"Crossing the Bar" by Tennyson Analysis

Humanity has always had a fascination with life and death, and the out of body experience one faces between both realms. The ancient Egyptians, Babylonians, Mayans surmised their ideas on this topic, before the existence of Christ. And over the years, the same topic is still discussed with fervor, but with different conclusions and ways of expression. In turn, one such poet that discussed this topic was Alfred Tennyson in the late 19^th century, in his poem, “Crossing the Bar.” One may look at this poem at a basic level, and assume that is about a young man’s journey at sea and the experiences he faces. However, one must also look beyond the basic definition of this poem to understand that Tennyson is conveying the limbo one faces between life and death. But most importantly, it represents Tennyson’s own views on this matter, one of which is at peace and acceptance that he must eventually move onto a different realm.

The poem starts when a young man is embarking on a journey at Sea, “ Sunset and evening start, and one clear call for me! And may there be no moaning of the bar, when I put out to sea.” As suggested above in lines 1-4, the sun has set and it is nightfall, and he hears a voice that is calling him out to sea, he then hopes that as he embarks on his journey, he doesn’t have to hear the moaning noise that occurs when waves hit the sandbar. Consequently, Tennyson uses the “bar” as a metaphor to distinguish between life and death, as the sandbar is the area where there is a mound of sand, and the only way to reach the shore is when the sea crashes against the edge of the bar. Tennyson dreads the “moaning” of the sandbar because he knows that it represents the limitations of life and the impending journey and destination that leads one to death.

Furthermore, in lines 9-12, Tennyson states, “ twilight and evening bell, and after that the dark! And may there be no sadness of farewell, when I embark.” In turn, we can see the shift of time between evening to twilight, where one is engrossed with complete darkness. Likewise, the sailor hopes that no one will be sad as he embarks on this new journey. On the other hand, this statement conveys Tennyson’s own thoughts about death, he hopes that as time lingers on, no one will be sad as he passes away and journeys into another realm. He substantiates his claim in lines 13- 16,“ For tho’ from out our bourne of time and place, the flood may bear me far, I hope to see my pilot face to face, when I have crost the bar.” In turn, he claims that even though he will be carried away beyond the limits of time and space, that he will be in good hands, as he crosses the barrier. He also hopes to look at the “pilot” eye-to-eye, as he leads him across the barrier. Consequently, one can infer that the “pilot” represents god, and the reason he doesn’t want anyone to worry or be saddened about his death is because he knows he is in good hands. Likewise, one can also insinuate that “crost the bar,” represents crossing over into a new and unknown world, and the bar represents the pivotal middlemen that leads one from life to death.

Mankind has always been fascinated with the concept of life and death, starting from the ancient Egyptians, Mesopotamians and Mayans to present day. However, over the years the approach in understanding, dissecting and convey ideas on this matter has changed. Alfred Tennyson, is no acceptation to this rule, he conveyed his thoughts about life and death, and the inevitable barrier between life and death in his poem, “Crossing the Bar.” One may look at this poem and ascertain it is about a sailor that has ventured out in sea and his experiences, but in actuality it represents a man’s journey and crossing the barrier from life to death. And most importantly, it characterizes Tennyson’s views on this matter, which is docile and at peace that one must eventually pass away. 

"The World Is Too Much With Us" Analysis

William Wordsworth was a simplistic romantic poet, unlike his counterparts; he uses un-vague and intrinsic language to deliver a message on the human condition. In his poem, “The World Is Too Much With Us,” Wordsworth makes an initial claim that humanity has lost touch with nature, and their focus has shifted to materialistic needs. However, when one has thoroughly evaluated the poem, you can also ascertain that Wordsworth on a secondary level is making a claim on a lack of imagination and the negative influence of organized religion on one’s imagination and ability to think freely. In turn, he delivers his message with succinct and cohesive language.

