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Lord Byron's Poems Summary and Analysis of "She Walks in Beauty, Like the Night"

The poet describes a woman who walks in beauty, like the night/Of cloudless climes and starry skies (lines 12). Immediately the light of stars and the shadow of night are brought forth as contrasts, foreshadowing the
further contrasts the poet notices regarding this beautiful woman. Seeing her eyes, he declares that in her face
all thats best of dark and bright are joined. Her beauty is contrasted to the gaudy daylight.
In the second stanza, the poet reflects on the balance in the womans beauty: One shade the more, one ray
the less (line 7) would hinder the nameless grace which surrounds her. He then turns to her inner life,
seeing her external beauty as an expression of thoughts that dwell in a place (perhaps her mind, or her
beautiful head and face) both pure and dear (line 18).
The final stanza returns to her face, but again sees the silent expression of peace and calm in her cheek, brow,
and smiles. Her pleasant facial expressions eloquently but innocently express her inner goodness and
peacefulness.
Analysis
She Walks in Beauty is written in iambic tetrameter, a meter commonly found in hymns and associated with
sincerity and simplicity (Moran 2). Byrons chosen meter conveys to the reader both his purity of intent
(there is but one subject for this poem, the ladys virtuous beauty) and a poetic parallel to his subject (the
ladys beauty arises from her purity or simplicity of nature). It is an astonishingly chaste poem given its
authors reputation for licentiousness, lust, and debauchery.
Byron wrote this poem about Mrs. Wilmot, his cousin Robert Wilmots wife. It echoes Wordsworths earlier
The Solitary Reaper (1807) in its conceit: the speakers awe upon seeing a woman walking in her own aura of
beauty. While ostensibly about a specific woman, the poem extends to encompass the unobtainable and ideal.
The lady is not beautiful in herself, but she walks in an aura of Beauty (Flesch 1). In contrast to popular
conceptions, her beauty is not easily described as brilliant or radiant, but it is also dark like the night (line 1)
However, all thats best of dark and bright (line 3) meet in her face and eyes, suggesting that while she walks
in a dark beauty, she is herself a brighter, more radiant beauty. To further convolute the image, the woman is
described as having raven tress*es+ (black hair) (line 9), connecting her to the darkness, while the nameless
grace (line 8) lightens her facepossibly a play on the word, meaning the grace alights on her face, but also
including the brighter aspect of lightening her countenance.
Indeed, the beauty of Wilmot is found largely in its balance of opposites: the darkness she walks in (and her
dark hair) counterpoise her fair skin and the bright pureness of her soul. In this lady, the tender light is
mellowed, in contrast to the gaudy day which has only the glaring sun and no shade to soften its radiance.
Thus the ladys simple, inner perfection produces a beauty superior to nature itself.
This grace is nameless in that it is ineffable. It is a common idea to say that there is no way for human word
or verse to encompass it, so it must remain nameless even as the speaker perceives it clearly. Prose cannot
come close to a description of this abstract beauty, so the speaker must attempt it in verse.
These issues raise a concern that the woman seems so pure because she is so simple; she wears her thoughts
directly on her face, and she shows no evidence of discrimination of better from worse. Her mind is at peace
with all below (line 17), and she loves innocently. If she is beautiful like the night, perhaps her mind truly is
like a sky without any clouds of trouble or confusion. In contrast, she has been able to spend her days in
goodness, the tints in her face glowing like stars in the sky, small punctuations in a vast emptiness above.
Some critics maintain, however, that the glimpse of Wilmot which inspired this poem was afforded Byron at a
funeral; thus the images of darkness which surround the lady can be drawn from the mourning clothes she and
those around her wear. This beauty is like the night because this time of spiritual darknessmourning the
passing of a loved onedoes not detract from her beauty, but instead accentuates it.

In any case, in this woman dark and light are reconciled. This reconciliation is made possible by the main
sources of the ladys beauty: her mind at peace with all below and her heart whose love is innocent (line
18). By possessing a genial mind and innocent heart, the lady can bring the beauty of both darkness and light
out and together without contradiction; her purity softens the edges of the contrasts.
Byron eschews erotic or physical desire in this poem, preferring instead to express the ladys beauty without
professing his own emotions. He restricts his physical descriptions of her to her eyes, brow, hair, and smiles.
Her loveliness has to do with her innocence and her days in goodness spent (line 16), whether it results from
her virtue or simply from the poets imagination of that virtue. After all, if we bracket the likely
autobiographical element of the poem, we do not know whether the speaker has caught anything more than a
few moments glimpse of a beautiful woman walking by.

Lord Byron's Poems Summary and Analysis of Childe Harold's Pilgrimage, Canto III
The third canto of Childe Harolds Pilgrimage continues the travelogue framework of the first two cantos, selfaware that Byron is beginning something of a sequel to the original publication of just the first two cantos. This
time, the muse is Ada, Childe Harold is older, and his journey is from Dover to Waterloo, then following the
Rhine River into Switzerland. Harold is still independent, proud though in desolation, nature being his
favored companion on his travels, the world of men and war being relatively distasteful.
Waterloo inspires Byrons consideration of battlefields and the blood shed and wasted upon them; he
contrasts violence in the name of aggression with the struggles of oppressed people for liberty. He particularly
cites the heroism of the Hon. Major Frederick Howard (who died in battle and was disinterred and repatriated
to England in 1816), and turns to consider the thousands of others who died. The poet dwells on sorrow and
remembrance for many stanzas, then meditates upon the nature of human genius and the desire for
greatnessand on Napoleon, who drew so many others into his battles. The death of a man in battle ought to
unteach mankind the lust to shine or rule (stanza 43). And what does fame bring one in future ages except
an extra page in the history books, and an ornamented grave (stanza 48)?
Harold spends time considering that there is still someone he loves, despite his general distaste for others.
Then, back to his travels, Harold is in Switzerland, where he extols the bravery of General Franois-Sverin
Marceau-Desgraviers, who died in battle at age 27 fighting for Frances rights (stanza 56), and then visits the
majestic Alps in all their cold sublimity, far above mankind (stanza 62). And in contrast to Waterloo, which
was about power, true Glorys stainless victories were accomplished in the name of liberty in the 15thcentury battle of Morat and the ancient battle of Marathon (stanza 64). The names of the brave must not
wither (stanza 67).
In stanzas 69-75, the poet digresses to defend the spirit of individualism, arguing that to fly from, need not be
to hate, mankind, and that the deep thinker is merely avoiding the unproductive situations where people
entangle themselves in battles of wretched interchange of wrong for wrong / Midst a contentious world. The
poet would choose nature over the problems of the rushing crowd. Contemplating his own death, he
chooses to live seeking the Spirit of each spot (stanza 74).
The poet returns to his main subject, contemplating Jean-Jacques Rousseau, the political philosopher from
Geneva, while he is at Lake Leman (Lake Geneva). Rousseau is another man misunderstood by the vulgar
minds of his contemporaries (stanza 79).
Overarching this scene, with Rousseau in the background, is Nature, an amoral force for both beauty and
danger. The natural world and its laws become the great equalizer among men, as nature demonstrates her
power in the storm and earthquake while men hide in fear. However, Nature also can be seen as the works
and struggles of men writ large, and so is connected to, if separate from, human life.
The canto concludes with the poet invoking his muse, who regretfully is not physically present with him on his
travels.
Analysis

