Adonais An Elegy On The Death Of John Keats : PERCY BYSSHE SHELLEY : Stanza XXXVI To Stanza LV : Part ( 2 ) : : Death Poems : :


XXXVI
Our Adonais has drunk poison—oh!
What deaf and viperous murderer could crown
Life’s early cup with such a draught of woe?
The nameless worm would now itself disown:
It felt, yet could escape, the magic tone
Whose prelude held all envy, hate and wrong,
But what was howling in one breast alone,
Silent with expectation of the song,
Whose master’s hand is cold, whose silver lyre unstrung.

XXXVII
Live thou, whose infamy is not thy fame!
Live! fear no heavier chastisement from me,
Thou noteless blot on a remember’d name!
But be thyself, and know thyself to be!
And ever at thy season be thou free
To spill the venom when thy fangs o’erflow;
Remorse and Self-contempt shall cling to thee;
Hot Shame shall burn upon thy secret brow,
And like a beaten hound tremble thou shalt—as now.

XXXVIII
Nor let us weep that our delight is fled
Far from these carrion kites that scream below;
He wakes or sleeps with the enduring dead;
Thou canst not soar where he is sitting now.
Dust to the dust! but the pure spirit shall flow
Back to the burning fountain whence it came,
A portion of the Eternal, which must glow
Through time and change, unquenchably the same,
Whilst thy cold embers choke the sordid hearth of shame.

XXXIX
Peace, peace! he is not dead, he doth not sleep,
He hath awaken’d from the dream of life;
‘Tis we, who lost in stormy visions, keep
With phantoms an unprofitable strife,
And in mad trance, strike with our spirit’s knife
Invulnerable nothings. We decay
Like corpses in a charnel; fear and grief
Convulse us and consume us day by day,
And cold hopes swarm like worms within our living clay.

XL
He has outsoar’d the shadow of our night;
Envy and calumny and hate and pain,
And that unrest which men miscall delight,
Can touch him not and torture not again;
From the contagion of the world’s slow stain
He is secure, and now can never mourn
A heart grown cold, a head grown gray in vain;
Nor, when the spirit’s self has ceas’d to burn,
With sparkless ashes load an unlamented urn.

XLI
He lives, he wakes—’tis Death is dead, not he;
Mourn not for Adonais. Thou young Dawn,
Turn all thy dew to splendour, for from thee
The spirit thou lamentest is not gone;
Ye caverns and ye forests, cease to moan!
Cease, ye faint flowers and fountains, and thou Air,
Which like a mourning veil thy scarf hadst thrown
O’er the abandon’d Earth, now leave it bare
Even to the joyous stars which smile on its despair!

XLII
He is made one with Nature: there is heard
His voice in all her music, from the moan
Of thunder, to the song of night’s sweet bird;
He is a presence to be felt and known
In darkness and in light, from herb and stone,
Spreading itself where’er that Power may move
Which has withdrawn his being to its own;
Which wields the world with never-wearied love,
Sustains it from beneath, and kindles it above.

XLIII
He is a portion of the loveliness
Which once he made more lovely: he doth bear
His part, while the one Spirit’s plastic stress
Sweeps through the dull dense world, compelling there
All new successions to the forms they wear;
Torturing th’ unwilling dross that checks its flight
To its own likeness, as each mass may bear;
And bursting in its beauty and its might
From trees and beasts and men into the Heaven’s light.

XLIV
The splendours of the firmament of time
May be eclips’d, but are extinguish’d not;
Like stars to their appointed height they climb,
And death is a low mist which cannot blot
The brightness it may veil. When lofty thought
Lifts a young heart above its mortal lair,
And love and life contend in it for what
Shall be its earthly doom, the dead live there
And move like winds of light on dark and stormy air.

XLV
The inheritors of unfulfill’d renown
Rose from their thrones, built beyond mortal thought,
Far in the Unapparent. Chatterton
Rose pale, his solemn agony had not
Yet faded from him; Sidney, as he fought
And as he fell and as he liv’d and lov’d
Sublimely mild, a Spirit without spot,
Arose; and Lucan, by his death approv’d:
Oblivion as they rose shrank like a thing reprov’d.

XLVI
And many more, whose names on Earth are dark,
But whose transmitted effluence cannot die
So long as fire outlives the parent spark,
Rose, rob’d in dazzling immortality.
“Thou art become as one of us,” they cry,
“It was for thee yon kingless sphere has long
Swung blind in unascended majesty,
Silent alone amid a Heaven of Song.
Assume thy winged throne, thou Vesper of our throng!”

XLVII
Who mourns for Adonais? Oh, come forth,
Fond wretch! and know thyself and him aright.
Clasp with thy panting soul the pendulous Earth;
As from a centre, dart thy spirit’s light
Beyond all worlds, until its spacious might
Satiate the void circumference: then shrink
Even to a point within our day and night;
And keep thy heart light lest it make thee sink
When hope has kindled hope, and lur’d thee to the brink.

XLVIII
Or go to Rome, which is the sepulchre,
Oh, not of him, but of our joy: ’tis nought
That ages, empires and religions there
Lie buried in the ravage they have wrought;
For such as he can lend—they borrow not
Glory from those who made the world their prey;
And he is gather’d to the kings of thought
Who wag’d contention with their time’s decay,
And of the past are all that cannot pass away.

XLIX
Go thou to Rome—at once the Paradise,
The grave, the city, and the wilderness;
And where its wrecks like shatter’d mountains rise,
And flowering weeds, and fragrant copses dress
The bones of Desolation’s nakedness
Pass, till the spirit of the spot shall lead
Thy footsteps to a slope of green access
Where, like an infant’s smile, over the dead
A light of laughing flowers along the grass is spread;

L
And gray walls moulder round, on which dull Time
Feeds, like slow fire upon a hoary brand;
And one keen pyramid with wedge sublime,
Pavilioning the dust of him who plann’d
This refuge for his memory, doth stand
Like flame transform’d to marble; and beneath,
A field is spread, on which a newer band
Have pitch’d in Heaven’s smile their camp of death,
Welcoming him we lose with scarce extinguish’d breath.

LI
Here pause: these graves are all too young as yet
To have outgrown the sorrow which consign’d
Its charge to each; and if the seal is set,
Here, on one fountain of a mourning mind,
Break it not thou! too surely shalt thou find
Thine own well full, if thou returnest home,
Of tears and gall. From the world’s bitter wind
Seek shelter in the shadow of the tomb.
What Adonais is, why fear we to become?

LII
The One remains, the many change and pass;
Heaven’s light forever shines, Earth’s shadows fly;
Life, like a dome of many-colour’d glass,
Stains the white radiance of Eternity,
Until Death tramples it to fragments.—Die,
If thou wouldst be with that which thou dost seek!
Follow where all is fled!—Rome’s azure sky,
Flowers, ruins, statues, music, words, are weak
The glory they transfuse with fitting truth to speak.

LIII
Why linger, why turn back, why shrink, my Heart?
Thy hopes are gone before: from all things here
They have departed; thou shouldst now depart!
A light is pass’d from the revolving year,
And man, and woman; and what still is dear
Attracts to crush, repels to make thee wither.
The soft sky smiles, the low wind whispers near:
‘Tis Adonais calls! oh, hasten thither,
No more let Life divide what Death can join together.

LIV
That Light whose whose smile kindles the Universe,
That Beauty in which all things work and move,
That Benediction which the eclipsing Curse
Of birth can quench not, that sustaining Love
Which through the web of being blindly wove
By man and beast and earth and air and sea,
Burns bright or dim, as each are mirrors of
The fire for which all thirst; now beams on me,
Consuming the last clouds of cold mortality.

LV
The breath whose might I have invok’d in song
Descends on me; my spirit’s bark is driven,
Far from the shore, far from the trembling throng
Whose sails were never to the tempest given;
The massy earth and sphered skies are riven!
I am borne darkly, fearfully, afar;
Whilst, burning through the inmost veil of Heaven,
The soul of Adonais, like a star,
Beacons from the abode where the Eternal are.

Notes On Information Appreciation and poem Analysis : Pending visit this post again later on to enjoy the appreciation of the poem : : September 27 , 2022 : : : : : : : : : :

Adonais: An Elegy on the Death of John Keats : PERCY BYSSHE SHELLEY : : Death Poems : :

Adonais: An Elegy on the Death of John Keats : PERCY BYSSHE SHELLEY : (. )

I
I weep for Adonais—he is dead!
Oh, weep for Adonais! though our tears
Thaw not the frost which binds so dear a head!
And thou, sad Hour, selected from all years
To mourn our loss, rouse thy obscure compeers,
And teach them thine own sorrow, say: “With me
Died Adonais; till the Future dares
Forget the Past, his fate and fame shall be
An echo and a light unto eternity!”