“The world is too much with us; late and soon, getting and spending, we lay waster our powers; - little we see in Nature that is ours.” In turn, in lines 1-3, Wordsworth is very direct with the statement he is trying to relay, he claims that humanity is too caught up in materialistic things, whether it is clothes, cars, diamonds or etc. He claims that these aspects have no relevance in our life, and that nature holds this unlocked beauty. In turn, he is differentiating nature and materialism, claiming that one is looking for happiness in money-oriented and overly complex objects, but one should find happiness in nature and simplicity. He also makes an indirect comment on the industrial revolution, where he suggests that people are wasting their time in factories inhaling black smoke and surrounded by unhappiness, ruining nature. Instead, they could be inspired by nature, observing beauty, surrounded by happiness and breathing fresh air.

On the other hand Wordsworth makes a comment on religious aspects during his period, claiming that, “ Great God! I’d rather be a Pagan suckled in a creed outworn; so might I, standing on this pleasant lea, have glimpses that would make me less forlorn.” In lines 9-12, Wordsworth suggests that organized religion has affected humanity in a negative way, suggesting that the human mind has been deceived to think a certain way; there is no longer free will to perceive something without any pre-conceived notions. In fact, he asserts that he would rather be pagan, standing out from the rest of the crowd, so he can maintain his imagination and ability to freely take in nature, without any religious organization filling his mind with any ideas. In fact he proceeds in lines 13-14, by making a comment on the power of nature and imagination, “ Have sight of Proteus rising from the sea; or hear old Triton blow his wreathed horn.” In turn, Wordsworth suggests that nature and imagination are powerful aspects in one’s life, claiming that if one was allowed to think freely without being deceived by religious notions, they could imagine things like Proteus rising from the sea, or Triton blowing his horn.

        

In turn, Wordsworth is very direct; his comments on the human condition don’t hold any ambiguous ideas. He is frustrated by the human condition, the ability of humans to misuse their powers by focusing on materialistic matters, rather than focus on nature. He is also disturbed that organized religion could have control over a person’s ability to think freely and let their imagination flow. In turn, he espouses the ability of nature to inspire one’s imagination, the ability of free will to expand one’s mind.      

Preface to Lyrical Ballads Analysis

William Wordsworth was an English romantic poet, who helped launch the romantic poetry era, along with his counterpart Samuel Coleridge. In his “Preface to Romantic Ballads,” Wordsworth provides his audience of an understanding of his style of poetry. In fact he strays away from the complex, verbose and mind-boggling poetry presented before his time, ascribing to the statement written by David Thoreau in “Walden”, “Simplicity, Simplicity, Simplicity!” Even though Thoreau is speaking in a completely different context, the statement he makes provides to understand what Wordsworth is advocating. Wordsworth claims that there is certain simplicity to poetry, it shouldn’t contain over arching themes and incomprehensible ideas that can be ascertained by a full analysis of the poem itself. He ascribes to a completely different principle, the idea of words holding a direct meaning, linking to the natural elements that support maturity and growth, and maintaining a central and comprehensible thought.

In the beginning of Wordsworth’s “Preface to Lyrical Ballads,” he addresses his predecessors and talks about poetry before his time. “They who have been accustomed to the gaudiness and inane phraseology of modern writers, if they persist in reading this book to its conclusion, will no doubt, frequently have to struggle with feelings of strangeness and awkwardness (Stanza 4).” Wordsworth thus claims that’s his predecessors will have issues with his poetry based on simplicity and the language that he maintains throughout his poems. Unlike other poets his ideas lead straight to the point, and there are no completely abstract, innate or thought provoking ideas that can surmise from his poetry. In fact, He substantiates his ideas with natural and rustic themes, “humble and rustic life was generally chosen, because, in the condition, the essential passions of the heart find a better soil in which they can attain maturity, are less under restraint, and speak a plainer and more emphatic language, because in that condition of life our elementary feelings co-exist in a state of greater simplicity (Stanza 5).” In turn, Wordsworth claims that in order to main direct and simplistic in poetry, that one should use nature to reveal his or her thoughts and ideas. Not only is nature relevant in everyone’s life, but it also fosters a sense of maturity when relatable to human emotions and poetry.

