Documente Academic
Documente Profesional
Documente Cultură
Test format:
• 15 multiple choice questions regarding poetic elements and
recognition of passages
• 2 written portions (long single-paragraph responses, basically) in
response to two of six/seven selected passages.
Requirements:
• Recognize excerpts according to source and location
• Recognize poetic literary elements and
• Analyze their effects
• Analyze relation to theme
• Analyze excerpt’s contribution to poem as a whole.
Poem list:
The Lake Isle of Innisfree
Easter 1916
Sailing to Byzantium
Wild Swans at Coole
Song of Wandering Aengus
Adam’s Curse
No Second Troy
The Second Coming
Guide Format:
Poem
Structure/Style/Meter
Summary/Possible themes
Main literary devices
Important lines
3. “Sailing to Byzantium”
• Structure:
Lyric poem
Rhyme scheme abababcc (Six lines w/alternating rhyme, ending w/2
rhyming couplets): called ottava rima
Four stanzas, initally 11-syllable lines, then iambic pentameter
• Summary: Speaker expresses wish to leave that “country” and to
go to “Byzantium,” a metaphorical place where art is celebrated
and created, and where he may become a part of “the artifice of
eternity.”
Theme: Art and poetry allows for immortality, and a more
meaningful life than that of “sensual music”
• Literary devices:
Imagery – Dying life (“mackerel-crowded seas”) and “sensual
music”
Artistic life (“holy fire”, “perne in a gyre”) and “gold” and “golden
bough”
Dualism/Antithesis – Mortal world vs. Artistic Eternity
Seen in contrasting images of first two and last two stanzas
“sensual music” vs. “singing school” and song of Grecian
bird
Metonymy – “Soul” = Artistic intellect
“Singing school” = Anything that appreciates art
“sages standing in God’s holy fire” = artists of the past
“my heart” [the one “sick with desire”] = the mortal aspect of
the speaker
• Important lines:
“That is no country for old men.” (from 1)
“—Those dying generations—at their song,” (3)
“Caught in that sensual music, all neglect
Monuments of unageing intellect” (7-8)
• Structure:
Ballad stanzas (abcb) w/ rhyming couplet at end of each
Dramatic lyric poem: expresses sense of loss and melancholy at
aging
• Summary:
Speaker expresses loss, loneliness, and a feeling of mortality,
while observing the apparent (though illusory) immortality of the
swans at Coole.
• Literary devices:
Objective correlative – Landscape = how the speaker feels
Imagery – Swans present images of beauty, passion, life, and
immortality
Landscape represents intractable cycling of time
Water images (“cold companionable streams”, “brimming
water”) suggest life that speaker cannot maintain
Overall, peaceful images of seemingly immortal nature
contrast with man’s (speaker’s) emotional unrest at inevitable
death and loss
Rhetorical question – at end of poem. Suggests the helpless
desire of the speaker to remain unchanging, wondering about the
future
• Important lines:
“The trees are in their autumn beauty” (1)
“Upon the brimming water among the stones
Are nine-and-fifty swans.” (5-6)
• Structure:
Similar to Ballad structure (double-ballad, maybe) but the
syllable’s aren’t right for it
Rhyme scheme: abcb defe
Dramatic poem (expresses point of view of the narrator only)
• Summary:
Speaker (Aengus) catches a fish, lays it on the floor to cook,
turns around, and finds that it has become “a glimmering girl”
who runs away. He then commences an endless search for her,
which at the end of the poem has not been rewarded but which
will continue.
• Literary devices:
Imagery – “hazel wood” implies magic; so does “silver trout” and
“white moths” and “glimmering girl”
“apple blossoms” recall Maud Gonne on his first meeting with her
—but be careful with that one! Don’t go overboard!
Age of narrator: “old with wandering”
Idealism of search’s end: “long dappled grass” and “silver apples
of the moon” and “golden apples of the sun”—optimistic, perfect
future
Allusion – “apples” to “pluck”: Biblical reference to Garden of
Eden? The narrator has found a beautiful love, and now searches
for it.
Dualism/Antithesis – “fire” and “silver trout” at night (when
“white moths” are “on the wing”) represents physical love, and
“glimmering girl” and “apples” represent ephemeral, spiritual
love, that the speaker now desires
Parallel Structure – “called me by my name
• Important lines:
“I went out to the hazel wood,
Because a fire was in my head,” (1-2)
“And caught a little silver trout” (8)
6. “Adam’s Curse”
• Structure: Not much of one. The most important thing is that it’s
dialogue, all used to express the speaker’s views. Each stanza is
a different person talking, expressing examples of art’s fall from
favor.
Okay, I lied. There is one more important thing: it’s made of
rhyming couplets, slant rhymed (only last syllable). Oh, and the
stanzas get smaller as the poem progresses. Maybe represents
the narrowing of appreciation for art.
• Summary: Art has fallen from favor in the world, replaced by
more “practical things”. Surprised, considering the previous
sentence? That is, art and poetry and love and passion itself is
losing appreciation.
• Literary devices:
Imagery – Fourth (next to last) stanza incorporates most dense
use of imagery: the “moon, worn as if it had been a shell/Washed
by time’s waters” implies the deterioration caused by
unstoppable cycles of time. Sad! Can be a metaphor for the
deterioration of appreciation of art and passion, caused by the
unstoppable pragmatism of the world.