II
Where wert thou, mighty Mother, when he lay,
When thy Son lay, pierc’d by the shaft which flies
In darkness? where was lorn Urania
When Adonais died? With veiled eyes,
‘Mid listening Echoes, in her Paradise
She sate, while one, with soft enamour’d breath,
Rekindled all the fading melodies,
With which, like flowers that mock the corse beneath,
He had adorn’d and hid the coming bulk of Death.

III
Oh, weep for Adonais—he is dead!
Wake, melancholy Mother, wake and weep!
Yet wherefore? Quench within their burning bed
Thy fiery tears, and let thy loud heart keep
Like his, a mute and uncomplaining sleep;
For he is gone, where all things wise and fair
Descend—oh, dream not that the amorous Deep
Will yet restore him to the vital air;
Death feeds on his mute voice, and laughs at our despair.

IV
Most musical of mourners, weep again!
Lament anew, Urania! He died,
Who was the Sire of an immortal strain,
Blind, old and lonely, when his country’s pride,
The priest, the slave and the liberticide,
Trampled and mock’d with many a loathed rite
Of lust and blood; he went, unterrified,
Into the gulf of death; but his clear Sprite
Yet reigns o’er earth; the third among the sons of light.

V
Most musical of mourners, weep anew!
Not all to that bright station dar’d to climb;
And happier they their happiness who knew,
Whose tapers yet burn through that night of time
In which suns perish’d; others more sublime,
Struck by the envious wrath of man or god,
Have sunk, extinct in their refulgent prime;
And some yet live, treading the thorny road,
Which leads, through toil and hate, to Fame’s serene abode.

VI
But now, thy youngest, dearest one, has perish’d,
The nursling of thy widowhood, who grew,
Like a pale flower by some sad maiden cherish’d,
And fed with true-love tears, instead of dew;
Most musical of mourners, weep anew!
Thy extreme hope, the loveliest and the last,
The bloom, whose petals nipp’d before they blew
Died on the promise of the fruit, is waste;
The broken lily lies—the storm is overpast.

VII
To that high Capital, where kingly Death
Keeps his pale court in beauty and decay,
He came; and bought, with price of purest breath,
A grave among the eternal.—Come away!
Haste, while the vault of blue Italian day
Is yet his fitting charnel-roof! while still
He lies, as if in dewy sleep he lay;
Awake him not! surely he takes his fill
Of deep and liquid rest, forgetful of all ill.

VIII
He will awake no more, oh, never more!
Within the twilight chamber spreads apace
The shadow of white Death, and at the door
Invisible Corruption waits to trace
His extreme way to her dim dwelling-place;
The eternal Hunger sits, but pity and awe
Soothe her pale rage, nor dares she to deface
So fair a prey, till darkness and the law
Of change shall o’er his sleep the mortal curtain draw.

IX
Oh, weep for Adonais! The quick Dreams,
The passion-winged Ministers of thought,
Who were his flocks, whom near the living streams
Of his young spirit he fed, and whom he taught
The love which was its music, wander not—
Wander no more, from kindling brain to brain,
But droop there, whence they sprung; and mourn their lot
Round the cold heart, where, after their sweet pain,
They ne’er will gather strength, or find a home again.

X
And one with trembling hands clasps his cold head,
And fans him with her moonlight wings, and cries,
“Our love, our hope, our sorrow, is not dead;
See, on the silken fringe of his faint eyes,
Like dew upon a sleeping flower, there lies
A tear some Dream has loosen’d from his brain.”
Lost Angel of a ruin’d Paradise!
She knew not ’twas her own; as with no stain
She faded, like a cloud which had outwept its rain.

XI
One from a lucid urn of starry dew
Wash’d his light limbs as if embalming them;
Another clipp’d her profuse locks, and threw
The wreath upon him, like an anadem,
Which frozen tears instead of pearls begem;
Another in her wilful grief would break
Her bow and winged reeds, as if to stem
A greater loss with one which was more weak;
And dull the barbed fire against his frozen cheek.

XII
Another Splendour on his mouth alit,
That mouth, whence it was wont to draw the breath
Which gave it strength to pierce the guarded wit,
And pass into the panting heart beneath
With lightning and with music: the damp death
Quench’d its caress upon his icy lips;
And, as a dying meteor stains a wreath
Of moonlight vapour, which the cold night clips,
It flush’d through his pale limbs, and pass’d to its eclipse.

XIII
And others came . . . Desires and Adorations,
Winged Persuasions and veil’d Destinies,
Splendours, and Glooms, and glimmering Incarnations
Of hopes and fears, and twilight Phantasies;
And Sorrow, with her family of Sighs,
And Pleasure, blind with tears, led by the gleam
Of her own dying smile instead of eyes,
Came in slow pomp; the moving pomp might seem
Like pageantry of mist on an autumnal stream.

XIV
All he had lov’d, and moulded into thought,
From shape, and hue, and odour, and sweet sound,
Lamented Adonais. Morning sought
Her eastern watch-tower, and her hair unbound,
Wet with the tears which should adorn the ground,
Dimm’d the aëreal eyes that kindle day;
Afar the melancholy thunder moan’d,
Pale Ocean in unquiet slumber lay,
And the wild Winds flew round, sobbing in their dismay.

XV
Lost Echo sits amid the voiceless mountains,
And feeds her grief with his remember’d lay,
And will no more reply to winds or fountains,
Or amorous birds perch’d on the young green spray,
Or herdsman’s horn, or bell at closing day;
Since she can mimic not his lips, more dear
Than those for whose disdain she pin’d away
Into a shadow of all sounds: a drear
Murmur, between their songs, is all the woodmen hear.

XVI
Grief made the young Spring wild, and she threw down
Her kindling buds, as if she Autumn were,
Or they dead leaves; since her delight is flown,
For whom should she have wak’d the sullen year?
To Phoebus was not Hyacinth so dear
Nor to himself Narcissus, as to both
Thou, Adonais: wan they stand and sere
Amid the faint companions of their youth,
With dew all turn’d to tears; odour, to sighing ruth.

XVII
Thy spirit’s sister, the lorn nightingale
Mourns not her mate with such melodious pain;
Not so the eagle, who like thee could scale
Heaven, and could nourish in the sun’s domain
Her mighty youth with morning, doth complain,
Soaring and screaming round her empty nest,
As Albion wails for thee: the curse of Cain
Light on his head who pierc’d thy innocent breast,
And scar’d the angel soul that was its earthly guest!

XVIII
Ah, woe is me! Winter is come and gone,
But grief returns with the revolving year;
The airs and streams renew their joyous tone;
The ants, the bees, the swallows reappear;
Fresh leaves and flowers deck the dead Seasons’ bier;
The amorous birds now pair in every brake,
And build their mossy homes in field and brere;
And the green lizard, and the golden snake,
Like unimprison’d flames, out of their trance awake.

XIX
Through wood and stream and field and hill and Ocean
A quickening life from the Earth’s heart has burst
As it has ever done, with change and motion,
From the great morning of the world when first
God dawn’d on Chaos; in its stream immers’d,
The lamps of Heaven flash with a softer light;
All baser things pant with life’s sacred thirst;
Diffuse themselves; and spend in love’s delight,
The beauty and the joy of their renewed might.

XX
The leprous corpse, touch’d by this spirit tender,
Exhales itself in flowers of gentle breath;
Like incarnations of the stars, when splendour
Is chang’d to fragrance, they illumine death
And mock the merry worm that wakes beneath;
Nought we know, dies. Shall that alone which knows
Be as a sword consum’d before the sheath
By sightless lightning?—the intense atom glows
A moment, then is quench’d in a most cold repose.

XXI
Alas! that all we lov’d of him should be,
But for our grief, as if it had not been,
And grief itself be mortal! Woe is me!
Whence are we, and why are we? of what scene
The actors or spectators? Great and mean
Meet mass’d in death, who lends what life must borrow.
As long as skies are blue, and fields are green,
Evening must usher night, night urge the morrow,
Month follow month with woe, and year wake year to sorrow.

XXII
He will awake no more, oh, never more!
“Wake thou,” cried Misery, “childless Mother, rise
Out of thy sleep, and slake, in thy heart’s core,
A wound more fierce than his, with tears and sighs.”
And all the Dreams that watch’d Urania’s eyes,
And all the Echoes whom their sister’s song
Had held in holy silence, cried: “Arise!”
Swift as a Thought by the snake Memory stung,
From her ambrosial rest the fading Splendour sprung.

XXIII
She rose like an autumnal Night, that springs
Out of the East, and follows wild and drear
The golden Day, which, on eternal wings,
Even as a ghost abandoning a bier,
Had left the Earth a corpse. Sorrow and fear
So struck, so rous’d, so rapt Urania;
So sadden’d round her like an atmosphere
Of stormy mist; so swept her on her way
Even to the mournful place where Adonais lay.

