group 2 poem

7/25/2019 Group 2 Poem

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A Psalm of LifeBY HENRY WADSWORTH LONGFELLOW

What The Heart Of The Young Man Said To ThePsalmist.

Tell me not, in mournful numbers,

Life is but an empty dream!

For the soul is dead that slumbers,

And things are not what they seem.

Life is real! Life is earnest!

And the grave is not its goal;

Dust thou art, to dust returnest,

as not spoen of the soul.

"ot en#oyment, and not sorrow,

$s our destined end or way;

%ut to a&t, that ea&h to'morrow

Find us farther than to'day.

Art is long, and Time is fleeting,

And our hearts, though stout and brave,

(till, lie muffled drums, are beating

Funeral mar&hes to the grave.

$n the world)s broad field of battle,

$n the bivoua& of Life,
http://www.poetryfoundation.org/bio/henry-wadsworth-longfellowhttp://www.poetryfoundation.org/bio/henry-wadsworth-longfellow


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%e not lie dumb, driven &attle!

%e a hero in the strife!

Trust no Future, howe)er pleasant!

Let the dead Past bury its dead!

A&t,* a&t in the living Present!

+eart within, and od o)erhead!

Lives of great men all remind us e &an mae our lives sublime,

And, departing, leave behind us

Footprints on the sands of time;

Footprints, that perhaps another,

(ailing o)er life)s solemn main,A forlorn and shipwre&ed brother,

(eeing, shall tae heart again.

Let us, then, be up and doing,

ith a heart for any fate;

(till a&hieving, still pursuing, Learn to labor and to wait.


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STYLE:

Form and structure:

The poem consists of nine stanzas of four lines

each. The poem has regular rhyming pattern.Each stanza follows the rhyme scheme abab.

In eery stanza! the "rst line rhymes with the

third line and the second line with the fourth.

#llusion:

#llusion is a reference to other wor$s or

cultures in prose and poetry. %.& Longfellow

has used allusions to coney his message in

the poem.

'Tell me not! in mournful numbers.(

In the aboe line! numbers refer to the erses

in the )ible.'*ust thou art! to dust thou returnest(

The aboe line too has a )iblical reference.

FI+,-ES F S/EE0%:

Similes: It is a "gure of speech in which a

li$eness between two di1erent things is stated

using the words 'li$e( or 'as.( E2amples of

similes in # /salm of Life are!

3. Still! li$e mu4ed drums! are beating

5. )e not li$e dumb! drien cattle6

7ET#/%-S:

7etaphor is that "gure of speech where


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comparison of two di1erent things are implied

but not clearly stated. E2amples of metaphor

in the poem are!

3. Life is but an empty dream.

5. Soul id dead that slumbers8

9. #rt is long and Time is eeting

#LLITE-#TI;:

#lliteration is the close repetition of the

consonant sounds at the beginning of words tofacilitate narration. E2amples of alliteration in

the poem are!

3. +rae is not its goal

5. Find us further

9. *umb drien cattle


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?Life has a serious mission.

?Life does not end with death.

?&e hae a destiny irrespectie of our @oys and

sorrows.?Time is too short for our long mission.

?)ecome great by emulating great men.

?Learn to labor and wait for results.

?#ct now! in the liing present.

?)e a hero in the struggle of life.

Women's Rights - Poem by Annie Louis W!"e#

You $nnot #ob us o% the #ights &e $he#ish

No# tu#n ou# thoughts &y

F#om the b#ight (i$tu#e o% )Womn's *ission)

Ou# he#ts (o#t#y+

We $!im to ,&e!! in uiet n, se$!usion

Beneth the househo!, #oo%--F#om the g#et &o#!,'s h#sh st#i%e n, .##ing /oi$es

To stn, !oo%0--

Not in ,#emy n, inne bst#$tion

To s!ee( ou# !i%e &y

But gthe#ing u( the b#ightness o% home sunshine

To ,e$" ou# &y+

As humb!e (!nts by $ount#y he,ge#o&s g#o&ing

Tht t#esu#e u( the #inAn, yie!, in o,ou#s e#e the ,y's ,e$!ining


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The gi%t gin0

So !et us unobt#usi/e n, unnoti$e,

But h((y none the !ess

Be (#i/i!ege, to %i!! the i# #oun, us

With h((iness0

To !i/e un"no&n beyon, the $he#ishe, $i#$!e

Whi$h &e $n b!ess n, i,0

To ,ie n, not he#t tht ,oes not !o/e us

1no& &he#e &e'#e !i,+

Annie Louis W!"e#

The Nation United :

# ;oiseless! /atient Spider

# ;oiseless /atient Spider

I mar$(d where on a little promontory it stood isolated!

