"Dover Beach"
Matthew Arnold
One idea dominates this poem: faith is gone and love is all that is left. However, the speaker's argument is organized like a formal essay more than a poem. The speaker makes an observation, validates the observation, proposes a hypothesis, then proposes a resolution.
The organization serves the poems meaning by expanding the scope affected by the observed misery. First, the speaker calls attention to something that can be seen literally. Dover is a real location and the calmness of the sea can be witnessed as well as the chaotic sounds that accompany the tranquil cliffs.
But to claim that deeper chaos accompanies beauty does not suffice. The speaker expands his theory to include Sophocles' experiences as well: "Sophocles long ago Heard it on the Aegean, and it brought Into his mind the turbid ebb and flow of human misery..." (Arnold, 892). Bringing up an ancient philosopher adds both credibility and urgency to the speaker's claim that the world is filled with suffering. One of the greatest minds of history agrees with him and this turbulent sound in the ocean has always been heard and can be heard all the way in Greece.
Now that the speaker has some credibility, he expands his claim to the metaphorical plane. Faith, to him, is not just a commodity, but a giant sea that surrounds the earth. Like the English Channel and Aegean, this sea is retreating turbulently. So, the speaker implores his lover to love him with intensity to combat the lack of faith. How could the lover decline? This poem was a compelling argument that relied on observations the audience could sense.
Thursday, March 28, 2013
Potpourri Unit: Sorting Laundry
"Sorting Laundry"
Elisavietta Ritchie
This poem seems to suggest that no action lacks a deeper meaning. Laundry, a chore that accomplishes so little yet takes up so much time, actually understandably can come to define a marriage as a whole. Although folding clothes brings back happy memories, some items stir up deep-rooted fears. Items like hideous towels and old shirts serve as symbols of the dynamics of the speaker's relationship.
As the speaker makes her way to old towels, she reflects on the positive aspects of her relationship. She describes the towels as "gaudy, bought on sale, reserved, we said, for the beach, refusing even after years, to bleach into respectability" (Ritchie, 841). Since her sheets have already been compared to a tablecloth for giants, the towels likely hold deeper meaning than mere existence. Perhaps the gaudiness of the towels suggests a quality about her relationship that others would not find desirably. For instance, she and her significant other could be rather quiet, or loud, or annoying. However, the important aspect of the marriage seems to be that, like the towels, she would never willingly do anything to change it.
Thoughts turn to darker subjects when the speaker reaches her former lover's shirt. Obviously, since this shirt was left behind, it must represent memories of an ex that, for some reason or another, cannot be shaken. Even though the current couple in the poem is still in tact, the seeds of doubt have already been planted in the speaker. The fears of losing her lover cannot be shaken like the regrets of her past relationship.
Elisavietta Ritchie
This poem seems to suggest that no action lacks a deeper meaning. Laundry, a chore that accomplishes so little yet takes up so much time, actually understandably can come to define a marriage as a whole. Although folding clothes brings back happy memories, some items stir up deep-rooted fears. Items like hideous towels and old shirts serve as symbols of the dynamics of the speaker's relationship.
As the speaker makes her way to old towels, she reflects on the positive aspects of her relationship. She describes the towels as "gaudy, bought on sale, reserved, we said, for the beach, refusing even after years, to bleach into respectability" (Ritchie, 841). Since her sheets have already been compared to a tablecloth for giants, the towels likely hold deeper meaning than mere existence. Perhaps the gaudiness of the towels suggests a quality about her relationship that others would not find desirably. For instance, she and her significant other could be rather quiet, or loud, or annoying. However, the important aspect of the marriage seems to be that, like the towels, she would never willingly do anything to change it.
Thoughts turn to darker subjects when the speaker reaches her former lover's shirt. Obviously, since this shirt was left behind, it must represent memories of an ex that, for some reason or another, cannot be shaken. Even though the current couple in the poem is still in tact, the seeds of doubt have already been planted in the speaker. The fears of losing her lover cannot be shaken like the regrets of her past relationship.
Wednesday, March 27, 2013
Potpourri Unit: Batter my heart, three-personed God
"Batter my heart, three-personed God"
John Donne
Aside from the incredibly unsettling images, this poem tells the story of a contrite sinner. But the speaker hints that his debauched nature is not his fault. He is but a prize in the eternal struggle between Satan and God, with Satan being the more frequent victor. A couple of paradoxes sum up the speaker's proposed resolution of utter fealty to God.
The first paradox asks God to free the speaker by revoking his freedom: "Take me to you, imprison me, for I, Except you enthrall me, never shall be free..." (Donne, 840). Even though being with God for eternity would seem appealing, having to be with God for eternity would most likely upset the most devout Christian. Still, in light of the speaker's alternative, his pleas seem reasonable. Earlier in the poem, the speaker compared himself to a usurped town serving only to hold its master. Likewise, there can only be one of two masters of the town. The speaker would rather face subjugation from God to ensure purity than submit to Satan's rule filled with guilt and sin.