XXIV
Out of her secret Paradise she sped,
Through camps and cities rough with stone, and steel,
And human hearts, which to her aery tread
Yielding not, wounded the invisible
Palms of her tender feet where’er they fell:
And barbed tongues, and thoughts more sharp than they,
Rent the soft Form they never could repel,
Whose sacred blood, like the young tears of May,
Pav’d with eternal flowers that undeserving way.

XXV
In the death-chamber for a moment Death,
Sham’d by the presence of that living Might,
Blush’d to annihilation, and the breath
Revisited those lips, and Life’s pale light
Flash’d through those limbs, so late her dear delight.
“Leave me not wild and drear and comfortless,
As silent lightning leaves the starless night!
Leave me not!” cried Urania: her distress
Rous’d Death: Death rose and smil’d, and met her vain caress.

XXVI
“Stay yet awhile! speak to me once again;
Kiss me, so long but as a kiss may live;
And in my heartless breast and burning brain
That word, that kiss, shall all thoughts else survive,
With food of saddest memory kept alive,
Now thou art dead, as if it were a part
Of thee, my Adonais! I would give
All that I am to be as thou now art!
But I am chain’d to Time, and cannot thence depart!

XXVII
“O gentle child, beautiful as thou wert,
Why didst thou leave the trodden paths of men
Too soon, and with weak hands though mighty heart
Dare the unpastur’d dragon in his den?
Defenceless as thou wert, oh, where was then
Wisdom the mirror’d shield, or scorn the spear?
Or hadst thou waited the full cycle, when
Thy spirit should have fill’d its crescent sphere,
The monsters of life’s waste had fled from thee like deer.

XXVIII
“The herded wolves, bold only to pursue;
The obscene ravens, clamorous o’er the dead;
The vultures to the conqueror’s banner true
Who feed where Desolation first has fed,
And whose wings rain contagion; how they fled,
When, like Apollo, from his golden bow
The Pythian of the age one arrow sped
And smil’d! The spoilers tempt no second blow,
They fawn on the proud feet that spurn them lying low.

XXIX
“The sun comes forth, and many reptiles spawn;
He sets, and each ephemeral insect then
Is gather’d into death without a dawn,
And the immortal stars awake again;
So is it in the world of living men:
A godlike mind soars forth, in its delight
Making earth bare and veiling heaven, and when
It sinks, the swarms that dimm’d or shar’d its light
Leave to its kindred lamps the spirit’s awful night.”

XXX
Thus ceas’d she: and the mountain shepherds came,
Their garlands sere, their magic mantles rent;
The Pilgrim of Eternity, whose fame
Over his living head like Heaven is bent,
An early but enduring monument,
Came, veiling all the lightnings of his song
In sorrow; from her wilds Ierne sent
The sweetest lyrist of her saddest wrong,
And Love taught Grief to fall like music from his tongue.

XXXI
Midst others of less note, came one frail Form,
A phantom among men; companionless
As the last cloud of an expiring storm
Whose thunder is its knell; he, as I guess,
Had gaz’d on Nature’s naked loveliness,
Actaeon-like, and now he fled astray
With feeble steps o’er the world’s wilderness,
And his own thoughts, along that rugged way,
Pursu’d, like raging hounds, their father and their prey.

XXXII
A pardlike Spirit beautiful and swift—
A Love in desolation mask’d—a Power
Girt round with weakness—it can scarce uplift
The weight of the superincumbent hour;
It is a dying lamp, a falling shower,
A breaking billow; even whilst we speak
Is it not broken? On the withering flower
The killing sun smiles brightly: on a cheek
The life can burn in blood, even while the heart may break.

XXXIII
His head was bound with pansies overblown,
And faded violets, white, and pied, and blue;
And a light spear topp’d with a cypress cone,
Round whose rude shaft dark ivy-tresses grew
Yet dripping with the forest’s noonday dew,
Vibrated, as the ever-beating heart
Shook the weak hand that grasp’d it; of that crew
He came the last, neglected and apart;
A herd-abandon’d deer struck by the hunter’s dart.

XXXIV
All stood aloof, and at his partial moan
Smil’d through their tears; well knew that gentle band
Who in another’s fate now wept his own,
As in the accents of an unknown land
He sung new sorrow; sad Urania scann’d
The Stranger’s mien, and murmur’d: “Who art thou?”
He answer’d not, but with a sudden hand
Made bare his branded and ensanguin’d brow,
Which was like Cain’s or Christ’s—oh! that it should be so!

XXXV
What softer voice is hush’d over the dead?
Athwart what brow is that dark mantle thrown?
What form leans sadly o’er the white death-bed,
In mockery of monumental stone,
The heavy heart heaving without a moan?
If it be He, who, gentlest of the wise,
Taught, sooth’d, lov’d, honour’d the departed one,
Let me not vex, with inharmonious sighs,
The silence of that heart’s accepted sacrifice.

O Captain ! My Captain : Walt Whitman : : Death Poems : :

George C. Cox (1851–1903, photo) Adam Cuerden (1979-, restoration) Abraham Lincoln in 1887.
Walt Whitman At the Age of 28.
Walt Whitman At the Age of 35. By Samuel Hollyer (1826-1919) from the frontispiece to Leaves of Grass, Fulton St., Brooklyn, N.Y., steel engraving by Samuel Hollyer from a lost daguerreotype by Gabriel Harrison.
Walt Whitman photographed by Mathew Benjamin Brady (1822–1896) Description American photographer, war photographer, photojournalist.
Whitman ( ) spent his last years at his home in Camden, New Jersey. Today, it is open to the public as the Walt Whitman House.
Walt Whitman ( ) Portrait of Whitman by Thomas Eakins, 1887–88.
Whitman was honored on a ‘Famous Americans Series’ Postal issue, in 1940.
Autographed fair copy of Whitman’s poem—signed and dated March 9, 1887—as published in 1881 : : In the late 1880s, Whitman earned money by selling autographed copies of “My Captain”—purchasers included John Hay, Charles Aldrich, and S. Weir Mitchell. The poem rhymes using an AABBCDED rhyme scheme,and is designed for recitation. It is written in nine quatrains, organized in three stanzas. Each stanza has two quatrains of four seven-beat lines, followed by a four-line refrain, which changes slightly from stanza to stanza, in a tetrameter/trimeter ballad beat. Historian Daniel Mark Epstein wrote in 2004 that he considers the structure of the poem to be “uncharacteristically mechanical, formulaic”. He goes on to describe the poem as a conventional ballad, comparable to Samuel Taylor Coleridge’s writing in “The Rime of the Ancient Mariner” and much of Alfred, Lord Tennyson’s work, especially “In Memoriam A.H.H. The poem was set to music by Kurt Weill as one of “Four Walt Whitman Songs” he composed in the 1940s.
Correggio’s 1525 Deposition : : In the second and third stanzas, according to Schöberlein, ( 2018 ) Whitman invokes religious imagery, making Lincoln a “messianic figure”. Schöberlein compares the imagery of “My Captain” to the Lamentation of Christ, specifically Correggio’s 1525 Deposition. The poem’s speaker places its “arm beneath [Lincoln’s] head” in the same way that “Mary cradled Jesus” after his crucifixion. With Lincoln’s death, “the sins of America are absolved into a religio-sentimental, national family”
Allegory : The Ship Of State : Artist : Franz Francken ( 1542 – 1616 ) : : allegorical painting, with a full-rigged ship curiously equipped with oars in the middle foreground, sails billowing as it moves through the water. The ship, on a green sea, steers its way through small islands of barren rock, where dangers threaten. To the right in the background is an island with a cave, wherein wolves lurk. In front to the right, a volcano spews out flames and rocks. The rock in the right foreground appears to be hit by a meteorite. In the centre foreground two mermaids (symbols of lasciviousness) with looking glasses are arranged, holding combs in their hands and resting on a rock. To the left is another rock and behind a giant, waist high, in the water. He brandishes a club with his right hand in the direction of the ship. In the left distance, two giants stand on another rock and they also brandish clubs. These represent the dangers to which the ship will succumb if she founders.The allegory alludes to the political disaffection between the Low Countries and Spain, and the Protestant revolt against the Roman Catholic Church, the state church of Spain; thus the ship can be equated with the Catholic Church, under Phillip II , son of Holy Roman Empire , Philip sent Spanish troops commanded by the Duke of Alva to the Netherlands but their excessively harsh policies resulted in open revolt. Two cardinals dressed in red stand in front of the last two figures in the stern. The man wears robes and a mitre, and holds the triple or papal cross denoting the Pope. The robed man beside him with a blue cloak and mitre holds the Latin cross.
Plato and the Ship Of Fools : : The image of a boat crowded with people cutting ocean waters without a certain destination is one of the (few) allegories Plato evokes in The Republic, an extensive dialogue in which he presents the utopia of an ideal society. sailing towards some desired, although uncertain, destination. Plato describes a ship whose captain is a strong man; however, his sight and hearing are bad, and he does not master the art of sailing. His sailors are equally ignorant, but despite the fact they fight to decide who will steer the helm. Meanwhile, the ship is adrift. In Plato’s allegory, the ship is equal to the governing system and, in it, the captain represents the ship’s owner, who is the people—it is worth mentioning that Plato’s Athens was a democracy. Due to the captain’s incapacity, the sailors fight for the control of the ship that, unfortunately for everyone on board, may crash and sink. The allegory of a vessel adrift should not be understood as an apology of democratic government, far from it. Plato champions the idea of a stratified society where rulers are philosophers, people who have been educated from their earlier years to direct their choices by reason and unbiased search of the common good. For Plato, ruling is for highly capacitated people who have been imbued by the concept of justice. Not unexpectedly, his model of society is a utopia, something unattainable at any time or place. Plato’s utopia has been revisited many times through history. Just like Plato, other philosophers such as Thomas More or Campanella have proposed utopias and were literally killed because of that. In the 20th Century, distorted interpretations of Platonic thought inspired political authoritarianism on both extremes of the ideological-political thought. John Alexander ( 2006 painting ,later) sees The Ship of Fools brimming over with masked or animal-like executives in the midst of a convulsing sea. In that scatological view, lethality is not a possible effect from bad government, but something that is necessary and concrete. There she is, at the top of the composition: Death, the passenger who is responsible for the story’s end . : : Thus , A mental image bound to emerge in various different contexts. : : For example, three different ships, there is a place for damnation—in all senses of the word. In Katherine Anne Porter’s The Ship of Fools novel—published in 1962 and adapted into film in 1965 by Stanley Kramer—damnation is a consequence of the passengers’ frivolous behavior on a transatlantic cruise from Mexico to Germany during a journey where their lives are superimposed and mixed together. The story happens in 1933 in the context of Nazism’s emergence, which is banally referred to by one of the main female characters. Trivialities seem to be a lesser evil, but they comprise harm caused by ignorance, by giving our backs to reason, by succumbing to unstoppable greed. The fools in Porter’s Ship are exposing themselves to disaster, but not everything is lost, the only thing they have to do is think: “The place here you’re going does not exist yet, you must build it when you get to the right spot.”“. : :
Promotional poster for Stanley Kramer’s film The Ship of Fools (1965). Based on a novel by the same title by Katherine Anne Porter, published in 1962 . : : : : : : : : : : : : : : : : : : : : : “Ship of state” metaphor