Byron opens and closes Canto III by addressing his absent daughter (she was taken by his wife when she left
him). This apostrophe indicates Byrons sense of loss and isolation in being bereft of his beloved daughter, and
by extension the family of which she was a part and the union between himself and the former Lady
Byron.Annabella Byron had already left her husband, taking their young daughter with them, and asked for a
separation on the grounds that Byron was either insane or cruel. After much cajoling on the part of the poet,
he finally agreed to it. By this time the English media was spreading rumors of infidelity, violence, and incest on
Byrons part, going so far as to call for his exile. In 1816 Byron left England, never to return. In so leaving, he
also abandoned any reasonable hope of seeing his daughter again. One can see from this biography why this
canto features a man traveling and turning his back on the conflicts in the world.
Besides crying out in self-pity, Byron also subtly calls upon his daughter Ada as his muse for Canto III. She will
be his inspiration as he describes the battlefields and men of greatness who are the subject of this canto. At
the same time, Byron does not hide Adas identity under a pseudonym as he did in the first two cantos; he is
now ready to erase the line separating himself and the fictional Childe Harold completely by making this
canto entirely autobiographical and expressive of his own political and philosophical beliefs in no uncertain
terms. Harold is hardly mentioned.
Byron takes up several themes in Canto III. The first is the sense of isolation, brought to the fore by his
apostrophe to his daughter Ada. Isolation pervades the poem by accentuating the other themes: the
misunderstanding of genius, freedom from despotism, and the value of Nature.
Byron remarks on two great men of genius in Canto III, Napoleon and Rousseau. He suggests that both men
continue to be misunderstood by their inferiors. Although Byron does not condone Napoleons attempt at
tyranny, he nonetheless maintains an objective admiration for the mans accomplishments and vision. France
had rights, and Byron extols the bravery of one young man who fought for Frances rights against the
coalition of nations that were trying to suppress Frances power in the late 18th century. As for Rousseau,
while he expresses concern that some of Rousseaus ideas were deluded, Byron acknowledges that the man
was full of passion and drive beyond the scope of most men. Byron describes these giants in their different
spheres as madmen who have made men mad / By their contagion, indicating the power of their presence
and also their ability to influence others as a part of their greatness.
Byron supplements his admiration of Napoleon and Rousseau with his recurring theme of liberty. On visiting
the battlefields of Waterloo and Morat, Byron sadly reflects that the defeat of a tyrant is not the same thing as
a defeat of all tyranny. Byron contrasts Waterloo, a battle fought for aggression, with Morat, a battle fought by
the Swiss to defend their liberty against the Burgundians in the 16th century. Waterloo will be remembered as
merely bloodyto Byron, no war of aggression could be justifiedwhereas Morat was, to Byron, a justifiable
battle in that it was undertaken in the defense of liberty. Byron couples Morat with the Greek battle of
Marathon as true Glorys stainless victories.
When Byrons journey takes him to Lake Leman and the Alps, his poetry turns to the wonders of Nature and
puts Rousseau in his natural Genevan context. Unlike Wordsworth, who saw Nature as something separate
from and superior to man, wherein a person could experience purity and perfection and thus improve himself,
Byron saw Nature as a magnification of mansparticularly his owngreatness and follies. To Byron, Nature
was not an escape from his problems, but a vast landscape of reminders. Vast glaciers, thundering avalanches,
and wild storms only accentuated Byrons own internal struggles and reminded him how dangerous and
marvelous a piece of work is man. The Alps express the Romantic theme of the sublime, those things that awe
man by being too large to fully comprehend, somewhat as a genius might seem to the vulgar.
Canto III, written several years after the first two cantos, is clearly the product of a more fully developed poetic
sensibility, and the early stanzas make it clear that Byron knows he is writing something of a sequel. Byron has
returned to his focus on realism after several forays into shorter, lighter verse, and has come back to it as a
more seasoned architect of words. In many ways, Canto III is a different poem entirely from that of Cantos I
and II; it is mainly the form of the poetic travelogue and the overarching themes of liberty, isolation, and
individualism that connect these disparate works together.

Songs of Innocence and of Experience Summary and Analysis of "Introduction" (Songs of Innocence)
Summary
Following poetic convention, Blake sets the scene for his collection in this first poem. He envisions himself as a
shepherd Piping down the valleys wild, who encounters a child On a cloud (line 3) who encourages him to
play a song about a Lamb. After hearing the music, the child asks the shepherd to drop his pipe and sing the
words to the song. After enjoying the lyrics, the child tells the shepherd to write/In a book that all may read
the songs he has created. So he sits down, makes a pen from the materials at hand, and begins to write my
happy songs,/Every child may joy to hear.
Analysis
This poem consists of five quatrains, some of which follow the heroic stanza form. The rhyme scheme of the
Introduction varies depending upon the stanza. Stanzas 1 and 4 follow the traditional ABAB pattern, while
stanzas 2, 3, and 5 use an ABCB pattern. The first and fourth stanzas begin with Piping and the noun form
Piper, juxtaposing the musical nature of the speaker with the most musical rhymes of the poem.
The poet sees a child in the sky, upon a cloud. This child is both an embodiment of innocence, as he is young,
and the inspiration behind poetry, as he charges the shepherd to play, sing, and write. That the child charges
the shepherd to play the song specifically about a Lamb indicates one of the major foci of Blakes work, the
portrayal of Jesus as the innocent, spotless Lamb of Christianity. Ostensibly, the intended audience for this
collection is also innocent, as the poet writes, Every child may joy to hear. It is not only children, however,
but also the childlike at heart who will appreciate his works.
Using the reed for a pen and stained water for the ink connects even the act of creation to nature. The easily
acceptable tools provided by the natural world serve to emphasize both the spontaneity of the works that
follow and their place as responses to the bounty and beauty of nature. His subject matter will (allegedly) be
happy cheer throughout, although several poems of the Songs of Innocence belie this suggestion.
The shepherd's progression from piping, to singing, and finally to writing parallels the poet's own progression
from inspiration, the music, to the initial composition of the poem, the lyrics, and finally the creative act of
putting the words on paper. The poem wishes that all may read, a phrasing which suggests the superiority of
the written word over the recited word in the former's ability to reach a wider audience and to exist apart
from the author. Blake's own vocations as printer and engraver are therefore vindicated over that of the
performer.

