Category: Short Essays

“Mending Wall”: Introduction

            The catchphrase “Good fences make good neighbors” in “Mending Wall” has become associated with Frost, who used it to describe a wall he erected between his orchard and his neighbor’s fields. In the poem “Mending Wall,” Robert Frost consistently emphasizes that there is something opposing the wall both have constructed, whether it be hunters or something else. He articulates this notion with the line, “Something there is that doesn’t love a wall” (Lines 1). While Frost doesn’t outright refute his neighbor’s suggestion, his reflections in “Mending Wall” suggest that walls, especially those between individuals and nations, are established to hinder affection or contact between people and serve no other purpose.

“Mending Wall” and Real Walls”

Walls between nations serve to interrupt contact and create an air of mystery about them among other nations. A prominent example is the Great Wall of China, which stands out. Unlike a singular wall, it is comprised of a collection of short walls scattered over an estimated length of approximately 8,850 kilometers or 5,500 miles. Construction was suggested around 200 BCE during the Qin Dynasty, with the primary goal of keeping Mongol nomads away from China. The wall underwent various additions and modifications during different periods, with the latest occurring during the Ming Dynasty in the 14th to 16th century. Constructed from soil, stones, bricks, and incorporating massive boulders at certain locations, the wall also features fortifications and guard posts at intervals of every four miles. This structure is relevant to Frost, as like the Chinese, his friend also visits him, and they both take walks, as he mentioned.

I let my neighbor know beyond the hill;

 And on a day we meet to walk the line

And set the wall between us once again. (Lines 12-14)

The reason is that Frost is outgoing, but his neighbor believes in the adage “good fences make good friends” (Line 45), a sentiment shared by the Chinese, who historically did not engage in open contacts with other nations (Rosenberg). The Great Wall of China stands as a tangible example, preventing China from fostering intimate relationships with any other country until relatively recently.

“Mending Wall” and “The Berlin Wall”

The Berlin Wall also served a similar purpose, keeping Eastern Berliners and Western Berliners separated for over 28 years. It was a physical division of West Berlin from East Germany, constructed on August 31, 1961. Unlike the gradual construction of the Great Wall of China, the Berlin Wall’s creation was rapid and unexpected, mirroring the surprising nature of its eventual destruction. After World War II, the Aallied powers divided Germany into four zones, and Berlin faced a similar fate. However, as relations between the USSR and other powers deteriorated, Berlin also became a focal point for division. On August 31, 1961, amidst rumors of the USSR potentially annexing East Berlin, soldiers and construction workers entered East Berlin in trucks and jeeps just after midnight. While Berliners slept, they swiftly erected a wall with concrete and bricks, creating a barrier that separated people who had lived together for centuries. Stretching around a hundred miles, the Berlin Wall underwent four phases of repair, evolving from a simple fence to a complete wall (Rosenberg). Many families and relationships were severed, prompting several attempts to breach the wall, echoing Frost’s sentiment when he says, “There where it is, we do not need the wall” (Line 24).

“Mending Wall” and Contemporary Era

In the contemporary era, nations no longer rely on physical walls but rather strict regulations, such as the U.S. immigration system, to control the influx of people and individuals. While the means have shifted from visible walls to invisible barriers of laws, rules, and regulations, the underlying purpose remains the same – preventing people from meeting and getting to know each other. In the United States, immigration issues evoke cultural and economic anxieties among locals, fueled by media portrayals that sometimes depict immigrants as an economic burden (Fix and Jeffery). Although the U.S. immigration policy articulates clear goals of promoting family reunification, cultural diversity, and economic homogeneity, it is divided into legal and illegal sections, creating complexities for individuals. Despite immigrants often contributing significantly to the U.S. economy, Frost sees the issue differently. His questioning, “If I could put a notion in his head: / Why do they make good neighbors?” (Lines 29-30), resonates as true in this context. For Frost, the immigration department becomes the barrier to good neighborly relations, preventing families, even those without proper documentation, from uniting and establishing lasting connections.

“Mending Wall”: Conclusion

Frost’s neighbor’s assertion that “good fences make good friends” (Line 45) holds truth, but it is also evident that excessive walling and fencing can foster a biased approach, diminishing affection, reducing contact, and undermining confidence and trust among the public. This sentiment is portrayed by Frost in “Mending Wall.” The Great Wall of China effectively isolated China from the world for an extended period, and the Berlin Wall kept Berliners separated for over 28 years. Similarly, the U.S. immigration policy forces many neighbors to part ways permanently, severing their connections. However, Frost may overlook the political and contextual nuances that surround each instance of walling and fencing. Each structure serves specific requirements and is influenced by the demands of the time. Even in Frost’s poem, the distinction between walling and fencing implies that the U.S. immigration policy, while creating barriers, may not be as severe as the extensive walls erected by Ancient China and the USSR. Frost acknowledges that there are different motivations and timings behind these structures, recognizing that they don’t all carry the same implications.

“Mending Wall”: Works Cited

1. Fix, Michael E.&  Jeffrey S. Passel. “Immigration and Immigrants: Setting the Record Straight.” 2013. Urban Institute. 16 July 2013  <http://www.urban.org/publications/305184.html>. Accessed 16 July 2023.
2. Frost, Robert. “Mending Wall.” 18 July 2007. n. d.Writing. <http://writing.upenn.edu/~afilreis/88/frost-mending.html>. Accessed 16 July 2023.
3. Lentricchia, Frank. “Robert Frost: A Critical Analysis of “Mending Wall”. 28 September 2009. 16 July 2013 <http://studentacademichelp.blogspot.com/2009/09/robert-frost-critical-analysis-of.html>. Accessed 16 July 2023.
4. Rosenberg, Matt. “The Great Wall of China.” n.d. Geography. <http://geography.about.com/od/specificplacesofinterest/a/greatwall.htm>. Accessed 16 July 2023.
5. Rosenberg, Jennifer. “The Rise and Fall of The Berlin Wall (2).” n.d. History 1900. <http://history1900s.about.com/od/coldwa1/a/berlinwall_2.htm>. Accessed 16 July 2023.

“Mending Wall”: Relevant Questions

1. Comparative Analysis: How do the themes and symbolism in Robert Frost’s “Mending Wall” resonate with the construction and implications of the real walls such as the Berlin Wall and the Great Wall of China?
2. Social and Political Impact: In what ways did the physical walls like the Berlin Wall and the Great Wall of China influence social dynamics and relationships, and how does this align with Frost’s exploration of interpersonal boundaries in “Mending Wall”?
3. Evolution of Walls: Considering the Berlin Wall’s relatively recent history in comparison to the ancient Great Wall of China, how has the concept and construction of walls evolved over time, and does Frost’s perspective in “Mending Wall” provide insights into the enduring aspects or changing nature of these structures?

Introduction to “Me and My Song”

“Me and My Song” by Langston Hughes presents a specific beauty. In fact, when it comes to beauty, it seems that it is not limited to symmetry in physical features, color, or makeup. It lies in the order of words, aesthetics, and musicality. And this proves true in the case of African Americans in the United States, for not only do they have their own sense of beauty and aesthetics, but they also have their music. The sense that they belong to Africa, a continent usually associated with black color, makes African Americans sensitive about their cultural heritage and its beauty, as its richness lies deep “As the black earth” (Line 17) and is gentle and kind (Lines 2, 4). The humanity associated with the black color represents the beauty of African American culture as well as their origin. The poem by Langston Hughes, “Me and My Song,” thus, through metaphorical language, aims to prove that the African American community and its homeland, the African continent, have their own life, music, and beauty.

