The Red Wheelbarrow Analysis

The Red Wheelbarrow by William Carlos Williams so a lot faces upon a crimson wheel barrow glazed with rain water beside the clean chickens. The Red Wheelbarrow compend Our speaker reflects on how important a certain personnel casualty barrow is. This grave mound is wet from a recent rain, and there happen to be white chickens hanging out with the wheelbarrow. The End. The Red Wheelbarrow succinct Line 1 so often depends * Our speaker doesnt say 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 genuinely wants and needs to drive the point home. The verb depends is a strong one too, and one that allude a that whatever is being depended upon is a lovely big deal. Line 2 upon * Upon what a pretty preposition. And an important one too. So important, in fact, that it gets its precise own line. * Visually (on the page) the runner line of the metrical composition (which is way b imestrial than this line) actually looks like its resting upon the upon of line two. The depression linedependsupon this second line. Hehe. Line 3 a red wheel * A brand new couplet. Were dying to know what so much depends upon drum roll, please. So much depends upon a red wheel. * A red wheel?We arrestnt seen too many an otherwise(prenominal) red wheels in our days. * The use of the word red really gets our imaginations going, for virtually reason. We hear the word red all the time, besides for many reason, this color really sticks out in this poem. Why do you see that is? Line 4 barrow * Oh Its a red wheelbarrow, not a red wheel. Our speaker incisively chose to split the word wheel and barrow up and didnt put a dash between them. * By splitting up the two pieces of this word, our speaker makes us think about(predicate) the fact that a wheelbarrow is composed of two distinct parts the wheel and the barrow (the part you load stuff into).In some ways, we feel like this coup let 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 around 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 particular wheelbarrow is red? The redness factor seems to play a huge part in just how cool 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 this VIP wheelbarrow out in the rain? Talk about neglect. If we owned a red wheelbarrow upon which much depended, we would take best(p) c ar 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, making it seem like the first line of this couplet (line 5)dependsupon this partition 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 re thought us that rain is composed of water? Line 7 beside the white * A new couplet Here, were introduced to yet another snappy preposition beside. * Were given some more development 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, simply theres something modified about this white, just as there is something special about the wheelbarrows red. These colors are cohesive out in our minds. Line 8 chickens * The wheelbarrow is not alone Thank heave ns. There are chickens to hang out with. * We think it is interesting 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 retention up or supporting 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 charge of the Metro byEzra Pound The apparition of these faces in the throngPetals on a wet, black bough. In a Station of the Metro heavyset A man sees a bunch of faces in the tube and thinks they look like flowers on a shoe point 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 herd metro ( metro) station. * You wouldnt know it scarce from reading the poem, but were 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 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(prenominal) 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 is a big tree branch, and the word, in case youre wondering, is pronounced bow, as in take a bow. * When is a tree bra nch 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 famous for its beautiful flowering trees, and considering that this poem is written in Japanesehaikustyle . . . 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, retentiveness past enchantments and past ills. Greece sees unmoved, Gods daughter, born of love, the beauty of cool feet and slenderest knees, could love indeed the maid, only if sh e were laid, white ash amid funereal cypresses. Summary The narrator extolmentsHelenfor her beauty, which he compares to a ship bringing a weary, wayworn rover to his home.Her classic beauty has reminded him of ancient 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 subsequent years, Poe displays an early interest in the theme of female person beauty to which his later works often return. He wrote this poem in honor of Jane Stith Stanard, the mother of his childhood friend Rob, although he later wrote a different, longer poem of the same name 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 Jane Stanard as the inspiration, Poe celebrated the latter woman as one of his earliest loves. Although Poe never explained why he change d 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 Trojan War of HomersIliadbecause of her beauty. The proportionality of the poem shows a definite classical influence, with Poes elevated diction and his look at 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 identity 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 refl ection 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 victorious Greek warrior who, like Homers Odysseus, has returned from some repugn overseas. The social occasion 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 eponymic 1849 poem. Simultaneously, Helen is the protagonists guide and inspiration who brings him back from the lonely seas, and her depiction as statue-like with an 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 marrie s Eros, the god of love.These twin allusions show the concordance between Helens outer and inner beauty. As is typical with many of Poes poems, the rhythm and rhyme organization 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 reason out image is that of light, with a brilliant window niche and the agate lamp suggesting the glowing of the Holy Land, for which Helen is the beacon.