Songs of Innocence and of Experience Summary and Analysis of "The Lamb"


Summary
The speaker, identifying himself as a child, asks a series of questions of a little lamb, and then answers the
questions for the lamb. He asks if the lamb knows who made it, who provides it food to eat, or who gives it
warm wool and a pleasant voice.
The speaker then tells the lamb that the one who made it is also called the Lamb and is the creator of both
the lamb and the speaker. He goes on to explain that this Creator is meek and mild, and Himself became a
little child. The speaker finishes by blessing the lamb in Gods name.
Analysis
Each stanza of The Lamb has five couplets, typifying the AABB rhyme scheme common to Blake's Innocence
poems. By keeping the rhymes simple and close-knit, Blake conveys the tone of childlike wonder and the
singsong voice of innocent boys and girls. The soft vowel sounds and repetition of the l sound may also
convey the soft bleating of a lamb.

One of Blakes most strongly religious poems, The Lamb takes the pastoral life of the lamb and fuses it with
the Biblical symbolism of Jesus Christ as the Lamb of God who takes away the sin of the world. By using
poetic rhetorical questions, the speaker, who is probably childlike rather than actually a child, creates a sort of
lyric catechism in which the existence of both a young boy and a tender lamb stand as proof of a loving,
compassionate Creator.
The lamb stands in relation to the boy as the boy stands in relation to his elders; each must learn the truth of
his existence by questioning the origin of his life and inferring a Creator who possesses the same
characteristics of gentleness, innocence, and loving kindness as both the lamb and the child. Then the direct
revelation of the Scripture comes into play. The Creator, here identified specifically as Jesus Christ by his title
of Lamb of God, displays these characteristics in his design of the natural and human world, and in His offer
of salvation to all (hence the child is also called by his name) through his incarnation (he became a little
child) and presumably his death and resurrection.

Songs of Innocence and of Experience Summary and Analysis of "The Little Black Boy"
Summary
A black boy compares himself to a white English boy, and at first finds himself wanting. He claims his soul is as
white as the English boys, but also sees himself as black as if bereavd of light. He then remembers that his
loving mother taught him that his black skin is a result of constant exposure to the sun. The mother explains
the sun as Gods gift to mankind, sharing both His light and his heat, both of which are forms of His love. His
color, she explains, is a temporary cloud to be borne until he can fully learn to dwell in the presence of Gods
love. The speaker ends by saying he will tell the English boy this truth and look forward to the day when both
of them have put off this cloud and can love one another truly.
Analysis
"The Little Black Boy" consists of seven heroic stanzas, which are quatrains following the ABAB rhyme scheme.
The first two stanzas describe the boy's mother and the influence she has had on his life. The third, fourth, and
fifth stanzas recall the mother's exact words in her lessons to her son. The final two stanzas describe how the
black boy communicates his lesson to the white English boy for whom he has a great affection. Stanzas one
and two describe the past; stanzas three, four, and five recall the mother's words as if they were being spoken
in the present; the sixth and seventh stanzas include the black boy's words, which he will say to the English
boy in the future. Thus, the poem itself progresses in time from a past (learning), to the present (the lesson
itself) and to the future (the implementation or practical outworking of the lesson).
Hints of anti-slavery sentiment and an opposition to racism occur in this poem, but they are not the main
message. The equality of human beings is, however, emphasized by the poem in its depiction of God creating
the world as an act of divine mercy, giving the sun to shine upon and warm all people everywhere as a
preparation for the light and heat of His love. The black boy at first sees his blackness negatively, since he
seems to be at odds with his own soul, while the English boy is white on both the inside and the outside. The
boys mother sets him straight, however; the outward appearance is but a cloud to dim the suns light and
heat until each person is ready to endure it directly.
The black boy accepts this explanation, and even envisions himself as having come through the worlds testing
stronger than the white English boy; he strokes the boys hair as a mother would her child. While the two boys
will one day be equal in love, the poem suggests that the black boys trials in this life will result in his being
spiritually superior to the untried white boy.
No matter their relative positions in this life or the next, the theme of equality of men before God is strongly
prevalent in this poem. The black boy and his mother have voices whereas the white English boy is silent, and
both black and white will one day be recognized as pure souls before God. This concept of a future society,
usually a heavenly one, in which inequities are resolved is a recurring one in Blake'sSongs of Innocence, most
notably in the later The Chimney Sweeper. In this instance, Blake is not criticizing a mentality that offers
platitudes to control the oppressed. Instead, he claims that the very life the boy leads is part of his future
perfection.

Songs of Innocence and of Experience Summary and Analysis of "The Fly"


Summary
The speaker draws a comparison between himself and a fly that he has thoughtlessly brushed away. He asks if
he is like the fly, or the fly is more like himself. He imagines another, greater hand, perhaps that of God,
brushing him away some day and ending his private designs. He concludes with the belief that he is indeed like
the fly, not in his insignificance to Fate or chance, but in the flys significance in the natural world. Just as the
fly dances and sings, so does the speaker. Thought is what gives him life and breath, and the want/Of thought
is death. He takes joy simply in existing, with little thought or worry over what tomorrow may hold.
Analysis
This five-stanza poem takes on a playful rhyme scheme and meter, despite its serious and somewhat morbid
subject. The first four stanzas are ABCB quatrains, each made up of terse lines to communicate the brevity
of life, which is the subject of this poem. The final stanza, however, is an AABB rhyme scheme, a pair of
rhyming couplets, which lends an even more playful quality to the poem as a whole while offering a moral
or coda to the entire work.
This poem also returns to Blake's theme in Songs of Experience of the place of thought in the quality and
quantity of human life. The speaker harms the fly with his "thoughtless hand," indicating that
thoughtlessness leads to death. Whatever power exists higher than the speaker may also be thoughtless or
completely indifferent to human life, but that cannot be changed. The speaker thus resolves to live each
moment fully, but his moment of contemplation leads him to this life-affirming conclusion.

