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The Darkling Thrush Analysis

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SECTION 1 1. Scan any two of the following passages, point out the prosodic features and comment on them : • I have scanned the first and second passage in this question. After the first powerful plain manifesto The black statement of pistons, without more fuss But gliding like a queen, she leaves the station. Without bowing and with restrained unconcern,  Points for comment on prosodic features: 1st line: 2 Trochees, 1 Iambic, 1 Spondee, 1 Dactyl 2nd line: 1 Iambic, 1 Trochee, 1 Amphibrach, 1 Trochee, 1 Spondee 3rd line: 1 Spondee, 3 Iambics, 1 Amphibrach 4th line: 1 Trochee, 1 Dactyl, 2 Amphibrachs • In line 3, we have an Iambic trimester. Overall there is a falling effect with the presence of trochees and dactyls. • Couplet rhyming …show more content…

It was published on 29 December 1900. It appears by the end of the poem. The speaker hears an unexpected sound: a bird singing and describes it. It faced the bad weather and looked tired and not so good. That doesn 't stop it from belting its heart out, though. It 's bound and determined to share every last ounce of joy in its soul. Thomas Hardy was highly critical of much in Victorian society, though he focused more on a declining rural society. He was considered a Victorian realist and examined the social constraints that are part of Victorian society and criticized beliefs and certain social constraints that limited people 's lives and caused unhappiness in the 19th century. He was acutely conscious of class divisions and his social inferiority. However, during this time he became interested in social reform and the works of John Stuart Mill. The language used in the poem it denotes so much sorrow, darkness and …show more content…

Consider John Keats ' The Eve of St Agnes within the evolution of English literature. Refer closely to the poem. The poem was written in the year 1819 and was published in 1820. Keats demonstrates many aspects in his poem. The poem is a long and narrative one, in which he talks about Medieval period including Paganism & Christianity, he was interested in Romanticism hence Love was a topic he mentioned in the poem, Nature, Magic, Legends and Rebels were also present which encompasses the whole story in the poem. Keats admired Shakespeare and he read Shakespeare’s work insightfully, illustrating the greatness of Shakespeare 's creativity. Keats describes this genius as "Negative Capability". It is the idea that man is capable of being in uncertainty or doubt without striving to change this condition through searching for conclusions or reasons or it could the ability to contemplate the world without the desire to try and reconcile contradictory aspects or fit it into closed and rational

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At the end of the second paragraph there is a stanza break from the word “princesses” to “Now I’ve found a quilt” from line 13. This stanza break is significant because it shows the change of tone of the speaker. In the first paragraph one can see a caring tone. Shown when the speaker says “Meema” which shows that the speaker must have really cared for their grandmother in order to call them such a caring name. Then in paragraph 2 there is a change of tone to excitement, shown in line line 14 when it says “ I’d like to die under”.

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Since the poem is a Blues, the phonological structure of the text is of great importance and at the same time it cannot be expected to find many regularities. This assumption can be validated at first glance: There is no veritable rhyme scheme. On the other hand, there two dysillabic internal rhymes {\tql}bunch, hunch{\tqr} (l.1) and {\tql}sputter, gutter{\tqr} (l.2-3). Still the author uses a lot of other sound patterns as for example Alliteration, Consonance, Assonance and Onomatopoeia. For each only one or two examples are given due to their high occurrence.

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Compound this strange rhythmic scheme with a fairly even meter, and around ten syllables to each line, and the speaker creates a sound of guided calamity through the poem. The sentence structure also varies wildly, with some exclamations such as “Desire, desire!” (line 5) breaking up the flow of thought from the speaker. Thus, the speaker’s form somewhat vacillates and is difficult to clearly define, only being coherent in the way that it is

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