Into the corner of the roof That they are brown and soft, And liable to melt as snow. Over the greatness of such space Steps must be gentle. It is all hung by an invisible white hair. It trembles as birch limbs webbing the air. I ask myself: “Are your fingers long enough to play Old keys that are but echoes: Is the silence strong enough To carry back the music to its source And back to you again As though to her? ” Yet I would lead my grandmother by the hand Through much of what she would not understand; And so I stumble. And the rain continues on the roof With such a sound of gently pitying laughter.
Thiele, 2005, up. 295-296) The imagery in this poem is very opulent and gaudy. At the beginning I see a obscurity that is beginning to be elite up by affectionate reminiscences, like a candle getting livelier and livelier. I can perceive rain dwindling on the roof at the same time. The granddaughter has found some letters, perchance in an attic. The letters are ancient and brown with oldness. And with age paper develops inelastic and could fall separately without much assistance. As she starts to uncluttered the letters she derives to the comprehension that she must be very cautious.
She is interrogative whether or not she should read it. The rigorous of the rain falling on the roof sounds to her like her grandmothers amusement. Unfortunately I possibly will only find a couple belongings that rhymed. And I have faith in they are of no prominence. I think the line “is the silence strong enough” is a hyperbole; it is an embellishment put demonstrates the opinion that peace can be sturdy Just not in a corporeal method. I adored this poem because reading it made me contemplate of my own grandmother who was a saccharine and compassionate woman. The Road Not Taken BY Robert Frost (1874 – 1963)
Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; Then took the other, as Just as fair, And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black. Oh, I keep the first for another day! Yet knowing how way leads onto way, I doubted if I should ever come back. I shall be telling this with a sigh
Somewhere ages and ages hence: Two roads diverged in a wood, and I – I took the one less traveled by, And that has made all the difference. (Thiele, 2005, up. 297 – 298) As I underway reading this poem, I visualized a man upended at a fork in the street. The scenery is a forest, in the fall. The man stances for a extensive time observing down both paths. He knew he could not tourism both paths as a single person, and he would have to indicate which on to take. He unambiguous to take the one less voyaged. As soon as he ongoing down the path he indicated he knew he would not be back to attempt the there road.
Essentially he had made his verdict and had to stick with it. But by enchanting the one less toured it made all the variance. I ponder this is a metaphor on life, we can revenue the road that utmost revenue. The informal road and go somewhere. Nevertheless by captivating the tougher road or the road less voyaged it will be further satisfying. Line one, three, and four had quatrains; line one had kindling at the conclusion and line three had erected at the end where line four had could at the end. This is an instance of a virile rhyme.
Lines six, eight, and nine had rods on the conclusion of the sentence that rhymed; fair, wear, and there. Lines 1 1, 13, and 14 had words at the end that rhymed; lay, day, and way. I ponder the edifice of this poem is from a story viewpoint. Richard Core Edwin Arlington Robinson (1869 – 1935) Whenever Richard Core went down town, We people on the pavement looked at him: He was a gentleman from sole to crown, Clean favored, and imperially slim. And he always quietly arrayed, And he was always human when he talked; But still he fluttered pulses when he said, “good-morning” and he glittered when he walked.
And he was rich – yes, richer than a king – And admirably schooled in every grace: In fine, we thought that he was everything To make us wish that we were in his place. So on we worked, and waited for the light, And went without the meat, and cursed the bread; And Richard Core, one calm summer night, Went home and put a bullet through his head. This poem invokes up descriptions of a opulent, stylish, attractive man. Approaching into town, and all the towns people, or masses Just glare at him. All the towns’ individuals resented him, and required to be him, owed to his edification, refinement, and prosperity.