Percy Shelley: Poems Summary and Analysis of "Song to the Men of England"
Once again, the poet takes eight stanzas to call upon the people on England to understand and do something
about their state of oppression. People plow for the sake of the lords, who are like drone bees that do no work
but live off of the work of others. The people of England are doing the real workbut, the poet asks, are they
gaining any benefit from this system? They are not enjoying the fruits of their labor, and the tyrants are taking
their wealth and very lives without giving them the recompense they deserve. The call is to sow their own
seed, weave their own robes, and forge their own arms in their own defense. Otherwise, the people are
merely digging their own graves.
Analysis
The speaker is speaking directly to the men of England in what today we recognize as Marxist tones: the
people of England are a vast proletariat. This is another revolution song, a lyric poem that could even be set to
music. The structure of four-line stanzas rhyming aabb does give the poem a songlike lyric character. This
simple structure and rhyme scheme is less intellectual and more accessible to uneducated people. The diction
is less difficult than usual, and the bee metaphor is easy to understand.
The tone of the speaker is condescending, almost daring his readers to rise up to his challenging call to action.
Thematically, Shelley wants the rest of England to see the country they way he sees it: a tyrannical, imbalanced
usurper of the peoples power, where the rich reap all the fruits of the poors hard labor. The bee metaphor
reduces both rulers and ruled to animalsinsectsall are bees.
The poet asks: Where is your sting, men of England? Why do you perform all this labor just so that tyrant rulers
can reap the benefits? The nations upper class are stingless drones (bees that do not work), yet they exert
undue power over the laboring classes. Shelleys opening condescending tone turns into all-out pompousness
as he insults the workers by accusing them of being too cowardly to rise up in arms: shrink to your cellars,
holes, and cells, he says, understanding that revolution can be hard and bloody but daring the Englishmen to
do what they need to do to get what they deserve from their own labor. The alternative is that a worker will
trace your grave, and build your tomb, and are the people really so dumb and blind as to fail to recognize
this fate? The last two stanzas are a warning to the men of England that if they do not change their ways and
their country, they are digging their own graves and will never experience the joys of equality and liberty.
Stanza four suggests that the people are not paying attention to their situation. Not only do they put up with
engaging in hard labor to appease the rich, but they also do not understand that they are reaping meager
benefits from their own employment. Stanza six, hidden in the middle of the poem, is where the poet changes

from the inquisitive to the suggestive, no longer asking questions, but encouraging the people to retain the
fruits of their own labor in preparation for fighting back. The call is for a kind of tax strike whereby the people
keep working but only for themselves.
This radical and pretentious approach is Shelleys way of daring his countrymen to act more like the French,
who were capable of starting a revolution. Shelley leaves it to other poems to explain the principles on which
the revolution and the new order should be based, but here the key principle is that people deserve to get the
full benefits of their work.

Percy Shelley: Poems Summary and Analysis of "Ode to the West Wind"
A first-person persona addresses the west wind in five stanzas. It is strong and fearsome. In the first stanza, the
wind blows the leaves of autumn. In the second stanza, the wind blows the clouds in the sky. In the third
stanza, the wind blows across an island and the waves of the sea. In the fourth stanza, the persona imagines
being the leaf, cloud, or wave, sharing in the winds strength. He desires to be lifted up rather than caught low
on the thorns of life, for he sees himself as like the wind: tameless, and swift, and proud. In the final
stanza, he asks the wind to play upon him like a lyre; he wants to share the winds fierce spirit. In turn, he
would have the power to spread his verse throughout the world, reawakening it.
Analysis
The poet is directing his speech to the wind and all that it has the power to do as it takes charge of the rest of
nature and blows across the earth and through the seasons, able both to preserve and to destroy all in its
path. The wind takes control over clouds, seas, weather, and more. The poet offers that the wind over the
Mediterranean Sea was an inspiration for the poem. Recognizing its power, the wind becomes a metaphor for
natures awe-inspiring spirit. By the final stanza, the speaker has come to terms with the winds power over
him, and he requests inspiration and subjectivity. He looks to natures power to assist him in his work of poetry
and prays that the wind will deliver his words across the land and through time as it does with all other objects
in nature.
The form of the poem is consistent in pattern. Each stanza is fourteen lines in length, using the rhyming
pattern of aba bcbcdcdedee. This is called terzarima, the form used by Dante in his Divine Comedy.
Keeping in mind that this is an ode, a choral celebration, the tone of the speaker understandably includes
excitement, pleasure, joy, and hope. Shelley draws a parallel between the seasonal cycles of the wind and that
of his ever-changing spirit. Here, nature, in the form of the wind, is presented, according to Abrams as the
outer correspondent to an inner change from apathy to spiritual vitality, and from imaginative sterility to a
burst of creative power.
Thematically, then, this poem is about the inspiration Shelley draws from nature. The breath of autumn
being is Shelleys atheistic version of the Christian Holy Spirit. Instead of relying on traditional religion, Shelley
focuses his praise around the winds role in the various cycles in naturedeath, regeneration, preservation,
and destruction. The speaker begins by praising the wind, using anthropomorphic techniques (wintry bed,
chariots, corpses, and clarions) to personalize the great natural spirit in hopes that it will somehow heed his
plea. The speaker is aware of his own mortality and the immortality of his subject. This drives him to beg that
he too can be inspired (make me thy lyre) and carried (be through my lips to unawakened earth) through
land and time.
The first two stanzas are mere praise for the winds power, covered in simile and allusion to all that which the
wind has the power to do: loosen, spread, shed, and burst. In the fourth and fifth stanzas, the speaker
enters into the poem, seeking (hoping) for equal treatment along with all other objects in nature, at least on
the productive side. The poet offers humility in the hope that the wind will assist him in achieving his quest to
drive *his+ dead thoughts over the universe. Ultimately, the poet is thankful for the inspiration he is able to
draw from natures spirit, and he hopes that it will also be the same spirit that carries his words across the land
where he also can be a source of inspiration.

