لو سمحتواااااااااااااااااااا اااااااااااااا انا بعد ابتكفخ لازم بكرة نسلم :(:(
تحليل قصائد Poetry
مرحبا,,, أخباركم
بليز ساعدوني ابي شرح قصيدة The Eagle
وقصيدة The road not taken
وقصيدة The man he killed
ومسرحية عن الضفادع ....
ضروري والله لا دعي لكم
لو سمحتواااااااااااااااااااا اااااااااااااا انا بعد ابتكفخ لازم بكرة نسلم :(:(
الظاهر مسووين لكم رعب كل الناس بتتكفخ :)
The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stoodAnd looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I —
I took the one less traveled by,
And that has made all the difference.
Author Biography
Born in San Francisco, Frost was eleven years old when his father died, and his family relocated to Lawrence, Massachusetts, where his paternal grandparents lived. In 1892, Frost graduated from Lawrence High School and shared valedictorian honors with Elinor White, whom he married three years later. After graduation, Frost briefly attended Dartmouth College, taught at grammar schools, worked at a mill, and served as a newspaper reporter. He published a chapbook of poems at his own expense, and contributed the poem “The Birds Do Thus” to the Independent, a New York magazine. In 1897, Frost entered Harvard University as a special student, but left before completing degree requirements because of a bout with tuberculosis and the birth of his second child. Three years later the Frosts’ eldest child died, an event which led to marital discord and which, some critics believe, Frost later addressed in his poem “Home Burial.”
In 1912, having been unable to interest American publishers in his poems, Frost moved his family to a farm in Buckinghamshire, England, where he wrote prolifically, attempting to perfect his distinct poetic voice. During this time, he met such literary figures as Ezra Pound, an American expatriate poet and champion of innovative literary approaches, and Edward Thomas, a young English poet associated with the Georgian poetry movement then popular in Great Britain. Frost soon published his first book of poetry, A Boy’s Will (1913), which received appreciative reviews. Following the success of the book, Frost relocated to Gloucestershire, England, and directed publication of a second collection, North of Boston (1914). This volume contains several of his most frequently anthologized pieces, including “Mending Wall,” “The Death of the Hired Man,” and “After Apple-Picking.” Shortly after North of Boston was published in Great Britain, the Frost family returned to the United States, settling in Franconia, New Hampshire. The American editions of Frost’s first two volumes won critical acclaim upon publication in the United States, and in 1917 Frost began his affiliations with several American universities as a professor of literature and poet-in-residence. Frost continued to write prolifically over the years and received numerous literary awards as well as honors from the United States government and American universities. He recited his work at the inauguration of President John F. Kennedy in 1961 and represented the United States on several official missions. Though he received great popular acclaim, his critical reputation waned during the latter part of his career. His final three collections received less enthusiastic reviews, yet contain several pieces acknowledged as among his greatest achievements. He died in Boston in 1963.
Poem Summary
Line 1
In this line Frost introduces the elements of his primary metaphor, the diverging roads.
Lines 2-3
Here the speaker expresses his regret at his human limitations, that he must make a choice. Yet, the choice is not easy, since “long I stood” before coming to a decision.
Lines 4-5
He examines the path as best he can, but his vision is limited because the path bends and is covered over. These lines indicate that although the speaker would like to acquire more information, he is prevented from doing so because of the nature of his environment.
Lines 6-8
In these lines, the speaker seems to indicate that the second path is a more attractive choice because no one has taken it lately. However, he seems to feel ambivalent, since he also describes the path as “just as fair” as the first rather than more fair.
Lines 9-12
Although the poet breaks the stanza after line 10, the central idea continues into the third stanza, creating a structural link between these parts of the poem. Here, the speaker states that the paths are “really about the same.” Neither path has been traveled lately. Although he’s searching for a clear logical reason to decide on one path over another, that reason is unavailable.
Lines 13-15
The speaker makes his decision, trying to persuade himself that he will eventually satisfy his desire to travel both paths, but simultaneously admitting that such a hope is unrealistic. Notice the exclamation mark after line 13; such a punctuation mark conveys excitement, but that excitement is quickly undercut by his admission in the following lines.
Lines 16-20
In this stanza, the tone clearly shifts. This is the only stanza which also begins with a new sentence, indicating a stronger break from the previous ideas. The speaker imagines himself in the future, discussing his life. What he suggests, here, though, appears to contradict what he has said earlier. At the end of the poem, in the future, he will claim that the paths were different from each other and that he courageously did not choose the conventional route. Perhaps he will actually believe this in the future; perhaps he only wishes that he could choose “the one less traveled by.”
Themes
Individualism
On the surface, “The Road Not Taken” seems to be encouraging the reader to follow the road “less travelled by” in life, a not-very-subtle metaphor for living life as a loner and choosing independence for its own sake when all other considerations come up equal. There is some evidence that makes this interpretation reasonable. The central situation is that one has to choose one road or the other without compromise — an absolutist situation that resembles the way that moral dilemmas are often phrased. Since there is really no distinction made between the roads except that one has been travelled on more than the other, that would be the only basis on which to make a choice. The tone of this poem is another indicator that an important decision is being made, with careful, deliberate concentration. Since so much is being put into the choice and the less travelled road is the one chosen, it is reasonable for the reader to assume that this is what the message is supposed to be.
