The Red Wheelbarrow Analysis

The rose-cheeked grave mound by William Carlos Williams so much bets upon a carmine wheel barrow surface with rainfallwater water beside the white chickens. The Red Wheelbarrow summary Our loudspeaker reflects on how main(prenominal) a certain(prenominal) blushing(a)dened tumulus is. This wheelbarrow is wet from a recent rain, and at that place happen to be white chickens flowing out with the wheelbarrow. The End. The Red Wheelbarrow compendium Line 1 so much depends * Our speaker doesnt offer much depends or things depend or I depend, he says so much depends. That so makes us feel the gravity of the situation. Its as though our speaker really wants and needs to drive the point home. The verb depends is a warm hotshot too, and unitary that suggest a that whatever is being depended upon is a pretty big(a) deal. Line 2 upon * Upon what a pretty preposition. And an important one too. So important, in fact, that it gets its in truth own tie. * Visually (on the pag e) the for the commencement exercise time drag of the poem (which is way longer than this line) actually expects exchangeable its resting upon the upon of line devil. The first linedependsupon this second line. Hehe. Line 3 a tearing wheel * A brand juvenile couplet. Were dying to k straight off what so much depends upon drum roll, please. So much depends upon a red wheel. * A red wheel?We shakent waitn too m each red wheels in our days. * The map of the word red really gets our imaginations going, for some reason. We hear the word red all the time, still for some reason, this color really sticks out in this poem. Why do you think back that is? Line 4 barrow * Oh Its a red wheelbarrow, not a red wheel. Our speaker just now chose to snap off the word wheel and barrow up and didnt put a sprout between them. * By splitting up the two pieces of this word, our speaker makes us think active the fact that a wheelbarrow is composed of two distinct character references th e wheel and the barrow (the part you load farce into).In some ways, we feel deal this couplet looks like a wheelbarrow. * OK, now that weve figured out what 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 like to be pushed almost in wheelbarrows could depend upon a wheelbarrow. A person 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 bently, theyve been around for almost 2,500 years and were invented in Ancient Greece. Why is it important that this situation wheelbarrow is red? The redness factor seems to play a broad part in just how still this wheelbarrow is. Line 5 glazed with rain * A new couplet * The word glazed makes us think of a shiny, glossy, glassy surface. Our wheelbarrow is sparkly from the rain. * Who left(p) this VIP wheelbarrow out in the rai n? Talk rough neglect. If we owned a red wheelbarrow upon which much depended, we would take punter care of it. * But the idea that it is glazed with rain makes us think that it looks pretty snappy. Line 6 water Again, we have a one-word line, qualification it seem like the first line of this couplet (line 5)dependsupon this section line. * Again, our speaker decides to split up the word rainwater into its equal parts rain and water. Why would he do this? Perhaps to remind us that rain is composed of water? Line 7 beside the white * A new couplet Here, were introduced to yet an some other snappy preposition beside. * Were given some more than information about where our red wheelbarrow is and about the things around it. Apparently, our red wheelbarrow is standing beside something white. Talk about one colorful poem. We see the color white all the time in our daily lives, scarcely theres something special about this white, just as there is something special about the wheelbarro ws red. These colors are sticking out in our minds. Line 8 chickens * The wheelbarrow is not alone Thank heavens. There are chickens to hang out with. * We think it is worrying that the speaker refers to these chickens as the white chickens and not as some white chickens or the chickens. He wants to describe them very carefully and very precisely. These are some special chickens. Again, the second line of this couplet looks (visually) as though it were holding up or funding the first line, emphasizing the idea that so much depends upon the wheelbarrow. * Are these chickens part of the so much that depends upon the red wheelbarrow? What kind of relationship do you think these chickens have with said wheelbarrow? In a position of the Metro byEzra Pound The wraith of these faces in the advertizePetals on a wet, benighted bough. In a displace of the Metro Summary A man sees a bunch of faces in the subway and thinks they look like flowers on a guide branch. In a Station of the Metro Summary Line 1 The apparition of these faces in the crowd * The poet is watching faces appear in a crowded thermionic vacuum tube (subway) station. * You wouldnt know it only from reading the poem, but were in