🔥🔥🔥 Once Upon A Time Poem Analysis
Ginsberg turns this true episode into a poetic fiction - once upon a time poem analysis he once upon a time poem analysis in many lines of Howl - using biographical once upon a time poem analysis and dressing it up as poetry. To Wordsworth, the soul was created by the divine and was Narrative Essay On Mexican Culture to recognise the light in the world. William Wordsworth II. Nothing remained But self-confession. Ginsberg's journals once upon a time poem analysis full of these escapades around Gridlock in congress York. Once upon a time poem analysis three old shrews of fate are the Greek Once upon a time poem analysis who spun, wove and then cut the thread of an individual's mortal life. Ruskin—a once upon a time poem analysis Dawn And Men In The Sun Analysis of irony though he be—to lay his finger so unerringly as he does on the weak point of Wordsworth's once upon a time poem analysis ode on the 'Intimations of Immortality,' once upon a time poem analysis he speaks of him—quite falsely, by the way—as 'content with intimations of once upon a time poem analysis.
Analysis of Once Upon A Time by Gabriel Okara
All my life I had to fight. I had to fight my daddy. I had to fight my brothers. I had to fight my cousins and my uncles. She let out her breath. I loves Harpo, she say. God knows I do. The formal genre of this literary work is novel. This passage represents and validates its sub-classification within the genre of feminist fiction. Sofia is a foil character for Celie, the protagonist, who often submits to the power, control, and brutality of her husband. The juxtaposition of these characters indicates the limited options and harsh consequences faced by women with feminist ideals in the novel.
It is possible that Coleridge's earlier poem, The Mad Monk influenced the opening of the ode and that discussions between Dorothy and Wordsworth about Coleridge's childhood and painful life were influences on the crafting of the opening stanza of the poem. The poem is similar to the conversation poems created by Coleridge, including Dejection: An Ode. The poems were not real conversations as there is no response to the narrator of the poem, but they are written as if there would be a response. The poems seek to have a response, though it never comes, and the possibility of such a voice though absence is a type of prosopopoeia.
In general, Coleridge's poems discuss the cosmic as they long for a response, and it is this aspect, not a possible object of the conversation, that forms the power of the poem. Wordsworth took up the form in both Tintern Abbey and Ode: Intimations of Immortality , but he lacks the generous treatment of the narrator as found in Coleridge's poems. As a whole, Wordsworth's technique is impersonal and more logical, and the narrator is placed in the same position as the object of the conversation.
The narrator of Wordsworth is more self-interested and any object beyond the narrator is kept without a possible voice and is turned into a second self of the poet. As such, the conversation has one of the participants lose his identity for the sake of the other and that individual represents loss and mortality. The expanded portion of the ode is related to the ideas expressed in Wordsworth's The Prelude Book V in their emphasis on childhood memories and a connection between the divine and humanity. To Wordsworth, the soul was created by the divine and was able to recognise the light in the world. As a person ages, they are no longer able to see the light, but they can still recognise the beauty in the world. Who has not felt the same aspirations as regards the world of his own mind?
Having to wield some of its elements when I was impelled to write this poem on the "Immortality of the Soul", I took hold of the notion of pre-existence as having sufficient foundation in humanity for authorising me to make for my purpose the best use I could of it as a Poet. I do not profess to give a literal representation of the state of the affections and of the moral being in childhood.
I record my feelings at that time,--my absolute spirituality, my 'all-soulness,' if I may so speak. At that time I could not believe that I should lie down quietly in the grave, and that my body would moulder into dust. Wordsworth's explanation of the origin of the poem suggests that it was inspiration and passion that led to the ode's composition, and he later said that the poem was to deal with the loss of sensations and a desire to overcome the natural process of death. As for the specific passages in the poem that answer the question of the early version, two of the stanzas describe what it is like to be a child in a similar manner to his earlier poem, "To Hartley Coleridge, Six Years Old" dedicated to Coleridge's son.
In the previous poem, the subject was Hartley's inability to understand death as an end to life or a separation. In the ode, the child is Wordsworth and, like Hartley or the girl described in "We are Seven", he too was unable to understand death and that inability is transformed into a metaphor for childish feelings. The later stanzas also deal with personal feelings but emphasise Wordsworth's appreciation for being able to experience the spiritual parts of the world and a desire to know what remains after the passion of childhood sensations are gone. Although this emphasis seems non-Christian, many of the poem's images are Judeo-Christian in origin.