The poem’s speaker, though, is not certain that individuality is the right path to take. The less travelled road is said to only “perhaps” have a better claim. Much is made about how slight the differences between the paths are (particularly in lines 9-19), and the speaker expects that when he looks back on this choice with the benefit of increased knowledge, he will sigh. If this is a testament to individuality, it is a pretty flimsy one. This speaker does not celebrate individualism, but accepts it.
Choices and Consequences
The road that forks into two different directions always presents a choice to be made, in life as well as in poetry. The speaker of this poem is not pleased about having to make this choice and says that he would like to travel both roads. This is impossible, of course, if the speaker is going to be “one traveler”: this raises the philosophical question of identity. What the poem implies, but does not state directly, is that the most important factor to consider when making a choice is that the course of action chosen should fit in with the decisions that one has made in the past. This speaker is distressed about being faced with two paths that lead in different directions because the wrong choice will lead to a lack of integrity. If there were no such thing as free will, the problem would not be about which choice to make: the decision would make itself. In the vision of another writer, this is exactly what would happen. Another writer, faced with the same two roads, would know without a second thought which one to follow. The speaker of “The Road Not Taken” is aware of the implications of choosing badly and does not see enough difference between the two roads to make one stand out as the obvious choice. But it is the nature of life that choosing cannot be avoided.
The only way to approach such a dilemma, the poem implies, is to study all of the details until something makes one direction more important than the other. The difference may be small, nearly unnoticeable, but it will be there. In this case, the speaker of the poem considers both sides carefully and is open to anything that can make a difference. From the middle of the first stanza to the end of the third, physical characteristics are examined. For the most part, the roads are found to be the same: “just as fair” in line 6; “really about the same” in line 10; “both ... equally lay” in line 11. The one difference is that one has been overgrown with grass from not being used, and, on that basis, the narrator follows it. There is no indication that this slight distinction is the sign that the speaker was looking for or that he feels that the right choice has been made. On the contrary, the speaker thinks that his choice may look like the wrong decision “ages and ages hence.” It would not be right, therefore, to say that choosing this particular road was the most important thing, but it is the fact that a choice has been made at all “that has made all the difference.”
Style
“The Road Not Taken” is arranged into four stanzas of five lines each. Its rhyme scheme is abaab, which means that the first line in each stanza rhymes with the third and fourth lines, while the second line rhymes with the fifth line.
Most of the lines are written in a loose or interrupted iambic meter. An iambic foot contains two syllables, an unstressed one followed by a stressed one. Because most of the lines contain nine syllables, however, the poem cannot be strictly iambic. Often, the extra syllable will be unstressed and will occur near the caesura, or pause, within the line. The meter can be diagrammed as follows (with the caesura marked //):
Then took / the other, // as just / as fair,
The Eagle
Poem Text
He clasps the crag with crooked hands;
Close to the sun in lonely lands,
Ringed with the azure world, he stands.
The wrinkled sea beneath him crawls:
He watches from his mountain walls, 5
And like a thunderbolt he falls.
Poem Summary
Line 1
The words “clasps,” “crag,” and “crooked” associate the eagle with age: “craggy,” for instance, is still used to describe a lined, age-weathered face. The hard “c” sound that begins each of these words also establishes a hard, sharp tenor to this poem’s tone that fits in with the idea of the eagle’s similarly hard, sharp life. The repetition of first sounds is called alliteration, and Tennyson uses it in this short “fragment” to convey a sense of the eagle’s situation.
If there is any question in the reader’s mind about why we should care to read about the habits of an eagle in the wild, Tennyson settles it at the end of the line, where he uses the poetic technique of personification in talking about the eagle’s “hands.” When Tennyson makes the association of the eagle’s claws with human hands, he lets us know that the story of the eagle is not just a study of an animal in its natural environment, but that, symbolically, he is telling us about human beings. Because of the implications of the descriptions mentioned above, we can assume that the eagle represents an elderly person.
Line 2
The idea that is presented to the reader in the phrase “close to the sun” could be expressed more directly, but in using these words Tennyson accomplishes two goals. First, by bringing the sun in to describe how high up in the air the eagle is, he uses hyperbole, or exaggeration, to associate the eagle with a sense of grand majesty. Tennyson lived during the Enlightenment, a time when scientific curiosity and learning were greatly valued, and as an educated man he would not have believed that an eagle’s altitude could reach anywhere near the sun’s, but this association makes the eagle seem, like the sun, more powerful than anything of this earth. Placing the eagle near the sun also alludes to the myth of Icarus. An allusion is a reference to something else, specifically another literary work, so that readers can use knowledge of that other work to sharpen their understanding. In Greek mythology, Icarus and his father Daedalus escaped from imprisonment on the Isle of Crete by making wings out of wax and feathers and flying away, but Icarus became too ambitious and flew close to the sun; the wax melted, and Icarus fell into the sea and drowned. By placing the winged eagle near the sun, Tennyson seems to be implying that it may be too confident of its own ability, just as Icarus was. This connection is made complete in the last line of the poem, when the eagle falls.