Coleridge The Rime of the Ancient Mariner Summary


Three young men are walking together to a wedding, when one of them is detained by a grizzled old sailor. The
young Wedding-Guest angrily demands that the Mariner let go of him, and the Mariner obeys. But the young
man is transfixed by the ancient Mariners glittering eye and can do nothing but sit on a stone and listen to
his strange tale. The Mariner says that he sailed on a ship out of his native harborbelow the kirk, below the
hill, / Below the lighthouse topand into a sunny and cheerful sea. Hearing bassoon music drifting from the
direction of the wedding, the Wedding-Guest imagines that the bride has entered the hall, but he is still
helpless to tear himself from the Mariners story. The Mariner recalls that the voyage quickly darkened, as a
giant storm rose up in the sea and chased the ship southward. Quickly, the ship came to a frigid land of mist
and snow, where ice, mast-high, came floating by; the ship was hemmed inside this maze of ice. But then
the sailors encountered an Albatross, a great sea bird. As it flew around the ship, the ice cracked and split, and
a wind from the south propelled the ship out of the frigid regions, into a foggy stretch of water. The Albatross
followed behind it, a symbol of good luck to the sailors. A pained look crosses the Mariners face, and the
Wedding-Guest asks him, Why lookst thou so? The Mariner confesses that he shot and killed the Albatross
with his crossbow.
At first, the other sailors were furious with the Mariner for having killed the bird that made the breezes blow.
But when the fog lifted soon afterward, the sailors decided that the bird had actually brought not the breezes
but the fog; they now congratulated the Mariner on his deed. The wind pushed the ship into a silent sea where
the sailors were quickly stranded; the winds died down, and the ship was As idle as a painted ship / Upon a
painted ocean. The ocean thickened, and the men had no water to drink; as if the sea were rotting, slimy
creatures crawled out of it and walked across the surface. At night, the water burned green, blue, and white
with death fire. Some of the sailors dreamed that a spirit, nine fathoms deep, followed them beneath the ship
from the land of mist and snow. The sailors blamed the Mariner for their plight and hung the corpse of the
Albatross around his neck like a cross.
A weary time passed; the sailors became so parched, their mouths so dry, that they were unable to speak. But
one day, gazing westward, the Mariner saw a tiny speck on the horizon. It resolved into a ship, moving toward
them. Too dry-mouthed to speak out and inform the other sailors, the Mariner bit down on his arm; sucking
the blood, he was able to moisten his tongue enough to cry out, A sail! a sail! The sailors smiled, believing
they were saved. But as the ship neared, they saw that it was a ghostly, skeletal hull of a ship and that its crew
included two figures: Death and the Night-mare Life-in-Death, who takes the form of a pale woman with
golden locks and red lips, and thicks mans blood with cold. Death and Life-in-Death began to throw dice,
and the woman won, whereupon she whistled three times, causing the sun to sink to the horizon, the stars to
instantly emerge. As the moon rose, chased by a single star, the sailors dropped dead one by oneall except
the Mariner, whom each sailor cursed with his eye before dying. The souls of the dead men leapt from their
bodies and rushed by the Mariner.

The Wedding-Guest declares that he fears the Mariner, with his glittering eye and his skinny hand. The
Mariner reassures the Wedding-Guest that there is no need for dread; he was not among the men who died,
and he is a living man, not a ghost. Alone on the ship, surrounded by two hundred corpses, the Mariner was
surrounded by the slimy sea and the slimy creatures that crawled across its surface. He tried to pray but was
deterred by a wicked whisper that made his heart as dry as dust. He closed his eyes, unable to bear the
sight of the dead men, each of who glared at him with the malice of their final curse. For seven days and seven
nights the Mariner endured the sight, and yet he was unable to die. At last the moon rose, casting the great
shadow of the ship across the waters; where the ships shadow touched the waters, they burned red. The
great water snakes moved through the silvery moonlight, glittering; blue, green, and black, the snakes coiled
and swam and became beautiful in the Mariners eyes. He blessed the beautiful creatures in his heart; at that
moment, he found himself able to pray, and the corpse of the Albatross fell from his neck, sinking like lead
into the sea.
Form
The Rime of the Ancient Mariner is written in loose, short ballad stanzas usually either four or six lines long
but, occasionally, as many as nine lines long. The meter is also somewhat loose, but odd lines are generally
tetrameter, while even lines are generally trimeter. (There are exceptions: In a five-line stanza, for instance,
lines one, three, and four are likely to have four accented syllablestetrameterwhile lines two and five have
three accented syllables.) The rhymes generally alternate in an ABAB or ABABAB scheme, though again there
are many exceptions; the nine-line stanza in Part III, for instance, rhymes AABCCBDDB. Many stanzas include
couplets in this wayfive-line stanzas, for example, are rhymed ABCCB, often with an internal rhyme in the
first line, or ABAAB, without the internal rhyme.
Commentary
The Rime of the Ancient Mariner is unique among Coleridges important works unique in its intentionally
archaic language (Eftsoons his hand drops he), its length, its bizarre moral narrative, its strange scholarly
notes printed in small type in the margins, its thematic ambiguity, and the long Latin epigraph that begins it,
concerning the multitude of unclassifiable invisible creatures that inhabit the world. Its peculiarities make it
quite atypical of its era; it has little in common with other Romantic works. Rather, the scholarly notes, the
epigraph, and the archaic language combine to produce the impression (intended by Coleridge, no doubt) that
the Rime is a ballad of ancient times (like Sir Patrick Spence, which appears in Dejection: An Ode),
reprinted with explanatory notes for a new audience.
But the explanatory notes complicate, rather than clarify, the poem as a whole; while there are times that they
explain some unarticulated action, there are also times that they interpret the material of the poem in a way
that seems at odds with, or irrelevant to, the poem itself. For instance, in Part II, we find a note regarding the
spirit that followed the ship nine fathoms deep: one of the invisible inhabitants of this planet, neither
departed souls nor angels; concerning whom the learned Jew, Josephus, and the Platonic Constantinopolitan,