7ar$(d how to e2plore the acant ast surrounding!

It launch(d forth "lament! "lament! "lament! out of itself!

Eer unreeling them! eer tirelessly speeding them.

#nd you my soul where you stand!
http://www.poemhunter.com/annie-louisa-walker/poems/http://www.poemhunter.com/annie-louisa-walker/poems/


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Surrounded! detached! in measureless oceans of space!

0easelessly musing! enturing! throwing! see$ing the spheres

to connect them!

Till the bridge you will need be form(d! till the ductile anchor

hold!

Till the gossamer thread you ing catch somewhere! my

soul.

Walt Whitman

Eng!ish Wo#,s - Poem by 2+ 1+ Go""

S(ee$h tht $me !i"e !ee$h-$#%t

An, "i!!e, us !most b!ee,ing us &hite3

You b!e$he, ou# sou!s soi!e, &ith im(u#ities+

You bthe, ou# he#ts mi, tem(estuous ses

O% (u#e# ,#e#ie# ,e!ight+

O tongues o% %i#e3 You $me ,e/ou#ing

Fo#ests o% nightsh,e $#ee(e#s tht enmesh

T#ees tht ne/e# #emembe#e, to g#o&

An, sh#ubs tht &e#e but tho#nmi!!s in ou# %!esh+

You &e#e the ,&n n, sun!ight %i!!e, the s($es

Whe#e o&!s &e#e ho/e#ing+

O &inge, see,s3 You $#osse, the %u##o&e, ses

To nest!e in the m n, si!ent e#th+

Li"e go!,en sm o% %i#e%!ies you $me

Pining %o# ne& gony ne& bi#th+

You b!ossome, into ns$ent !o/e!iness+

You #i(ene, into ne$t# in %#uit-.#s

Tht hung !i"e $!uste#e, st#s+

O &inging &o#,s3 Li"e homing bees you bo##o&G#o&n mu#mu#ous the honey o% ,e!ight


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Po!!ene, &ithin ou# he#ts the $oming mo##o&

S&eetene, &ithin ou# sou!s %o# eons b#ight4

You "in,!e in the %# $o#ne#s o% the e#th

The musi$ o% n e/e#-,ee(ening $hnt4

The bu#then o% &ne!ess &inte#!ess s(#ing

The gos(e! o% n en,!ess b!ossoming+

Fthom!ess &o#,s &ith 5n,o-A#yn b!oo,

Ting!ing in you# /eins+

The s(oi!s o% ges g!ob! me#$hn,ise

*ing!ing in you# st#ins3

You (ose the $osmi$ #i,,!es4

5n the beginning &s the Wo#,

An, the Wo#, &s Go,+

The Wo#, is in the mi,,!e

An, the Wo#, is *n+5n the en, &i!! be the Wo#,

An, the Wo#, &i!! be Go, in *n+

2+ 1+ Go""

About the poem:'English &ords( is the titlepoem of A. B. +o$a$(s collection of poetry also

entitled English Words. In this poem! he

e2presses his admiration towards the English

language.

Critical Analysis of English Words by V.

K. Gokak

'English &ords( is uneCuiocal in the poet(s

admiration for the English language! and the

national deelopment he anticipates it will

bring. %oweer! it should not be confused with
http://www.poemhunter.com/v-k-gokak/poems/http://www.poemhunter.com/v-k-gokak/poems/


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+o$a$(s complicity with the colonisation

process as a whole. #s he mentions at the

beginning of the poem! he beliees that the

colonisers oppressed the peoples of the Indiansubcontinent horribly. %oweer! he only tries

to see the siler lining behind the cloud. The

English language is seen as a force that

illuminates and puri"es the Indian mind. nce

again! this should come with a statutory

warning not to confuse this with +o$a$(sirreerence for Indian languages. In fact! he

has great respect for the ancient Indian

learning! but he beliees that it has been

forgotten. The learning of English can

substitute and supplement such learning! and

ultimately ta$e the Indians forward in their

Cuest for $nowledge and truth.

