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  • 1. See the Leaves that Fall from TreesSee the leaves that fall from treesWatch them fall to ground with graceCarried by the winds of natureThey never stay in just one placeSee the leaves that fall from treesThey grow from branches nice and quickA season’s when they live their lifeFull and short poisoned sickSee the leaves that fall from treesThe venom that we always shareWe eradicate our mother natureAnd the life that flows through airSee the leaves that fall from treesThey now shrivel up and fallDon’t even let them their last breathGrounded, lifeless no beauty at allNow see the future of our kindOur greed has brought us to our kneesWe have condemned all forms of lifeAnd drank the water of the seasWe have no second earth to hideWe had the cure to our diseaseWe need not much but open eyesTo see the leaves that fall from trees
  • 2. Let me die a youngman’s death Let me die a youngmans death not a clean and inbetween the sheets holywater death not a famous-last-words peaceful out of breath death When Im 73 and in constant good tumour may I be mown down at dawn by a bright red sports car on my way home from an allnight party Or when Im 91 with silver hair and sitting in a barbers chair may rival gangsters with hamfisted tommyguns burst in and give me a short back and insides Or when Im 104 and banned from the Cavern may my mistress catching me in bed with her daughter and fearing for her son cut me up into little pieces and throw away every piece but one
  • 3. Let me die a youngmans death not a free from sin tiptoe in candle wax and waning death not a curtains drawn by angels borne what a nice way to go deathDO NOT GO GENTLE INTOTHAT GOOD NIGHTDo not go gentle into that good night,Old age should burn and rage at close of day;Rage, rage against the dying of the light.Though wise men at their end know dark is right,Because their words had forked no lightning theyDo not go gentle into that good night.Good men, the last wave by, crying how brightTheir frail deeds might have danced in a green bay,Rage, rage against the dying of the light.Wild men who caught and sang the sun in flight,And learn, too late, they grieved it on its way,Do not go gentle into that good night.Grave men, near death, who see with blinding sightBlind eyes could blaze like meteors and be gay,Rage, rage against the dying of the light.And you, my father, there on the sad height,Curse, bless me now with your fierce tears, I pray.Do not go gentle into that good night.Rage, rage against the dying of the light.
  • 4. Do not go gentle into that good night,Old age should burn and rave at close of day;Rage, rage against the dying of the light. The speaker addresses an unknown listener, telling him not to "go gentle into that good night." At first this is a puzzling metaphor but, by the end of line 3, we realize that the speaker is using night as a metaphor for death: the span of one day could represent a mans lifetime, which makes the sunset his approaching demise. "That good night" is renamed at the end of line 2 as the "close of day," and at the end of line 3 as "the dying of the light." Its probably not an accident that the metaphor for death keeps getting repeated at the end of the lines, either. Or that the two rhyming words that begin the poem are "night" and "day." So what does the speaker want to tell us about death? Well, he thinks that old men shouldnt die peacefully or just slip easily away from this life. Instead, they should "burn and rave," struggling with a fiery intensity. The word "rave" in line 2 connects with the repeated "rage" at the beginning of line 3, uniting anger, power, madness, and frustration in a whirlwind of emotion. Oh, yeah, its going to be one of those poems. Get ready to feel.Though wise men at their end know dark is right,Because their words had forked no lightning theyDo not go gentle into that good night. These lines are potentially quite confusing, so lets start by untangling the syntax of Thomass sentence here: even though smart people know death is inevitable (line 4), they dont just accept it and let themselves fade away (line 6), because they may not have achieved everything they were capable of yet (line 5).
  • 5. The metaphor of night as death continues here, with death figured asthe "dark." The speaker admits that sensible, smart people realize death– traveling into "the dark" – is inevitable and appropriate. After all, wereall going to die, and its a totally natural process.But even though clever people know theyre going to die, they dontsimply accept it. They dont take the news lying down.Why not? The speaker tells us that its because "their words had forkedno lightning" (line 5). This image is puzzling and open to severalinterpretations.Heres ours: the "words" represent the actions, the speech, or maybe theartistic creation of intelligent people. You know, the way this poemconsists of Dylan Thomass own "words."These words dont fork lightning, which means they dont split and divertthe massive electrical shock of the lightning bolt, which draws it towardthemselves like a lightning rod instead. Even though the "wise men"have put everything they can into their "words," those words werentattractive enough to make the lightning split.Basically, they havent really made much of a mark on the world.The bright electric current of the lightning bolt adds a new twist to thelight/dark and day/night metaphors, suggesting that really living life ismore like getting zapped by an electric shock than like feeling thegentle radiation of the sun.This stanza also begins to conflate – or collapse together – people ingeneral, such as the person the speaker is addressing with poets andartists like the speaker himself.As the poem continues, well see more and more connections betweengreat men and great artists. These connections imply that artisticexpression is a more concentrated version of life in a broader sense.You know, the way a can of lemonade concentrate tastes way morelemon-y than the lemonade itself once you add water.
