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The poem "Poem" by William Carlos Williams is told from the perspective of an observer. The poet does not specify the exact identity of the speaker because it is not essential to the context of the poem. The speaker is almost removed from the poem, merely describing the occurrences of a seemingly insignificant moment. A rhythm is established in the poem in its use of short lines and few syllable words. The greatest amount of syllables contained in a single word in this poem is four. These short words and lines create a simplistic rhythm, which mirrors the simplistic subject of the poem.
This poem employs run on lines from each three line stanza, consisting of one continuing thought from the beginning of the poem to the end of the poem. The entire poem consists of visionary imagery, describing the movement of a cat slowly from the top of a jamcloset to the inside of an empty flower pot. The imagery is not specific. The audience is not made aware of the size or color of the cat, the height of the jamcloset or the flowerpot. With the use of run-on lines and vague imagery, I think Williams is attempting to merely capture a sense of the experience, rather than complicating it with details.
By entitling this poem "Poem," Williams is making a distinct statement: poetry can be anything. Many may read this poem and notice its lack of rhyme and profundity and deem it unworthy of being considered poetry. In art history we are learning about the impressionists, and a key component of their works was the nature in which they captured their subjects. Rather than concerning themselves with the detail, they merely attempted to capture their impression of the moment. In addition their works often depicted moments that weren't typical subjects of art work. I feel that Williams in the impressionist of poetry in this poem. The moment depicted seems relatively insignificant and the audience is granted only a sense of it.

Three cheers for pretty poems!

The poem "I wandered lonely as a cloud" by William Wordsworth describes a daydreaming episode of the poet when he was feeling low in spirits. The poem consists of a a-b-a-b-c-c rhyme scheme(quatrain couplet rhyme scheme). This scheme is particularly effective in capturing the nature of Wordsworth's experience because it establishes a melodic rhythm to the poem. The rhyming of alternating lines and of the last two lines of every stanza enhances the imagery of the field of daffodils by contributing a "sing-song" element to his description, demonstrating the light-hearted and liberating quality of his daydreaming, which serves as an escape from the trials of life. The speaker of the poem seems to be the poet, as evidenced by the line "A poet could not but be gay" which establishes ethos in the poem, credibility in the authenticity of his experience. Wordsworth allows his audience a peek into his thoughts and his solution to "vacant or pensive" moods, showing that "bliss of solitude" can easily be achieved.
The author uses alliteration and consonance repetitively in this poem. In the first stanza the repetition of the sound of the letter "s" at the end of words is seen in the following: vales, hills, daffodils, trees, and breeze. The second stanza consists of alliteration, repeating the "s" sound at the beginning of words such as stars, shine, stretched, saw, and sprightly. The third stanza also possesses alliteration, with the words glee, gazed, and gay. The fourth stanza repeats the consonance of the first stanza. These techniques create fluidity in the poem, connecting lines in sound and contributing greatly to the tranquil, yet excited tone of the poem. The alliteration of the poem demonstrates the enthrallment of the poet with his subject matter, creating a progressive excitement over the beauty of his imaginings. The consonance used at the beginning and end unites the poem, beginning and closing with the prospect of escape.
I adore this poem. The imagery is astounding. I love how the field of daffodils are described as "Tossing their heads in sprightly dance" because it creates such a happy and vibrant image. Also, I found it really refreshing and unique that Wordsworth did not describe the field of daffodils as waves of flowers, as is very typical in poetry attempting to capture the beauty of nature. Instead Wordsworth comments that while the waves of the lake beside the field were lively and beautiful, the daffodils "Outdid the sparkling waves in glee."