Literary Devices in “Me and My Song”

In “Me and My Song,” Hughes makes it clear that the metaphor of the body leaving Africa refers to the lives of people being smuggled or sold to other continents while remaining African. The distinction arises in the discrimination they face after leaving their homeland, described as a place filled with black people. Hughes’s argument centers on the significance of the color black, specifically that of African Americans. He draws parallels between this color and the gentleness and kindness of night, employing various similes. The term “Body” (Line 7) indicates a life that is “Strong and black” like iron, even in the face of discrimination in the United States. This aspect of his argument, however, is implicit rather than explicit. The similes draw parallels between their bodies and the continent, both representing humanity in general. The beauty of life lies in this color, symbolizing both African Americans and their homeland, Africa. Yet, the color’s connection to African Americans and their lives suggests a unique music and specificity of beauty. This music is embodied in his song, which also pays homage to Africa.

Perspective on Music in “Me and My Song”

Regarding Hughes’s perspective on the music in the song “Me and My Song,” it holds specific significance for both African Americans and their homeland, Africa. Hughes introduces the term “song” in the thirteenth line, emphasizing how it originated in Africa and what it represents. He employs a powerful metaphor, describing it as a “Deep and mellow song” (Line 15). With “deep and mellow,” Hughes suggests that this song is profound and incomprehensible to those not from Africa, emphasizing its origin (Line 14). Additionally, the term “mellow” (Line 14) alludes to the contrast with the harshness and adversity faced by the African American community in the United States and elsewhere. Notably, Hughes subtly addresses the dichotomy of mellowness and harshness, yet his emphasis remains on highlighting the beauty of the song, its African origin, and its inherent lack of discrimination, prejudice, or hatred towards others. While he personifies Africa as the source of the song, associating it with “dark lips” (Line 23), Hughes underscores the beauty and richness emanating from Africa, likening it to his compatriots (Line 26-27). This personal connection is further emphasized when Hughes refers to “My and My / Song” (Line 33-34), reinforcing his association with African Americans. The distinction lies in the unique beauty of Africans and Africa, which differs from the perspectives of those who discriminate based on color, race, or physical features. Hughes subtly communicates his message, celebrating the beauty and richness of the song and its roots while implicitly challenging discriminatory attitudes.

Beauty in “Me and My Song”

The beauty of African Americans extends beyond their color to encompass their song and land. Hughes, in “Me and My Song,” employs similes and personification to emphasize the beauty of African Americans. The initial simile equates the color black with the gentleness and kindness of the night (Lines 2-5). Despite this equation, the portrayal is not soft or weak; instead, it is depicted as strong, likened to iron (Lines 9-10). This introduces the idea that the beauty of the African land and its people goes beyond mere aesthetics, emphasizing their strength. Moving on to the beauty of their “song” (Line 15), Hughes describes it as both deep and soft (Line 15). He highlights its richness (Line 16) and strength (Line 19), linking this strength directly to the song. Hughes suggests that African Americans are not only characterized by gentleness and kindness but also by strength and melodic qualities. The beauty lies in this multifaceted portrayal of both the people and their homeland. As the poem concludes, Hughes completes his argument by linking people and land to various features and elements of nature, ultimately emphasizing the beauty encapsulated in “Me and my / Song” (Line 33-34). The poem begins with a focus on color and concludes with the word “Song” (Line 34), highlighting an underlying theme of beauty derived from the association of people and their attributes with nature. This cyclical structure reinforces the interconnectedness of various elements and the enduring beauty that stems from this connection.

Conclusion of Critique of “Me and My Song”

In concluding the argument of linking African Americans and their black color with night and the earth, Langston Hughes, in “Me and My Song,” aims to convey that African Americans possess the same human features as others. His adept use of metaphors, similes, and personifications, often repeated throughout the poem, showcases his skill in crafting concise and cryptic sentences. Through this literary technique, Hughes emphasizes that beauty lies in the association of human characteristics with nature and the land from which they originate. Hughes’s sense of beauty goes beyond mere gentleness and kindness; he underscores the strength and melodious, musical qualities inherent in both the people and the land. The repetition of similar metaphors and similes serves to accentuate this multifaceted beauty. By concluding the poem with a focus on himself and the song—his own, that of his people, and his homeland—Hughes underscores the absence of discrimination directed towards them. In essence, Hughes uses his poetic prowess to draw attention to the shared humanity of African Americans, highlighting their unique qualities without succumbing to discriminatory stereotypes. The poem’s repetition and concluding emphasis on the individual and the song underscore the enduring beauty that transcends prejudice and discrimination.

“Me and My Song”: Works Cited

Hughes, Langston, et al. The Collected Works of Langston Hughes: The Poems, 1921-1940. Vol. 1. University of Missouri Press, 2001. Print.

1. How does Langston Hughes employ metaphors, similes, and personifications in “Me and My Song” to convey a sense of special beauty in the association of human features with nature and land?
2. In “Me and My Song,” how does Hughes use the repetition of metaphors and similes to emphasize the multifaceted beauty of African Americans, moving beyond stereotypes and discrimination?
3. What role does the concept of color, particularly the black color, play in Hughes’s depiction of beauty in “Me and My Song,” and how does it contribute to the overall sense of a unique and special beauty associated with African Americans and their homeland?

Introduction: Imagination and Reality in The Odes

In showing imagination and reality in the odes, Keats has surpassed all romantics during the Romanticism — a period during which the focus of attention shifted to the individual as well as nature. Similarly, John Keats’ odes reflect the same focus. The main focus of his odes was to pay attention to an individual character, his/her inner qualities, and the nature around him/her. Imagination played an important role in adding creativity to his odes, in which truth is found and discovered through imagination.

Keats and Imagination and Reality in the Odes

Keats is one of the Romantic poets who belong to their second generation. He highlights the importance of individualism. His second focus is the role of imagination. Since he was a Romantic poet, he has the power of discussing and analyzing individuals through imagination, as if this were his profession. He also supported the use of an active mind, which is being creative and ready to accept new ideas revealed to him. In reality, as a Romantic poet, he has two different angles: one is imagination and the other is reality. Many odes of Keats explain these philosophical concepts plainly especially “Ode on a Grecian Urn” and “Ode to a Nightingale.” Other poems are also related to this phenomenon in on or the other. Yet most of his odes deal with imagination and how imagination works to achieve its ideals. In this imaginative process, the poet is satisfied and happy from the inside as long as he moves far away from reality which shows the interplay of imagination and reality in the odes.

“Ode to a Nightingale” and Imagination and Reality in the Odes

There is a struggle and conflict going on inside the poet between the ideal and reality in “Ode to a Nightingale.” This happens at the beginning of the poem when we see that the bird has been depicted as an ideal figure. He is so fond of the ideal bird that he wants to merge himself into the delight of the nightingale. All these actions were taking place in an imaginative world. This is being done in a “draught of vintage” (Ode to a Nightingale 11), which shows that he wants to get rid of the hard and harsh realities of the world. Thus, the bird symbolizes the escape of the poet from the bitter mundane realities. When someone finds himself a misfit in society and cannot withstand the problems, he tends to take intoxicants. The poet here takes the support of wine to fly higher along with the bird. It is because he wants to go to the ideal world of the bird, the nightingale, that “Singest of summer in full-throated ease” (10). It does not mean that the poet is not cognizant of the realities around him. Rather he has presented the interplay of imagination and reality in the odes.