Line 3
The image in this line points backward, to the ancient notion that the sky consisted of a series of spheres that circled the earth, as well as forward to modern science’s understanding of the earth’s atmosphere. The “azure sphere” brings to mind not just a blue (azure) sky reaching from horizon to horizon; it also alludes to a sense of confinement. Being “ringed” traps the eagle, keeps him surrounded, so that, in spite of what line 2 says about the eagle being close to the sun, he is still bound to this earth. If we take into account the fact that this poem, by using words to describe the eagle that are usually used for humans, makes a connection between eagle and human lives, we can assume that Tennyson is telling us something about the human condition in the way the eagle has the power to approach the sun but is held down by the earth. The idea of the majesty of the intellect or spirit being weighed down by the body’s weakness is a common idea in Tennyson’s works.
Line 3 provides a perspective from which the poem is being told. If the eagle were being viewed from above, the background that “rings” him would not be the blue sky but the ground. There is not much revealed about the speaker of the poem, but this detail divulges that the speaker, and by association the reader, “looks up” to the eagle.
Line 4
The two strongest words used to describe the sea, “wrinkled” and “crawls,” reflect the images of old age that were associated with the eagle in line 1. Unlike the eagle, though, the sea is not being shown as proud and strong in its old age, but as decrepit — crawling like a drunkard. Here, Tennyson may be implying that the things of the earth are more vulnerable, more susceptible to decay, than things of the sky like the eagle. Since the perspective in this line is obviously the eagle’s (the sea would only look “wrinkled” from a great height), the poem seems to be implying that it is the eagle, and not necessarily the speaker of the poem, who views the sea as weak. This fits with the myth of Icarus whose thoughts of his own power and importance led him further and further away from the earth.
Line 5
The dominant image in this line is one of a stone barrier: “mountain walls.” Although nesting and perching on the sides of mountains could be seen as simply an accurate description of eagle behavior, a reader has to wonder why Tennyson took the time and space to mention it in this short poem, when so many other eagle behaviors have been left out. The most apparent explanation would be that the poet not only wants to give a fact about eagles’ lifestyles, but that he also wants to mention “walls” for the symbolic associations it brings. The implication is that there is something restraining the eagle, setting a limit to his abilities, the way a stone wall would. Earlier lines indicate a contrast between the glory of flight, height, and the sun and the weakness of the earth, the sea and the eagle’s own body: if there is something holding him back, it is that the eagle, although he can fly, is still a creature of earth.
Line 5 also uses a strangely passive verb to describe the eagle’s action. “He watches.” The reader, naturally, must wonder what he is watching, since watching would have to be focused on a specific thing. What do eagles watch? It is this verb that justifies interpreting the “fall” in the last line as a dive into the sea to pluck a fish from the water, because eagles and animals in general watch mainly for food. In this interpretation the eagle is mighty and supreme through to the end, and is so much a part of the natural world that attacking his prey is described as an act of gravity.
Line 6
Although line 5 raised a question about what was going through the eagle’s mind, what he was watching, just before he fell, the most common interpretation of line 6 is that the eagle really did fall unintentionally, the victim of illness or decay. This is a sudden, shocking end for the strong and proud creature portrayed in the first five lines, but it is not unanticipated in the rest of the poem. Line 2, for instance, alludes to the myth of Icarus, who ended up falling into the sea and drowning. Line 5 ends with a mention of “walls,” which increases the reader’s awareness of this strong creature’s limitations. If Tennyson actually did structure this poem around reversing the reader’s expectations, we can see why he left it “a fragment,” rather than expanding it: the balance between the first five lines and the sixth would have to be exact. If the eagle, the proud bird, can drop dead off of the face of a mountain, Tennyson seems to be warning us that people, no matter what heights they reach, can fall in the end.
Themes
Freedom
The bird soaring in the sky has always been used as an example of freedom from the bonds of gravity, which anchors plants, people, and most animals to the earth. The eagle in this poem is pictured “close to the sun” — another symbol of highflying freedom that is not controlled by the limitations of the earth’s atmosphere. This area of the sky, just inside of and barely contained by the “azure world” of outer space, is what is meant by “lonely lands.” Loneliness implies detachment or a lack of responsibility to any other thing, while referring to the eagle’s perch as a different land once more enforces the idea that it is free of the rules and constraints that govern the lands of the earth.
He is not, however, completely detached: as the poem’s first words put it, the eagle “clasps” onto the side of a mountain. This verb usage implies a sense of desperation. In a poem this short, using so few words, the words that the author chooses to include must be chosen with precision for their broadest implications. Tennyson’s use of the word “wall” suggests more than the simple description of the side of a mountain and can be taken as a reminder of the limitations that a wall usually implies. The eagle is free to roam the skies but is also attached to a stone wall. It hangs on tightly to the wall instead of soaring freely, and when it lets go of its grasp, it does not move freely but falls to earth like a rock. Even if the action at the end is not just the eagle succumbing to gravity but is in fact a dive toward a prey that it has seen, the thunderbolt-like speed of its descent still implies a compulsion beyond its free will.
Flesh Versus Spirit
Readers are not told anything directly about the eagle’s spirit in this poem. It is written from the point of view of an observer down on the ground, who sees the bird high above, with the sky as a backdrop. The eagle’s spirit is implied in the words that were chosen by Tennyson. There is strength implied by the hard k sounds repeated, early on, in the words “clasps,” “crag,” and “crooked.” Other words stir up emotional associations of power in the reader because they are commonly used to describe powerful things. These words, used for their connotative effect, include “clasps,” “sun,” “ringed,” “stands,” “mountain,” and especially “thunderbolt.” All of these images of strength are associated with the eagle, implying that he has a powerful spirit. Readers get a sense that this is a noble creature that reigns over the world beneath him.
