Tone Of The Prelude

The tone of the poem changes as the poem progresses. The poem begins with energetic language like “full of heroic tales” and “by a mere swing to his shoulder”. The composer also uses hyperboles like “My father began as a god” and “lifted me to heaven”. The use of this positive language indicates to the responder that the composer is longing for those days – he is nostalgic. It also highlights the perspective of a typical child. The language used in the middle of the poem is highly critical of his father: “A foolish small old man”. This highlights the perspective of a typical teenager and signifies that they have generally conflicting views. The language used in the last section of the poem is more loving and emotional than the rest: “...revealing virtues such as honesty, generosity, integrity”. This draws attention to a mature adult’s perspective.

Thus the first part, devoted to the landscape, is richly descriptive, replete with qualifying epithets that, toward the end (in line 75 and in line 81), come in by threes, like beads on a string. In the second part, dealing with the passengers"'" plight, learned, latinate words such as '"'divagation,'"' '"'auditory,'"' '"'hallucination,'"' '"'eternity,'"' and '"'acceptance'"' signal the presence of the narrator-commentator. In the third part—the one reserved for the moose—epithets return. In the climactic twenty-fourth stanza, the most distinctly poetic devices—explicit comparisons—are bestowed on the protagonist: '"'high as a church,/ homely as a house.'"' Moreover, the four additional epithets lavished on the moose contribute to the grandeur of its appearance: '"'towering, antlerless,'"' and '"'grand, otherworldly.'"'

The speaker says, “…older than the flow of human blood in my veins” (Line 1). Blood is only developed when a fetus is being grown, in the Mother, but within the blood lies DNA of their ancestors from past generations. The speaker uses human blood to relate to the fact that our blood is old and connected to our heritage because we carry their DNA inside of us. “I’ve seen its muddy bosom” (Line 9). Muddy, implies a bleak outlook of not being able to see the end. Lose of hope. “Turns all golden in the sunset” (Line 9) the ominous of a sparse future comes to an end with the sunset signifying hope and a new beginning. The association to his ancestors’ bleak past is his what binds their experiences to him.

Part Four: What does this quotation mean? Why is it significant? How does it connect to an emerging theme of the novel? What is the impact of this passage on the reader?

The poem goes from light and optimistic to a more harsh tone when the individual looks away from the telescope and is back in his own world “At night, on a cold hill” (12). This part of the poem emphasizes on the fact that his escape from reality was only temporary and he is once again back in the real world where he continues to face his own personal dilemmas. After the poem tells us that the individual is back in his own reality it goes on to tell us of a revelation the individual experiences: You realize afterward not that the image is false but the relation is false. (14-16) This stanza tells us that the individual’s view of the stars as an escape from reality is one that is unnecessary.

Wordsworth is known for his introspection, often writing about feelings, emotions, mortality, and nature. Wordsworth’s The Prelude is a seminal work and a prime example of the romantic revision of epic tradition. The poem is about the growth of the poet’s mind. It is autobiographical and deals with different periods of Wordsworth’s life, such as his childhood, his time at Cambridge and his residence in France. The poem features Wordsworth reflecting on his experiences and feelings, and the poem acts as a look into how he views himself as a poet. In The Politics of the Epic: Wordsworth, Byron, and the Romantic Redefinition of Heroism, author Paul Cantor contends that despite the use of epic writing, the poem itself is vastly different from the epic. “It is written in an elevated blank verse that often has a Miltonic ring, it contains epic diction and epic similes, and it shows many other signs of Wordsworth 's attempt to work within the established epic tradition. But if one looks at the beginning of the poem, where the epic poet traditionally invokes his Muse, one can see how radically Wordsworth differs from his predecessor” (Cantor, 377). The poem seems to mimic the Miltonic epic in its style and diction. This does not mean, however, that Wordsworth intended to follow the conventions of the epic, as The Prelude breaks several of the conventions of classical epic poetry. For instance, the poem does not deal

The theme of emptiness is seen throughout Thomas’ poems. The wartime poet writes of his memory of livelihood and activity in villages, such as the one described in ‘Aspens’, and then how it begins to disappear as a result of war. This is shown as the village is left with a ‘lightless pane and footless road’ causing the village to appear as ‘empty as sky’ and this simile gives a sense of vastness of the effects of the war, emphasising on the emptiness in the poem. Further, the mention of the ‘cross-roads to a ghostly room’ explicates that the village is so empty that it is leading nowhere. This metaphor is ironic as cross-roads are suggestively open gateways and a sense of choice in direction. However this connotation is altered as Thomas uses the metaphor ‘ghostly room’, to portray the vacant village and this is supported by the cross-roads as they lead to emptiness and isolation. This is also seen in ‘Old Man’ as the paradox ‘only an avenue, dark, nameless, without end’ gives a sense of no lead despite the fact that an avenue should lead somewhere. It is clear here that Thomas’ state of depression is