Analogy (courtesy of Anna Hinesley and her presentation group):
Laborer and labor = poet and poem = lover and courting =
woman and beauty
All must work for their product, but only the manual laborer is
appreciated.
Allusion – Title, “Adam’s Curse” = Biblical reference to Adam and
the fall from paradise; humans now must work for all beautiful
and desirable things.
• Important lines:
“And you and I, and talked of poetry.
I said: ‘A line will take us hours maybe;
Yet if it does not seem a moment’s thought,
Our stitching and unstitching has been naught.” (3-6)
“…and yet
Be thought an idler by the noisy set…
The martyrs call the world.” (from 11, 12, 14)
• Structure:
Twelve lines, rhymes abab cdcd efef
Entirely composed of rhetorical questions (significant!!!)
• Summary:
Speaker justifies the misery that the woman he loves brings
about, by comparing her to the incendiary Helen of Troy—
basically saying that sadness and destruction around her (and
perhaps around all beautiful women, or even all beautiful things)
is inevitable.
• Literary Devices
Allusion – Um, Helen of Troy, anyone? From Greek mythology.
Helen was the “face that launched a thousand ships”; her beauty
led men to start wars.
Imagery – The “second Helen’s” destruction: “hurled the little
streets upon the great” (also metonymy: streets = warring
people or classes)
Description of the woman: “a mind/That nobleness made simple
as a fire” (ie. One-track mind); “beauty like a tightened bow”;
“high and solitary”
Through imagery, this woman is elevated to the level of a near-
goddess. That sounds like indication of forgiveness to me,
however bitterly it may be given.
Rhetorical questions – The entire poem. Because the retraction of
blame (“Why should I blame her…?”) is given in question form, it
is ironic: yes, the speaker is accepting, but bitterly and without
closure.
• Important lines:
“…or that she would of late
Have taught to ignorant men most violent ways,
Or hurled the little streets upon the great,” (from 2-4)
“What could have made her peaceful with a mind
That nobleness made simple as a fire” (6-7)
“Why, what could she have done being what she is?
Was there another Troy for her to burn?” (11-12)
• Structure:
The thing is, there’s very little, and that’s the point. Just as in
absurdist theatre (don’t worry, you don’t have to know that),
form follows theme—chaotic verse echoes chaotic ideas of the
future.
There is some iambic pentameter, as in the first stanza, but that
eventually deteriorates. Along with optimism.
• Summary:
“Things fall apart” pretty well sums it up. Control is giving way to
loss thereof; order succumbs to chaos, hope drowns in troubled
visions. The future, according to the speaker, is not looking good.
• Literary devices: (there are so many!)
Imagery – Where do I start? They’re mostly all of chaos taking
over.
“turning and turning”; “widening gyre”; “the center cannot hold”;
“the blood-dimmed tide is loosed”.
The “vision” of trouble: “a vast image” “somewhere in the sands
of the desert” of “lion body and the head of a man” “blank and
pitiless as the sun” (SIMILE!), “moving its slow thighs while all
about it/Reel shadows of indignant birds”
The nature images in the poem (of falcons flying away, of
desert birds) communicate death, chaos, trouble, disturbance,
darkness, fear.
The images of humanity are limited to “the falconer” (who
loses control completely) and “a rocking cradle”, which vexes the
“rough beast” to “nightmare”—not a good sign, little baby!
Basically, humanity is being overwhelmed by
nature/primal/chaos/paganism/whatever.
Metonymy – Rocking cradle = baby Jesus… or the chaotic world!
Sibilance – Probably the most important use of alliteration in
Yeats. The S’s imply sinister situations, scary, snakelike,
suspicious stuff. See? Think of “slouches.” Creepy!
• Important lines:
The whole poem. It’s so dense. Read it all, man.
Remember these literary devices in general—they’re all over
the place.
Caesura—A hard break. Often in the middle. Of a line.
Allusion—reference to another work, or religious reference, or
historical.
Enjambment—meaning of sentence/thought continues over more than
one line
Alliteration—Man, the majority of men (and women) should’ve
mastered this much. Repetition of beginning sounds.
Metaphor—Analogy of two dissimilar things, to imply similarity or to
establish emotional comparison.
Simile—Analogy of two similar things. Simile is like the road that links
two neighboring houses, and simile is as the bird that carries a branch
to its nest: it connects us all.
Dualism/Antithesis—Contrast of two ideas/images/themes, often
expressed continually through a motif.
Metonymy/Synecdoche—Use of one image to represent a greater idea
(eg. linnet’s wings representing linnets themselves)
Repetition—Well, repetition. Used for emphasis! Hear that? Emphasis!
Other info:
Most of Yeat’s poems are lyric. They represent his point of view.
Most of his poems also employ some form of iambic meter. That’s the
“conversational meter,” according to Mrs. Benson. So when in doubt
(though it’s not hard to count syllables, really)—it’s probably iambic.
They also tend to change meter as they go, either gaining structure or
(like with The Second Coming) losing it. That means something, folks!
Otherwise:
Look at http://www.poets.org/viewmedia.php/prmMID/15529 to hear
Yeats reading “The Lake Isle of Innisfree” aloud. It’s pretty cool.
Unfortunately, that’s the only one of his that’s on there as audio.