Michael Psellus, may be consulted. What might Coleridge mean by introducing such figures as the Platonic
Constantinopolitan, Michael Psellus, into the poem, as marginalia, and by implying that the verse itself should
be interpreted through him?
This is a question that has puzzled scholars since the first publication of the poem in this form. (Interestingly,
the original version of the Rime, in the 1 7 9 7 edition ofLyrical Ballads, did not include the side notes.) There
is certainly an element of humor in Coleridges scholarly glossesa bit of parody aimed at the writers of
serious glosses of this type; such phrases as Platonic Constantinopolitan seem consciously silly. It can be
argued that the glosses are simply an amusing irrelevancy designed to make the poem seem archaic and that
the truly important text is the poem itselfin its complicated, often Christian symbolism, in its moral lesson
(that all creatures great and small were created by God and should be loved, from the Albatross to the slimy
snakes in the rotting ocean) and in its characters.
If one accepts this argument, one is faced with the task of discovering the key to Coleridges symbolism: what
does the Albatross represent, what do the spirits represent, and so forth. Critics have made many ingenious
attempts to do just that and have found in the Rime a number of interesting readings, ranging from Christian
parable to political allegory. But these interpretations are dampened by the fact that none of them (with the
possible exception of the Christian reading, much of which is certainly intended by the poem) seems essential
to the story itself. One can accept these interpretations of the poem only if one disregards the glosses almost
completely.
A more interesting, though still questionable, reading of the poem maintains that Coleridge intended it as a
commentary on the ways in which people interpret the lessons of the past and the ways in which the past is,
to a large extent, simply unknowable. By filling his archaic ballad with elaborate symbolism that cannot be
deciphered in any single, definitive way and then framing that symbolism with side notes that pick at it and
offer a highly theoretical spiritual-scientific interpretation of its classifications, Coleridge creates tension
between the ambiguous poem and the unambiguous-but-ridiculous notes, exposing a gulf between the old
poem and the new attempt to understand it. The message would be that, though certain moral lessons from
the past are still comprehensiblehe liveth best who loveth best is not hard to understand other aspects
of its narratives are less easily grasped.
In any event, this first segment of the poem takes the Mariner through the worst of his trials and shows, in
action, the lesson that will be explicitly articulated in the second segment. The Mariner kills the Albatross in
bad faith, subjecting himself to the hostility of the forces that govern the universe (the very un-Christianseeming spirit beneath the sea and the horrible Life-in-Death). It is unclear how these forces are meant to
relate to one anotherwhether the Life-in-Death is in league with the submerged spirit or whether their
simultaneous appearance is simply a coincidence.

After earning his curse, the Mariner is able to gain access to the favor of Godable to regain his ability to
prayonly by realizing that the monsters around him are beautiful in Gods eyes and that he should love them
as he should have loved the Albatross. In the final three books of the poem, the Mariners encounter with a
Hermit will spell out this message explicitly, and the reader will learn why the Mariner has stopped the
Wedding-Guest to tell him this story.

Kubla Khan

Summary
The speaker describes the stately pleasure-dome built in Xanadu according to the decree of Kubla Khan, in
the place where Alph, the sacred river, ran through caverns measureless to man / Down to a sunless sea.
Walls and towers were raised around twice five miles of fertile ground, filled with beautiful gardens and
forests. A deep romantic chasm slanted down a green hill, occasionally spewing forth a violent and powerful
burst of water, so great that it flung boulders up with it like rebounding hail. The river ran five miles through
the woods, finally sinking in tumult to a lifeless ocean. Amid that tumult, in the place as holy and enchanted
/ Aseer beneath a waning moon was haunted / By woman wailing to her demon-lover, Kubla heard
ancestral voices bringing prophesies of war. The pleasure-domes shadow floated on the waves, where the
mingled sounds of the fountain and the caves could be heard. It was a miracle of rare device, the speaker
says, A sunny pleasure-dome with caves of ice!
The speaker says that he once saw a damsel with a dulcimer, an Abyssinian maid who played her dulcimer
and sang of Mount Abora. He says that if he could revive her symphony and song within him, he would
rebuild the pleasure-dome out of music, and all who heard him would cry Beware! of His flashing eyes, his
floating hair! The hearers would circle him thrice and close their eyes with holy dread, knowing that he had
tasted honeydew, and drunk the milk of Paradise.
Form
The chant-like, musical incantations of Kubla Khan result from Coleridges masterful use of iambic tetrameter
and alternating rhyme schemes. The first stanza is written in tetrameter with a rhyme scheme of
ABAABCCDEDE, alternating between staggered rhymes and couplets. The second stanza expands into
tetrameter and follows roughly the same rhyming pattern, also expanded ABAABCCDDFFGGHIIHJJ. The third
stanza tightens into tetrameter and rhymes ABABCC. The fourth stanza continues the tetrameter of the third
and rhymes ABCCBDEDEFGFFFGHHG.

Commentary
Along with The Rime of the Ancient Mariner, Kubla Khan is one of Coleridges most famous and enduring
poems. The story of its composition is also one of the most famous in the history of English poetry. As the poet
explains in the short preface to this poem, he had fallen asleep after taking an anodyne prescribed in
consequence of a slight disposition (this is a euphemism for opium, to which Coleridge was known to be
addicted). Before falling asleep, he had been reading a story in which Kubla Khan commanded the building of a
new palace; Coleridge claims that while he slept, he had a fantastic vision and composed simultaneously
while sleepingsome two or three hundred lines of poetry, if that indeed can be called composition in which
all the images rose up before him as things, with a parallel production of the correspondent expressions,
without any sensation or conscious effort.
Waking after about three hours, the poet seized a pen and began writing furiously; however, after copying
down the first three stanzas of his dreamt poemthe first three stanzas of the current poem as we know it
he was interrupted by a person on business from Porlock, who detained him for an hour. After this
interruption, he was unable to recall the rest of the vision or the poetry he had composed in his opium dream.
It is thought that the final stanza of the poem, thematizing the idea of the lost vision through the figure of the
damsel with a dulcimer and the milk of Paradise, was written post-interruption. The mysterious person from
Porlock is one of the most notorious and enigmatic figures in Coleridges biography; no one knows who he was
or why he disturbed the poet or what he wanted or, indeed, whether any of Coleridges story is actually true.
But the person from Porlock has become a metaphor for the malicious interruptions the world throws in the
way of inspiration and genius, and Kubla Khan, strange and ambiguous as it is, has become what is perhaps
the definitive statement on the obstruction and thwarting of the visionary genius.
Regrettably, the story of the poems composition, while thematically rich in and of itself, often overshadows
the poem proper, which is one of Coleridges most haunting and beautiful. The first three stanzas are products
of pure imagination: The pleasure-dome of Kubla Khan is not a useful metaphor for anything in particular
(though in the context of the poems history, it becomes a metaphor for the unbuilt monument of
imagination); however, it is a fantastically prodigious descriptive act. The poem becomes especially evocative
when, after the second stanza, the meter suddenly tightens; the resulting lines are terse and solid, almost
beating out the sound of the war drums (The shadow of the dome of pleasure / Floated midway on the
waves...).
The fourth stanza states the theme of the poem as a whole (though Kubla Khan is almost impossible to
consider as a unified whole, as its parts are so sharply divided). The speaker says that he once had a vision of
the damsel singing of Mount Abora; this vision becomes a metaphor for Coleridges vision of the 3 0 0 hundred-line masterpiece he never completed. The speaker insists that if he could only revive within him
her symphony and song, he would recreate the pleasure-dome out of music and words, and take on the
persona of the magician or visionary. His hearers would recognize the dangerous power of the vision, which

would manifest itself in his flashing eyes and floating hair. But, awestruck, they would nonetheless
dutifully take part in the ritual, recognizing that he on honey-dew hath fed, / And drunk the milk of Paradise.