To Waken an Old Lady by William Carlos Williams

The rhythm of this poem lies in the author's utilization of run-on lines, lines in which the sense of the line hurries into the next line, as well as the occasional use of approximate rhyme. Lines 1-6, though separated structurally, together form one flowing thought. This structure in which Williams writes creates the illusion of thought, as if the composition of this poem is the product of random reflection. The rhythm of the poem is interrupted by line ten, which simultaneously serves as a shift in the poem, transitioning from the description of old age, a tumultuous struggle-filled flight, to the eventual resignation of death. Line nine contains a dash, which creates a grammatical pause, and therefore emphasizes the question "But what?" Because this question follows a distinct pause, it has an even greater haunting effect. It demonstrates a pause in the speaker's thought, pondering the nature of this "dark wind," the conclusion of old age. Approximate rhyme is used occasionally throughout the poem, as seen in lines four and seven, with the words failing and skimming, as well as lines eight and twelve with the words rested and buffeted. The speaker of this poem is, it seems, most likely either the woman herself, or the poet observing her realization of the inevitability of death. This makes the poem even more personal and relatable, for it is perhaps told from the perspective of someone who is experiencing and pondering the nature of old age, establishing credibility of the descriptions.
The predominant literary device Williams employs is imagery and metaphors. Visionary imagery of birds "...skimming bare trees above a snow glaze..." creates a somber and sorrowful tone. The "bare trees," "snow glaze," "dark wind," "broken seedhusks," and "shrill piping" creates a sense of hopelessness and death. The poem outlines an old woman's realization or "awakening" to the inevitability of her existence. The " flight of small cheeping birds" is a metaphor for old age, which is "gaining and failing" in its journey, as it is assailed by the prospect of death, represented by the "dark wind." The olfactory imagery of "cheeping birds" and the "shrill piping of plenty" contrasts the faint hope possessed by few prior to death with the harsh cries of "plenty," of all who realize that they too will die and that despite their efforts, it is inevitable.
Although this poem is fluid and tranquil in structure and form, it is extremely depressing. I like it primarily due to its vividness in imagery. The poem is truly an experience. It evokes the image of a pathetic group of faintly cheeping birds, struggling against the wind, "skimming bare trees" as it inches closer and closer to death. The format of the poem eases reading and understanding, with few interruptions in each complete thought. Although the subject and imagery is dark, the sound of the language in this poem is truly beautiful. Though the denotation of "piping of plenty" and "buffeted by a dark wind" are not exactly positive, the sound of these words are awesome and create a soothing rhythm to the poem, despite the unsettling subject.

Siren Song by Margaret Atwood

Speaker: The poem is told from the perspective of the "siren." Atwood utilizes this perspective to convey the true meaning and purpose of her poem. The "siren" is symbolic of the stereotypes about women. The siren is portrayed as the typical vindictive woman; she is the picture of beauty and the embodiment of perfection, but she is not content. She is depicted as creating a false vulnerability and distress in order to lure men in with the promise that they are different and that only they can save her. Atwood is making a clear statement on society's perception of women: they can only get what they want by playing the "damsel in distress," by luring men with their helplessness only to "trap" them in commitment, a fate synonymous with death. Atwood's satire of society's impression of women is evident in the line "It's a boring song but it works every time." Although the siren laments over the curse of her "picturesque and mythical" beauty, she is only doing so to portray herself as a victim, which in turn will lure unsuspecting men to save her, when in reality she doesn't require saving. Through the speaker, Atwood conveys her discontent with society's conception of the goals of women: to be irresistible and seduce men into commitment by feigning coyness and imprisonment.
There seems to be no particular rhyme scheme in this poem; however, the poem has a song-like rhythm. The line "I will tell the secret to you, to you, only to you" is especially similar to the lines of a song, due to its repetition. This similarity to song contributes to the overall effect of the poem, most simplistically, due to the subject of the poem. This style allows the audience to almost hear the speaker sing these words, making her more substantial and further accomplishing the allusion to the mythical creature.

Literary Devices:

Repetition: "I will tell a secret to you/ to you, only to you...Only you, you can/ you are unique/ at last" Repetition of the word "you" and "only" is crucial in these lines for it emphasizes Atwood's statement, revealing society's belief that women possess an irresistible power over men. It is with the repetition of the word "you" that the "siren," though bored with her routine, is able to capture the man's attention, making him feel special and individual, when in reality he is just another victim to her song, a song which has become a second nature to her due to its own repetition of victimization.

Allusion: In Greek mythology, Sirens are creatures with the heads of females and the body of birds. They lived on an island and possessed the irresistible charm(through song) to lure mariners to their destruction on the rocks surrounding the island. Atwood parallels society's perception of women with the nature of the sirens in order to highlight the negative attitude towards women. The idea that the siren's appearance is merely a facade is demonstrated by the line "...will you get me out of this bird suit?" demonstrating that the freedom implied by the creature's wings is an illusion(perhaps this is referring to fact that women's equality too is an unjust illusion), and therefore they are incapable of saving themselves.