The idea of pre-existence within the poem contains only a limited theological component, and Wordsworth later believed that the concept was "far too shadowy a notion to be recommended to faith. What is missing in Origen's platonic system is Wordsworth's emphasis on childhood, which could be found in the beliefs of the Cambridge Platonists and their works, including Henry Vaughan's "The Retreate". What concerns the narrator is that he is not being renewed like the animals and he is fearful over what he is missing. This is similar to a fear that is provided at the beginning of The Prelude and in Tintern Abbey. As for the understanding of the soul contained within the poem, Wordsworth is more than Platonic in that he holds an Augustinian concept of mercy that leads to the progress of the soul.
Wordsworth differs from Augustine in that Wordsworth seeks in the poem to separate himself from the theory of solipsism, the belief that nothing exists outside of the mind. The soul, over time, exists in a world filled with the sublime before moving to the natural world, and the man moves from an egocentric world to a world with nature and then to a world with mankind. This system links nature with a renewal of the self. Ode: Intimations of Immortality is about childhood, but the poem doesn't completely focus on childhood or what was lost from childhood. Instead, the ode, like The Prelude and Tintern Abbey , places an emphasis on how an adult develops from a child and how being absorbed in nature inspires a deeper connection to humanity.
A Reader who has not a vivid recollection of these feelings having existed in his mind in childhood cannot understand the poem. In a letter to Isabella Fenwick , he explained his particular feelings about immortality that he held when young:  "I was often unable to think of external things as having external existence, and I communed with all that I saw as something not apart from, but inherent in, my own immaterial nature. Like the two other poems, The Prelude and Tintern Abbey , the ode discusses Wordsworth's understanding of his own psychological development, but it is not a scientific study of the subject. He believed that it is difficult to understand the soul and emphasises the psychological basis of his visionary abilities, an idea found in the ode but in the form of a lamentation for the loss of vision.
To Wordsworth, vision is found in childhood but is lost later, and there are three types of people that lose their vision. The first are men corrupted through either an apathetic view of the visions or through meanness of mind. The second are the "common" people who lose their vision as a natural part of ageing. The last, the gifted, lose parts of their vision, and all three retain at least a limited ability to experience visions. Wordsworth sets up multiple stages, infancy, childhood, adolescence, and maturity as times of development but there is no real boundary between each stage. To Wordsworth, infancy is when the "poetic spirit", the ability to experience visions, is first developed and is based on the infant learning about the world and bonding to nature.
As the child goes through adolescence, he continues to bond with nature and this is slowly replaced by a love for humanity, a concept known as "One Life". This leads to the individual despairing and only being able to resist despair through imagination. The idea allows the narrator to claim that people are weighed down by the roles they play over time. The narrator is also able to claim through the metaphor that people are disconnected from reality and see life as if in a dream.
Wordsworth returns to the ideas found within the complete ode many times in his later works. There is also a strong connection between the ode and Wordsworth's Ode to Duty , completed at the same time in The poems describe Wordsworth's assessment of his poetry and contains reflections on conversations held between Wordsworth and Coleridge on poetry and philosophy. The basis of the Ode to Duty states that love and happiness are important to life, but there is something else necessary to connect an individual to nature, affirming the narrator's loyalty to a benevolent divine presence in the world. However, Wordsworth was never satisfied with the result of Ode to Duty as he was with Ode: Intimations of Immortality.
The argument and the ideas are similar to many of the statements in the ode along with those in The Prelude , Tintern Abbey , and "We Are Seven". He would also return directly to the ode in his poem Composed upon an Evening of Extraordinary Splendor and Beauty where he evaluates his own evolving life and poetic works while discussing the loss of an early vision of the world's joys. In the Ode: Intimations of Immortality , Wordsworth concluded that he gives thanks that was able to gain even though he lost his vision of the joy in the world, but in the later work he tones down his emphasis on the gain and provides only a muted thanks for what remains of his ability to see the glory in the world.
Wordsworth's ode is a poem that describes how suffering allows for growth and an understanding of nature,  and this belief influenced the poetry of other Romantic poets. Wordsworth followed a Virgilian idea called lacrimae rerum , which means that "life is growth" but it implies that there is also loss within life. To Wordsworth, the loss brought about enough to make up for what was taken.
Shelley, in his Prometheus Unbound , describes a reality that would be the best that could be developed but always has the suffering, death, and change. John Keats developed an idea called "the Burden of the Mystery" that emphasizes the importance of suffering in the development of man and necessary for maturation. In Coleridge's theory, his poetic abilities were the basis for happiness and without them there would only be misery.