On the other hand, there is plenty of evidence that this eagle is old, that its body is weak. In the first line, its claws are called “crooked hands” — this image brings to mind the look of a bird’s claws, but it also implies an old, arthritic human. “Wrinkled” is not used to describe the bird but refers instead to the rippling waves on the sea, but the very mention of age in this poem, which is so brief, reflects on the eagle. The sea is a crucial part of the bird’s environment. It is wrinkled and crawling, establishing a mood of weakness in this poem.
The eagle’s physical weakness is shown most emphatically in the poem’s last word. Tennyson could have chosen a more forceful, proactive word if he meant to show the eagle to be as physically powerful in body as it is in spirit. To say that he “falls” implies that the bird has lost its ability to hold on or to fly. The powerful spirit that is implied by other forceful words in the poem is turned inside-out by this evidence that it is a doddering, weak, incapable, old thing that is not in control of its own body, much less its world.
Permanence
Most of the imagery used in “The Eagle” is used to show things of a lasting, geological scale absorbing the eagle into an unchanging landscape of stone and sky. The crag in line one and the mountain walls in line five are permanent fixtures that will not change within the course of centuries. The eagle’s crooked hand fits into the crag in both an audible sense (“clasp” and “crag” have matching sounds) and in a visual sense. The poem’s use of these images implies that the eagle is just as permanent as the stone wall. The reference to the “azure world” of the sky also implies a sense of permanence, with celestial bodies appearing in the same places overhead consistently each year regardless of what changes are taking place on the earth in the ensuing time. Even the sea, which is constantly in motion, is presented here as unchanging, because the small, always-moving waves are described as stationary wrinkles.
One more clue that subtly makes readers believe that the scene presented here is unchanging is the poem’s strict rhyme scheme. There is a sense of concreteness in the fact that all of the lines are of the same length and that they all end with similar sounds. This poem is built like a block of granite, raising expectations that the same tone that has been established in the first five lines must necessarily be carried on into the last.
By showing the eagle’s environment to be still and unchanging, Tennyson leads readers to view the bird as permanent, an unchanging part of an unchanging setting. In the end, though, he turns expectation on its head and exchanges the stillness for sudden, lightning-fast motion. The last line comes as a surprise because the abrupt, almost violent activity that it describes shatters the poem’s stillness. This abrupt reversal of expectations reminds readers of the ever-changing nature of living things more effectively than the poem could have done had it not reversed directions.
Style
“The Eagle: A Fragment” is written in two stanzas of three lines each and utilizes the iambic-tetrameter form of meter. Iambic meter is structured in units of two syllables where the first syllable is unstressed and the second is stressed. If the stresses are identified, the first line appears as follows:
Heclasps / thecrag / withcrook / edhands;
“Tetrameter” (“tetra” meaning four) indicates that there are four iambic units, or feet, in each line. It should be noted, however, that Tennyson varies the iambic pattern in two places. In both lines 2 and 3, the first two syllables do not form an iamb (an unstressed syllable followed by a stressed syllable), but rather a trochee, meaning that the first syllable is stressed and the second unstressed. After these first two syllables, the lines revert to iambic construction.
The rhyme scheme in the poem is aaa bbb, meaning that the last words in the three lines of the first stanza rhyme with one another and the same is true of the last words in the lines of the second stanza.
Another device employed by Tennyson in “The Eagle: A Fragment” is alliteration, which is the repetition of the first sounds in words. This is most noticeable in the line 1, with the repetition of the hard “c” sound: “clasps,” “crag,” and “crooked.” “Lonely lords” in line 2 and “watches” and “walls” in line 5 also use this technique to heighten the musical sound of the poem.
The Man He Killed
Poem Summary
Lines 1-4
The poem is being set up; the action in the poem has already taken place and the narrator of the poem is ruminating on this action. This is a technique that in contemporary literature would be considered a flashback. He imagines himself near “some old ancient inn,” not a specific inn, but a cozy imaginary place. The diction of the poem (particularly “right many a nipperkin”) suggests that the speaker is not a high brow sort, but a common bloke and this diction is important in establishing the persona of the narrator — an educated philospher he is not. “Nipperkin” is a half-vessel that is filled, in this situation, one suspects, with alcoholic drinks.
Lines 5-6
The speaker locates both himself and the other fellow on a battlefield, a far cry from the ancient inn he imagines in retrospect. The men are not distant from each other, but close enough to look into each other’s faces.
Lines 7-8
These lines are as jarring and sudden as a gunshot. Two people on opposing lines shoot; one is left dead and the other still enjoys the ability to be able to reflect on the actions. This is the plot of the poem and its climax.
Lines 9-10
In these lines there is a justification for the killing and it is a simple justification, without deliberation.
Line 11
The repetition of the concept of “my foe” and the “of course” in this line signify a need for the speaker to convince himself of his justification for the killing. The “Just so:” which prefaces the repetition is similar to the modern phrase: “That’s it; that’s the ticket.”
Line 12
The “although” in this line serves as the pivot point for the following lines, in which the speaker deliberates his justification.
