'The Red Wheelbarrow Analysis\r'

'The rose-cheeked grave moundful by William Carlos Williams so nearly(prenominal) matters upon a tearingness bike barrow burnished with pelting water system beside the snow- uncontaminating chickens. The cherry Wheelbarrow epitome Our speaker reflects on how important a certain rubor garden cart is. This grave mound is imp a bid from a recent rain, and there happen to be white chickens hanging push through with the garden cart. The End. The Red Wheelbarrow Summary Line 1 so oftentimes dep completions * Our speaker doesnt hypothecate â€Å" oftentimes depends” or â€Å"things depend” or â€Å"I depend,” he says â€Å"so to a greater extent depends. ” That â€Å"so” makes us feel the sombreness of the situation. Its as though our speaker in truth wants and needs to drive the point home. The verb â€Å"depends” is a strong ane too, and one that kick up a that whatever is universe depended upon is a more(prenominal) or less big deal. Line 2 upon * â€Å"Upon” †what a comely preposition. And an important one too. So important, in fact, that it loll arounds its really deliver tie. * Visually (on the page) the prime(prenominal) line of the poetry (which is way longer than this line) actually looks a analogous its resting upon the â€Å"upon” of line two. The first line depends upon this indorsement line. Hehe. Line 3 a ruby- ruddy-faced wheel * A brand current couplet. Were dying to k corresponding a shot what â€Å"so much” depends upon †drum roll, please. So much depends upon â€Å"a reddish wheel. ” * A red wheel?We leasent seen too m some(prenominal) red wheels in our days. * The use of the vocalise â€Å"red” really gets our imaginations discharge, for few reason. We hear the word â€Å"red” all the time, but for well-nigh reason, this comment really sticks out in this poem. why do you pretend that is? Line 4 barr ow * Oh! Its a red â€Å" tumulus,” non a red wheel. Our speaker comely chose to split the word â€Å"wheel” and â€Å"barrow” up and didnt put a swank mingled with them. * By splitting up the two pieces of this word, our speaker makes us think or so the fact that a wheelbarrow is composed of two distinct move: the wheel and the barrow (the part you transportment stuff into).In some ways, we feel homogeneous this couplet looks want a wheelbarrow. * OK, now that weve figured out what â€Å"so much” depends upon, were dying to know what kinds of things depend upon a red wheelbarrow. Um, dirt could depend upon a wheelbarrow. Six-year-olds who c atomic number 18 to be pushed around in wheelbarrows could depend upon a wheelbarrow. A mortal who likes to do heavy gardening could depend upon a wheelbarrow. * What else could depend upon a wheelbarrow? It might help to do some research on wheelbarrows. App arently, theyve been around for nigh 2,500 years and were invented in Ancient Greece. wherefore is it important that this particular wheelbarrow is â€Å"red”? The redness factor seems to play a huge part in mediocre how cool this wheelbarrow is. Line 5 glassy with rain * A refreshing couplet! * The word â€Å"glazed” makes us think of a shiny, glossy, glassy surface. Our wheelbarrow is sparkly from the rain. * Who left this VIP wheelbarrow out in the rain? colloquy about neglect. If we owned a red wheelbarrow upon which much depended, we would take better care of it. * But the idea that it is â€Å"glazed with rain” makes us think that it looks pretty snappy. Line 6 water Again, we have a one-word line, m homogeneousg it seem like the first line of this couplet (line 5) depends upon this function line. * Again, our speaker decides to split up the word â€Å"rainwater” into its equal parts: â€Å"rain” and â€Å"water. ” Why would he do this? possibly to re promontory u s that rain is composed of water? Line 7 beside the white * A new couplet! Here, were introduced to so far an another(prenominal) snappy preposition: â€Å"beside. ” * Were given some more information about where our red wheelbarrow is and about the things around it. Apparently, our red wheelbarrow is fundamenting beside something white. Talk about one ruseful poem. We see the color â€Å"white” all the time in our daily lives, but theres something superfluous about this â€Å"white,” safe as there is something special about the wheelbarrows â€Å"red. ” These colors are viscid out in our minds. Line 8 chickens * The wheelbarrow is not alone! convey heavens. There are chickens to hang out with. * We think it is eliciting that the speaker refers to these chickens as â€Å"the white chickens” and not as â€Å"some white chickens” or â€Å"the chickens. ” He wants to show them very carefully and very precisely. These are some sp ecial chickens. Again, the second line of this couplet looks (visually) as though it were memory up or supporting the first line, emphasizing the idea that so much depends upon the wheelbarrow. * Are these chickens part of the â€Å"so much” that depends upon the red wheelbarrow? What kind of race do you think these chickens have with express wheelbarrow? In a billet of the Metro|  | by Ezra Pound| | The spook of these faces in the crowd;Petals on a wet, discolour bough. | | | | | In a target of the Metro Summary A man sees a bunch of faces in the tubing and thinks they look like flowers on a guide branch. In a plaza of the Metro” Summary Line 1 The specter of these faces in the crowd; * The poet is honoring faces appear in a crowd pipe (subway) station. * You wouldn’t know it yet from reading the poem, but we’re in Paris, which means that everyone looks really nice. * The poet is trying to get us to see things from his perspective, and the word