Reaction:
What I really like about this poem is the gradual shift that occurs. The poem begins somewhat tragically, revealing the hardship endured by "...the one song everyone would like to learn: the song that is irresistible..." The poem then highlights the speaker’s “true” feelings about her existence, that it is merely an imprisonment, due to unwanted beauty. Yet, the speaker then states “…come closer…,” and suddenly the reader knows that her lament was only an extension of her deadly craft. The last line: “It is a boring song but it works every time,” is satirical in nature and is somewhat hilarious. It shows the speaker shrugging off her actions, a distinct comment made by Atwood about the negative opinion of women.

James Joyce. Even the man's name is alliteration!

Analysis:

A Portrait of the Artist as a Young Man by James Joyce centers around the life of Stephen Dedalus. The narration is frequently interrupted by stream of consciousness narration and never strays too far from the main subject(Stephen). Joyce's style is particularly unique, and therefore greatly confusing, due to his ability to convey Stephen's tumultuous journey of self-discovery, while simultaneously capturing the climate of the time. On page 232 Stephen describes three different forms of literary tradition. Initially I thought that the lyrical form, described as "the form wherin the artist presents his image in immediate relation to himself," was the form which Joyce decided to write this novel. However, it seems that the epical form:” the form wherein he presents his image in mediate relation to himself and others" is the true form of Portrait. In class some people agreed that Stephen comes off as a somewhat arrogant and selfish person. With a format that revolves around the growth of Stephen as a person, highlights his innermost emotions and turmoil, it's hard for ego to necessarily be separated from our perception of him. The novel introduces other characters but in relation to Stephen, and what emotions they evoke in him. His father is caught in perpetual reminiscence, unable to face the reality of his bankruptcy and the disintegration of his family. His mother is distraught over his disillusionment with the church. Stephen's siblings are barely mentioned throughout the entire novel. Essentially, characters are introduced in the context of Stephen's experience. It is for this reason that Stephen seems to be self-absorbed, and in a sense, he is. He does not do anything unless he has a particular drive to do so, as seen when he refuses to go to communion for the simple happiness of his mother.

Quote:

" Stephen walked on at his father's side, listening to stories he had heard before, hearing again the names of the scattered and dead revelers who had been the companions of his father's youth. And a faint sickness sighed in his heart. He recalled his own equivocal position in Belvedere, a free boy, a leader afraid of his own authority, proud and sensitive and suspicious, battling against the squalor of his life and against the riot of his mind. The letters cut in the stained wood of the desk stared upon him, mocking his bodily weakness and futile enthusiasms and making him loathe himself for his own mad and filthy orgies. The spittle in his throat grew bitter and foul to swallow and the faint sickness climbed to his brain so that for a moment he closed his eyes and walked on in darkness"(97).

This passage demonstrates the nature of the relationship between Stephen and his father. The passage illustrates the emotional turmoil Stephen is experiencing and his acute shame and disgust with himself. He describes the demons of his thoughts as filthy and mad and swallows the "bitter and foul" acknowledgement of his existence. Stephen's personal "darkness" contrasts the jolly episodes his father recounts, emphasizing the distance between them, despite their physical closeness. I found this passage particularly ironic because Stephen recalls his own days as a student at Belvedere, yet he feels incapable of confiding or relating to his father. Even after seeing the word "foetus" carved into the desk, a discovery that spurred somewhat of a revelation that he is not alone in harboring what he deems forbidden and disgusting thoughts, Stephen remains(if not more so) disenchanted with his father. This disillusionment, I think, comes primarily from the fact that his father maintains that he and his school friends were gentlemen and encourages Stephen to mix with said "gentlemen"(97). Stephen seems to feel that his father is a hypocrite, and therefore feels it is futile to even attempt to confide in him and instead retreats to his solitude.

Reaction:

There seems to be a pattern with the books we are reading lately in this class: they are the types of books that in order to experience the work to its full magnitude, I have to read it again, and again, and again. This first time through I found the reading frustrating and confusing. I tried to understand what was happening plot wise, while still trying to appreciate the language. I kept finding myself getting caught up in the structure and sound of the sentences(because Joyce's combination of words are incredible, especially his use of alliteration) to the point that I'd reach the end of the page blown away by the words, but completely ignorant of what was actually being said. I think that I would love this book if I read it a second time(and I plan to) because it would be a little bit easier to connect meaning and structure.