Central Idea of the Poem:Een though it

may not be apparent at the "rst reading!

'English &ords( is a strategic way to as$ Indian

readers to ma$e use of the English language to

enrich their own literature. The poem mayseem to be pandering to the English

colonisers( tastes. %oweer! this was probably

done $eeping censorship issues in mind. #ny

poem with anti>English sentiment would be

banned in the "rst half of the 5Dth century in

India. +o$a$ is aware that the English

language can be successfully adopted by


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Indian writers to oice their issues and reach a

larger audience than if they were writing in

their natie tongue.

Conclusion:'English &ords( is a poem that is

ahead of its time. +o$a$ seems to anticipate

how important the English language will

become in the future of the world. Therefore!

he may see the colonising process as a bad

thing! but certainly does not see the English

language as such. Instead he admires English

words! and as$s his readers to do the same so

that they may utilize English to propel the

nation forward.

Snake

by D+H+ Len$e
http://www.poetsgraves.co.uk/lawrence.htmhttp://www.poetsgraves.co.uk/lawrence.htm


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A sn"e $me to my &te#-t#ough

On hot hot ,y n, 5 in (y.ms %o# the het

To ,#in" the#e+

5n the ,ee( st#nge-s$ente, sh,e o% the g#et ,#" $#ob t#ee5 $me ,o&n the ste(s &ith my (it$he#

An, must &it must stn, n, &it %o# the#e he &s t the t#ough be%o#e me+

He #e$he, ,o&n %#om %issu#e in the e#th-&!! in the g!oom

An, t#i!e, his ye!!o&-b#o&n s!$"ness so%t-be!!ie, ,o&n o/e# the e,ge o% the stone t#ough

An, #este, his th#ot u(on the stone bottom

An, &he#e the &te# h, ,#i((e, %#om the t( in sm!! $!e#ness

He si((e, &ith his st#ight mouth

So%t!y ,#n" th#ough his st#ight gums into his s!$" !ong bo,y

Si!ent!y+

Someone &s be%o#e me t my &te#-t#oughAn, 5 !i"e se$on,-$ome# &iting+

He !i%te, his he, %#om his ,#in"ing s $tt!e ,o

An, !oo"e, t me /gue!y s ,#in"ing $tt!e ,o

An, %!i$"e#e, his t&o-%o#"e, tongue %#om his !i(s n, muse, moment

An, stoo(e, n, ,#n" !itt!e mo#e

Being e#th-b#o&n e#th-go!,en %#om the bu#ning bo&e!s o% the e#th

On the ,y o% Si$i!in 6u!y &ith Etn smo"ing+

The /oi$e o% my e,u$tion si, to me

He must be "i!!e,

Fo# in Si$i!y the b!$" b!$" sn"es #e inno$ent the go!, #e /enomous+

An, /oi$es in me si, i% you &e#e mn

You &ou!, t"e sti$" n, b#e" him no& n, %inish him o%%+

But must 5 $on%ess ho& 5 !i"e, him

Ho& g!, 5 &s he h, $ome !i"e guest in uiet to ,#in" t my &te#-t#ough

An, ,e(#t (e$e%u! ($i%ie, n, thn"!ess

5nto the bu#ning bo&e!s o% this e#th 7

Ws it $o,i$e tht 5 ,#e, not "i!! him 7

Ws it (e#/e#sity tht 5 !onge, to t!" to him 7

Ws it humi!ity to %ee! so honou#e, 7

5 %e!t so honou#e,+

An, yet those /oi$es 4

If you were not afraid, you would kill him !