â€Å"apparition” suggests that the faces are becoming visible to him very suddenly and probably disappearing on the nose as fast. They almost look like ghosts. If you’ve ever been in a move subway, then you’re probably well-known(prenominal) with this phenomenon. By calling them â€Å"these faces,” he puts us right there in the metro station, as if he were pointing his finger and saying, â€Å" await! ” * The station must be pretty full, because there is a â€Å"crowd. ” Line 2 Petals on a wet, black bough. * Although he doesn’t say so, the words â€Å"looks like” are implicit at the induct of this line. The faces in the crowd â€Å"look like” flower petals on a â€Å"wet, black bough. ” * A â€Å"bough” is a big tree branch, and the word, in case you’re wondering, is enounce â€Å"bow,” as in â€Å"take a bow. ” * When is a tree branch wet and black?Probably at night, aft(prenominal) the rain. A Paris subway, on the other hand, is always wet and black. * Now, we’re going out on a branch here (pun! ), but he whitethorn be seeing the faces reflected in a puddle over black asphalt. Or it could just be a more general sense of wetness. At any rate, the faces in the subway are being compared to flowers on a tree branch. * some other fact to keep in mind is that Japan is famous for its beautiful blossoming trees, and considering that this poem is written in Japanese haiku style . . . well, heck, he might just be thinking of a Japanese tree. HelenBY H. D. All Greece hates the fluid eyes in the white face, the lustre as of olives where she stands, and the white hands. All Greece reviles the wan face when she smiles, hating it deeper still when it grows wan and white, remembering early(prenominal) enchantments and past ills. Greece sees unmoved, God’s daughter, born of love, the truelove of cool feet and slenderest knees, could love indeed the maid, notwithstanding if she were laid, white ash amid funereal cypresses. Summary: The bank clerk sycophancys Helen for her knockout, which he compares to a ship bringing a â€Å"weary, wayworn spider” to his home.Her clean beauty has reminded him of ancient times, and he watches her stand like a statue while property a stone lamp. Analysis: In â€Å"To Helen,” first published in 1831 and revise in posterior years, Poe displays an early interest in the theme of feminine beauty to which his later works often return. He wrote this poem in honor of Jane Stith Stanard, the induce of his childhood friend Rob, although he later wrote a different, longer poem of the said(prenominal) arrive at to Sarah Helen Whitman. Jane Stanard had recently died, and, through his writing, Poe desire to thank her for acting as a second mother to him.The Helen of the 1831 poem embodies a classic beauty and poise, and by employ Jane Stanard as the inhalatio n, Poe celebrated the latter char as one of his earliest loves. Although Poe neer explained why he changed Jane Stanards name to Helen in the poem, one possible interpretation is that he intend to connect her to the famed Helen of Troy, who sparked the Trojan War of Homers Iliad because of her beauty. The remainder of the poem shows a definite classical influence, with Poes elevated style and his direct references to â€Å"the glory that was Greece” and â€Å"the grandeur that was Rome. He also praises Helens beauty by describing her â€Å"jacinth hair” and â€Å"classic face,” details that are associated with ancient standards of the female ideal. If Poe indeed intended for the name â€Å"Helen” to refer to Helen of Troy, then he has given his character high praise indeed. Along with the ambiguity of Helens name, the identity of the narrator is also in question, as he does not have a name or much of a tangible presence. He refers to himself a s the alliterative â€Å"weary, wayworn wanderer” who has returned home, drawn to Helens alluring and comforting habitation.Poe whitethorn have intended the narrator to be a direct reflection of himself, who as a boy felt more welcome in Jane Stanards house than in other environments. At the same time, he may have sought to make the narrator as an archetypal man, who like all other men effect a nurturing source in a womans home. Otherwise, the narrator might be akin to a victorious Greek warrior who, like Homers Odysseus, has returned from some struggle overseas. The habit of the female in â€Å"To Helen” is multifaceted.In one sense, Helen guards the home hearth in the traditional domestic role of caregiver while displaying a congregating attachment that recalls the idealized love of Annabel lee(prenominal) in Poes eponymous 1849 poem. Simultaneously, Helen is the protagonists guide and inspiration who brings him back from the lonely seas, and her depictio n as â€Å"statue-like” with an â€Å"agate lamp” characterizes her as steadfast and dependable. Finally, there are mentions of Naiads, or ancient Greek water nymphs, and Psyche, the mythological woman who represents the soul and who marries Eros, the beau ideal of love.These twin allusions emphasize the concordance between Helens outer and inner beauty. As is usual with many of Poes poems, the rhythm and rhyme arrangement of â€Å"To Helen” is irregular but musical in sound. The poem consists of three stanzas of five lines each, where the end rhyme of the first stanza is ABABB, that of the second is ABABA, and that of the three is ABBAB. Poe uses soothing, positive words and rhythms to create a fitting tone and atmosphere for the poem. His last(a) image is that of light, with a â€Å"brilliant window niche” and the agate lamp suggesting the glowing of the â€Å"Holy Land,” for which Helen is the beacon.\r\n'