  • 6. Good men, the last wave by, crying how brightTheir frail deeds might have danced in a green bay,Rage, rage against the dying of the light. Once again, the best way to understand how all these poetic images work together is to untangle Thomass sentences, which are all twisted up so that they fit the meter and form of the villanelle. The basic parts of this sentence are the subject, "Good men" (line 7), and the verb, "Rage" (line9). In the speakers opinion, true goodness consists of fighting the inevitability of death with all your might: "Good men […] Rage, rage against the dying of the light." Next, Thomas adds an image of the ocean waves; the most recent generation of good men, the "last wave by" (line 7), are about to crash against the shore, or die. As they approach death, these men shout out how great their actions couldve been if theyd been allowed to live longer. Or, to use the metaphor in the poem, as their wave crashes against the rocks, the men shout how beautifully that wave could have danced in the bay if it couldve stayed out at sea instead of rolling onto the beach. So this generation is like a wave, death is like the breaking of the wave on the shore, the sea is like life, and the dancing waters in the ocean are like beautiful actions. The bay is "green" because the sea is really brimming with life – plants, seaweed, algae, you name it. In this image, being out at sea is like life and coming back to the barren shore is death –the opposite of the metaphor you might expect, in which drifting out to sea would be like death. Notice that Thomas describes the good mens potential future actions – the things they wont be able to do because they have to die – as "frail deeds." Its not clear whether the men or the actions are weakened by age; perhaps both.
  • 7. Wild men who caught and sang the sun in flight,And learn, too late, they grieved it on its way,Do not go gentle into that good night. The speaker describes another kind of men – those who dont allow themselves to fade quietly away into death, "Wild men" (line 10). What sort of men are we talking about? The kind who captured the world around them in their imagination and celebrated it – "who caught and sang the sun in flight" (line 11) – only to discover that the world they celebrated was slowly dissolving around them as comrades age and die. Here the sun represents the beauty that exists in the mortal world, and its "flight" across the sky represents the lifespan of people living in this world. "Flight" also suggests that it moves rapidly – our lives are just the blink of an eye. So just when you think youre partying to celebrate birth and life, symbolized by the sunrise, you find out that youre actually mourning death, symbolized by the sunset.Grave men, near death, who see with blinding sightBlind eyes could blaze like meteors and be gay,Rage, rage against the dying of the light. The speaker describes the way that "Grave men" fight their impending death. Notice the pun on "grave," which could either mean that the men are very serious, or that they are dying. These serious dying guys realize that, even though they are weak and losing their faculty of sight, they can still use what strength they have to rage against death. So, even though their eyes are going blind, these men can "see," metaphorically speaking, with an overwhelming certainty or "blinding
  • 8. sight," that they still have a lot of power over the way they die, even if not the timing. Instead of getting snuffed like candles, they can "blaze like meteors" (line 14). Theyre planning to go out with a bang.And you, my father, there on the sad height,Curse, bless, me now with your fierce tears, I pray.Do not go gentle into that good night.Rage, rage against the dying of the light. In the last lines of the poem, the speaker turns to addressing his father. His father is on the verge of death, which the speaker describes as a "sad height." We think this is probably an allusion to looking down into the Biblical valley of death; the metaphorical mountain where the father stands is the edge of the mortal world. The speaker begs his father to cry passionately, which will be both a blessing and a curse. After all, the fathers death is heartbreaking. But if he battles against the odds, it might also be heroic. The speaker ends with the two lines that are repeated throughout the poem, asking or instructing his father not to submit to death – instead, he should rant and rave and fight it every step of the way.