Ode on a Grecian Urn

Summary
In the first stanza, the speaker stands before an ancient Grecian urn and addresses it. He is preoccupied with
its depiction of pictures frozen in time. It is the still unravishd bride of quietness, the foster-child of silence
and slow time. He also describes the urn as a historian that can tell a story. He wonders about the figures
on the side of the urn and asks what legend they depict and from where they come. He looks at a picture that
seems to depict a group of men pursuing a group of women and wonders what their story could be: What
mad pursuit? What struggle to escape? / What pipes and timbrels? What wild ecstasy?
In the second stanza, the speaker looks at another picture on the urn, this time of a young man playing a pipe,
lying with his lover beneath a glade of trees. The speaker says that the pipers unheard melodies are sweeter
than mortal melodies because they are unaffected by time. He tells the youth that, though he can never kiss
his lover because he is frozen in time, he should not grieve, because her beauty will never fade. In the third
stanza, he looks at the trees surrounding the lovers and feels happy that they will never shed their leaves. He is
happy for the piper because his songs will be for ever new, and happy that the love of the boy and the girl
will last forever, unlike mortal love, which lapses into breathing human passion and eventually vanishes,
leaving behind only a burning forehead, and a parching tongue.
In the fourth stanza, the speaker examines another picture on the urn, this one of a group of villagers leading a
heifer to be sacrificed. He wonders where they are going (To what green altar, O mysterious priest...) and
from where they have come. He imagines their little town, empty of all its citizens, and tells it that its streets
will for evermore be silent, for those who have left it, frozen on the urn, will never return. In the final stanza,
the speaker again addresses the urn itself, saying that it, like Eternity, doth tease us out of thought. He
thinks that when his generation is long dead, the urn will remain, telling future generations its enigmatic
lesson: Beauty is truth, truth beauty. The speaker says that that is the only thing the urn knows and the only
thing it needs to know.
Form
Ode on a Grecian Urn follows the same ode-stanza structure as the Ode on Melancholy, though it varies
more the rhyme scheme of the last three lines of each stanza. Each of the five stanzas in Grecian Urn is ten
lines long, metered in a relatively precise iambic pentameter, and divided into a two part rhyme scheme, the
last three lines of which are variable. The first seven lines of each stanza follow an ABABCDE rhyme scheme,
but the second occurrences of the CDE sounds do not follow the same order. In stanza one, lines seven

through ten are rhymed DCE; in stanza two, CED; in stanzas three and four, CDE; and in stanza five, DCE, just as
in stanza one. As in other odes (especially Autumn and Melancholy), the two-part rhyme scheme (the first
part made of AB rhymes, the second of CDE rhymes) creates the sense of a two-part thematic structure as
well. The first four lines of each stanza roughly define the subject of the stanza, and the last six roughly
explicate or develop it. (As in other odes, this is only a general rule, true of some stanzas more than others;
stanzas such as the fifth do not connect rhyme scheme and thematic structure closely at all.)
Themes
If the Ode to a Nightingale portrays Keatss speakers engagement with the fluid expressiveness of music, the
Ode on a Grecian Urn portrays his attempt to engage with the static immobility of sculpture. The Grecian
urn, passed down through countless centuries to the time of the speakers viewing, exists outside of time in
the human senseit does not age, it does not die, and indeed it is alien to all such concepts. In the speakers
meditation, this creates an intriguing paradox for the human figures carved into the side of the urn: They are
free from time, but they are simultaneously frozen in time. They do not have to confront aging and death
(their love is for ever young), but neither can they have experience (the youth can never kiss the maiden; the
figures in the procession can never return to their homes).
The speaker attempts three times to engage with scenes carved into the urn; each time he asks different
questions of it. In the first stanza, he examines the picture of the mad pursuit and wonders what actual story
lies behind the picture: What men or gods are these? What maidens loth? Of course, the urn can never tell
him the whos, whats, whens, and wheres of the stories it depicts, and the speaker is forced to abandon this
line of questioning.
In the second and third stanzas, he examines the picture of the piper playing to his lover beneath the trees.
Here, the speaker tries to imagine what the experience of the figures on the urn must be like; he tries to
identify with them. He is tempted by their escape from temporality and attracted to the eternal newness of
the pipers unheard song and the eternally unchanging beauty of his lover. He thinks that their love is far
above all transient human passion, which, in its sexual expression, inevitably leads to an abatement of
intensitywhen passion is satisfied, all that remains is a wearied physicality: a sorrowful heart, a burning
forehead, and a parching tongue. His recollection of these conditions seems to remind the speaker that he
is inescapably subject to them, and he abandons his attempt to identify with the figures on the urn.
In the fourth stanza, the speaker attempts to think about the figures on the urn as though
they were experiencing human time, imagining that their procession has an origin (the little town) and a
destination (the green altar). But all he can think is that the town will forever be deserted: If these people
have left their origin, they will never return to it. In this sense he confronts head-on the limits of static art; if it
is impossible to learn from the urn the whos and wheres of the real story in the first stanza, it is
impossible ever to know the origin and the destination of the figures on the urn in the fourth.