An, t#u!y 5 &s %#i, 5 &s most %#i,

But e/en so honou#e, sti!! mo#e

Tht he shou!, see" my hos(it!ity

F#om out the ,#" ,oo# o% the se$#et e#th+

He ,#n" enough

An, !i%te, his he, ,#emi!y s one &ho hs ,#un"en

An, %!i$"e#e, his tongue !i"e %o#"e, night on the i# so b!$"

Seeming to !i$" his !i(s


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An, !oo"e, #oun, !i"e go, unseeing into the i#

An, s!o&!y tu#ne, his he,

An, s!o&!y /e#y s!o&!y s i% th#i$e ,#em

P#o$ee,e, to ,#& his s!o& !ength $u#/ing #oun,

An, $!imb gin the b#o"en bn" o% my &!!-%$e+

An, s he (ut his he, into tht ,#e,%u! ho!e

An, s he s!o&!y ,#e& u( sn"e-esing his shou!,e#s n, ente#e, %#the#

A so#t o% ho##o# so#t o% (#otest ginst his &ith,#&ing into tht ho##i, b!$" ho!e

De!ibe#te!y going into the b!$"ness n, s!o&!y ,#&ing himse!% %te#

O/e#$me me no& his b$" &s tu#ne,+

5 !oo"e, #oun, 5 (ut ,o&n my (it$he#

5 (i$"e, u( $!umsy !og

An, th#e& it t the &te#-t#ough &ith $!tte#+

5 thin" it ,i, not hit him

But su,,en!y tht (#t o% him tht &s !e%t behin, $on/u!se, in un,igni%ie, hste

W#ithe, !i"e !ightning n, &s gone5nto the b!$" ho!e the e#th-!i((e, %issu#e in the &!!-%#ont

At &hi$h in the intense sti!! noon 5 st#e, &ith %s$intion+

An, imme,ite!y 5 #eg#ette, it+

5 thought ho& (!t#y ho& /u!g# &ht men $t 3

5 ,es(ise, myse!% n, the /oi$es o% my $$u#se, humn e,u$tion+

An, 5 thought o% the !bt#oss

An, 5 &ishe, he &ou!, $ome b$" my sn"e+

Fo# he seeme, to me gin !i"e "ing

Li"e "ing in e8i!e un$#o&ne, in the un,e#&o#!,No& ,ue to be $#o&ne, gin+

An, so 5 misse, my $hn$e &ith one o% the !o#,s

O% !i%e+

An, 5 h/e something to e8(ite 4

A (ettiness+


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S,77#-Y:

Stanza 3 and 5:

The poem begins about an encounter with a

sna$e on a hot day when the poet was in hispa@amas and was going to "ll his pitcher. The

sna$e was ahead of the poet and it was there

to drin$ water from the trough. &hen the poet

came towards the 0arob tree! spreading its

strange scent! he saw the sna$e and had to

stand and wait.

Stanza 9:

The poet stood there watching the sna$e

which slithered down from the crac$ in the

earthen wall and slipped oer the edge of the

trough of water. The poet describes the sna$e

as haing a soft yellow>brown belly. Lawrencestands there watching the sna$e as the sna$e

sips the water that is dripping from the trough.

Stanza < and Stanza =:

The sna$e stood there sipping water from the

trough which was entering his mouth straight

and into its gums. The poet waited andwatched oer the sna$e. The sna$e then lifted

his head! loo$ed at the poet 'aguely(!

ic$ered his two>for$ed tongue! stopped for a

moment and then dran$ a little more. The poet

then goes on to describe that ery hot day of

uly in the city of Sicily and Etna with the


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smo$y olcano that aggraates the heat. The

poet then hears a oice of his education that

tells him to $ill the sna$e as blac$ sna$es in

Sicily are not poisonous as yellow sna$es are.That was a yellow bellied sna$e.

Stanza and G:

The oice in his head proo$es him by saying

that if he was a man! he would hae ta$en a

stic$ and $illed the sna$e. 'Finish him o1( iswhat the oice urged him to do. )ut the poet

confesses that he li$ed the sna$e. The poet

was glad that the sna$e paid a isit to his

water>trough. The sna$e went bac$ into the

'burning bowels of the earth( without than$ing

him.Stanza H:

The poet Cuestions himself that was it

cowardice that $ept him from $illing the

sna$e r was it his obstinacy that urged him

to tal$ to it The poet contemplates if it was

his humility that made him feel so honored. #oice then challenges him that if he was not

afraid! he would hae $illed the sna$e.

Stanza J:

In these lines! the poet confesses that he was

truly afraid. %e was afraid that he let the


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dangerous sna$e to go and feelings of honour

that the sna$e sought the poet(s hospitality.