World of Imagination and Reality in The Odes

It is also that Keats is aware of the fact that he has to face the realities as they are very bitter: “The weariness, the fever, and the fret /Here, where men sit and hear each other groan;” (23-24) and “Where youth grows pale, and specter-thin, and dies;” (26). The poet, hence, wants to face the reality and live his life but he keeps in mind that the nightingale lives an ideal life. From this conflict, the poet comes out with a solution and becomes envious of the nightingale. Hence, he desires to “fade away into the forest dim:” (20). This escape cannot be called a real one but imaginative “But on the viewless wings of Poesy” (34) which means he likes to go to that place. This is the thing that motivates him to crave death to get rid of this world, which is full of suffering: “Now more than ever seems it rich to die” (55). However, the poet suggests that the bird is immortal, and is not supposed to die. The reason, perhaps, is that it has given the poem an imaginative aura and converted this material world into an ideal realm. It has made this world a place where death, grief, pain, and other afflictions do not exist. He is involved in the conflict and struggles to differentiate if it is just a dream or something real. It appears that his inner struggle between imagination and reality in the odes has ended when he comes to realize the transcendence of immortality from mortality and his identification of the delicate boundary between the world of matter and the ideal world. 

“Ode to Grecian Urn” and Imagination and Reality in the Odes

We can find the same feelings and ideas in the other an ode such as the “Ode on a Grecian Urn.” Keats artistically converts his ideals into an artistic shape. The urn, being a fine piece of art, represents the culture of antiquity. The art it depicts and the ancientness it refers to are complete in themselves. The beauty and its consciousness are also marvelous and the poet finds this beauty in the art. It is also eternal and everlasting beauty like an ideal thing “Heard melodies are sweet, but those unheard/ Are sweeter” (Ode on Grecian Urn 11-12). The poet starts the poem with the line “Thou still unravish’ed bride of quietness” (1) in sheer excitement of his discovery. Interestingly, this tone stays the same throughout the poem. “Unravished bride of quietness” (1) has so many connotative meanings and all have transcendental significance, giving eternal life to art and finding refuge in the beauty of that art. Then, in the third stanza, he mentions music, love, and nature in such a way that it looks as if he wants everyone to enter the world of imagination. He remains in this state for some time but soon he comes back and looks the reality, mentioning “burning forehead, and a parching tongue” (30). Soon in the next stanza, he goes back into the realm of idealism and merges himself into the realm of ideals and art. Then we see that his attitude toward art declines and an element of reality peeps into it. It appears that the poet might be losing some interest because of its transitory nature.  The aura he has created around himself vanishes for some time, and it loses its value. This state persists till the ending stanza where the situation reaches its highest point. Here he returns to reality and says that it was the urn which has taken him away from the real world to the immortal and imaginative world. The piece of art says,” Beauty is truth, truth beauty – that is all/ Ye know on earth, and all ye need to know” (49-50). This is the culmination of imagination and reality in the odes.

Idealism and Imagination and Reality in the Odes

There is a conflict of imagination, idealism and reality in the poet’s mind. This conflict is clearly evident and predominant in the two odes. It does not mean that other odes deviate from the poet’s conflict and struggle. For instance, there is a brief poem “Fancy” which starts with “Ever let the Fancy roam /Pleasure never is at home” (Fancy 1-2) tells the similar thing that the poet takes pleasure in the romantic world and not the real world. The same tone continues in the other ode “Ode: ‘Bards of Passion and of Mirth’ “where he talks about two late poets and praises them from his romantic world: “Ye have left your souls on earth!”(2) And his praise continues till the last lines when he touches back and then we see that there is a repetition of the first four lines again at the end of the poem.

“Ode to Autumn” and Imagination and Reality in the Odes

Keats’ remarkable “Ode to Autumn” can be cited for the same purpose. Here his conflict emerges between idealism and reality. There are two aspects of autumn too. On the one hand it is largely a “Season of mists and mellow fruitfulness”(1), on the other hand, it has its ripeness too. He then personifies the autumn as if it were a person walking but walking not in reality but in imagination speaking, “Thou watchest the last oozing hours by hours” (To Autumn 22). It indicates autumn has been molded into a life, like character and has been decorated with coloring of imagination. The poet also understands that this season takes away the spring season and later we remember spring and its songs. Though, we enjoy the memories of spring, but we also enjoy the beauty of autumn: “Where are the songs of Spring? Ay, where are they? /Think not of them, thou hast thy music too, “(23-24) is the example of that. The poet in his imagination transcends the outer beauty of spring. In his imaginative eye, he starts visualizing the beauty of autumn, which may not be visible to others. He therefore, puts aside the songs and beauty of spring for some time and takes pleasure in the existing beauty of autumn by declaring “thou hast thy music too” (24).

Conclusion

In this short analysis, it becomes clear that the poet has dealt with imagination and reality in the odes differently. The poet has not confined himself either to imagination or reality but has gone beyond these in sheer his poetic capability. He knows that if he takes too much refuge in imagination, he might not be able to handle the affairs of the world. On the other hand, if he pays too much attention to reality, he will always be crying against its bitterness. Therefore, we find that he has given a different but equal angle to both these concepts. He makes to-and-fro movements. He moves to the world of imagination and then returns to face the reality and in this way, a conflict goes on in his mind regarding which way to go and which side is better. His imagination works as something, which acts to reduce the pain and suffering of this bitter world. Therefore, he takes a flight for some time to get away from the pains and pangs. The poet has been successful in taking refuge in his imagination, but he might not have been successful in his attempt to get rid of suffering while living a real life in the world. Consequently, the poet’s poetical career suggests that the poet’s world of imagination starts its development from “Ode to a Nightingale” and “Ode to a Grecian Urn,” which comes through some other poems such as the longer one, Endymion, and returns to the real world in “Ode to Autumn.” Here, the poet realizes that the autumn season also has also its beauty, music, and glamour. Thus, he thinks this beauty needs to be enjoyed. He is a poet who enjoys beauty during suffering and pain. This quality makes him different and prominent from other Romantic poets.

There is a slight difference in imagination that others think and Keats uses in his poetry. The imagination used by Keats has two major shapes. The first is that the world of poetry is very much before the poet, and it is an artificial world that is removed from reality. It is the world that he imagines instead of reflecting on after experiencing it. This is his romantic fondness for the exotic and unusual that made him bring these exotic elements in his poems and odes. The second shape is that he envisions how human life should be which is different from the stark reality in which he lives which is full of misery, suffering, and pain and these two types of imagination became the foundation of his poetry. It is also that what struck his imagination was what should be called a moment of felicity that is to enjoy the moment you exist whether it is the song of the nightingale or the beauty of the urn or the fruitfulness of the autumn. ‘You must enjoy the present moment’ was the major creed of his imagination. Otherwise, as stated earlier, he was fully aware of the stark realities staring in his face and the world of imagination which was full of luxurious pleasure.

Works Cited

1. Keats, John. “Fancy.” Representative Poetry Online. The University of Toronto., 20 Dec. 2001. Web. Accessed 25 Mar. 2018.
2. Keats, John. John Keats: Selected Poems. London: Penguin Books Limited, 1999.Selected Poems and Letters of Keats. Ed. Sandra Anstey Robert Gittings. Heinemann, 1995.
3. Turley, Richard Marggarf. Keats’s Boyish Imagination. Routledge. 2012. Print

Relevant Questions About Imagination And Reality In The Odes Of John Keats

1. How does Keats’ skillful manipulation of the intersection between imagination and reality in the odes contribute to the overarching themes and messages within his poetry, and what can we learn from this dynamic interplay of imagination and reality in the odes?
2. Within the odes, how does Keats employ the contrast between his dreamlike, imaginative realms and the often harsh truth of the real world to reflect on the human experience and the fleeting nature of beauty, love, and artistic expression, emphasizing the significance of imagination and reality in the odes?
3. Keats frequently uses vivid and sensory descriptions to immerse readers in the imaginative landscapes he crafts, enhancing the exploration of the interplay between the realms of fantasy and truth in his poetry. What lasting impact does this interplay of imagination and reality in the odes have on the reader’s interpretation of these themes?