It is true that the speaker shows a certain kind of progress in his successive attempts to engage with the urn.
His idle curiosity in the first attempt gives way to a more deeply felt identification in the second, and in the
third, the speaker leaves his own concerns behind and thinks of the processional purely on its own terms,
thinking of the little town with a real and generous feeling. But each attempt ultimately ends in failure. The
third attempt fails simply because there is nothing more to sayonce the speaker confronts the silence and
eternal emptiness of the little town, he has reached the limit of static art; on this subject, at least, there is
nothing more the urn can tell him.
In the final stanza, the speaker presents the conclusions drawn from his three attempts to engage with the
urn. He is overwhelmed by its existence outside of temporal change, with its ability to tease him out of
thought / As doth eternity. If human life is a succession of hungry generations, as the speaker suggests in
Nightingale, the urn is a separate and self-contained world. It can be a friend to man, as the speaker says,
but it cannot be mortal; the kind of aesthetic connection the speaker experiences with the urn is ultimately
insufficient to human life.
The final two lines, in which the speaker imagines the urn speaking its message to mankindBeauty is truth,
truth beauty, have proved among the most difficult to interpret in the Keats canon. After the urn utters the
enigmatic phrase Beauty is truth, truth beauty, no one can say for sure who speaks the conclusion, that is
all / Ye know on earth, and all ye need to know. It could be the speaker addressing the urn, and it could be
the urn addressing mankind. If it is the speaker addressing the urn, then it would seem to indicate his
awareness of its limitations: The urn may not need to know anything beyond the equation of beauty and truth,
but the complications of human life make it impossible for such a simple and self-contained phrase to express
sufficiently anything about necessary human knowledge. If it is the urn addressing mankind, then the phrase
has rather the weight of an important lesson, as though beyond all the complications of human life, all human
beings need to know on earth is that beauty and truth are one and the same. It is largely a matter of personal
interpretation which reading to accept.

I Wandered Lonely as a Cloud


William Wordsworth

th

William Wordsworth was born in 1770, the 7 of April, in England and died at the age of 80. He was a
Romantic poet, who wrote important papers, such as Lyrical Ballads, Poems in Two Volumes, The
Excursion, The Prelude(a semiautobiographical poem), I Wandered Lonely as a Cloud and many more.
The one I am about to approach is I Wandered Lonely as a Cloud or Daffodils, known as a lyrical
poem, one of William Wordsworth famous work.

The poem was written between 1804-1807 and was published for the first time in 1807 in Poems in
two Volumes and as a revised version, in 1815.
I Wandered Lonely as a Cloud was actually inspired by a real event. In volume 3 of The Poetical
Works of William Wordsworth, we actually have a piece of his sisters diary, Dorothy: When we were in the
woods beyond Gowbarrow Park, we saw a few daffodils close to the water side. We fancied that the sea had
floated the seeds ashore, and that the little colony had so sprung up. But as we went along there were more,
and yet more; and, at last, under the boughs of the trees, we saw that there was a long belt of them along the
shore, about the breadth of a country turnpike road. I never saw daffodils so beautiful. They grew among the
mossy stones, about and above them; some rested their heads upon these stones, as on a pillow
for weariness; and the rest tossed and reeled and danced, and seemed as if they verily laughed with the wind
that blew upon them over the lake. They looked so gay, ever glancing, ever changing. This wind blew directly
over the lake to them. There was here and there a little knot, and a few stragglers higher up; but they were so
few as not to disturb the simplicity, unity, and life of that one busy highway. We rested again and again.
The bays were stormy, and we heard the waves at different distances, and in the middle of the water, like the
sea...."
The plot of the poem is quite simple: we have the description of a field filled with daffodils, the
personification of the beautiful flowers, compared to the stars, the gold, and although the poet will leave the
actual place that seemed to be like Heaven for him, in his heart he will always have the picture of the daffodils,
but not only the picture, but he will actually dance with the daffodils.
In the first four lines, the poet actually is trying to put us in the atmosphere of the poem, saying that
he was wandering lonely as a cloud, a comparison, but a metaphor also, in my opinion. He is very surprised
that he saw a crowd, a host, of golden daffodils. Of course, the annexation of the two terms is unique,
because we never have thought that we could say that daffodils stay in crowds. Anyway, we understand that
th
th
there were a lot of daffodils grown in one place. Of course, in the 5 and 6 line, the daffodils are thought to
be creatures, because the author assigns them qualities of humans: dancing in the breeze.
Next stanza begins by making a comparison between the stars and the flowers. Daffodils are
seen by the poet shining brightly and there are so many that he cannot count them. It is a never-ending line
of daffodils. This appears to be as a hyperbole. He manages to count ten thousand dancing flowers, that were
lively, joyful. Again, the daffodils are personified.
Third stanza shows us the fact that the waves also danced in the breeze, but they didnt do it
as lovely as the flowers did. The flowers are always putted on the first place. Again, we have the adjective
sparkling which shows us the connection with the stars. In the next lines, we sense the presence of the author
again (as in the first line) and he refers to himself as a poet. Of course, he admits that he cannot be sad, in
such a cheerful company. In the last lines, we have a repetition I gazedand gazed, repetition that
accentuates the fact that he was looking for a long period at them, even contemplating them. He is actually
surprised of what fortune he has found.
Finally, the last stanza enters with the picture of the poet, sitting on his couch, an image that
makes us believe it is something that he does for a long time. He uses the two terms, vacant and pensive,
to express the the melancholy that gets to him and the fact that he will be free to do whatever he wants, but
still, he will think about the daffodils. Even then, he will have the image of the beautiful flowers, which to him,
is actually a blessed aspect of the solitude, of the part of being alone, but not lonely, though. The image of
the daffodils brings up to his heart only joy, gladness and grace to dance with them. The heart is also seen here
as a human being, because she is able to dance.
We can say, by reading the text, that the speaker is a lonely poet, with some good clues that he is a
Romantic poet. He has a sensitivity for nature and this thing is seen in all the 4 stanzas. It is clear that he takes
walks in the nature, he enjoys it and he will even think of them when he will be older. We can tell that he has
developed passion for nature even from the first line, when he compares himself to a cloud, and then, when

he brings up the vales, the hills, the lake, the trees and the waves. They all mean something to him. Of course,
the theme of the poem is the beauty of the nature.
About the title of the poem we can think, at the beginning, that this writing will be about loneliness,
when, instead, is all about the joy of nature. The author is actually using the first line from his poem to name it.
But also, the poem is known as Daffodils.
Also, National Gardens Scheme has a Daffodil Day when they allow visitors to view the daffodils in
Cumbrian gardens. The tourism board from William Wordsworth home county released a rap version of the
poem, with MC Nuts, a red squirrel, in order to catch the attention of the young readers and media, also.
I Wandered Lonely as a
Cloud has four stanzas, each one of them having six lines.
The rhyme is quite simple, as in
ABABCC. The meter is iambic.
We can gladly say that William Wordsworth piece of art isnt forgotten, even now, in this century, the
poem is being taught in many schools where the students are learning English and is appreciated to his true
value, being understood, less or more by the readers.

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