Lines 13-16
In these lines the narrator begins deliberation, speculating about the man he has just killed and beginning to attribute his own motives to the dead man. Remember that in line 7, they shot at each other, and the narrator could just as easily have been the dead man. In fact, he imaginarily becomes the dead man. We as readers know this is a imaginary life he has placed the dead man within, but we learn something about the narrator’s life — that he enlisted (’list) in war because he was out of work, and had sold his “traps” which we can read as “possessions,” not because of a cause he believed in, but as something to do. He did it offhand, without much thought about the possible consequences, including the situation he has just encountered.
Line 17
Now the speaker gives some thought to the condition of war. The word “quaint” is an unusual one to use here. One can think of it as a word which describes antique shops, not a war, but it can also be taken to mean cunning. Still, the explanation point suggests a tone that is not dire but almost ponderingly wonderous and the word “curious,” while suggesting perplexion, does not suggest despair that another speaker in the same situation might have voiced.
Lines 18-20
Here the narrator defines the curious nature of war — you shoot a man, who under other circumstances you would act kindly toward, a man who could possibly become your friend. “Half-a-crown” is roughly about sixty cents, and it is probably not so much that the narrator imagines the fellow as a beggar as it is that he feels that his own character — in a different context — is one which would be willing to do a stranger who needed it, a kindness, and so by the end of the poem he has also arrived at a kind assessment of himself. He has done so with the presumption that his actions are universal, saying, “You shoot a fellow down / You’d treat” in lines 18-19, rather than using the first person as he did in “I shot at him ” in line 7. This movement from individual accountability to universal justification leads the speaker to a distance within himself and perhaps causes the use of the second person when the poet may still be speaking of himself.
Themes
Brotherhood
“The Man He Killed” is written in the form of a dramatic monologue, and when it was first published, Thomas Hardy described the setting he had in mind: “Scene: the settle of the Fox Inn, Stagfoot Lane. Characters: The speaker (a returned soldier) and his friends, natives of the hamlet.” The speaker, back from serving in the Boer War (fought between the British and the Boers from 1899 to 1902 in South Africa), uses the poem both to recount and to try to understand his action of shooting and killing a man. The first stanza is so warm-hearted and lacking in rancor, it belies the fact that he killed the man about whom he is speaking. The speaker talks casually and warmly of the inn, creating a setting that harshly contrasts with the battlefield where he encountered this man. It is apparent that the speaker feels a bond with his victim, because the poem opens with an air of regret: if we had only met in a tavern like this one, we would have had a fine time together and we might have become friends. Unfortunately their encounter was in a completely different setting where they had predetermined roles; their only possible roles were as enemies. It seems the most natural action in the world that infantrymen would shoot at and possibly kill each other.
But while they stood there on the battlefield, “staring face to face,” the speaker had time to notice that the man he was shooting at was probably no different than himself. It is that knowledge that confuses the speaker and makes him struggle to grasp the reason for his act. The obvious reason — “That’s clear enough” — is that the men were enemies. But no matter how he tries to convince himself, he cannot get beyond the word “foe.” He stutters over this explanation that fails to reassure him, and, almost involuntarily, he imagines his victim as a man like himself, who had joined the army without much forethought. They were out of work and needed jobs, “No other reason why.”
The narrator’s main dilemma is that he cannot reconcile two very different situations. On the one hand there is the congenial setting of the inn where men buy each other drinks and loan each other money; on the other is the field of battle where men kill each other. The narrator cannot explain how, in each situation, two men could have such converse relationships. The contrast is all the more poignant because from the very start of the poem, the narrator reveals himself as preferring the inn, although he has committed an act completely antithetical to its spirit.
War
In thinking about his actions on the battlefield, the speaker in “The Man He Killed” must confront the nature of warfare. The voice that speaks is not Hardy’s own; it belongs to a character he created. The protagonist’s artless words and way of speaking as he tries to fathom what happened reflect his simple background and his unsophisticated way of pondering complex issues. He remembers very clearly what happened: “I shot at him and he at me / And killed him in his place.” He only falters when he tries to explain why it happened — that is, why war ultimately is senseless at the personal level. The best he can come up with is a pat answer: because he was my enemy, I killed him. The emptiness of this response is evident by the effort the speaker must make to reassure himself that such reasoning is legitimate: “Just so of course he was; / That’s clear enough.”
Although he is relieved to find an explanation that seems to settle his moral dilemma, doubts continue to nag him. After settling his argument on why he killed the man, the stanza ends with the word “although,” indicating that there is more to be considered. He goes on in the next stanza to imagine how he and his victim are alike. But, perhaps because he is a simple country man, and even though he realizes the man he killed was as human as himself, he cannot see the logical implications. The most he can conclude is “Yes; quaint and curious war is!” as if he were observing some interesting but useless artifact in a museum. After the speaker’s nearly total identification with the dead man, this remark surprises the reader. It appears as though he has set aside his misgivings. But the poem draws its power from the speaker’s hesitation. Ironically, the speaker best expresses Hardy’s views on war by what he omits from his argument. Because he balks at drawing the obvious conclusion, the reader is forced to do it for him and conclude that war is murderous and wrong.
Style
“The Man He Killed” is constructed simply, with short meters, lilting rhythmns, and a colloquial manner of speech. The rhyme scheme also is simple: the first and third lines in each of the five stanzas rhyme, as do the second and fourth lines, but what is interesting about the form of this poem is the intent of the line length. Most lines of the poem are written in trimeter but the third line in every stanza is longer, written in tetrameter. The extended length of these third lines may mimic a deeper dramatic weight given to these lines. The poem is written as a dramatic monologue, a frequent technique of Hardy’s. He creates a voice not his own to speak in his poems, and this is indicated by the quotation marks bracketing the poem.