Introduction: “Holy Thursday”

Although childhood as in “Holy Thursday” is considered angelic in almost every civilization whether it is Grecian, Roman, or Islamic, it has a special association with the figure of Christ and his saints. Not only is it considered innocence par excellent but also considered as a source of innocence emerging from everything that comes in contact with the children. However, “Holy Thursday” by William Blake compares the childhood of the charity-fed children in a way that it starkly contrasts with the old age of their guardians, not only demonstrating their hypocritical and selfish intentions but also uncovering the superficial preaching shibboleths they harbor in their hearts. Although Blake has reserved two stanzas for displaying the innocence of the children through excellent similes, his last stanza, and specifically the last line, exposes the irony of the contrast he wants to show. In fact, this is not a simple contrast between children with their guardians but the contrast between childhood and its innocence to old age and the wisdom achieved with it.  Not only does he highlight this irony in “The Holy Thursday” by showing forced discipline imposed on the children, but he also does it by shedding light on their pure innocence and stressing upon the old age of their guardians in comparison to their innocence.

Discipline in “Holy Thursday”

 Blake takes the clue of forced discipline in “Holy Thursday” from the very first line, showing that the faces of the innocent children are “clean” on this “holiday Thursday” (Blake 1), clearly demonstrating the hidden meaning that it is not done on any other day. As more people would be attending the church on this holy occasion, they would win appreciation for the charity and the preaching they have done to the children. They have taught them discipline in a way that they come to the St. Paul like “Thames waters flow” (4) but yet this discipline imposed on them has not marred their freshness as they are still “flowers of London” (5) where several others like them are roaming in the streets. Though these two techniques rather emphasize their spontaneity, the discipline of the first two lines “walking in two and two, in red and blue and green” (2) is enough to show what has been done to them. This is a clear reference to the wisdom that the guardians of those children have displayed. They have taught them this discipline.

Innocence in “Holy Thursday”

Despite this, as shown in the very first stanza of “Holy Thursday,”, Blake has not kept their innocence in check. He has rather highlighted it further through his comparison with flowers and lambs. Flowers are the symbols of freshness. A person, having committed no sin in his life, often radiates such freshness. The same freshness radiates on the faces of these charity-fed children, who are queuing up to enter the St. Paul under the supervision of these guardians.  This is the radiance of their own which is the only account of their innocence. The innocence is not only coming out from their “innocent faces” (1) but also from their “innocent hands” (8) which has been further reinforced by their comparison to lambs – a specific Christian symbol of innocence. The innocence of Christ is often compared with a lamb. The freshness and innocence further strengthen their image as being angelic and too pure to commit a wrong or sin. When this moves to the next lines where it has been told that their guardians are sitting beneath them, it becomes a stark irony.

Old Age in “Holy Thursday”

The final comparison is with the old age of the guardians. It is not merely old age in comparison to childhood that is paled; rather, it is the comparison of innocence and wisdom. The wisdom lies in “grey bearded beadles” (1) who are walking in front of the children with “wands as white as snow” (2) in their hands. Their ironic motto is to help everyone “lest you drive an angel from your door” (12) and cherish pity to win the favor of God. However, here, the way the children have been made or rather forced to be in discipline is not what they say “cherish pity” (12). Instead of this, it is to show off the people how wise they are, how they are winning the favors of God by making the children sing for Heaven. Despite their best efforts, they are to set “beneath” (11) the children. This is clearly showing that innocence is dearer to God than this wisdom, which is more showy and artificial. The ulterior motives are very much clear from this comparison that the song of the children is harmonious, reaching Heaven, but the “wise guardians of the poor” (12) are sitting beneath them.

Irony in “Holy Thursday”

The main irony in “Holy Thursday” lies in the fact that they are feeding the poor children, while they themselves are feeding on the charity given to the church. However, they teach the people they should not drive the poor away from their door, as they are angels, and they are doing the same by taking care of these children. Their preaching does not tell them that the angels they are advising not to be driven away are living with them. They are taking care of them but still, they are forcing harsh discipline on them, making them become a show for the public just to win the sympathies of the same people for taking care of the orphans and destitute. That is why their age has been paled in comparison to the innocence of the children Blake has emphasized through different literary techniques.

Works Cited

1. Blake, William. “Holy Thursday.” n.d.  Poetry Foundation. Web. Accessed 21 Feb. 2015.

Relevant Questions about “Holy Thursday” by William Blake: An Irony on Wisdom of Age

1. How does William Blake use irony in “Holy Thursday” to comment on the supposed wisdom of age and the treatment of impoverished children during the time the poem was written?
2. What are the symbolic elements in “Holy Thursday” that highlight the innocence and vulnerability of the children as compared to the seemingly wise and benevolent charity of the adult figures in the poem?
3. How does the structure and tone of “Holy Thursday” change from the “Innocence” version of the poem to the “Experience” version, and what does this shift reveal about Blake’s perspective on the societal treatment of children and the elderly?

Introduction to “Hashtag”

The beautiful free verse poem “Hashtag” is written by a Ugandan lady, Davina Kawuma. Although the poem is built on several images from the modern world and has used modern digital terms such as hashtags, it demonstrates the frustration and free thinking of a girl from a middle class family who could not afford to live a rich life. She, however, taunts others who imitate Western way of living. She can only afford to wear “Raglan sleeves, push-up bras, harem/culottes” but at the same time she is determined not to try to do what she cannot to “get rich” (Kawuma 8-9&11). However, the poem conveys specific meanings through the use of a hashtag that she repeats not only by the same term hashtag but also by combining different words. The theme is that modern lifestyle has not only put the life of middle class people topsy-turvy but also given them a sense of imitating and stretching out resources to look rich though it depends on the nature of a person as the poet is resisting this blind imitation to her natural lifestyle.

Modern Life in “Hashtag”

As far as modern lifestyle is concerned, “Hashtag” amply shows this imitation in African girls or people. To imagine that living with headphones, sitting on “skirted sofas” and enjoying sex parties means that the old culture of keeping the stereos is coming to an end (2). The other gadgets such as footsubishis, television, Nokia 1100 and English names are becoming the order of the day. This means that the African middle class is trying to stretch its resources to meet the demands of the approaching Western culture. However, as she also belongs to the middle class, she does not want to imitate this lifestyle. Therefore, she cries out saying “Hash Tag, YouCantThreatenThePoor” which means that she does not want to get rich if it means to leave one’s culture (13).

Class and “Hashtag”

The second point is that leaving one’s class means leaving one’s several things such as lifestyle, things, and even smaller everyday acts that one does. In “Hashtag” She is of the view that if this is done, she may have to get up late, do several things that she does not want, and eat things that she does not like. It may entail riding a bus, or having an off day, and even sacrificing one’s ideals such as body. What else she needs to do is to upload videos or do Youtubing. In modern terms, she means that she would have to do several things that she does not want to do. In this way, bootlegging also takes place though it is just the purchase of DVDs. But the message is only sent through the symbol of a hashtag that she has used at the end of each stanza where she cries out that “TheSystemIsStupid” which means that it has become a lifestyle that everybody is imitating (30).