The second paradox falls into the metaphor comparing the speaker to a town. The speaker claims he can never be chaste until God ravishes him. Being ravished usually doesn't relate to chastity and celibacy, but reasoning accompanies his... interesting choice of metaphors. If God were to fill the speaker with himself and have his way with him (as ravishing usually refers to a man's subjugating a woman), the speaker would be God's property and puppet. Being literally destined for heaven would be preferable to being filled with Satan and damnation.
John Donne
Aside from the incredibly unsettling images, this poem tells the story of a contrite sinner. But the speaker hints that his debauched nature is not his fault. He is but a prize in the eternal struggle between Satan and God, with Satan being the more frequent victor. A couple of paradoxes sum up the speaker's proposed resolution of utter fealty to God.
The first paradox asks God to free the speaker by revoking his freedom: "Take me to you, imprison me, for I, Except you enthrall me, never shall be free..." (Donne, 840). Even though being with God for eternity would seem appealing, having to be with God for eternity would most likely upset the most devout Christian. Still, in light of the speaker's alternative, his pleas seem reasonable. Earlier in the poem, the speaker compared himself to a usurped town serving only to hold its master. Likewise, there can only be one of two masters of the town. The speaker would rather face subjugation from God to ensure purity than submit to Satan's rule filled with guilt and sin.
The second paradox falls into the metaphor comparing the speaker to a town. The speaker claims he can never be chaste until God ravishes him. Being ravished usually doesn't relate to chastity and celibacy, but reasoning accompanies his... interesting choice of metaphors. If God were to fill the speaker with himself and have his way with him (as ravishing usually refers to a man's subjugating a woman), the speaker would be God's property and puppet. Being literally destined for heaven would be preferable to being filled with Satan and damnation.
Tuesday, March 26, 2013
Potpourri Unit: The Convergence of the Twain
"The Convergence of the Twain"
Thomas Hardy
This poem follows the tragic sinking of the Titanic, but hardly seeks to eulogize the fallen giant. Instead, the speaker conjures two contrasting characters: the ship and the iceberg that sank her. The use of imagery reinforces the idea of the Titanic being a token of human vanity and the iceberg being a supernatural creator's intended mate.
One of the first images presented in the poem is that of an expanse distance. The ship in question already lies at the bottom of the sea in almost complete solitude. In fact, the speaker makes special mention to the fact that the ship is separated from human vanity by the vast ocean. The reader can surmise that the ship illustrates the failure that commonly befalls the greatest of human aspirations and human pride. Furthermore, imagery serves to underline a stark contrast between the splendor of the ship and the environment of her grave: "Dim moon-eyed fishes near Gaze at the gilded gear And query: 'What does this vaingloriousness down here?'..." (Hardy, 778). Despite the decorations of gold, the ship ingloriously came to rest among lowly creatures that can hardly even see the shimmering glory that once draped the vessel. Many works of human vanity succumb to decay even though they were meant to be praised for eternity.
One more vessel is mentioned in the poem: the iceberg which sunk the ship. However, the creation of this character was not due to human vanity, but omnipotent design. In fact, the creation of the iceberg which occurred during the building of the ship, was intended to unite with the ship. The speaker conjures images of the ship and the iceberg being two halves of one praised event and two hemispheres of one globe. That ostentatious displays of human vanity come to face natural demise seems to be the intent of the one who created all.
Thomas Hardy
This poem follows the tragic sinking of the Titanic, but hardly seeks to eulogize the fallen giant. Instead, the speaker conjures two contrasting characters: the ship and the iceberg that sank her. The use of imagery reinforces the idea of the Titanic being a token of human vanity and the iceberg being a supernatural creator's intended mate.
One of the first images presented in the poem is that of an expanse distance. The ship in question already lies at the bottom of the sea in almost complete solitude. In fact, the speaker makes special mention to the fact that the ship is separated from human vanity by the vast ocean. The reader can surmise that the ship illustrates the failure that commonly befalls the greatest of human aspirations and human pride. Furthermore, imagery serves to underline a stark contrast between the splendor of the ship and the environment of her grave: "Dim moon-eyed fishes near Gaze at the gilded gear And query: 'What does this vaingloriousness down here?'..." (Hardy, 778). Despite the decorations of gold, the ship ingloriously came to rest among lowly creatures that can hardly even see the shimmering glory that once draped the vessel. Many works of human vanity succumb to decay even though they were meant to be praised for eternity.
One more vessel is mentioned in the poem: the iceberg which sunk the ship. However, the creation of this character was not due to human vanity, but omnipotent design. In fact, the creation of the iceberg which occurred during the building of the ship, was intended to unite with the ship. The speaker conjures images of the ship and the iceberg being two halves of one praised event and two hemispheres of one globe. That ostentatious displays of human vanity come to face natural demise seems to be the intent of the one who created all.
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