"I felt a little lost between the blue and white of the sky and the monotony of the colors around me—the sticky black of the tar, the dull black of all the clothes, and the shiny black of the hearse. All of it—the sun, the smell of leather and horse dung from the hearse, the smell of varnish and incense, and my fatigue after a night without sleep—was making it hard for me to see or think straight." –Albert Camus, The Stranger

In “Preludes” the motif of decay, such as ‘newpaper’, reminds the persona of a changing society, where the rapid changes are having an impact on his ability to adapt. The symbolism and juxtaposition of “withered leaves” and “newspapers from vacant lots” emphasises the decaying nature of tradition, compared to the pervasive modern society, because of this Elliot’s difficulties lie within his inability to understand the changing situational environment. This is supported by Montogoner .M “How can one play any reasoned confidence in that “feeling of pastness” which suggests that there is difficulties between the present moment of awareness and past moment of awareness” Implying that decay is omniscient, and its affect on the past have an impact on the way we feel about history and social change. Elliot repeatedly implies this idea throughout the poem, demonstrating his battle with social change. The allusion in “with other masquerades/ That time resumes,/ One thinks of the hands” draws upon the changing societal expectation and the decay of old expectations. In order for Elliot to see the changing world he needed a window, ultimately it was language. This is emphasised by the shorter strophe length of “That time resumes” In comparison to other strophes in the stanza, indicating that change is already happening.The idea of decay prevailing in social change is reflected through the use of visual imagery and personification in “His soul stretched tight across the skies/ The fade behind a city block/ or trampled by insistent feet”, as the “trampled by insisted feet” being tradition, it is seen as being devalued and forgotten show that social change is happening. Elliot’ s acute senses forces him to accept the social change and this is what torments him. Hence, Elliot concludes to a hight extent that

“I sank down the very roots of the mountains” this means that he has hit rock bottom to the lowest point of his life. “Snatched me from the jaws of death” this means that he barely escaped death and survived it by the help of the Lord. “My earnest prayer went out to you “this means I give my truthful prayers and follow you because you are my

In this apocalyptic world there is neither hope nor light. The man’s perception on prospect is shattered by the ash covered setting the novel portrays. From the very start the narrator describes the road as “Nights dark beyond darkness and the days more gray each one than what had gone before.” (2 McCarthy). This cycle that’s taking place in the sky causes the man to become numb to the drive of finding a better tomorrow. The numbness and loss of hope from the man can be seen in the dreams he has in the very beginning of the novel. “In the dream from which he'd wakened he had wandered in a cave where the child led him by the hand. Their light playing over the wet flowstone walls.” (2 McCarthy). The event happening in the dream is an allusion to Plato’s cave allegory, specifically when the prisoners are released from

In “The Prelude”, the tone starts as calm and mellow as he discovers this new boat then takes it out to sea leaving his boat behind. Towards the ending of the poem, however, the tone changes to something that is sad and melancholy. After Wordsworth had seen some kind of unknown entity behind him, he hurried back to the willow tree then afterward returning home. For a few nights after he had came in counter with this entity he persistently kept having

In this essay, I will explore the context, purpose, structure, tone and stylistics features of the extract from p.104 to p.106.

The movement begins quite solidly in C major as the first component of the theme (figure 2), which we will call component A, is a repeating eight note C major chord which hammers the tonic tonality into the listeners’ minds. This component ends with an ascending three-note step-wise motion in the right hand into the dominant of the key, with the second note being a sharpened-F, temporarily tonalicizing the dominant, suggesting the idea to the listeners that the beginning C major chords may instead be serving a subdominant function to G. In measure 3 and 4, the left descends into B, serving as a bridge to the upcoming flat-VII to smooth out the jarring key shift. We will call the right hand motif in measure 3 as component B and the one in measure 4 as component C. All three motifs would come back later as important building blocks of the movement.

Many times throughout The Prelude, and especially in his musings on the imagination and the One Mind in Book VI, Wordsworth contrasts his earlier use of the picturesque with his later use of the sublime, which itself