem is long, it won’t be quoted extensively here, but it is attached at the end of the paper for ease of reference. Instead, the paper will analyze the poetic elements in the work, stanza by stanza. First, because the poem is being read on-line, it’s not possible to say for certain that each stanza is a particular number of lines long. Each of several versions looks different on the screen; that is, there is no pattern to the number of lines in each stanza. However, the stanzas are more like paragraphs in a letter than

Through close analysis there are signs of hope Mariana instills in us for both her fate and the return of her lover. In the first stanza on line 6, it is described that ‘unlifted was the clinking latch’ emphasizing her hope for his return, and in the second stanza on line 8, when she ‘glanced athwart the glooming flats,’ although the use of ‘glooming’ is a morbid foreshadowing, Mariana watches her surroundings as if she is waiting for a soldier to return from the battlefield and into her open arms. But as Mariana deteriorates and hope fails her, so does the language in the poem. In the sixth stanza between lines 6 and 8, Mariana descends into madness as her house becomes haunted by ‘old faces, glimmer’d thro’ the doors, /old footsteps, trod the upper floors, /old voices call’d her from without.’ The use of past tense with ‘glimmer’d’ and ‘call’d’ signifies that Marianna is still living in the past, as her libido flows backwards. She remembers happier times because she is haunted, and the psychological reversions as well as physical deterioration move in parallel order, creating overwhelming sense of degeneration and loss. In the last stanza, ‘the sparrow’s chirrup on the roof, /the slow clock ticking,’ this first and second line stood out. ‘The sparrow’ is symbolic because it is a sign of impending death, in Christian symbolism the sparrow was seen as offering

“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.”

Tennyson portrays the isolation of women through the reoccurring theme of Romanticism, this is shown through the poet’s constant associations with nature being the centre of the poem. The poet focuses more on the surroundings of the main character as she lives “By the island in the river…And the silent isle embowers The Lady of Shalott.” Tennyson presents the speaker to hide the details of the actual lady, her imprisonment and the curse which leads us to believe she is a mystery as the nature around her seems overpowering and consuming her. Tennyson portrays the lady in the poem to be an embodiment of a typical woman of the contemporary culture as he describes ‘A charmed web’ which the woman is ‘weaving, either night or day’. The ‘web’ can be a symbol of slavery but also a symbol of creativity and possibility. When the woman tries to turn away from the web she refuses to be a slave and ultimately

The form of ‘God’s Grandeur’ is an Italian sonnet, but with some alteration. Even though Hopkins does not use sprung rhythm here, he varies his sonnet structure from the traditional iambic pentameter. Typically, a sonnet contains 3 quatrains (4 lines) and a couplet (2 lines); the Italian sonnet is characterized by having 1 octave (8 lines) and 1 sestet (6 lines). In ‘God’s Grandeur’ a similar pattern is followed, however, Hopkins presents a technique he often employs in other works as well, that of using the octet to present a personal or a sensory experience and the octet in order to provide some reflection on the topic (Gardner 221).