اكتبي قصيدة الضفادع بالانجليزي مع اسم الشاعر :)
بالتوفيق
ياااااااااااااااااااااااا ااااااحبي لك قسم دعيت لك من قلب الله يريحك ويوفقك ويبعد عنك كل مكروة
الله ياخذ عدوهن هالمصريات والباكستانيات
مسرحية الضفادع استاذة الدراما بس قالت جيبوا لي مسرحية عن الضفادع دبروا اعماركم :(:(
الله يوفقك وييسر امرك
http://www.theatrehistory.com/ancient/bates029.html
http://en.wikipedia.org/wiki/The_Frogs
http://www.enotes.com/frogs-salem/frogs-9560000281
شروحات المسرحية :)
يسلمووووووووووووووووووووو ووووووو حياتي
الرجاء أريد تحليل بعض القصائد و منها the second coming و anyone lived in a pretty how town
The Second Coming
By William Butler Yeats
TURNING and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
http://en.wikipedia.org/wiki/The_Sec...ing_%28poem%29
هنا تستطيع الاستفادة من تعليقات الشعراء الاخرين في تحليلاتهم للقصيدة
http://www.eliteskills.com/c/2322
“The Second Coming”
Summary
The speaker describes a nightmarish scene: the falcon, turning in a widening “gyre” (spiral), cannot hear the falconer; “Things fall apart; the center cannot hold”; anarchy is loosed upon the world; “The blood-dimmed tide is loosed, and everywhere / The ceremony of innocence is drowned.” The best people, the speaker says, lack all conviction, but the worst “are full of passionate intensity.”
Surely, the speaker asserts, the world is near a revelation; “Surely the Second Coming is at hand.” No sooner does he think of “the Second Coming,” then he is troubled by “a vast image of the Spiritus Mundi, or the collective spirit of mankind: somewhere in the desert, a giant sphinx (“A shape with lion body and the head of a man, / A gaze as blank and pitiless as the sun”) is moving, while the shadows of desert birds reel about it. The darkness drops again over the speaker’s sight, but he knows that the sphinx’s twenty centuries of “stony sleep” have been made a nightmare by the motions of “a rocking cradle.” And what “rough beast,” he wonders, “its hour come round at last, / Slouches towards Bethlehem to be born?”
Form
“The Second Coming” is written in a very rough iambic pentameter, but the meter is so loose, and the exceptions so frequent, that it actually seems closer to free verse with frequent heavy stresses. The rhymes are likewise haphazard; apart from the two couplets with which the poem opens, there are only coincidental rhymes in the poem, such as “man” and “sun.”
Commentary
Because of its stunning, violent imagery and terrifying ritualistic language, “The Second Coming” is one of Yeats’s most famous and most anthologized poems; it is also one of the most thematically obscure and difficult to understand. (It is safe to say that very few people who love this poem could paraphrase its meaning to satisfaction.) Structurally, the poem is quite simple—the first stanza describes the conditions present in the world (things falling apart, anarchy, etc.), and the second surmises from those conditions that a monstrous Second Coming is about to take place, not of the Jesus we first knew, but of a new messiah, a “rough beast,” the slouching sphinx rousing itself in the desert and lumbering toward Bethlehem. This brief exposition, though intriguingly blasphemous, is not terribly complicated; but the question of what it should signify to a reader is another story entirely.
Yeats spent years crafting an elaborate, mystical theory of the universe that he described in his book A Vision. This theory issued in part from Yeats’s lifelong fascination with the occult and mystical, and in part from the sense of responsibility Yeats felt to order his experience within a structured belief system. The system is extremely complicated and not of any lasting importance—except for the effect that it had on his poetry, which is of extraordinary lasting importance. The theory of history Yeats articulated in A Vision centers on a diagram made of two conical spirals, one inside the other, so that the widest part of one of the spirals rings around the narrowest part of the other spiral, and vice versa. Yeats believed that this image (he called the spirals “gyres”) captured the contrary motions inherent within the historical process, and he divided each gyre into specific regions that represented particular kinds of historical periods (and could also represent the psychological phases of an individual’s development).
“The Second Coming” was intended by Yeats to describe the current historical moment (the poem appeared in 1921) in terms of these gyres. Yeats believed that the world was on the threshold of an apocalyptic revelation, as history reached the end of the outer gyre (to speak roughly) and began moving along the inner gyre. In his definitive edition of Yeats’s poems, Richard J. Finneran quotes Yeats’s own notes:
The end of an age, which always receives the revelation of the character of the next age, is represented by the coming of one gyre to its place of greatest expansion and of the other to its place of greatest contraction... The revelation [that] approaches will... take its character from the contrary movement of the interior gyre...
In other words, the world’s trajectory along the gyre of science, democracy, and heterogeneity is now coming apart, like the frantically widening flight-path of the falcon that has lost contact with the falconer; the next age will take its character not from the gyre of science, democracy, and speed, but from the contrary inner gyre—which, presumably, opposes mysticism, primal power, and slowness to the science and democracy of the outer gyre. The “rough beast” slouching toward Bethlehem is the symbol of this new age; the speaker’s vision of the rising sphinx is his vision of the character of the new world.