  • 9. The Jaguar The apes yawn and adore their fleas in the sun. The parrots shriek as if they were on fire, or strut Like cheap tarts to attract the stroller with the nut. Fatigued with indolence, tiger and lion Lie still as the sun. The boa-constrictor’s coil Is a fossil. Cage after cage seems empty, or Stinks of sleepers from the breathing straw. It might be painted on a nursery wall. But who runs like the rest past these arrives At a cage where the crowd stands, stares, mesmerized, As a child at a dream, at a jaguar hurrying enraged Through prison darkness after the drills of his eyes On a short fierce fuse. Not in boredom— The eye satisfied to be blind in fire, By the bang of blood in the brain deaf the ear— He spins from the bars, but there’s no cage to him More than to the visionary his cell:
  • 10. His stride is wildernesses of freedom: The world rolls under the long thrust of his heel. Over the cage floor the horizons come.The Jaguar Poetry AnalysisThe poem ‘The Jaguar’ written by Ted Hughes describes the lifestyles of animals at azoo and their different attitudes to entrapment in their cage. It compares the bored,lazy moods of the animals to the lively, adventurous mood of the jaguar, which doesnot see this confinement as a way of stopping him behaving as if it were in its naturalenvironment. The poet’s clever use of techniques such as similes and metaphorsclearly puts an image in our minds of the animal’s ways of life and gives an accurateinterpretation of what we would normally see at a day at the zoo.The poem describes the actions of the lazy, bored animals to the energetic mood ofthe jaguar. The animals are in fact so lazy and bored that they are ‘fatigued withindolence,’ in other words, their boredom exhausts them. They spend most of theirtime sleeping, making it very uninteresting for the visitors to watch. It then talks aboutthe parrot, which ‘strut like cheap tarts’ to try and get some food from passers by.The guestsIs this essay helpful? Join OPPapers to read more and access more than550,000 just like it!are unimpressed with the animals, until they reach the jaguar’s cage, where theywatch in amazement as the jaguar behaves as it would in the wild.The supposed message is told through the jaguar escaping with its mind even thoughit is trapped in the cage. It tells us that even though we may be in some sort ofphysical confinement, we not have to stop us escaping with our minds, thereforebehaving as we would on the outside.The mood starts off as being drowsy and depressing, when we hear about thetiredness and boredom of the animals. There is a tone of sympathy felt for the
  • 11. suffering of the animals. Later in the poem, the tone with the jaguar’s energy is quiteuplifting, with a lively and energetic mood to contrast the depressing mood frombefore.The poem is structured into five stanzas, each with four lines. These lines are aboutequal in length. Sometimes a sentence is incomplete within a stanza, and then thesentence is finished at the start of the next..MirrorI am silver and exact. I have no preconceptions.What ever I see I swallow immediatelyJust as it is, unmisted by love or dislike.I am not cruel, only truthful---The eye of a little god, four-cornered.Most of the time I meditate on the opposite wall.It is pink, with speckles. I have looked at it so longI think it is a part of my heart. But it flickers.Faces and darkness separate us over and over.Now I am a lake. A woman bends over me,Searching my reaches for what she really is.Then she turns to those liars, the candles or the moon.I see her back, and reflect it faithfully.She rewards me with tears and an agitation of hands.I am important to her. She comes and goes.Each morning it is her face that replaces the darkness.In me she has drowned a young girl, and in me an old womanRises toward her day after day, like a terrible fish.
  • 12. The Mirror AnalysisI am silver and exact. I have no preconceptions. Whatever I see, I swallowimmediately Just as it is, unmisted by love or dislike. I am not cruel, only truthful? The eye of a little god, four-cornered. Most of the time I meditate on theopposite wall . It is pink, with speckles. I have looked at it so long I think it is apartr of my heart. But it flickers. Faces and darkness separate us over andover.Now I am a lake. A woman bends over me, Searching my reaches for whatshe really is. Then she turns to those liars, the candles or the moon. I see herback, and reflect it faithfully. She rewards me with tears and an agitation ofhands. I am important to her. She comes and goes. Each morning it is herface that replaces the darkness. In me she has drowned a young girl, and inme an old woman Rises toward her day after day, like a terrible fish.In Sylvia Plaths poem "Mirror," we are addressed by an inanimate object,which sets out to define itself and its function and does so with the exactitudethat is a part of its nature. It has no preconceptions because it is withoutmemory or an ability to reason. It is omnivorous and swallows everything itconfronts without making judgments that might blur, mist or distort. It is god-like in its objectivity and its incapability of emotional response. Most of thetime it meditates on the opposite wall faithfully reproducing its colors anddesign until darkness supervenes or faces intrude. and these happenstancesrecur with regularity.In stanza two the mirror becomes a perfectly reflecting lake unruffled by anydisturbance. A woman bends over the lake like the mythological Narcissus,but no matter how deeply she searches she sees only her actuality or surfacetruth. Unlike Narcissus, the woman can not fall in love with what she sees. Thecandles and moon to which the woman turns are liars capable of lending
