The poem is divided into three stanzas of six lines each. The rhyming scheme is consistent and follows the ababab rhythm. The poem's cadence is quite consistent. This steady beat emphasizes not only the subject's regularity, but also her immaculate excellence.
In the first stanza, the poet describes how beautiful she is. He uses adjectives to highlight her physical attributes: golden hair, blue eyes, a face that makes others cry at its beauty. Then he moves on to talk about her kindness and love for animals. This part of the poem has a moral tone and it ends with a request for more beauty so that everyone will admire her.
In the second stanza, the poet talks about how lucky we are to have such a perfect woman. He says that no one else can match up to her in terms of looks or behavior. Finally, he asks why she chooses to be so good when there are people who do bad things every day? His message is that although evil exists, goodness should always win out over injustice.
In the third stanza, the poet answers his own question by saying that she is a saint and that she lives in a place where she can help all those in need. Therefore, she chooses to stay there instead of going to heaven or hell like most people think. Instead, she just keeps on walking in beauty forever.
The final line of each stanza is notably shorter and indented, emphasizing its significance. It is also part of a broader disruption of the rhythmic framework based on hexameters. This device creates a tension between the expected meter and the actual words being used, which are mostly monosyllabic.
The first six stanzas follow a typical pattern: introduction - rising action - peak - decline - conclusion. However, the last two stanzas differ in that they do not have a rise or fall, but rather an expansion followed by a contraction. This reversal in tone is what makes them different from the other six stanzas.
Furthermore, these last two stanzas are the only ones to mention specific places or people. The seventh stanza refers to "the Gauls", while the eighth stanza talks about "Britannia's shore".
Thus, we can say that the poem is structured in such a way as to attract attention and make its meaning clear at the same time. One way to understand this structure is to see it as something like a story with four acts. Act I introduces Rome, Act II brings up the Gauls, Act III shows Britain at its height, while Act IV returns to Rome again.
Iambic pentameter is the rhythmic pattern. The poem is broken into two sections: an octave and a sestet. The poem has 14 lines in total. Within each section, there are seven feet (syllables) in a line. Each foot has an equal number of metrical syllables.
The first foot of the poem begins with a weak syllable followed by a strong one. This pattern continues throughout the entire line. The last word of the line also contains a weak syllable followed by a strong one. This too is repeated throughout the line. This type of meter is known as aniambic pentameter.
The second foot begins with a strong syllable that is followed by another strong syllable. This pattern continues throughout the line. The last word of the line also contains a strong syllable followed by another strong one. This type of meter is called dactylic hexameter.
Iambic pentameter is used in many kinds of poems. It is the standard metric pattern for English sonnets and canyons.
Dwelling in possibility is a poetic form that uses iambic pentameter. The poem was written by John Donne when he was 26 years old.
This poem is structurally and rhythmically characteristic of Dickinson, employing iambic trimeter with occasional four-syllable lines, a flexible ABCB rhyme scheme, and rhythmically breaking up the meter with lengthy dashes. The poem was probably written between 1849 and 1855.
The bird in this case is a robin. As you can see, it came down the walk / With its head hung low - / Not singing as birds do on their way / To their nest or tree / But rather talking to itself / In a language no one else could understand.
Now, this might seem like a sad story, but it's actually a very happy one. You see, the bird was not lost! It had come down from its home in North America to find better luck in Europe. This is why it didn't sing: because it didn't want to cause any trouble for itself or its friends. Instead, it talked to itself so that when it reached its destination, someone would take care of it.
And who may that someone be? You're going to love this part! It's Emily Dickinson!
Except in the first stanza, the poem employs the rhyme pattern abab [e.g., hands-stands, alive-thrive]. The employment of numerous figures of speech enriches the poetry. The use of alliteration, such as "light of love alive" and "the twist that holds together," lends elegance and a musical touch to the poetry. Figures of speech include metonymy (using part for whole), synecdoche (using part for whole), and metaphor. All three help to make the poetry more interesting to read.
The device of parallelism is also used extensively in the poem. This means that elements within the text are similar or correspond to each other. For example, both the opening and closing lines begin with words drawn from Shakespeare's As You Like It. These words are "any woman" and "any man." Thus, the poet is saying that any woman can be like any man - alive, thriving, and loving.
Another important element in the poem is anaphora, or repetition. In this case, the same word or phrase is repeated throughout the text at several different times. For example, the word "love" appears seven times in the first stanza alone! Anaphora is useful because it gives the reader time to think about what has been said before. It also makes the writing sound more natural - like a conversation between two people.
Last, but not least, is allusion.
Walking Away is divided into four stanzas of five lines each. The abaca rhyme scheme employs simple, frequently monosyllabic rhymes ('day,' 'play,' 'away'). This gives the poetry a melancholy tone, as though these sentiments are simple yet raw. The use of alliteration and assonance further enhances this feeling.
Walking Away was written by John Keats, who lived from 1795-1821. He was an English poet famous for his sensitivity and elegance. Walking Away is one of several poems by Keats that deal with the theme of love lost. It was first published in 1820 along with other Keats's works under the title "Poems."
Here is how the poem begins:
My heart is like a penitent pilgrim, who, going to pray For forgiveness of his sins, is suddenly struck with death.
The fault, dear friend, was not my own. I did not fall ill. My illness was sent By higher powers than mine. They wanted me to die.
But why did they send me back the death sentence? Was it punishment for some past crime? I can't tell you now, but someday I will. When my heart is free From all its wounds, then it will reply.
Until then, I must be patient and endure.