The poem describes the United States as a ship, a metaphor that Whitman had previously used in “Death in the School-Room”. This metaphor of a ship of state has been often used by authors& film makers. Whitman himself had written a letter on March 19, 1863, that compared the head of state to a ship’s captain. Whitman had also likely read newspaper reports that Lincoln had dreamed of a ship under full sail the night before his assassination; the imagery was allegedly a recurring dream of Lincoln’s before significant moments in his life.

“My Captain” begins by describing Lincoln as the captain of the nation. By the end of the 1 St. stanza, Lincoln has become America’s “dear father” as his death is revealed (“fallen cold and dead”). Vendler writes that the poem is told from the point of view of a young Union recruit, a “sailor-boy” who considers Lincoln like a “dear father”. The American Civil War is almost over and “the prize we sought is almost won;/the port is almost near” with crowds awaiting the ship’s arrival. Then, Lincoln is shot and dies. Vendler notes that in the first Two Stanzas the narrator is speaking to the dead captain, addressing him as “you”. In the 3 Rd Stanza, he switches to reference Lincoln in the third person (“My captain does not answer”). : : Winwar describes the “roused voice of the people, incredulous at first, then tragically convinced that their Captain lay fallen”. Even as the poem mourns Lincoln, there is a sense of triumph that the ship of state has completed its journey. Whitman encapsulates grief over Lincoln’s death in one individual, the narrator of the poem.

Cohen argues that the metaphor serves to “mask the violence of the Civil War” and project “that concealment onto the exulting crowds”. He concluded that the poem “abstracted the war into social affect and collective sentiment, converting public violence into a memory of shared loss by remaking history in the shape of A Ballad”.
Abraham Lincoln : “I Captain ! O Captain : : Extended Metaphor : : Read this Theme discussed hereinabove.

O Captain! My Captain!
BY WALT WHITMAN
O Captain! my Captain! our fearful trip is done,
The ship has weather’d every rack, the prize we sought is won,
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring;
But O heart! heart! heart!
O the bleeding drops of red,
Where on the deck my Captain lies,
Fallen cold and dead.

O Captain! my Captain! rise up and hear the bells;
Rise up—for you the flag is flung—for you the bugle trills,
For you bouquets and ribbon’d wreaths—for you the shores a-crowding,
For you they call, the swaying mass, their eager faces turning;
Here Captain! dear father!
This arm beneath your head!
It is some dream that on the deck,
You’ve fallen cold and dead.

My Captain does not answer, his lips are pale and still,
My father does not feel my arm, he has no pulse nor will,
The ship is anchor’d safe and sound, its voyage closed and done,
From fearful trip the victor ship comes in with object won;
Exult O shores, and ring O bells!
But I with mournful tread,
Walk the deck my Captain lies,
Fallen cold and dead.
— Walt Whitman (. )

Written on the occasion Abraham Lincoln’s assassination, “O Captain! My Captain!” was first published in the New York Saturday Press (November 1865) and was later included, along with “When Lilacs Last in the Dooryard Bloom’d,” in a group of poems titled “Sequel” to Drum Taps (1865). While “When Lilacs Last in the Dooryard Bloom’d” has become one of Whitman’s most critically acclaimed poems, Together with it and “Hush’d Be the Camps To-day”, and “This Dust was Once the Man”, it is one of four poems written by Whitman about the death of Lincoln. He later included it in the collection Leaves of Grass and recited the poem at several lectures on Lincoln’s death. Although he never met Lincoln, Whitman saw Abraham Lincoln several times between 1861 and 1865, sometimes at close quarters. Writing in October 1863, “I love the President personally.” He declared that “Lincoln gets almost nearer me than anybody else.”Whitman considered himself and Lincoln to be “afloat in the same stream” and “rooted in the same ground.” Whitman felt a connection to him and was greatly moved by Lincoln’s assassination. “O Captain..” turned the assassination of the President into a sort of martyrdom. Sincere expression of emotion in a “sing a song ” quality. As an elegy to Lincoln, the English professor Faith Barrett wrote in 2005 that the style makes it “timeless”, following in the tradition of elegies like “Lycidas” and “Adonais” : : : : “O Captain! My Captain!,” which incorporates more conventional rhyme and meter because of its rhyming, song-like flow, and simple “ship of state” metaphor. was by far the most popular of Whitman’s poems during his lifetime with many celebrating it as one of the greatest American works of poetry. Henry B. Rankin, a biographer of Lincoln, wrote that “My Captain” became “the nation’s—aye, the world’s—funeral dirge of our First American”.The Literary Digest in 1919 deemed it the “most likely to live forever” of Whitman’s poems, and the 1936 book American Life in Literature went further, describing it as the best American poem poet, C. K. Williams ( 2010 , Pg. 171 ) concluded that the poem was a “truly awful piece of near doggerel triteness” that deserved derisive criticism. Meanwhile, the 2004 Oxford Encyclopedia of American Literature entry on Whitman suggests that critiques about the poem’s rhythm are unfair. As it never mentions Lincoln, it has been invoked upon the death of several other heads of state. It is famously featured in Dead Poets Society (1989) and is frequently associated with the star of that film, Robin Williams playing John Keating , a teacher at the Welton Academy boarding school As he introduces his students to the poem in their first class. Keating is later fired from the school. As Keating returns to collect his belongings, the students stand on their desks and address Keating as “O Captain! My Captain!” After Robin Williams’ suicide in 2014, the hashtag “#ocaptainmycaptain” began trending on Twitter and fans paid tribute to Williams by recreating the “O Captain! My Captain!” scene. The use of “My Captain” in the film was considered “ironic” by Cohen because the students are taking a stand against “repressive conformity” but using a poem intentionally written to be conventional. After Franklin D. Roosevelt died in 1945, actor Charles Laughton read “O Captain! My Captain!” during a memorial radio broadcast. When John F. Kennedy was assassinated on November 22, 1963, “O Captain! My Captain!” was played on many radio stations, extending the ‘ship of state’ metaphor to Kennedy.Following the 1995 assassination of Israeli Prime Minister Yitzhak Rabin, the poem was translated into Hebrew and put to music by Naomi Shemer. : :

The 1 St Stanza describes how a ship has returned from a voyage that was ”fearful.” The voyage has been successful, with the speaker noting that a ”prize” has been won. However, the poetic speaker admits that there has been a tragedy. The Captain of the ship is dead, his bleeding body lying on the deck of the ship.