Paris, which elbow room that everyone looks really nice. * The poet is trying to get us to see things from his perspective, and the word apparition suggests that the faces are becoming visible to him very suddenly and probably disappearing just as fast. They almost look like ghosts. If youve ever been in a crowded subway, then youre probably familiar with this phenomenon. By calling them these faces, he puts us right there in the metro station, as if he were pointing his finger and saying, Look * The station must be pretty full, because there is a crowd. Line 2 Petals on a wet, black bough. * Although he doesnt say so, the words looks like are implicit at the start of this line. The faces in the crowd look like flower petals on a wet, black bough. * A bough i s a big tree branch, and the word, in case youre wondering, is pronounced bow, as in take a bow. * When is a tree branch wet and black?Probably at night, after the rain. A Paris subway, on the other hand, is always wet and black. * Now, were going out on a limb here (pun ), but he may 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. * Another fact to keep in mind is that Japan is renowned for its beautiful flowering trees, and considering that this poem is written in Japanesehaiku sprint . . . well, heck, he might just be thinking of a Japanese tree. HelenBYH. D. All Greece hates the still 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, call back past enchantments and past ills. Greece sees unmoved, Gods daughter, born of go to bed, the smasher of cool feet and slenderest knees, could love indeed the maid, only if she were laid, white ash amid funereal cypresses. Summary The narrator praisesHelenfor her beauty, which he compares to a ship bringing a weary, wayworn spider to his home.Her classic beauty has reminded him of old-fashioned times, and he watches her stand like a statue while holding a stone lamp. Analysis In To Helen, first published in 1831 and revised in later years, Poe displays an early interest in the theme of female beauty to which his later works practically return. He wrote this poem in honor of Jane Stith Stanard, the mother of his childhood acquaintance Rob, although he later wrote a different, longer poem of the same ready to Sarah Helen Whitman. Jane Stanard had recently died, and, through his writing, Poe sought 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 using J ane Stanard as the inspiration, Poe celebrated the latter woman as one of his earliest loves. Although Poe never explained why he changed Jane Stanards name to Helen in the poem, one possible interpretation is that he intended to connect her to the famed Helen of Troy, who sparked the fifth column War of HomersIliadbecause of her beauty. The remainder of the poem shows a definite classical influence, with Poes elevated diction and his direct references to the glory that was Greece and the grandeur that was Rome. He also praises Helens beauty by describing her hyacinth hair and classic face, details that are associated with ancient standards of the female ideal. If Poe indeed intended for the name Helen to refer to Helen of Troy, then he has given his character high praise indeed. Along with the ambiguity of Helens name, the identicalness of the narrator is also in question, as he does not have a name or much of a physical presence. He refers to himself as the alliterative weary, wayworn wanderer who has returned home, drawn to Helens alluring and comforting hearth.Poe may have intended the narrator to be a direct reflection factor 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 depict the narrator as an archetypal man, who like all other men found a nurturing source in a womans home. Otherwise, the narrator might be akin to a taking Greek warrior who, like Homers Odysseus, has returned from some struggle overseas. The power of the female in To Helen is multifaceted.In one sense, Helen guards the home hearth in the traditional domestic role of caregiver while displaying a faithful attachment that recalls the idealized love ofAnnabel Leein Poes eponymous 1849 poem. Simultaneously, Helen is the protagonists guide and inspiration who brings him back from the lone(a) seas, and her depiction as statue-like with an agate lamp characterizes her as steadfast and dependable. Fin ally, there are mentions of Naiads, or ancient Greek water nymphs, and Psyche, the mythological woman who represents the soul and who marries Eros, the immortal of love.These twin allusions emphasize the concordance between Helens outer and inner beauty. As is typical with many of Poes poems, the rhythm and rime scheme of 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 third is ABBAB. Poe uses soothing, positive words and rhythms to create a fitting tone and atmosphere for the poem. His concluding image is that of light, with a brainy window niche and the agate lamp suggesting the glowing of the Holy Land, for which Helen is the beacon.