  • 13. untruthful shadows and romantic highlights, unlike the lake surface/mirror,which renders only faithful images.Unhappy with what she sees, the woman weeps and wrings her hands inagitation. The youth and beauty once reflected during the persons morningvisits are now swallowed and drowned in the metaphorical depths of thelake, and what slowly surfaces from those depths is the terrifying fact of aging,so graphically rendered by the simile of a fish.MetaphorsIm a riddle in nine syllables, An elephant, a ponderous house, A melonstrolling on two tendrils. O red fruit, ivory, fine timbers! This loafs big with itsyeasty rising. Moneys new-minted in this fat purse. Im a means, a stage, acow in calf. Ive eaten a bag of green apples, Boarded the train theres nogetting off.Sylvia Plath (1932-1963)In "Metaphors" the poet or speaker of the poem holds up a different sort ofmirror to herself--one that allows full-length representation and subsurfacepenetration. Just as the mirror of the first poem becomes metaphorically alake, the speaker here becomes a series of objects or creatures that reflect apregnant woman.The term of a normal pregnancy is repeatedly reflected in the number of linesin the poem and the number of syllables in each line. It is no accident thatthe poems title is a nine-letter word as are the words "syllables" thatconcludes line one and "ponderous" in line two.The riddle is easily solved. Forgive me for stating the obvious. The woman feelselephantine because of her increased weight and girth. Shes as big as a
  • 14. clichd house and her body has become an object in which a separate beingdwells. Her melon-shaped gravidity makes her legs seem by comparison likeslender tendrils. The red fruit is the fetus, the ivory (reminiscent of the earlierelephant) perhaps the childs skin or the childs precious bones which are alsocompared to fine timbers. The yeasty rising loaf is the commonly referred tobun in the oven. The fat purse is the womans belly stuffed with the preciouscargo of newly minted and still uncirculated money.The woman feels she has lost her own identity in becoming a means forreproduction or a stage on which a dramatic production is about to debut.The green apples she ate have caused abdominal swelling demandingrelease. The train is a metaphor for her pregnancy-a non-stop journey with adestination bespeaking joy and relief.Mid-Term Break by Seamus HeaneyI sat all morning in the college sick bayCounting bells knelling classes to a close.At two oclock our neighbors drove me home.In the porch I met my father crying--He had always taken funerals in his stride--And Big Jim Evans saying it was a hard blow.The baby cooed and laughed and rocked the pramWhen I came in, and I was embarrassedBy old men standing up to shake my handAnd tell me they were "sorry for my trouble,"Whispers informed strangers I was the eldest,Away at school, as my mother held my handIn hers and coughed out angry tearless sighs.
  • 15. At ten oclock the ambulance arrivedWith the corpse, stanched and bandaged by the nurses.Next morning I went up into the room. SnowdropsAnd candles soothed the bedside; I saw himFor the first time in six weeks. Paler now,Wearing a poppy bruise on his left temple,He lay in the four foot box as in his cot.No gaudy scars, the bumper knocked him clear.A four foot box, a foot for every year.The poet, Seamus Heaney, begins the plainly titled poem, Mid-term Break,with a simple, yet underlying melancholy tone. By the second verse, thepoignant theme is solidified when he meets his weeping father on the porch,all the while, a neighbor, Big Jim Evans describing the accident as a hardblow. The settings atmosphere is changed as the baby cooed and laughedand rocked in the pram while the poet is being consoled by old men whomurmur to each other the fact that he is the eldest son. The mood does notpick up, but the story moves along. "At ten oclock the ambulance arrivedwith the corpse" which had been restrained and bandaged by the nurses. Asif for his own nostalgic needs, the next morning, the poet enters his littlebrothers room, and finds the surfaces littered with mourning candles. This isthe first time the poet sees his little brother in six weeks after being away atcollege. "Wearing a poppy bruise on the left temple", the poet describes theinjury with a flower as innocent, beautiful and naive as the little boy himself."No gaudy scars, the bumper knocked him clear." The car had hit the littleboy, but did not produce any scars, leaving the boy looking peaceful andwith an untarnished, young body. "A four foot box, a foot for every year." The
  • 16. poets little four-year-old brother died after being hit by a car.Considering that the poet had lost his younger brother, this poem is written ina very straightforward manner. Being the eldest, he feels as if he must hold inhis feelings. Each verse has details about the people and the house, all with adoleful mood. The details are extended and wordy, until the last two verses.The last two verses are very short and are not as detailed as the rest of thepoem. This brings a feeling of sudden awareness of the situation felt by theauthor. The sudden alarm brings the poet to nearly speechlessness, leavingthe end of the poem with short phrases that really carry the load of the...