“Hashtag”: Stanzas

When both parts or stanzas of “Hashtag” are compared, the first one tells that the Western digital lifestyle is taking hold of the African middle class where the pressure is on little middle class girls to adopt this lifestyle or feel depressed. However, the poet does not adopt this lifestyle. Then the second stanza or part responds to the first. She is of the view that she would have to adopt several things and leave several things. This may entail leaving one’s favorite things, body, time, and even traditions and lifestyle. Even if she does not go for this new lifestyle, she cannot live without it because it has become the norm of the day.

Conclusion of “Hashtag”

In short, “Hashtag” is a cry to send a message to the world that though Africa is very much there, it is changing with the digital onslaught of Western world. In the midst of this, a middle class girl feels threatened as she has to leave several things to adopt several other things. “Shall I slaughter a mannequin?” perhaps points to the sacrifice of her body that she does not want to lose. Therefore, the title of the poem conveys a message in broken images and sentences that this onslaught is being felt but this is not changing a lot.

Works Cited: “Hashtag”

1. Kawuma, Davina. “Hashtag.” Ed. Goretti Kyomuhendo. Suubi: African Writers Trust. n. d. Web. Accessed 14 Feb. 2016.

Relevant Questions about “Hashtag” by Davina Kawuma

1. How does Davina Kawuma use modern digital terms and imagery, such as hashtags and references to Western lifestyles, to convey the theme of frustration and resistance to imitating a richer lifestyle in “Hashtag”?
2. What is the significance of the repeated use of the hashtag symbol throughout the poem, and how does it contribute to the overall message and tone of the poem? What does the hashtag “YouCantThreatenThePoor” symbolize in the context of the poem’s themes?
3. In “Hashtag,” how does the poet explore the idea of class and the consequences of leaving one’s class or cultural identity? How does the poem depict the pressures faced by middle-class individuals to adopt a Westernized lifestyle, and what choices does the speaker make in response to these pressures?

Introduction to “Desert Places” and “Stopping by Woods”

Both poems “Desert Places” and “Stopping by Woods” have been written by a popular American poet, Robert Frost, on similar topics of an evening visit and loneliness. However, the treatment of this theme is quite paradoxical in both poems where one is presenting a fearful situation, while the other is presenting an easy-going and comfortable situation. If “Desert Places” presents the scene of snow falling from a different perspective where it has intensified the poet’s fear of loneliness, “Stopping by Woods” presents a similar scene of the evening when snow is falling where the poet is enjoying loneliness. However, the difference creeps in when the loneliness in “Stopping by Woods” seems enticing and alluring but the same in “Desert Places” is frightening and repelling. To treat similar themes in different ways in “Desert Places” and “Stopping by Woods”, Frost uses contradictory images, and diverse literary devices in the same setting to show the objective and subjective self of a lonely individual. However, his use of diction is highly connotative but simple in both poems.

Imagery in “Desert Places” and “Stopping by Woods”

Both poems have used the same images of whiteness and darkness alternatively.  The use of visual imagery in “Desert Places” such as “the ground almost covered in snow” (Desert Places 3 ), then “a few weeds” (4) coupled with the kinesthetic of fast snow falling and the ground almost covered transforms the landscape to a deserted and frightening place. The constant shift of white and dark has made it fearful for the poet to stand alone in the midst of this barren land. However, the same contradictory images of sight, touch, and sounds are almost making the lonely poet feel comfortable in “Stopping by Woods.” The scene is quite clear of “woods fill up with snow” (Stopping by Woods 4) and that too in “The darkest evening of the year” (8) but the sound of “harness bells” (9) does not drive him to think about his loneliness. These same images rather make the same woods full of snow with “easy wind” (12) and “downy flake” (12) making it so much enticing that it seems to him “lovely, dark and deep” (13).

Literary Devices in “Desert Places” and “Stopping by Woods”

The poet has used diverse literary devices and rhyme schemes in both poems “Desert Places” and “Stopping by Woods”. Whereas he uses iambic pentameter such as in “The woods around it have it—it is theirs” (Desert Places 5) in “Desert Places” throughout the poem, he uses iambic tetrameter in “Stopping by Woods” such as “Whose woods these are I think I know” (1). However, both the poems differ in rhyme scheme at the end though both start with the same rhyme scheme in the beginning, which is AABA, but the last two lines of “Stopping by Woods” “And miles to go before I sleep” (15) makes the real difference which turns his objectivity toward the scene clear. Whereas assonance such as “snow, going and almost”, consonance such as “field, covered and around” and alliteration of “f” has accentuated the loneliness in “Desert Places”, the alliteration of “h” in “Stopping by Woods” coupled with its internal rhyme has made the atmosphere quite encouraging and comfortable. The major difference occurs due to the simple metaphorical personification of the horse as “he gives his harness bells a shake” (Stopping by Woods 9) and gives an edge that he is not alone. However, the very title of “Desert Places” is metaphorical that makes the condition of the poet’s loneliness even worse than before.

Setting in “Desert Places” and “Stopping by Woods”

As both poems have almost similar settings of darkness and snow falling, but these settings have made the poet demonstrate his objective or subjective feelings. Whereas “Desert Places” shows his loneliness, and it is further intensified by the realization that everything is lonely, “Stopping by Woods” has the bells of the harness of the horse, which gives the poet a stimulation to enjoy the “woods…lovely, dark and deep” (Stopping by Woods 13). Whereas both the poems have used very simple and straightforward diction, the difference is made by the use of puns used in “Desert Places” on the word “race” which is suggestive of competition as well as generation and transferred epithet of “night falling” shows that night is not falling. However, despite these suggestive use of words and literary devices, the diction of both poems seems quite simple and to the point. It is the last line of “Stopping by Woods” that makes the real difference, as the poet is terrified and scared in “Desert Places” by his loneliness, referring to his subjective self, while the same loneliness is enticing and inviting whereas the objective world is of paramount importance. This makes “Stopping by Woods” excel in themes and the use of words and objectivity.

Conclusion

In short, despite having the same theme in the same setting and by the same first-person speaker, “Desert Places” presents the inner analysis of the loneliness and fear, and terror attached to it which is further intensified in the lonely and barren setting. However, “Stopping by Woods” shows a different perspective of loneliness in the same setting. Here the poet not only wants to enjoy more but also wants to stay, though he has several “promises” to keep and miles to cover before going to sleep. Although Frost has effectively used literary devices and imagery in both poems to intensify the effects of his condition, it is “Stopping by Woods” which surpasses in demonstrating how a load of meanings could be conveyed through simple language, the same event and the same setting.

Works Cited

1. Frost, Robert. “Desert Places.” An Introduction to Fiction, Poetry, Drama and Writing. Ed. Kennedy X. J. & Dana Gioia. 3rd ed. Vol. 10. New York: Pearson Longman, 2007. 822. Print.
2. —————-. “Stopping by Woods on a Snowy Evening.” An Introduction to Fiction, Poetry, Drama, and Writing. Ed. Kennedy X. J. & Dana Gioia. 3rd ed. Vol. 10. New York: Pearson Longman, 2007. 1923. Print.