In the 2 Nd Stanza, the poem shifts to reactions to the captain’s death. The stanza mentions a ”swaying mass” of people mourning his death. The speaker describes the sounds and sights of mourning, including bouquets of flowers, pealing bells, waving flags, and bugle calls.

The 3 Rd Stanza returns to describing the Captain. In contrast to the noisy responses of the crowd, the Captain’s body is lifeless, ”pale and still,” with ”no pulse nor will.” Though the voyage is over and successful, the poetic speaker continues to mourn the death of the Captain.

”O Captain! My Captain!” An “Elegy” , A “Dirge”, a song for the dead and the powerful sense of mourning and loss. The ”keel” and ”deck,” parts of the ship which has returned to ”port.” The ship has ”weather’d” a difficult voyage, a symbol for the bloody Civil War. The elements of war journalism, such as “the bleeding drops of red” and “fallen cold and dead. imagery relating to the sea throughout. Genoways considers the best “turn of phrase” in the poem to be line 12, where Whitman describes a “swaying mass”, evocative of both a funeral and religious service. Schöberlein compares the Religious imagery of “My Captain” to the Lamentation of Christ, specifically Correggio’s 1525 Deposition. The poem’s speaker places its “arm beneath [Lincoln’s] head” in the same way that “Mary cradled Jesus” after his crucifixion. With Lincoln’s death, “the sins of America are absolved into a religio-sentimental, national family” : : : :

The poem’s nautical references allude to Admiral Nelson’s death at the Battle of Trafalgar. : : : :

Notes for Each Stanzas : Pending visit this post again later on to enjoy the appreciation of the poem. : : : : “O Captain ! O Captain !” Death Poem By Walt Whitman : Information Appreciation and poem Analysis Presented by V Jayaraj Pune India September 25 , 2022 : : : : ભાદરવા વદ અમાસ : : સર્વ પિતૃ તર્પણ અમાવાસ્યા : : : :

On the Death of Anne Bronte : Charlotte Bronte : : Death Poems : :

An 1873 portrait of Charlotte Bronte by Duyckinick.(Cc, Wikipedia: : Born Thornton , Yorkshire England April 1816 – Died March 1855 , Aged 39 years.: During her pregnancy.

There’s little joy in life for me,

And little terror in the grave ;

I ‘ve lived the parting hour to see

Of one I would have died to save. 4

Calmly to watch the failing breath,

Wishing each sigh might be the last ;

Longing to see the shade of death

O’er those belovèd features cast. 8

The cloud, the stillness that must part

The darling of my life from me ;

And then to thank God from my heart,

To thank Him well and fervently ; 12

Although I knew that we had lost

The hope and glory of our life ; 14

And now , benighted, tempest-tossed,

Must bear alone the weary strife. 16

— Charlotte Bronte

( Born April 1816 – Died March 1855 , Aged 39 years. )

Anne Brontë, sister to fellow writers Emily and Charlotte Brontë, died in May of 1849 of tuberculosis. Emily had died the year previously, also of tuberculosis, and Charlotte would only live for six more years, dying in March of 1855 of pneumonia. On the Death of Anne Bronte : Charlotte Bronte is about the poet’s grief and loss on the death of her beloved sisterand her relief that her sister’s sufferings have ended. In the last , she accepts that she will have to live in the world without her Sisters.

” There’s little joy in life for me,

And little terror in the grave;

I’ve lived the parting hour to see

Of one I would have died to save.” : : Stanza 1 : : Lines ( 1 To 4 ) : : : :

“Little joy” is left in life for the poet. She feels “terror in the grave”or “death”. She says in lines 3 &4 , “lived the parting hour to see
Of one I would have died to save” meaning she cares for the deceased ( gender, age, relationship not stated in the poem) deeply. And , she would have given her own life , if that could save the deceased. Since this is not possible , she is now left to mourn.

“Calmly to watch the failing breath,

Wishing each sigh might be the last; 6

Longing to see the shade of death

O’er those belovèd features cast.” 8 : : Stanza 2 : : lines ( 5 To 8 ) : : : :

She watched the failure in breathing. It was an expiration heavily audible, indicating tiredness , etc. which is expressed in a word each “sigh” to which she wished “it might be the last”( line 6 ): : She could feel seeing the beloved features and wish the one on the face yearning for the darkness (“shade” ) of “death” as only this chosen one as the last relief ( lines 7 & 8 ) : : : :

” The cloud, the stillness that must part

The darling of my life from me; 10

And then to thank God from my heart,

To thank Him well and fervently;” 12 : : Stanza 3 : : lines ( 9 To 12 ) : : : :

Here, it is God who disperse “The cloud” which are distributed loosely with its moving to everywhere. Hence , “the Stillness” or motionlessness or association with one place or persons is not possible. It is God’s choice that the cloud ☁️ must part from her, be the same for the deceased. As God is convinced in the longing/ yearning for the death. She “then (has) to thank God from” her “heart”. “To thank Him well and” with ‘passionate fervour (“fervently”) She expresses her feelings of ‘great warmth’ and ‘favour’ from God in a ’cause’ of the deceased beloved , her “darling”who has moved on to a better desirable place.

“Although I knew that we had lost

The hope and glory of our life;

And now, benighted, tempest-tossed,

Must bear alone the weary strife.” : : : : Stanza 4 : : : : lines ( 13 To 16 ) : : : :

Although she knew it was a great loss, and ” The hope and glory of ( their ) life;” is also lost; she still must thank God. The grounds for feeling hopeful about the future is lost. There is nothing more to see any honour. No more rejoicing proudly for anything glorified in their life. Because , her “darling” is not with them to share any such hope and glory. ‘Overtaken’ By the ‘night’ or ‘darkness‘, hence ” benighted”. It will be difficult to perceive an enlightenment. And they are ‘troubled’ being “alone”; “tempest-tossed”meaning ” ‘hit repeatedly’ by ‘storm’ or ‘adversities’: : She has nobody to share with about all these troubles to come in future. Her companion : her “darling” was the last hope. She is now all “alone”to put up with unpleasant future without support of her “darling”.There will be bitter conflicting situations in dealing with the people in the world around : the exhausting “strife” that can be tiring. ‘Wearily’but walk around and “Must bear alone”she makes up her mindset in the last.

“On the Death of Anne Bronte” : Charlotte Bronte : Death Poem : : Information Appreciation and poem Analysis Presented by V Jayaraj Pune India September 24 , 2022 : : ભાદરવા વદ ચતુર્દશી : : : : : : : :

First Death In Nova Scotia : Elizabeth Bishop : : Death Poems : :

Elizabeth Bishop was born on February 8, 1911, in Worcester, Massachusetts. She is A metaphysical Poet and was also known for her translator’s Works. : : Related poets : W S Merwin, Robert Fitzgerald, Stephen Mitchell,Salvatore Quasi modo, Edith Grossman, Allan s Trueblood. : : The Titles of the Poetry with publications date are noteworthy : : : : : 2011
The Fish
2006
Suicide of a Moderate Dictator
1993
Little Exercise (audio only)
1997
Over 2,000 Illustrations and a Complete Concordance (audio only)
1979
At the Fishhouses
1979
Visits to St. Elizabeths
1979
In the Waiting Room
1979
One Art
1979 The Armadillo , 1979 The Moose

First Death in Nova Scotia by Elizabeth Bishop : (1911 – 1979)Question of Travel ’65: In the cold, cold parlor
my mother laid out Arthur
beneath the chromographs:
Edward, Prince of Wales,
with Princess Alexandra,
and King George with Queen Mary.
Below them on the table
stood a stuffed loon
shot and stuffed by Uncle
Arthur, Arthur’s father.

Since Uncle Arthur fired
a bullet into him,
he hadn’t said a word.
He kept his own counsel
on his white, frozen lake,
the marble-topped table.
His breast was deep and white,
cold and caressable;
his eyes were red glass,
much to be desired.

“Come,” said my mother,
“Come and say good-bye
to your little cousin Arthur.”
I was lifted up and given
one lily of the valley
to put in Arthur’s hand.
Arthur’s coffin was
a little frosted cake,
and the red-eyed loon eyed it
from his white, frozen lake.

Arthur was very small.
He was all white, like a doll
that hadn’t been painted yet.
Jack Frost had started to paint him
the way he always painted
the Maple Leaf (Forever).
He had just begun on his hair,
a few red strokes, and then
Jack Frost had dropped the brush
and left him white, forever.

The gracious royal couples
were warm in red and ermine;
their feet were well wrapped up
in the ladies’ ermine trains.
They invited Arthur to be
the smallest page at court.
But how could Arthur go,
clutching his tiny lily,
with his eyes shut up so tight
and the roads deep in snow?