The ode praises children for being the "best Philosopher" "lover of truth" because they live in truth and have prophetic abilities. The omnipresent Spirit works equally in them, as in the child; and the child is equally unconscious of it as they. Richards, in his work Coleridge on Imagination , responds to Coleridge's claims by asking, "Why should Wordsworth deny that, in a much less degree, these attributes are equally suitable to a bee, or a dog, or a field of corn? Later, Cleanth Brooks reanalyzes the argument to point out that Wordsworth would include the animals among the children.
He also explains that the child is the "best philosopher" because of his understanding of the "eternal deep", which comes from enjoying the world through play: "They are playing with their little spades and sand-buckets along the beach on which the waves break. If Wordsworth's weakness is incongruity, his strength is propriety. That Coleridge should tell us this at such length tells as much about Coleridge as about Wordsworth: reading the second volume of the Biographia , we learn not only Wordsworth's strong and weak points but also the qualities that most interest Coleridge. While modern critics believe that the poems published in Wordsworth's collection represented a productive and good period of his career, contemporary reviewers were split on the matter and many negative reviews cast doubts on his circle of poets known as the Lake Poets.
Many, with inferior abilities, have acquired a loftier seat on Parnassus, merely by attempting strains in which Mr. Southey, in an 8 December letter to Walter Scott, wrote, "There are certainly some pieces there which are good for nothing The Ode upon Pre-existence is a dark subject darkly handled. Coleridge is the only man who could make such a subject luminous. Francis Jeffrey, a Whig lawyer and editor of the Edinburgh Review , originally favoured Wordsworth's poetry following the publication of Lyrical Ballads in but turned against the poet from onward.
In response to Wordsworth's collection of poetry, Jeffrey contributed an anonymous review to the October Edinburgh Review that condemned Wordsworth's poetry again. We can pretend to give no analysis or explanation of it;-- our readers must make what they can of the following extracts. He believed that Wordsworth's greatest weakness was portraying the low aspects of life in a lofty tone. Another semi-negative response to the poem followed on 4 January in the Eclectic Review.
The writer, James Montgomery , attacked the collection of poems for depicting low subjects. When it came to the ode, Montgomery attacked the poem for depicting pre-existence. Wordsworth himself is so frequently compelled to employ it, for the expression of thoughts which without it would be incommunicable. These volumes are distinguished by the same blemishes and beauties as were found in their predecessors, but in an inverse proportion: the defects of the poet, in this performance, being as much greater than his merits, as they were less in his former publication.
After our preliminary remarks on Mr. Wordsworth's theory of poetical language, and the quotations which we have given from these and his earlier compositions, it will be unnecessary to offer any further estimate or character of his genius. We shall only add one remark Of the pieces now published he has said nothing: most of them seem to have been written for no purpose at all, and certainly to no good one. Wordsworth often speaks in ecstatic strains of the pleasure of infancy. If we rightly understand him, he conjectures that the soul comes immediately from a world of pure felicity, when it is born into this troublous scene of care and vicissitude This brilliant allegory, for such we must regard it, is employed to illustrate the mournful truth, that looking back from middle age to the earliest period of remembrance we find, 'That there hath pass'd away a glory from the earth,' Such is Life ".
Though it was a review of his uncle's Remorse , he connects the intention and imagery found within Coleridge's poem to that in Ode: Intimation of Immortality and John Wilson's "To a Sleeping Child" when saying, "To an extension or rather a modification of this last mentioned principle [obedience to some internal feeling] may perhaps be attributed the beautiful tenet so strongly inculcated by them of the celestial purity of infancy. Wordsworth, in a passage which strikingly exemplifies the power of imaginative poetry". In the review, he partially condemns Wordsworth's emphasis in the ode on children being connected to the divine: "His occasional lapses into childish and trivial allusion may be accounted for, from the same tendency.
He is obscure, when he leaves out links in the chain of association, which the reader cannot easily supply In his descriptions of children this is particularly the case, because of his firm belief in a doctrine, more poetical perhaps, than either philosophical or christian, that 'Heaven lies about us in our infancy. John Taylor Coleridge continues by explaining the negative aspects of such a concept: "Though the tenderness and beauty resulting from this opinion be to us a rich overpayment for the occasional strainings and refinements of sentiment to which it has given birth, it has yet often served to make the author ridiculous in common eyes, in that it has led him to state his own fairy dreams as the true interpretation and import of the looks and movements of children, as being even really in their minds.
Wordsworth, we should have said nothing; but we believe him to be one not willing to promulgate error, even in poetry, indeed it is manifest that he makes his poetry subservient to his philosophy; and this particular notion is so mixed up by him with others, in which it is impossible to suppose him otherwise than serious; that we are constrained to take it for his real and sober belief.