Relevant Questions of “Desert Places” and “Stopping by Woods”: : Comparison and Contrast

1. How do the themes of isolation and loneliness in “Desert Places” and “Stopping by Woods on a Snowy Evening” differ in their presentation and impact? In what ways do the settings of a desolate winter landscape in one poem and a snowy woods in the other contribute to the portrayal of isolation?
2. Both poems by Robert Frost feature a natural setting, but they convey distinct moods. How do the tone and mood of “Desert Places” and “Stopping by Woods on a Snowy Evening” compare and contrast? How does Frost use imagery and language to evoke these different atmospheres?
3. While both poems touch upon introspection and solitude, how do the speakers’ reactions to these feelings differ in “Desert Places” and “Stopping by Woods”? What do their respective resolutions or realizations reveal about the human experience of solitude and contemplation?

Introduction to “The Eagle” and “Hawk Roosting”

“The Eagle” and “Hawk Roosting” by Tennyson and Hughes respectively present the same theme of power and strength a bird of prey is asserting. However, whereas a third-person observer sees the eagle, the hawk is engaged in describing his power in the form of a dramatic monologue. It is also that whereas “The Eagle” is an epitome of brevity, presenting the setting in figurative language, “Hawk Roosting” presents the hawk’s situation through his own language, which is direct and without a lot of stylistic devices. As compared to the former, the latter has six stanzas, with each stanza having four lines but without a specific metrical pattern. However, the theme of strength and power and its assertion is the central point of both poems. For clarifying the theme of power and strength through the use of language, and style “The Eagle” surpasses “Hawk Roosting”. Yet, both poems, “The Eagle” and “Hawk Roosting”, present birds of prey in different settings, where the former shows an eagle’s power through the eyes of an observer, highlighting his majestic posture, and the latter presents a hawk engaged in a direct monologue, demonstrating his arrogance and megalomania.

Language in “The Eagle” and “Hawk Roosting”

Both poems, “The Eagle” and “Hawk Roosting”, have certain similarities and differences in terms of language. The language in “The Eagle” is highly figurative and condensed. Its phonological and syntactic quality has intensified the theme of power and strength, shedding off worse qualities associated with them such as arrogance and pride. It is because the use of sounds such as /k/ and then assonance coupled with the position of adverbials in the beginning of each line has given a description of a great muscular strength. The use of personification of “crooked hands” and then again “he stands” alleviates his level from that of the brutality of a bird of prey to a majestic bird, having greater strength and power.  The simile of a thunderbolt in the last line demonstrates his speed, which coupled with strength further epitomizes his status. However, the language of “Hawk Roosting” is simple and direct as is used in a monologue. Although Ted Hughes has written it in free verse to bring flow, he has also used other devices such as alliteration of  /k/ sound, then enjambment in lines 6 and 7, but these techniques could not conceal the brutality and bloodthirstiness in his monologue. Also, the use of adverbials and verbs, iambic tetrameter, and strict rhyme scheme of AAAABBB in only two stanzas of “The Eagle” has further shed light on the majestic posture of the eagle. But, the use of free verse, the absence of any regular metrical pattern, and the rhyme scheme have heightened the sense of chaotic presentation of power rather than the order that exists in “The Eagle.”

Bird in “The Eagle” and “Hawk Roosting”

Even in the presentation of the bird, both poems, “The Eagle” and “Hawk Roosting”, different but Tennyson excels. Whereas Hughes has presented his hawk at the top of a tree in the woods, with his eyes closed, Tennyson has given his eagle a better view of the world by placing him very high “Close to the sun in lonely lands” ( The Eagle 2) – a use of a typical hyperbole to increase the majestic nature and sense of his reach. The eagle has a better view from such a height from where he could not only see the whole world but also view the ripples on the sea. His speed is shown as fast as a bolt when he falls to hit on his prey. Presented in a third-person view by an observer, the opinion increases the greatness of the power of the eagle. However, the hawk’s view is limited to woods from where he could only see what flies above the woods and nothing else. Whereas the eagle has a full expense of the sea and “lands” (The Eagle 2) to see and keep a strict watch to fall like a thunderbolt, the hawk has “The convenience of the high trees” (Hawk Roosting 5) which limits his views as compared to the eagle. His limited view has also limited his opinion and so his manners as he says, “My manners are tearing off heads” (Hawk Roosting 16) but as compared to him the view of the eagle is the whole world. Hence, he limits this to his fall and not to tearing bodies or heads. The difference in setting is shown through the difference in the use of power through the difference of view.

Tone in “The Eagle” and “Hawk Roosting”

Like other aspects, poems“The Eagle” and “Hawk Roosting” are also different in tone.  “The Eagle” by Hughes is presented in a third-person tone in a heightened manner. It is presented like a documentary in which the poet sees the bird and describes what he feels about him. This third-person manner of presentation highlights the majestic posture of the eagle how he sits atop the world near the sun, and how he views the world beneath him. However, the hawk is engaged in a monologue, telling his interlocutors where he sits, and what he can do from such a height. His view is limited and the language is direct which suits the narrative of the speaker. The speaker in “Hawk Roosting” is the hawk himself. Therefore, the manner of presentation of the same theme of power and strength but through the lens of different persons sets both poems apart. Whereas the third-person observer highlights grandeur in power, the first-person monolog seems to be a harangue of the megalomaniac bird that sees only himself in the vast expanse of the woods.

Conclusion

In short, both poems “The Eagle” and “Hawk Roosting” present birds of prey, demonstrating their power and strength, but from different perspectives. Whereas the eagle is shown in grandeur and benign power, the hawk has presented himself with his full ferocity and bloodthirstiness. The major difference lies not only in the figurative language but also in style and metrical pattern, where “The Eagle” shows mastery in brevity, and “Hawk Roosting” demonstrates the grip on direct free verse. The language, actually, depends on the speaker, where one is the poet himself, who acts as an observer, whereas in the case of the hawk, Ted Hughes puts his words in the hawk’s mouth to bring flow to the language. The language, the style, the manner of presentation, and above all the presentation have made “The Eagle” excel “Hawk Roosting” in presenting the same bird of prey in a different way. Therefore, it can be said that though terse and brief “The Eagle” is a lot better in every way than “Hawk Roosting.”

Work Cited

1. Hughes, Ted. “Hawk Roosting.” “An Introduction to Fiction, Poetry, Drama and Writing”. Ed. Kennedy X. J. & Dana Gioia. 3rd ed. Vol. 10. New York: Pearson Longman, 2007. 1960. Print.
2. Alfred, Lord Tennyson. “The Eagle”. “An Introduction to Fiction, Poetry, Drama and Writing”. Ed. Kennedy X. J. & Dana Gioia. 3rd ed. Vol. 10. New York: Pearson Longman, 2007. 1851. Print.

Relevant Questions about “The Eagle” and “Hawk Roosting”: Analysis of Power and Strength

1. How do the poets, Alfred Lord Tennyson in “The Eagle” and Ted Hughes in “Hawk Roosting,” use imagery and symbolism to convey the idea of power and strength in their respective poems? What specific words or phrases in “The Eagle” and “Hawk Roosting” contribute to this portrayal of power and strength?
2. In “The Eagle” and “Hawk Roosting,” how do the poets compare and contrast the perspectives of power and strength? While both poems depict birds of prey, do “The Eagle” and “Hawk Roosting” present these qualities in similar or different ways? How does the choice of birds (eagle vs. hawk) impact the portrayal of power and strength in these poems?
3. How do the structural elements of “The Eagle” and “Hawk Roosting,” such as rhyme scheme, meter, and stanza organization, contribute to the overall themes of power and strength in the poems? Do Alfred Lord Tennyson and Ted Hughes use any poetic devices or techniques in “The Eagle” and “Hawk Roosting” to enhance the reader’s understanding of these qualities in the natural world?