This seems quite silly as philosophy or prophecy (particularly in light of the fact that it has not come true as yet). But as poetry, and understood more broadly than as a simple reiteration of the mystic theory of A Vision, “The Second Coming” is a magnificent statement about the contrary forces at work in history, and about the conflict between the modern world and the ancient world. The poem may not have the thematic relevance of Yeats’s best work, and may not be a poem with which many people can personally identify; but the aesthetic experience of its passionate language is powerful enough to ensure its value and its importance in Yeats’s work as a whole.
anyone lived in a pretty how town
تعليقات وشروحات اعضاء
للاسف لم اجد اي تحليل كامل وشامل
http://www.americanpoems.com/poets/e...11880/comments
يعطيــــــــــكـ العآآفيهـ رينــوو ..
anyone lived in a pretty how town
Modern poetry comes in many flavours. Anything can be considered a proper poem, and
poets are free to write in many differing styles about an infinite variety of subjects. However, that freedom comes with responsibility. Modern poets must make certain that their readers are not abandoned by the poem's form or content. Poetry can be abstract, but it is never allowed to be sloppy. The sheer amount of poetry written this century offers readers many alternatives, and poets must be as vigilant as ever not to alienate readers. Being able to experiment in form while remaining accessible is one of the more difficult balancing acts that modern poets can perform, and when they accomplish a synthesis between form and expression, readers recognize the poem's success.
One Modern poet who is quite successful in this synthesis is E.E. Cummings, who may be considered one of the most experimental poets of the century. Cummings's manipulation of syntax and grammar is extraordinary, and rarely serves to alienate the reader because Cummings pays careful attention to how words function in language. He may use what is commonly considered a "verb" as a proper noun, or may make an adjective a conjunction, but usually the meaning behind the words, and the poem, is quite clear.
He rarely titled his poems, but critics have gotten around this by referring to Cummings's poems by their first lines. "anyone lived in a pretty how town" is an archetype of Cummings' work, and its analysis is an excellent starting point into discovering how language and grammar function in Cummings's poetry.
The plot of "anyone lived in a pretty how town" is simple, but it is in the subtle language choices that this poem succeeds. The story begins with "anyone," which can be considered a proper noun for a specific person here. The term "pretty how town" is analogous with the phrase "pretty soft rug" where "how" is an adjective, and "pretty" is a degree modifier of that adjective. Anyone is a man who is loathed by the "Women and men," or the "someones" and "everyones," of the town, because he is different than they are. Only the children of the town could recognize the love of "Anyone" and "Noone," but even they begin to fear and despise Anyone's individuality as "down they forgot as up they grew." Anyone and Noone are buried side by side, as the townspeople carry on in their mechanized fashion, having learning nothing from Anyone and Noone.
Cummings does not pretend to be ignorant of the ordinary meanings of the words his uses, and instead plays with the confluence of his own invented grammar with standard English usage. He uses "Anyone" as a proper noun, but is aware that this person isn't just anyone , and describes his relationship with Noone by playing with the use of "Anyone," writing that "anyone's any was all to her." Cummings shows us that Noone appreciates Anyone's individuality through this line. His "any" is contrasting with the "some" or "every" of the rest of the town, and it is in this linguistic particularity that Cummings is able to give Anyone a uniqueness. Cummings gives Anyone and Noone an emotional authenticity that the rest of the town don't share, by showing how Anyone "sang his didn't he danced his did" and how Noone "laughed his joy she cried his grief" which contrasts greatly with the confusion of the someones and everyones, who "laughed their cryings and did their dance."
Rhythmically, the poem can be considered to be written in free verse, although there is a certain regularity in the stanzas that refer to Anyone and Noone that does not exist in the stanzas that feature the Someones and Everyones.
The poem lives solely in the past tense until the point as which Anyone and Noone are buried, and then it switches to the present tense for a single stanza, as they "dream their sleep," in the afterlife, which if eternal continues even now, in any foreseeable 'present'.
Cummings handles the passing of time in the poem in three different, yet equally effective ways. The most obvious temporal element in the poem is the use of the seasons, and Cummings inverts the order of the seasons as the poem progresses. The first stanza, which introduces Anyone, presents the seasons in their expected order, "spring summer autumn winter". The third stanza, which mentions the children of the town, changes the order slightly with "autumn winter spring summer," but still keeps things moving in a linear, expected order. The final stanza about the "Women and men" orders the seasons "summer autumn winter spring" and suggests movement through time by keeping the circular order consistent but rearranging which season comes first.
The second manner of suggesting passing time is through the natural phenomena of the "sun moon stars rain," which is used in the second paragraph that talks about the "Women and men." These are re- ordered when the children begin to forget to cherish individuality, by saying "stars rain sun moon," but after Anyone and Noone have died, and the children have grown up to become "Women and men" themselves, the order of the natural phenomena have returned to their original state of "sun moon stars rain."
The third, and slightly confusing passage of time in the poem is the repetition of "with up so floating many bells down" which seems to suggest different symbolic tolling in both instances. In the first stanza, the bells seem to be heralding Anyone's entrance. In the sixth stanza, the bells seem to be tolling both the end of the children's innocence and acceptance, as well as Anyone's death. As the bells only appear after the mention of Anyone, and just before Anyone's death, it seems significant to associate the bells with Anyone.