In the same year came responses to the ode by two Romantic writers. Leigh Hunt , a second-generation Romantic poet, added notes to his poem Feast of the Poets that respond to the ideas suggested in Wordsworth's poetry. These ideas include Wordsworth's promotion of a simple mental state without cravings for knowledge, and it is such an ideas that Hunt wanted to mock in his poem.
However, Hunt did not disagree completely with Wordsworth's sentiments. Far be it also from me to hinder the communication of such thoughts to mankind, when they are not sunk beyond their proper depth, so as to make one dizzy in looking down to them. Wordsworth's New Poems" in three parts, starting in the 21 August Examiner. Although Hazlitt treated Wordsworth's poetry fairly, he was critical of Wordsworth himself and he removed any positive statements about Wordsworth's person from a reprint of the essays.
Wordsworth's poetry is to be found only in the subject and style: the sentiments are subtle and profound. In the latter respect, his poetry is as much above the common standard or capacity, as in the other it is below it We go along with him, while he is the subject of his own narrative, but we take leave of him when he makes pedlars and ploughmen his heroes and the interpreters of his sentiments. In came two more responses by Romantic poets to the ode. Coleridge was impressed by the ode's themes, rhythm, and structure since he first heard the beginning stanzas in In his argument, he both defended his technique and explained: "Though the instances of this defect in Mr.
Wordsworth's poems are so few, that for themselves it would have been scarce just to attract the reader's attention toward them; yet I have dwelt on it, and perhaps the more for this very reason. For being so very few, they cannot sensibly detract from the reputation of an author, who is even characterized by the number of profound truths in his writings, which will stand the severest analysis; and yet few as they are, they are exactly those passages which his blind admirers would be most likely, and best able, to imitate. Another aspect Coleridge favoured was the poem's originality of thought and how it contained Wordsworth's understanding of nature and his own experience.
Coleridge also praised the lack of a rigorous structure within the poem and claimed that Wordsworth was able to truly capture the imagination. However, part of Coleridge's analysis of the poem and of the poet tend to describe his idealised version of positives and negative than an actual concrete object. Milnes, that John Keats, one of the second-generation Romantic poets, discussed the poem with him. Following Coleridge's response was an anonymous review in the May Blackwood's Edinburgh Magazine , possible by either John Lockhart and John Wilson together or just Lockhart on his own. Of Wordsworth's abilities as a poet in general, the review claimed: "Mr Wordsworth Our own opinion, ever since this Journal commenced, has been clearly and entirely before them; and if there be any one person, on whose mind what we have quoted now, is not enough to make an impression similar to that which our own judgment had long before received — we have nothing more to say to that person in regard to the subject of poetry.
When discussing the poem, Talfourd declared that the ode "is, to our feelings, the noblest piece of lyric poetry in the world. It was the first poem of its author which we read, and never shall we forget the sensations which it excited within us. We had heard the cold sneers attached to his name To have the best and most imperishable of intellectual treasures — the mighty world of reminiscences of the days of infancy — set before us in a new and holier light". William Blake, a Romantic poet and artist, thought that Wordsworth was at the same level as the poets Dante, Shakespeare, and Milton. In a diary entry for 27 December , H. Robinson recounted a conversation between himself and William Blake shortly before Blake's death: "I read to him Wordsworth's incomparable ode, which he heartily enjoyed.
But he repeated, 'I fear Wordsworth loves nature, and nature is the work of the Devil. The Devil is in us as 'far as we are nature. The parts of Wordsworth's ode which Blake most enjoyed were the most obscure—at all events, those which I least like and comprehend. In the third part, he critiqued Wordsworth's use of pre-existence within the poem and asked "unless our author means to say that, having existed from all eternity, we are of an eternal and indestructible essence; or, in other words, that being incarnate portion of the Deity But if the poet intends to affirm this, do you not perceive that he frustrates his own aim? There appears to be a laborious toiling after originality, ending in a dismal want of harmony. The ode, like others of Wordsworth's poetry, was favoured by Victorians for its biographical aspects and the way Wordsworth approached feelings of despondency.
The American Romantic poet Ralph Waldo Emerson , in his work English Traits , claimed that the poem "There are torpid places in his mind, there is something hard and sterile in his poetry, want of grace and variety, want of due catholicity and cosmopolitan scope: he had conformities to English politics and tradition; he had egotistic puerilities in the choice and treatment of his subjects; but let us say of him, that, alone in his time he treated the human mind well, and with an absolute trust.