“First Death in Nova Scotia” is a short poem by Elizabeth Bishop (1911-1979) published in “Questions of Travel” (1965). The poem tells of a child’s first experience of death in the context of a relative’s wake. A young child is taken into a parlor on a winter day to view her deceased cousin Arthur who is laid out in a coffin resembling a “little frosted cake”. The child notes a stuffed loon standing on a marble-topped table eyeing the casket and chromolithographs of British royalty in ermine trains hung above the deceased. The child is given a lily of the valley and lifted by her mother to place the flower in dead Arthur’s hand. The child notes, and makes an allusion to Jack Frost, who has painted Arthur’s red hair with a bit of “white paint”. The child also tells us that the royals have invited Arthur to be “the smallest page at court”. The child wonders how Arthur will ever go to court because “his eyes are shut up so tight” and the roads are “deep in snow”. ( Summary : From Wikipedia ) : : : :

Jack Coulehan writes in ‘ The Writer’s Almanac that “First Death” has its source in Bishop’s childhood years on Nova Scotia with relatives and that “[t]he imaginative perception here is exquisite”. Coulehan explains in ‘Literature Annotations , Elizabeth Bishop’ that the child reconciles her perceptions of a fantastic ‘afterlife’ ( dwelling at court as a page ) with the reality of the dead child and the dead loon before her: “Maybe the dead don’t go anywhere,” Coulehan writes, “Maybe the dead are just dead.” : : : :

The poem examines a child’s first experience with death, capturing the way in which childhood innocence might comprehend such a devastation. It’s also an exquisite portrait of the vanished Canada of her youth. The child’s mind work by association. She repeats ideas and makes unusual connections between things. There is a fairytale element to the end of the poem as the child imagines royal couples welcoming Arthur into their Kingdom. In the child’s mind, young Arthur will be surrounded by people and perhaps this consoles her now that she has thought about his death. The confused child tries with fear to empathise with Arthur’s feelings. We are left with a tragic image of a young boy, vulnerable and afraid, surrounded by the dead. : :

Notes for 5 Stanzas : Pending visit this post again later on to enjoy the appreciation of the poem. V Jayaraj Pune India September 23 , 2022 : : ભાદરવા વદ તેરસ : : : : : : : :

Unlike Are We, Unlike O Princely Heart ! : Elizabeth Barrett Browning : : Death Poems : :

Elizabeth Barrett Browning

Sir William Charles Ross R.A., n.d. – Browning Library – Baylor University
Elizabeth Barrett Browning

Library of Congress, USA
Elizabeth Barrett Browning & Robert Browning: Two Lover Poets

Sonnet 3: “Unlike are we, unlike, O princely Heart!” : Elizabeth Barrett Browning : : ( )

Unlike are we, unlike, O princely Heart!
Unlike our uses and our destinies.
Our ministering two angels look surprise
On one another, as they strike athwart
Their wings in passing (4) Thou, bethink thee, art 5
A guest for queens to social pageantries, 6
With gages from a hundred brighter eyes 7
Than tears even can make mine, to play thy part
Of chief musician. (8) / /First Tercet : 9 -11 :: What hast thou to do 9
With looking from the lattice-lights at me, 10
A poor, tired, wandering singer, singing through 11 / / : : : : Second Tercet : 12 – 14 : :
The dark, and leaning up a cypress tree? 12
The chrism is on thine head,—on mine, the dew,— 13
And Death must dig the level where these agree. 14

Elizabeth Barrett Browning’s Sonnet iii : : :: “Unlike Are We Unlike O Princely Heart! ” Is a voice of masterpiece correcting speaker as well as reader with a lovely relief that the poem is about ‘ Not Death , But Love ‘ : : We find an Author/ Poetess present in the poem whereas Her Beloved is absent.

“Unlike are we, unlike, O princely Heart!
Unlike our uses and our destinies.
Our ministering two angels look surprise
On one another, as they strike athwart Their wings in passing ” : : Quatrain 1 : : lines 1 To 4 : :

Here , A word ” (U)unlike ” stresses ( 3 times in the first 2 lines ) up on ‘distance’ and ‘ difference ‘ which expresses her ‘doubts’ as well as ‘sadness’. A ‘distance’ between the two lovers in (“our uses and our destinies” line 2 ) : : By the phrase ” O princely Heart ! ” We learn that her ‘beloved’ is either sumptuous ( rich ) or a grand splendid personality and the speaker has perhaps a contrasting personality by nature. Now , each one of the oddish pair of lovers have curious ‘Guardian Angel’ : Attending ministrants who “look surprise on one another”: wondering how she can come to pair up with her beloved prince and then how they would flourish together. : : By a word athwart ( u’thwort ) , we find that the ‘couple’ would go at right / oblique angle to one another. ‘Over and across’ in leading ( to different directions ) and be unwelcomely affecting their respective line of life. : : Both the ‘en passant’ guardian angels make such remarks hastily / hurriedly “in passing” . : : : :

” Thou, bethink thee, art
A guest for queens to social pageantries,
With gages from a hundred brighter eyes
Than tears even can make mine, to play thy part Of chief musicians” : : : : Quatrain 2 : : lines ( 5 To 8 ) : :

Her beloved “prince” is very talented and a man with nobility and is ” A guest for queens to social pageantries,” : He attends the rich and spectacular ceremony elaborately represented by highly placed renowned guests in to gatherings and scenes in rich surroundings and luxury. When he visits such royal meets, no doubt, the guests look at him with “a hundred brighter eyes” than her own. Her tears even cannot be enough ( impossible for her to reach there ) to turn in her eyes as bright as what he must experience at such splendid affairs at queen’s courts/ palaces. The concept of ‘distance’and ‘difference’ is portrayed in this way to highlight her position. She is a wandering singer (line 9) in contrast to his “part Of chief musicians”: : : : At the time of writing this Sonnet , she was facing some health issues and was 6 years older than her suitor “prince”. Hence, her narration is hesitant. And she wouldn’t accept the courtship extended by her suitor who should , as she feels, weigh up with gages she has put forth with her feelings. : : : :

” What hast thou to do
With looking from the lattice-lights at me,
A poor, tired, wandering singer, singing through / / The dark, and leaning up a cypress tree ? ” : : 12 : : First Tercet : : lines ( 9 To 11 / / + line 12 first line of Second Tercet )

She is “A poor , tired , wandering singer singing through the dark” meaning she is unsettled having no fixed home or a course. These are some references of her mood of darkness represented in this poem with many images alike, elsewhere, too ; so also but differently, in “the lattice lights” for her suitor. The same central purpose for ‘distance’and ‘difference’ are again illustrated here.: : : : “A cypress tree” is a symbol of her ‘mourning’ which has a reference to her very close brother , Edward who died before as well as her own mood of darkness and sadness, as she seemingly, faces, her own feeling of nearness to death. Her health and moods have caused her being ‘lean’ or to lean to the side ( inclined) instead of sustaining uprightness. : : She draws his attention to become informed as to why someone like him should be “looking from the lattice-lights” that is through an opening like a ‘small window’ at ‘lowly positioned’ herself. She wants to know why he should incline for commonality as he also will have to “lean[s] up to a cypress tree,” while searchingly look up at her , through her murkey -window.. : : : :

“The dark,and leaning up a cypress tree?12
The chrism is on thine head,—on mine, the dew,— 13
And Death must dig the level where these agree. 14 : : : : Second Tercet : : lines ( 12 To 14 ) : : : :

We have already tried above para to elaborately locate the meaning in line 12 of the Second Tercet. The last two lines 13 & 14 , is about EBB’s very famous couplet. “The chrism” ( kri- zum ), also called ‘chrisom’, is a consecrated ointment consisting of a mixture of oil and balsam ( fragrant resin ): : Her beloved keeps up “chrism” on his head, but she possesses only “dew.” ( Nevermind , dew is plain , but pure , and divinely ‘sky element’ in poetry ) : : His earthly ‘precious oil’ coming together with her skyward, only ‘plain dew’ startles her mind with amazement and deeply penetrated fear. : : Thus, her flabbergasted ( stupified/ dumbfounded ) image : “Death must dig the level where these agree.”meaning, Only in “death” their ‘leaningly existence’ can make the lovely couple an ‘equal-some’. : : : : The poetess plays up with a scheme that might prevent her beloved “prince” from pairing her by drawing negative, tragically ending pictures of upcoming ‘proximo’ ( future ) so that their UNION in LOVE becomes impossible. Speaking ‘not in unison’. The speaker exemplifies before her suitor “prince” with ‘Gloom’ positilions between them so as to lead him, to ‘separation’ in their , relationship. Also , she doubts her own capacity to return her affection for him in the same way she receives from him. : : : :