Capitalization is an important element in Cummings's grammar. Rather than capitalize the first word of every sentence, or every proper name, Cummings seems to have an entirely different use for capitalization in a poem. There are only two instances of capitalization in "anyone lived in a pretty how town." Both instances follow the only two full stops in the poem and capitalizes "Women and men".
The rhythm of the poem is simple and sing-songy. The complex grammar is effective in conveying the meaning of the words, but in attempting to translate the poem to "standard" English, much would be lost. The forth line, for example, would make little sense if re- written with normal grammar. "he sang his didn't he danced his did" has a beauty to it that can't be altered without altering the meaning of the line. One could say "he sang when he failed, he danced when he succeeded" to imply that Anyone possessed a certain joie de vivre in every aspect of life, but that's not exactly what the line is saying.
One aspect of Cummings's style that "anyone lived in a pretty how town" doesn't exemplify is the use of typography and layout. This poem is rather conventional in its layout, and is not representative of Cummings's visual art influence of his written words.
Cummings's work is daunting for a reader who wants poetry to conform to certain grammatical standards, but for those who are willing to stretch the limit of acceptability of words in English, Cummings's work is refreshing and invites us to examine how words function in both communication and art.
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طالبه الانجليزي
تسلم الايادي :)
شكرا جزيلا على المساعدة الكبيرة اللي تقدموها
السلام عليكم ورحمة الله وبركاته
أرجو منكم المساعدة في تحليل قصيدة cherry ripe and a praise of his lady و لكم جزيل الشكر ...
جزاك الله كل خير وبارك الله فيك
ارجو منكم مساعدتي في بحث عن موضوع transcendentalism in the poem sailing to byzantium
Transcendentalism
كتعريف
This article is about the nineteenth-century American movement. For other uses, see Transcendence (disambiguation) and Transcendental (disambiguation).
Transcendentalism was a group of new ideas in literature, religion, culture, and philosophy that emerged in New England in the early to middle 19th century. It is sometimes called American transcendentalism to distinguish it from other uses of the word transcendental. Transcendentalism began as a protest against the general state of culture and society, and in particular, the state of intellectualism at Harvard and the doctrine of the Unitarian church taught at Harvard Divinity School. Among transcendentalists' core beliefs was an ideal spiritual state that 'transcends' the physical and empirical and is only realized through the individual's intuition, rather than through the doctrines of established religions.
شوف هنا أخوي
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The poem Sailing to Byzantium by W.B. Yeats is written in 'Ottava Rima'. It has four stanzas, each made up of eight ten-syllable lines. I think the choice of this metrical scheme is a thematically oriented choice for Yeats. 'Ottava Rima' is a verse form that is Italian in origin and dates back to the heroic age and also has associations with Renaissance. The Renaissance spirit of a recovery of the classical antiquity is at the core of Yeats's poem, which depicts an old poet's journey from the youthfully dizzy Ireland to the transcendental land of classical art and architecture--the mystical world of Byzantium. The basic prosodic structure is Iambic pentameter in 'Ottava Rima' and the lilt of the Iambic rhythm perfectly captures the mood of the transcendental and heavenly journey.
The rhyme-scheme is like a quatrain with alternate lines rhyming in the first 6 lines of all the four stanzas with a couplet to end with. But there are different kinds of rhymes; a lot of imperfect rhymes, half-rhymes, partial rhyme. The rhyme-varieties are uneven and that may well point to the central irony, the underlying difficulty, if not the impossibility of the transcendental process where eternity as in the golden bird has to be an artifice
alsssssooo
Plot and Major Characters
“Sailing to Byzantium” and “Byzantium” are viewed as complementary poems that utilize the rich imagery of the historical city of Byzantium to explore topics such as death, aging, and the transcendence of artistic expression. In “Sailing to Byzantium,” the poet invokes the holy city, which was once the eastern capital of Christianity. He describes it as a city for the young, replete with sensuality and life and unaware of the grim specter of death. The aging poet sails the seas to arrive at the city, where he envisions himself transformed into a golden bird that will sing to the emperor or the citizens of the city from a golden tree. Written four years later, “Byzantium” opens on the image of the impressive dome of Santa Sophia, a monument to faith that rises above the teeming life below. The poet then explores the image of a wrapped mummy, using the wrapping of the corpse to create a “perning” action in which the spinning mummy “unwinds” the intricacy of earthly life. Next, he refers back to the singing bird in “Sailing to Byzantium,” as the poet emphasizes the transcendence of art over mortal existence. “Byzantium” ends by describing dolphins—usually considered as traditional porters of the soul—swimming in to the shore bearing “spirit after spirit” to its purgation.
بحثت كثير عن الاستخدام هذا و هذا اللي حصلت بس
ابغى تحليل theme forsailing to byzantuim وكذلك قصيده piano وخصوصاrhthym and theme
ابغى بعد ساعه ضروري
قصيدة بيانو من تحليلي
http://www.saudienglish.net/vb/showp...9&postcount=20
Sailing to Byzantium (Themes):
http://www.answers.com/topic/sailing...zantium-poem-3
انا ابغى مساعده بعد ممكنابي شرح قصيده the voice by thomas hardy بليزززززززززززززززززززززز زززززززززز بليزززززززززززززززز الله يجزاه الجنه ويحقق له اللي يبي اللي يرد لي وثآآنكـــــــــــــــــــ ــــــــــــــــــس مقدمآآ ..
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