Stanza 3D:The poet describes the paci"ed sna$e in these

lines who lifted his head! dran$ water as if he

was drun$en state! ic$ered his tongue! lic$ed

his lips and loo$ed around li$e god and slowly

turned his head. #fter Cuenching his thirst! the

sna$e climbed bac$ the wall and disappeared

into the earth.

Stanza 33 and 35:

#s the sna$e was slithering bac$ into the hole!

the poet suddenly felt a sense of protest and

horror and hastily he puts down his pitcher!

pic$s up a log and hurls at the water troughwhere the sna$e was stranded.

Stanza 39 and 3


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Stanza 3=:

The poet thin$s of the 'albatross( and wishes

that the sna$e would isit him again.

Stanza 3 and 3G:

Finally in the last lines! the sna$e seemed li$e

a $ing to the poet! a $ing in e2ile and the one

who lost his crown waiting to be crowned

again. The poet regrets that he missed to

spend time with one of the lords of life. %e is

left with something to 'e2patiate( and that is

his 'pettiness.(

#;#LYSIS:

*iction! style and structure:

*.% Lawrence has used a simple! lucid!

colorful! descriptie and imaginatie diction inthe poem. #ll these elements ma$e the poem

picturesCue.

The erses of KSna$e are unrhymed and

written in free erse. The "rst segment of the

poem tal$s about the arrial and description of

the sna$e! the second tal$s about the drin$ingfrom the water trough. The third segment is

about the poet(s feeling and his sudden desire

to $ill the sna$e. In the "nal segment! we "nd

the poet(s remorse.

#lliteration:

#lliteration is the close repetition of the


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consonant sounds at the beginning of words to

facilitate narration. E2amples of alliteration in

the poem are!

?burning bowels?peaceful pacify

?dar$ door

Simile:

# simile is a "gure of speech in which two

dissimilar ob@ects are compared and the

comparison is made clear by the use of terms

li$e 'li$e(! 'such as( and so on.

E2amples of simile in the poem are!

?had come li$e a guest Mline 5HN

?8his tongue li$e a for$ed night8 Mline


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#bout the #uthor:

*aid %erbert Lawrence was an English

noelist! short>story writer! essayist!

playwright! literary critic and painter. Some ofhis famous wor$s are KSons and Loers(!

KLady 0hatterley(s Loer! K;ew /oems!

K)aarian +entians! KThe Ship of *eath etc


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The -an +e illedBY THO*AS HARDY

/+ad he and $ but met

%y some old an&ient inn,

e should have sat us down to wet

0ight many a nipperin!

/%ut ranged as infantry, And staring fa&e to fa&e,

$ shot at him as he at me,

And illed him in his pla&e.

/$ shot him dead be&ause *

%e&ause he was my foe,1ust so2 my foe of &ourse he was;

That3s &lear enough; although

/+e thought he3d 3list, perhaps,

4ff'hand lie * #ust as $ *

as out of wor * had sold his traps * "o other reason why.

/5es; 6uaint and &urious war is!

5ou shoot a fellow down

5ou3d treat if met where any bar is,

4r help to half'a'&rown./
http://www.poetryfoundation.org/bio/thomas-hardyhttp://www.poetryfoundation.org/bio/thomas-hardy


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Analysis of /The -an +e illed/

The narrator of Thomas +ardy3s /The -an +e illed/ is stationed as aninfantry soldier and speas of an enemy soldier he was for&ed to ill in

defense during a war. The a&tual a&t of the illing isn3t really des&ribed or

detailed. $n fa&t, it only seems to be mentioned in passing, as if only to

mae the reader understand the situation. The narrator is assumed to be

a simple and average person, due to his use of &ommon slang phrases

and &ut off words, su&h as /nipperin/ and /3list./ +e is not a hardened

and roboti& soldier either. 0ather, he simply #oined the army /off'hand'

lie/ and possibly be&ause of finan&ial situations 7+ardy 89:.

$nstead of metaphors and similes, the poem fo&uses on a 3what if3 type of

situation. The narrator wonders what would have happened if he and his

vi&tim had met any pla&e else besides a battle field. +ad they met in a

bar, would they have dran together in &ompanionship< ould the

enemy soldier have been the type he would have easily loaned money to

group 2 poem

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