In an earthbound peculiar class based society, the speaker cannot overcome the ‘distance’ and ‘difference’ between ‘herself’ and her beloved “prince”. So, she allows even “Death” to establish its purpose. She has a ‘weird’ and ‘unconventional’ approach, but she believes in ‘both happy’ – happening in such darker colour, soon to be created by digging (only) for her to turn up with the underground earthen soil. Surprisingly , Then, ‘The Sonnet’ is About ‘Not Death, But LOVE’ : : Unlike Are We, Unlike O Princely Heart ! : Elizabeth Barrett Browning’s Love Poem , of balsamy fragrance with womanly gentleness and compassion. We come to believe that ‘Human Sensitivity’ in Love, sometimes, creates anxiousness and unstableness , May it be desirably temporary. This Sonnet is a work out ( ‘Gem’ in to the English Poetry ) over the ‘Romanticism’ maintaining ‘Victorian Love’ form that is ‘Universal’ and applicable even to the ‘Modern Day Poetry’. : : : : : : : : : : :

Information Appreciation and poem Analysis Presented by V Jayaraj Pune India September 22 , 2022 : : ભાદરવા વદ બારસ : : : : : :

Mother and Poet : ELIZABETH BARRETT BROWNING : : Death Poems : :

Elizabeth Barrett Browning ( 1806 – 1861 ) : School / Movement : Romanticism : Related Poets : Walt Whitman , Léonie Adams , Edgar Allan Poe , Robert Louis Stevenson, Emily Dickinson , Ralph Waldo Emerson : :
Born on March 6, 1806, at Coxhoe Hall, Durham, England — died in Florence on June 29, 1861. : Elizabeth Barrett Browning

Mother and Poet
BY ELIZABETH BARRETT BROWNING
I.
Dead ! One of them shot by the sea in the east,
And one of them shot in the west by the sea.
Dead ! both my boys ! When you sit at the feast
And are wanting a great song for Italy free,
Let none look at me !

II.
Yet I was a poetess only last year,
And good at my art, for a woman, men said ;
But this woman, this, who is agonized here,
— The east sea and west sea rhyme on in her head
For ever instead.

III.
What art can a woman be good at ? Oh, vain !
What art is she good at, but hurting her breast
With the milk-teeth of babes, and a smile at the pain ?
Ah boys, how you hurt ! you were strong as you pressed,
And I proud, by that test.

IV.
What art’s for a woman ? To hold on her knees
Both darlings ! to feel all their arms round her throat,
Cling, strangle a little ! to sew by degrees
And ‘broider the long-clothes and neat little coat ;
To dream and to doat.

V.
To teach them … It stings there ! I made them indeed
Speak plain the word country. I taught them, no doubt,
That a country’s a thing men should die for at need.
I prated of liberty, rights, and about
The tyrant cast out.

VI.
And when their eyes flashed … O my beautiful eyes ! …
I exulted ; nay, let them go forth at the wheels
Of the guns, and denied not. But then the surprise
When one sits quite alone ! Then one weeps, then one kneels !
God, how the house feels !

VII.
At first, happy news came, in gay letters moiled
With my kisses, — of camp-life and glory, and how
They both loved me ; and, soon coming home to be spoiled
In return would fan off every fly from my brow
With their green laurel-bough.

VIII.
Then was triumph at Turin : Ancona was free !’
And some one came out of the cheers in the street,
With a face pale as stone, to say something to me.
My Guido was dead ! I fell down at his feet,
While they cheered in the street.

IX.
I bore it ; friends soothed me ; my grief looked sublime
As the ransom of Italy. One boy remained
To be leant on and walked with, recalling the time
When the first grew immortal, while both of us strained
To the height he had gained.

X.
And letters still came, shorter, sadder, more strong,
Writ now but in one hand, I was not to faint, —
One loved me for two — would be with me ere long :
And Viva l’ Italia ! — he died for, our saint,
Who forbids our complaint.”

XI.
My Nanni would add, he was safe, and aware
Of a presence that turned off the balls, — was imprest
It was Guido himself, who knew what I could bear,
And how ’twas impossible, quite dispossessed,
To live on for the rest.”

XII.
On which, without pause, up the telegraph line
Swept smoothly the next news from Gaeta : — Shot.
Tell his mother. Ah, ah, his, ‘ their ‘ mother, — not mine, ‘
No voice says “My mother” again to me. What !
You think Guido forgot ?

XIII.
Are souls straight so happy that, dizzy with Heaven,
They drop earth’s affections, conceive not of woe ?
I think not. Themselves were too lately forgiven
Through THAT Love and Sorrow which reconciled so
The Above and Below.

XIV.
O Christ of the five wounds, who look’dst through the dark
To the face of Thy mother ! consider, I pray,
How we common mothers stand desolate, mark,
Whose sons, not being Christs, die with eyes turned away,
And no last word to say !

XV.
Both boys dead ? but that’s out of nature. We all
Have been patriots, yet each house must always keep one.
‘Twere imbecile, hewing out roads to a wall ;
And, when Italy ‘s made, for what end is it done
If we have not a son ?

XVI.
Ah, ah, ah ! when Gaeta’s taken, what then ?
When the fair wicked queen sits no more at her sport
Of the fire-balls of death crashing souls out of men ?
When the guns of Cavalli with final retort
Have cut the game short ?

XVII.
When Venice and Rome keep their new jubilee,
When your flag takes all heaven for its white, green, and red,
When you have your country from mountain to sea,
When King Victor has Italy’s crown on his head,
(And I have my Dead) —

XVIII.
What then ? Do not mock me. Ah, ring your bells low,
And burn your lights faintly ! My country is there,
Above the star pricked by the last peak of snow :
My Italy ‘s THERE, with my brave civic Pair,
To disfranchise despair !

XIX.
Forgive me. Some women bear children in strength,
And bite back the cry of their pain in self-scorn ;
But the birth-pangs of nations will wring us at length
Into wail such as this — and we sit on forlorn
When the man-child is born.

XX.
Dead ! One of them shot by the sea in the east,
And one of them shot in the west by the sea.
Both ! both my boys ! If in keeping the feast
You want a great song for your Italy free,
Let none look at me !

‘Mother and Poet’ by Elizabeth Barrett Browning talks about a mother who had lost both of her sons in the war. Two brave soldiers who were eventually brothers fought till their last for the country. it is a great example of patriotism? But, for a mother, it is much more than that, something deep and scorching like the sun in the arid desert. The speaker’s pain goes through an avatar in E.B. Browning’s “Mother and Poet”.: : What is paining her deep, is that her two boys won’t ever return. The picture of their childhood still surrounds her mind-set. She made them aware of the values a man. And this early education of loving one’s country, is the sole cause of their death. It might have freed Italy but confined a mother in deep sadness through a womb – to – tomb. That’s why the poem says in the end that everyone in the country was happy for their nation’s achievement. But, sadly the speaker says, “I have my Dead”. In such a condition, if the country demands some celebratory verse, she can’t give any except this elegiac piece of hers.

Notes for Each of the 20 Stanzas , pending visit this post again later on to enjoy the appreciation of the poem : : : : V Jayaraj Pune India September 21 , 2022 : : ભાદરવા વદ અગિયારસ : : : : : : : :

I died for beauty — but was scarce : Emily Dickinson : : Death Poems : :

I died for beauty — but was scarce
I died for beauty — but was scarce
Adjusted in the Tomb
When One who died for Truth, was lain
In an adjoining Room —

He questioned softly “Why I failed?”
“For Beauty,” I replied —
“And I — for Truth — Themselves are One —
We Brethren, are,” He said —

And so, as Kinsmen, met a Night —
We talked between the Rooms —
Until the Moss had reached our lips —
And covered up — Our names —
F448 (1862) J449

Emily Dickinson’s ” I Died For Beauty — But Was Scarce”, is a Death Poem presenting the cause of death in “truth ” and “beauty”, through the dialogues between the two corpses “Untill the Moss reaches (their) lips And covers up — (their) names –” : The poem concludes sadly that all aspects of existence including lifetime memories attached with the names of dying persons alongside an identity are removed by death just like the Moss covers up the names on the tombstones. The “Beauty” and “Truth” for which the two persons died symbolize perfection, whereas, the “Death” symbolizes failure. The “Moss” reaches their lips and covers up both lips and names ( identify ) means that For a death everything is equal.