His adherence to his poetic creed rested on real inspirations. For sustained splendor of imagination, deep, solemn, and progressive thought, and exquisite variety of music, that poem is unsurpassed. Since Milton's 'Ode upon the Nativity' there is nothing so fine, not forgetting Dryden, Pope, Collins, and the rest, who have written odes. The philosopher John Stuart Mill liked Wordsworth's ode and found it influential to the formation of his own thoughts. In his Autobiography , he credited Wordsworth's poetry as being able to relieve his mind and overcome a sense of apathy towards life.
Of the poems, he particularly emphasised both Wordsworth's collection of poetry and the Ode: Intimations of Immortality as providing the most help to him, and he specifically said of the ode: "I found that he too had had similar experience to mine; that he also had felt that the first freshness of youthful enjoyment of life was not lasting; but that he had sought for compensation, and found it, in the way in which he was now teaching me to find it.
The result was that I gradually, but completely, emerged from my habitual depression, and was never again subject to it. After quoting from the ode, Mason claimed of the poem: "These, and hundreds of other passages that might be quoted, show that Wordsworth possessed, in a very high degree indeed, the true primary quality of the poet—imagination; a surcharge of personality or vital spirit, perpetually overflowing among the objects of the otherwise conditioned universe, and refashioning them according to its pleasure. After Mill, critics focused on the ode's status among Wordsworth's other poems. But the poet of 'Tintern Abbey' and the 'Ode on Intimations of Immortality' and the 'Prelude' is Wordsworth in his period of highest energy and imaginative light".
However, he explains why he believed that the ode was not one of the best: "I have a warm admiration for Laodameia and for the great Ode ; but if I am to tell the very truth, I find Laodameia not wholly free from something artificial, and the great Ode not wholly free from something declamatory. In general, we may say of these high instincts of early childhood The Victorian critic John Ruskin , towards the end of the 19th century, provided short analyses of various writers in his "Nature and Literature" essays collected in "Art and Life: a Ruskin Anthology". In speaking of Wordsworth, Ruskin claimed, "Wordsworth is simply a Westmoreland peasant, with considerably less shrewdness than most border Englishmen or Scotsmen inherit; and no sense of humor; but gifted The ode, to Ruskin, becomes a means to deride Wordsworth's intellect and faith when he claims that Wordsworth was "content with intimations of immortality such as may be in skipping of lambs, and laughter of children-incurious to see in the hands the print of the nails.
Therefore, he makes the choice of not fighting back for himself. In contrast, George and Hazel in the short story cannot even identify the obstacle that they are facing with their lives. An addict attempts to keep their problems unknown and this was the first he had heard of his brother in ages. He saw all the signs and odd behavior, but still convince himself nothing was wrong. When one loves another their faults are harder to find, one will ignore flaws in favor of viewing them in the best light. His blinding love kept him from seeing the path Sonny was headed down.
His control extended not only to Amari, but also over the other residents of the plantation. He did not like Mrs. Clay knew his father would kill the child, and Clay had hated the child before it was born because of the initial praise it received. Clay tried to manipulate, or control, the situation to his advantage and benefit. Which made her believe that his death was caused by his actions and concept of thinking. Also as to seeing his life having many hardships he endured, the reader sees that his foolish ways drove him to die in the first place. Which can be seen as his up bringing of childhood lifestyle,countless people who cared, but he was quick to ignore and his ignorance of letting himself die in the wild,.
Leading himself to the wilderness was somewhat caused by his reliance to prove a point. In conclusion, with understanding and love people can stop hate without causing more hate to. Equality wept because the people in the old society did not know that there was a word for themselves, not we, but I. Boyhood is not only about Coetzee himself but also about South Africa and the apartheid.
Rather than discussing the evils of apartheid, Coetzee lets his readers see how apartheid affects relationships through events in his own life. The relationship between the young boy and his mother is a love-hate relationship. He wants to separate himself from her, and determines to share nothing with her. When Africans joined the war only terrible things would come of it, as it became like slavery all over again except instead of hard labor they were dying from either being shot or disease. The Africans at the end of the war still had no voice and were completely shunned through all of their triumph.
To try to solve all of the world 's problems the League of Nations was proposed, but criticized for its likelihood to be effective. Without World War I, the world would of had more revolutionary change for Africans, but for its occurrence it halted the growth and could not push for anything to become urgent, which is why African Americans did not get rights until 50 years. It is true that racism and prejudice is neither morally or logically correct, but unless people are able to competently contest those views without resorting to the destruction of other opinions and thought, those issues will continue to prevail.Unknown once upon a time poem analysis May Integumentary System So, show once upon a time poem analysis, son. In came two more responses by Romantic poets to the ode.