Introduction to  “The Manhunt” and “Sonnet 116”

Love is a common theme in “The Manhunt” and “Sonnet 116” by Armitage and Shakespeare respectively. Sonnet 116 is a sequel of two other sonnets and culminates the definition of love Shakespeare started in his love sonnets. Love has been a theme of several poets before him such as John Donne and others of the metaphysical school, but Shakespeare surpassed all with metaphors and similes he uses for love specifically to demonstrate conjugal love. Sonnet 116 truly explains his idea of love that if it changes, it is not love but something else. This feeling has traveled from Shakespeare to modern writers but during this long journey, several things along with expressions, vocabulary, and realization of the facts have changed. Yet, love has stayed the same. “The Manhunt” by Simon Armitage also explores the same theme that Shakespeare has done and both have concluded the same. “The Manhunt” and “Sonnet 116” explores the deeper meanings of the permanence of conjugal love in different contexts.

Love in “The Manhunt” and “Sonnet 116”

Love is permanent and if it is not permanent, it is not love; rather it is just infatuation. Shakespeare is very much clear about it. There is nothing hidden in saying, “

“Love is not love

Which alters when it alteration finds,

Or bends with the remover to remove:”

(Sonnet 116, 2-4).

He clearly states that it is not love but something else that changes or alters with time. It does not accept any impediment whether it is of time or society, or anything else. It is like a tempest that takes with it everything that comes its way and “The poem’s ideal is unwavering faith, and it purports to perform its own ideal” (Gregerson). This permanence of love is the same even in modern times. This permanence lies in conjugal life and not just in just simple marriage. However, this permanence is quite different in the modern poem “The Manhunt” although the couple in it is also married, the man has returned from war and his beloved, Laure, is searching for something from his body or better to say from his soul.  Although she touches everything and reaches from the top to the bottom saying “only then could I picture the scan” (Armitage 16) or “buried deep in his mind” (19) and then finally, she has reached the point that she knows “around which every nerve in his body had tightened and closed” (23-24), a point where she has reached his mind and knows what he is feeling about his injuries. This is the culmination of love that Shakespeare has started that there comes no “impediment” (Sonnet 116  2) and Simon has expressed it in modern terms in “The Manhunt” and “Sonnet 116”.

Conjugal Love in “The Manhunt” and “Sonnet 116”

The context of this conjugal love in both the poems is different in that the first is about the simple conjugal love where there is no impediment or at least the poet says there is no impediment and it does not change. During the time of Shakespeare, love was considered everything. In this Sonnet, he said, “It is the star to every wandering bark,/ Whose worth’s unknown” (7-8), and at the end reaches the point saying that it cannot change nor does it alter. He says, “Love alters not with his brief hours and weeks,/ But bears it out even to the edge of doom”, while this modern love is hurt and broken like the love himself but it is all the same conjugal love where she has “traced the scarring back to its source” (The Manhunt 20) that went back to before “After the first phase” (1) of their married life. She shares the injuries he bore in the war and this is how she reaches his soul at the end – a sign of her undying love that is the same as of Shakespearean in the last of “Sonnet 116.” However, only the contexts are different. However, despite the difference in contexts, permanence in conjugal life is there in both poems.

Conclusion

Summarizing my point, both poets speak about the permanent nature of love that comes with married life in their poems, “The Manhunt” and “Sonnet 116”. Both the poems have supported its permanence through their own way and medium but of course within their own different contexts, but their love is unchanging and unfaltering. It stays the same till the end. However, the difference is that the old love is like the old people – full of sincerity, loyalty, beautiful and smooth but the modern love has become rough and tough like a person who has witnessed the horrors of war and then his beloved discovers it as shown by Simon in his poem. The major point is also of the use of language that has witnessed several variations in reaching from Shakespeare to Simon Armitage and that is very much obvious in the expression of love through similar metaphors and similes.

Works Cited  

1. Armitage, Simon. “The Manhunt (Lauras Poem).” n.d. School Portal. <https://www.school-portal.co.uk/GroupHomepage.asp?GroupId=1000644>. Accessed 02 Dec. 2022.
2. Gregerson, Linda. William Shakespeare Sonnet 116. 27 October 1999. The Atlantic. <http://www.theatlantic.com/past/docs/unbound/poetry/soundings/shakespeare.htm Accessed 02 Dec. 2022.
3. Shakespeare, William. The Complete Works of William Shakespeare: With a Life of the Poet. Ed. George Long Duyckinck. Porter & Coates, 1869.

Relevant Questions about Love in “The Manhunt” and “Sonnet 116”

1. How does the portrayal of love in “The Manhunt” differ from that in “Sonnet 116”? What are the contrasting perspectives on love and its endurance in these two poems, and how do the poets use language and imagery to convey these differences?
2. In “Sonnet 116,” Shakespeare speaks of love as an “ever-fixed mark” and “the star to every wandering bark.” How does this idea of love as a steadfast and guiding force compare to the portrayal of love in “The Manhunt,” where it is described as a “blind panic” and “the damaged, porcelain collar-bone”? What insights do these differing representations offer into the nature of love and its effects?
3. Both poems touch on themes of love’s challenges and resilience. How do the poets explore the idea of love enduring despite obstacles and hardships? What specific examples and imagery do they employ to illustrate the strength of love in the face of adversity, and what messages about love’s power and significance emerge from these explorations?

Read more on Short Essays below:

• “The Eagle” and “Hawk Roosting”: Analysis of Power
•  “Desert Places” and “Stopping by Woods”: Comparison
• “Hashtag”: A Poem by Davina Kawuma
• “Holy Thursday” by William Blake: An Irony on Wisdom
• Imagination and Reality in The Odes of John Keats

Introduction to “The Lamb”

Written by William Blake, a very popular English poet, “The Lamb” is his a representative poem about his thoughts about God and Jesus. He was born on November 28, 1757, during the period when England was going through difficult times. Among seven children of James Blake, Blake was the fifth. He was much attached to his sixth young brother. His younger brother later succumbed to tuberculosis. This affected the young Blake so much that even living in London he used to go out to the countryside to pass his day. His father was a hosier with moderate means. He did not have the power to send his son to some public school, but he had enough to concentrate on his schooling that William Blake skipped. However, his acute mental faculties led him toward spiritualism which he used to describe as trees full of angels to his parents due to which he was sent to Pars’ Drawing school. Later he was sent to learn engraving from James Basire, a famous engraver at that time who made William Blake’s imagination more fertile. William Blake also witnessed the political upheavals and riots in London in 1780 that affected him very much. However, he paid more attention to his poetry than any other preoccupation and soon won acclaim from literary circles. His poem “The Lamb” not only presents his philosophy of the goodness of God’s creatures but also his belief that every creature demonstrates God’s love and care for human beings.

Structure and Theme of “The Lamb”

The beautiful poem “The Lamb” has two stanzas and total 20 lines, each stanza having ten lines. The first and the last two lines are repetitions, while the rest of the six lines are rhymed couplets. The poem presents the philosophy of the innocence of God’s creatures such as the lamb which is also the symbol of Jesus. The speaker, in the poem, is the poet himself who asks, inquiring the lamb, who made him, and asks some other accompanying questions, who gave him life, who fed him, who clothed him, and so on. Then the poet repeats the same two lines at the end of the first stanza, “Little Lamb who made thee / Dost thou know who made thee” (1-2). The first line is the question, while the second line is the inquiry of whether it is the same.  In fact, this first stanza is a direct question to the lamb, whether he knows who has created him and if yes, then he must know that several blessings such as food, clothes, and his tender voice have also been showered by the same power that is God, who he says, “gave thee such a tender voice” (7).  The poet has, in fact, used lamb as his spokesperson or mouthpiece through which he presents his philosophy of the goodness of God. The stanza has rhyming words such as feed, mead, delight, and bright and then voice and rejoice. They have not only added to the beauty of the poem but also to the poet’s philosophy that lamb is also beautiful.