Notes for the 3 Stanzas : : Pending visit this post again later on to enjoy the appreciation of the poem V Jayaraj Pune India September 20 , 2022 : : ભાદરવા વદ દશમી :

I Heard A Fly Buzz When I Died : Emily Dickinson : : Death Poems : :

Emily Dickinson : : : : I Heard A Fly Buzz When I died : : : : 591 : : Written in 1862 : : : : I heard a Fly buzz – when I died –
The Stillness in the Room
Was like the Stillness in the Air –
Between the Heaves of Storm –. 4

The Eyes around – had wrung them dry –
And Breaths were gathering firm
For that last Onset – when the King
Be witnessed – in the Room -. 8

I willed my Keepsakes – Signed away
What portion of me be
Assignable – and then it was
There interposed a Fly -. 12

With Blue – uncertain – stumbling Buzz –
Between the light – and me –
And then the Windows failed – and then
I could not see to see – 16

Emily Dickinson’s : ” I Heard A Fly Buzz , When I Died ” : is a death poem about deathbed scene, final experience and sensations before the moments of death. The hearing “Fly Buzz”signifies like a connecting chain between the speaker on a deathbed and the physical earthly world. Here the speaker is a Poetess herself and an animal lover as we know of Emily Dickinson. She can imagine this last event of her life. We should not go into the dead man’s flesh being Fly’s eatery as well as habit of putting her eggs in the mouth , nose or ears after a death because then its annoying noise would be bombinating abuzz over cruelty.

” I heard a Fly buzz—when I died—
The Stillness in the Room
Was like the Stillness in the Air—
Between the Heaves of Storm— “:: Stanza 1 lines ( 1 To 4 ) : : : :

Here , She is already dead and looks back to her dying. The lasting memory she can perceive and repeat immediately is : : “I heard a Fly buzz — when I died — ” And “The Stillness in the Room .. was like the Stillness in the Air — ” which is her feelings ” Between the Heaves of Storm — ” : : 1.The raising and 2. falling movement ( Hence plural in “Heaves” ) of ‘calm’ and ‘quiet’ found at the centre of “Storm” / Cyclone / Hurricane in its circular area called ‘Eye’ of the ‘Hurricane’ : : : :

” The Eyes around—had wrung them dry— And Breaths were gathering firm
For that last Onset—When the King
Be witnessed—in the Room— ” : : : Stanza 2 lines ( 5 To 8 ) : : : :

Here , “Eyes around” mean the Visiting’ friends and relatives / later: mourners gathered around the ‘deathbed’. Their Eyes ” — wrung them dry — ” means that their crying has extracted all the ‘tears’ from their ” Eyes”. They could not save up ‘tears’ anymore. : : “Breaths” are the breathing of all these visitors who “were gathering firm” with settled understanding in common that She would definitely die that day. They wouldn’t even show up any sign of jerk or jolt. No yielding of pressure. Only a sureness with firm standing “in the Room” : : This ‘firmness’ is in their 19 th Century American Protestant belief that Jesus Christ , the King is “coming in the Room” where they have firmly gathered and will become witness to His Coming in to take her in to His Arms ” For that last Onset” : : : :

” I willed my Keepsakes—Signed away
What portion of me be 10
Assignable—and then it was
There interposed a Fly— ” : : : : Stanza 3 : : lines ( 9 To 12 ) : : : :

Here , “keepsake” is a relic or memento , an artefact survived from the past which the Poetess has “– signed away .. What portion” of her distant past .. . ” be .. Assignable — ( among her loved ones ) : : She willed for its sentimental values. These are not necessities for her as she is dying. But , the memorial ceremony and rituals of death and dying is performed at the ‘death chamber’ called upon in the 19 th Century New England American house of a dead man. Here, ” There interposed a Fly — ” means that the Fly buzz is inserted which would hinder the death ceremony. : : : :

“With Blue—uncertain stumbling Buzz—
Between the light—and me—
And then the Windows failed—and then
I could not see to see— ” : : : : Stanza 4 : : lines ( 13 To 16 ) : : : :

“Blue” And/ Or Purple are the Dickinson’s colour she always chooses to describe immortality / Eternity. Here , it is ” Blue– uncertain stumbling Buzz of Fly” which is a symbol for the ‘Mortality’ of living being. Its buzzing sound can move in and out of human consciousness. Here , it has come between the poetess and the “light”. So “Fly Buzz” is interrupting the aforesaid consciousness. Her visual Sense doesn’t catch any sight on her death. ( Is it quizzical then , how she could write her experience of hearing “Fly buzz when she died”!? ) She losses sight of the visitors too, gathered around her and , also of the lights of ‘Jesus Christ’ and or the lights from ‘His Kingdom’ or any ‘spirituality.’ : : : :

“the Windows” a metaphor for the “Eyes” which “failed” in a way is suggestive of the ‘spiritual blindness’ meaning No Vision of ‘afterlife’ after ‘death’ : : Dickinson has categorically stated in the last line : ” — and then I could not see to see — ” : : : : That is ” Nothingness ” : : : :

Dickinson’s concern for life and death is tied up with “Stillness”. In the “Room” like a death chamber. she tells her readers “The Windows” and “Eyes” failing for which she intends to establish that death keeps us to our seats for a show atleast with our own sensitivity if we have possessed that can be interrupted by a lifelike Fly buzz be- speaking non – verbally in our ears, on our dying face and its vision ; but we REMAIN ALIVE ! Till an AFFERENT IMPULSES ! !

Inder Nath Kher in his book “The Landscape of Absence: Emily Dickinson’s Poetry” , writes that ” the sound of the fly represents ‘the last conscious link with reality’. The poem ‘lacks any hint of a life after death.’ The buzz of the fly described as “Blue”, is Dickinson’s symbol for eternity which suggests that in this poem it becomes ‘the symbol of complete extinction.’ : : : :

” I Heard A Fly Buzz—When I Died— “ Emily Dickinson’s “death poem about life” : : : : Information Appreciation and poem Analysis Presented by V Jayaraj Pune India September 19 , 2022 : : ભાદરવા વદ નોમ : :

I Will Tell You How The Sun Rose : Emily Dickinson : : Death Poems : :

Emily Dickinson



I’ll tell you how the Sun rose (204)
I’ll tell you how the Sun rose –
A Ribbon at a time –
The Steeples swam in Amethyst –
The news, like Squirrels, ran –
The Hills untied their Bonnets –
The Bobolinks – begun –
Then I said softly to myself –
“That must have been the Sun”!
But how he set – I know not –
There seemed a purple stile
That little Yellow boys and girls
Were climbing all the while –
Till when they reached the other side –
A Dominie in Gray –
Put gently up the evening Bars –
And led the flock away –

Emily Dickinson’s “I’ll tell you how the Sun rose” , is in a very impressive manner ponders ‘Sunrise’ and then ‘Sunset. The sun’s rays are like ” A 🎀 ribbon at a time — is released alongside with colours of other such ribbons; which waver the water up to a place where the super structure of the Church tapering to the top swam in chromatic purple colour ( in “Amethyst–” ) : “The news” of this ‘Sunrise’ “ran” fast “like squirrels,” : : There is a hurry in upcoming of ‘A Day’ : :

The unlaced ( “untied”) cover of “Bonnets” of “The hills” ( of newly looking car ) are set free to come to be mindful of the presence of the spreading lights in the morning. ” The Bobolinks” black birds “–begun–” have begun to sing. “That must have been the Sun”! : An extraordinary observation and reporting appears. Only a child exclaims about the aforesaid phenomenon of morning and rise of the day. The child is confident of an event.

Soon , there is a decrease in phase as the evening approaches. (S)he does not know much about ‘Sunset’. Dickinson intends to show the changeover of Sun from a system of morning to an evening ; metaphorically a transition from ‘life’ To ‘death’. Talking over an exciting scene is easier for a child but the fearful scene of an event occuring naturally would displease him/ her and keep back his/ her expression. (S)he can see “ That little Yellow boys and girls
Were climbing all the while –” and she can see an empurpling “stile” which is a set of steps over a sky with sun setting down in the west with yellow- skinned Chinese ( perhaps ) “boys and girls climbing all the while”as a day of school has ended. They are now homeward just like sheeps are inclined to go away from the area of scene as driven by a Churchman/ shepherd in the dark purplish evening approaching very fast.

“Till when they reached the other side,

A Dominie in Gray –

Put gently up the evening Bars –

And led the flock away – ” Stanza 4 : lines (13 To 16 ) : :

Here “flock” and “Dominie in gray” signifies the thoughts about death. Where a “Dominie in gray” means “God”, and “flock” means human beings, The school / The children signify the colourful morning in human life ; whereas “evening Bars” are an obstructions placed at the top of the ‘Goal’: : chromatic dark purple colour of the ‘afterlife’ unbars the last “evening Bars” to go away from the mortal place of life on the earth. : : Dickinson believes God unbars all the obstructions in reaching higher Goal of immortal eternity we as a reader forcefully can imagine this Scenario occuring in Nature. God leads human souls wherever after they die. : : : :

Emily Dickinson’s
A Day (I’ll Tell You How The Sun Rose) : : Information Appreciation and poem Analysis Presented by V Jayaraj Pune India September 18 , 2022 : : ભાદરવા વદ આઠમ : : : : ::

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