Poem Analysis : `` Stop All The Clocks `` Cut Off The Telephone ``

She also presents a slight rhythm to the reading that allows for smooth reading. In keeping with her open form, there is no set scheme to the rhyme pattern. However, there is a single ending sound constantly repeated without a set pattern throughout the work. She also connects pairs of lines at random just for the sake of making connections to make that particular stanza flow. At the same time, she chose blatantly not to rhyme in certain parts to catch the reader’s attention.

The poem also uses end rhyme to add a certain rhythm to the poem as a whole. And the scheme he employs: aabbc, aabd, aabbad. End rhyme, in this poem, serves to effectively pull the reader through to the end of the poem. By pairing it with lines restricted to eight syllables. The narrator creates an almost nursery-rhyme like rhythm. In his third stanza however, his last line, cutting short of eight syllables, stands with an emphatic four syllables. Again, in the last stanza, he utilizes the same technique for the last line of the poem. The narrator’s awareness of rhyme and syllable structure provides the perfect bone structure for his poem’s rhythm.

The first device used by Owen in the poem is without a doubt the title, in which he uses to establish the opposing side of the argument in the poem. The poem is titled, “Dulce et Decorum Est”, which comes from Horace’s Odes, book three, line 13, and translated into English to mean: “It is sweet

W. H. Auden's poem however is quite different. "Musee des Beaux Arts" is written in free verse, meaning that the poem is essentially "free" of meter, regular rhythm, or a rhyme scheme. Like the specific structural considerations of the sonnet form, the seeming lack of structure which free verse offers is purposely employed and works to illuminate the poem's meaning. In Auden's poem, the long irregular lines, subtly enforced by the irregular end rhyme pattern, create a casual, conversational air more prosaic than poetic, and a somewhat nonchalant tone which is reflective of the compassionate world illustrated in Brueghel's art. For example, in Auden's poem there is a subtle rhyme scheme that is throughout the poem. The poem's first line rhymes with the fourth but the fifth rhymes with the seventh. So although there is a rhyme scheme it is a non-traditional. This concept imitates the painting in the way that when looking at the painting you know that Icarus is drowning somewhere, but you do not see him until you really start concentrating on the images painted on the canvas. The casual, easy-going argument the tone suggests is ironic for the

In the first stanza of “Remember”, Rossetti allows the reader to explore the narrator’s thought about death. When she writes “……Gone far away into the silent land;/ When you can no more hold me by the hand….” the narrator believes that death is final because that connection cannot ever be re-established regardless of how much one wants it. The “silent land” and “gone away” are metaphors for death, and when the narrator says that no one will be able to “hold me (her) by the hand”, this symbolises the one thing death takes, the physical presence of the person. Likewise, Auden’s “Stop all of the Clocks”, explores death with imperatives. Auden writes “Stop all the clocks, cut off the telephone,/ Prevent the dog from barking with a juicy bone,/ Silence the pianos and with muffled drum/Bring out the coffin, let the mourners come.” Because the narrator wants life to cease, because with the death of their loved one, there is no purpose in life and it simply cannot (……..) .

Throughout the ages, poetry has played--and continues to play--a significant part in the shaping of a generation. It ranges from passionate sonnets of love to the gruesome realities of life. One such example of harsh realism is Wilfred Owen 's "Dulce et Decorum Est." Owen 's piece breaks the conventions of early 20th Century modernism and idealistic war poetry, vividly depicts the traumatizing experiences of World War I, and employs various poetic devices to further his haunted tone and overall message of war 's cruel truths.

The purpose of war is again in question through the ironic titles evidenced in most of Owen’s poems. In ‘Dulce Et Decorum Est’, the sweet and fitting death is contrasted against the bitter and

William Blake’s “London” and Wilfred Owen’s “Dulce et Decorum Est” appear to have little in common. Although at first they may seem different, they have many hidden similarities. Ultimately, Blake and Owen enhance the overall message presented in their poems by allowing the reader to fully gasp the meaning by connecting them through their senses, the overall consequences of the event, and the importance of the issue.