Theme of Second Stanza of “The Lamb”

Though the next stanza is rhymed similarly to the first stanza, it presents the answer of the poet. It is clear that the lamb cannot speak. Therefore, the poet himself answers that everything that has been given to him is created by God. The first two and the last lines are repetitions, while the sixth line between them contains the answer that is that whether it is the poet as a child or the lamb, God is called by all these names as he loves all. In fact, the poet has symbolized Christ as the lamb as well as the child who has the same innocent name with the same characteristics as he states, “He is meek & he is mild / He became a little child” (16-17). It is clearly a reference to Christ. Then the poet, as he is a child, becomes equal to the lamb and calls both as “We are called by his name” (18). Then the poet repeats the line at the end with emphasis on “Lamb and God” as though the poet is presenting Jesus, the child, and God as one and the same thing.

“The Lamb” as a Song

The poem has become a little song for children due to its musical quality. Each stanza has ten lines where the first two lines are repeated at the start of the stanza and then at the end, making it a refrain. The refrain helps to add the quality of song to this poem whereas the sounds of soft vowels and consonances such as “l” and “s” further add to the melody of the poem. The first stanza is a question, which is descriptive and stresses upon the answer. However, the second stanza comprises abstract concepts of spirituality such as “I a child & thou a lamb / we are called by his name” (18-19) that does not specify whether this “he” is God or “Jesus” because, in case of God, it should have started with a capital letter. Therefore, this ambiguity lies in the spiritual philosophy of William Blake that he learned in the countryside of London during his childhood

Conclusion

In a nutshell, it is fair to state that “The Lamb” not only presents his spiritual philosophy of God in all things, but also his philosophy of a loving God. The question-answer format of the poem fits well in elaborating his concepts of God, the lamb, and the child who puts this question. The use of sounds, lines in repetition, consonance, and assonance has put a melodious quality in the poem to make it a song for children that they sing at school. The further analogy of God with a lamb and the child has added a multiplicity of meanings.

Works Cited

1. Blake, William. “The Lamb.” Mays, J. Kelly. The Norton Introduction to Literature. 8^th ed. Norton. New York. 2008. Print.

Relevant Questions about “The Lamb”: Blake and God

1. How does William Blake’s portrayal of the lamb in “The Lamb” symbolize God’s benevolence and innocence, and what is the significance of this representation in the context of his larger body of work?
2. In “The Lamb,” Blake refers to the lamb as “He is meek, and He is mild.” How does this depiction of God as gentle and meek contrast with other, more fearsome representations of God in literature, and what message might Blake be conveying through this contrast?
3. The poem “The Lamb” is often seen as a counterpart to Blake’s poem “The Tyger,” where he explores a darker, more ferocious aspect of God. How does the juxtaposition of these two poems contribute to a more nuanced understanding of Blake’s complex view of divinity and the nature of God?

Introduction to Bei Dao

Bei Dao has not only employed tools of punctuation, grammar, and style in his poetry but also traditional Chinese poetic conventions. Critics believe that the freestyle adopted in his writings is a consequence of the fact that his work has shown a manifestation of the orthodox Chinese style. They also bear acknowledgement of the scenic beauty of his land despite his self or otherwise exile from his homeland. Further, the translated manuscripts of his poetry are free from the need for grammar and punctuation. The haphazard use of imagery articulates the artistic and innovative quality of his work. His two poems demonstrate his will for survival through his unique images and broken syntax.

Survival in Bei Dao

The most prominent theme prevalent throughout these poems is of survival. Once he visited his dear friend, Mahmoud Darwish at Ramallah. The miserable situation of his friend forced him to write a poem regarding it. He observed that there was a unique similarity between the oppressive regime he was made to obey and that of the situation of his friend. Dao has employed excellent imagery in “Ramallah” saying “the ancients play chess in the starry sky” (Ramallah 2). It highlights the circumstances prevalent over there, and draws the reader’s attention toward the flame when he writes “the end game flickers” (3). This use of imagery indicates death. Further, the phrase “the sun climbs over the wall like an old man” (7) is yet another example where Bei Dao has emphasized the grave nature of the situation. The personification of the sun reinforces the theme of despair prevalent throughout the poem.  Other phrase showing despair is “death blossoms” (14). Li claims that the structure of Dao’s poetry relies on “survival, a battle of voices, and a strategy of mapping out the vanishing self” which exhibits resistance against the ultimate captivating authority (Li). He is right because the “struggle” (Post 2) also shows the same at the end of “ten whole years / my era behind” (8-9)

Imagery in Bei Dao

Bei Dao uses isolated imagery and then makes a comparison between them so as to reiterate his theme.  There is an extensive use of imagery not only in “Post” but also in “Ramallah.” For example, he says “a bird locked in a clock jumps out to tell the time” (Ramallah 4-5), however ironically the bird that escapes explains the time that they stay in captivity. The use of the phrase “the fir tree” (Post 2) is yet another instance of an isolated image. Another such use of imagery by Dao is that “words are the prison in the morning” (1) in “Morning Song” as explained by Li just an attempt to go for survival that is said to be a “struggle/ cherishing the same secret/ my hair turned white” (Post 2-4) in “Post.”

Chinese Style of Bei Dao

It has been thought that the unique Chinese style of English writing accounts for the ultimate fascination of his poetry. His unique style makes no proper use of syntax. The syntax is rather the hallmark of narration in English. The improper use of syntax adds the effect of spontaneity to his poetry. The contrasting imagery used in his poems clarifies the theme of poetry. This style of narration attracts the reader in a peculiar way, making him/her want to read more of it and explore new dimensions of the themes such as the “fir tree said” in his poem “Post” which tells a short story in continuing sentences. There is a scope for the use of diverse imagery and similes in this style of narration, which is clear form “Ramallah” and “The Morning Song.”

Conclusion

To conclude here, his work is reminiscent of the existence under oppressive regimes whether it is in communist China or occupied Palestine. The purpose behind the use of extensive isolated imagery in his poetry is to highlight the oppressive regimes operative in both his own and his friend’s country. It seems that Bei Dao has the same natural vision of the Chinese language that they write poetry in a somewhat broken and freestyle. Dao employed the same unique Chinese style to effectively portray a clear picture of the grave situation in his homeland. The beauty of his ideas and narrations has enabled him to win hearts.

Works Cited

1. Dao, Bei. “Poems”. Poetry Foundation. n.d. Web. Accessed 13 Nov. 2020.
2. Li, Dian. “The Chinese Poetry of Bei Dao, 1978-2000: Resistance and Exile”. Mellen Press. 2006. Web. Accessed 13 Nov. 2020 —.
3. ——“Unreal Images: Bei Dao’s Dialogue with the Real.” Concentric: Literary and Cultural Studies 32.1 (2006): 197-218.

Relevant Questions about Bei Dao Theme of Survival and Use of Free Style

1. How does Bei Dao’s concept of survival manifest in his poetry, and what are the underlying themes and motifs that contribute to this exploration?
2. In Bei Dao’s free verse poetry, how does he employ stylistic and formal elements to convey the challenges and uncertainties associated with the theme of survival?
3. What role does Bei Dao’s use of free style play in his poetic expression of personal and collective struggles for survival, particularly in the context of political and social upheaval?

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