There were a few similes, such as in stanza 1, line 1 – ‘like old beggars under sacks’ that emphasised the description made. There were several instances of alliteration; one of them in the last stanza, line 3, with the words ‘watch the white eyes writhing’. They all help to stress the meaning and importance of these lines, bringing a vivid picture to mind. We noticed the use of internal rhyme in stanza 2 lines 3 and 4, ‘stumbling/flound’ring’, drawing attention to the description. The rhyme scheme of alternating rhyming end-lines, with 10 syllables per line, gives the poem rhyme, metre, structure and order, making the words flow; making it easier to read, more memorable, and drawing attention to the sounds of the words. There are some disruptions to this, such as the short, sharp, last line, which makes the reader more aware, and places emphasis on, the meaning and importance of those words. We both noticed that stanza 2 appeared to be shorter than verse 1 with a shorter, 2 line stanza following it. I interpreted this as another disruption to the scheme of the poem to place importance on the words of the 2 line stanza. The final verse is longer than the others, again a disruption for effect. It also contains a Latin quote that, at that time, would have been taught in grammar schools, so Owen would have expected his readers to understand the Latin quotation at the

In today’s modern view, poetry has become more than just paragraphs that rhyme at the end of each sentence. If the reader has an open mind and the ability to read in between the lines, they discover more than they have bargained for. Some poems might have stories of suffering or abuse, while others contain happy times and great joy. Regardless of what the poems contains, all poems display an expression. That very moment when the writer begins his mental journey with that pen and paper is where all feelings are let out. As poetry is continues to be written, the reader begins to see patterns within each poem. On the other hand, poems have nothing at all in common with one another. A good example of this is in two poems by a famous writer by

William Owen’s “Dulce et Decorum Est” is a poem of inconsistent threads of an iambic pentameter theme. The poet seems to follow the iambic pentameter theme barely, but the further into the poem he gets, the less like an iambic pentameter the poem becomes. The first stanza/paragraph is eight lines of a consistent ABABCDCD rhyme scheme. After the first stanza/paragraph, the poem begins to fall apart and unravel as the poet becomes more infatuated with the terrors and the revulsions of the war. The second stanza/paragraph contains an ABABCDCD rhyme scheme, but the rhyming becomes more vague and forced as the intensity of the war nightmare increases. The last stanza/paragraph continues the same rhyme scheme, but contains twelve lines of rhymes instead of the typical eight line. The inconsistency of the line count through stanzas in this poem portrays a sense of the overwhelming mindset the poet is experiencing while seeing all of his fellow soldiers and friends gruesomely dying as he fights for his country and his life. The barbarity this man is encountering on the battlefield is messing with his head and is affecting his perception of keeping the poem within the form of a typical iambic pentameter theme.

Conversely, Pope adopts a colloquial, sing-song-like tone in an effort to inaccurately characterize war as simple and effortless. Her application of the word “laddie” throughout her poem The Call communicates the informal and conversational presentation of the topic, for the word is often used in everyday, casual settings. Such a careful choice of language demonstrates her subtle downplay of the seriousness of war, for choosing to converse in such an informal manner when discussing a subject of this magnitude highlights her intention to equate war to the everyday connotation of her word choice. In addition, it allows her to appeal to her audience on a personal level. Rather than merely posing questions to her audience every other line, Pope chooses to address them personally with the inclusion of “my laddie”. Perhaps this intimate acknowledgment contributed to her poem’s success in persuading men to enlist. Likewise, the entirety of The Call exhibits her deliberate illustration of war as a sport or game, specifically in lines such as, “Who longs to charge and shoot” and “Who’s keen on getting fit” (Pope 11,13). These understated comparisons accentuate her sing-song-like tone, for they are consistently followed by rhetorical questions that challenge a reader’s loyalty and commitment. This rhythm Pope develops in The Call results in a forced steady read, much like that of nursery rhymes. Although indistinct, the rhythmic similarities between nursery rhymes and The Call

In his poem, “Dulce Et Decorum Est” poet Wilfred Owen utilizes horrific imagery, angry and disgusted tones, and a contrasting title to engage readers.

Wilfred Owen’s Dulce et Decorum Est is also written in iambic pentameter, however this rhythm is notably disrupted at one main specific point; when the mustard gas is dropped

Again, the author selects a new set of imagery, such as stars, moon, sun, ocean, and wood to remind of the heaven in which the speaker used to live, and then to sweep it off right away. The last statement “For nothing now can ever come to any good” (16) finally reinforces the speaker’s loss and unhappiness. In loneliness, the speaker’s love becomes fiercer and more truthful. It is the fierceness and truthfulness that lead the speaker to the last stair of hopelessness. The end of the poem is also the hopeless end of the speaker’s life because of “nothing …good.”