All in all, I think Wordsworth makes two valuable points that poetry should be simple and direct, as well as that it should be linked to aspects of nature and beauty. He also refers to the gaudiness of his predecessor’s poetry, in terms of intricate vocabulary and, innate literary themes and techniques. Unlike his predecessors, he rebels against their form of poetry by presenting a different format. However, I believe that Wordsworth and his predecessors can come to terms on one aspect that he maintains in his, “Preface to Lyrical Ballads.” Simply put by Wordsworth, “For all good poetry is the spontaneous overflow of powerful feelings: and though this be true, poems to which any value can be attached were never produced on any variety of subjects but by a man who, being possessed of more than usual organic sensibility, had also thought long and deeply (Stanza 6).” In turn, Wordsworth claims that poetry is something that comes naturally by feelings that have been deeply fostered and thought out. He also believes that poetry can be on multiple topics and not restricted on one subject, which is wholly true, as poetry has been arranged on multiple topics and not necessarily linked to the natural aspects that Wordsworth highly prescribes.

On the other hand, Wordsworth criticizes some of his contemporizes and his predecessors style and diction claiming that, “ the reader will find that personifications of abstract ideas rarely occur in these volumes; and utterly rejected as an ordinary device to elevate style, and raise it above prose. My purpose was imitate, and, as far as possible to adopt the very language of men; and assuredly such personifications do not make any natural or regular part of that language (Stanza 9)” In turn, Wordsworth claims that intangible ideas and loquacious concepts will not be in his ballads, in fact he claims that his writing will appeal to the common man and be written in a language that can be understood by all man. Wordsworth also echoes the same sentiments about diction, claiming that he will never use any tangible diction because he wants to keep his writing and his poetry as clear and concise as possible in language understood by man, with a common purpose.

“From their rain in society and sameness and narrow circle of their intercourse, being less under the influence of social vanity, they convey their feeling and notions in simple and unelaborated expressions (Stanza 5).” As suggested above, Wordsworth believe that poets are classless beings uninfluenced by society’s qualms, and express their feelings and notions simplistically and unequivocally without regret. Unlike other predecessors and contemporaries who used verbose and complex themes to express their thoughts, Wordsworth is simplistic, maintains a central point, and naturalistic in every aspect.  

Keat's Odes

John Keats was an English romantic poet that openly discussed the human condition by linking his thoughts and ideas through nature and beauty. In his poems, “Bards of Passion and Mirth,” “Ode on a Grecian Urn,” “Ode on Melancholy,” “Ode to autumn,” and “Ode to a Nightingale,” Keats discusses different aspects of human nature such as sadness, young love and pain. He also compares and contrasts concepts like young love and old age, and wanting and circumventing the need for want. Thus, the themes in these poems are not just restricted to these aspects, but are endless in Keats poems; however every poem has a relatable theme in sense of nature, beauty and poetry. Many of his poems are based up on his own experiences and outlook of the human condition during his lifetime.

Bards are defined as oral storytellers and poets, whose stories have lived on for centuries, even though have passed away. Their stories hold a morale or teaching, whether it is in poetry, a fairytale or an epic. This is evident in the poem, “Bards of Passion and of Mirth,” where Keats asks, “ Bards of Passion and Mirth, Ye have left your souls on earth! Have ye souls on earth! Have ye souls in heaven too, doubled lived in regions new? (Lines 1-4)” In turn Keats is suggesting while the bards have passed away, their legacy and their story remains on earth and is re-told and asserted. Keats then continues to assert why these poems and stories are important, ““Here, your earth-born souls still speak, to mortals, of their little week; of their sorrows and delights; of their passions and their spites; of their glory and their shame; what doth strengthen and what maim. Thus ye teach us, every day, wisdom, though fled far away (Lines 29-36).” Consequently, the time period that Keats was observing and writing about, coincides with Industrial Revolution, a time of poverty and atrocious human conditions. In turn, in lines 29-36, Keats is stating that even though the Bards have passed away, that their work has lived on, and their message of hope and their voice of reason provides those who need to be enlightened and strengthened. Keats also claims that these stories provide a way for people to circumvent away from their regular lives and atrocities they face daily.

Nonetheless, while “Bards of Passion and Mirth,” suggest that one should circumvent pain by listening to and attaining the message suggested in these poems and stories, Keats provides another way to circumvent pain, through beauty and nature. This is evident in the poem, “Ode on Melancholy,” where Keats provides ways to evade sadness and suicidal thoughts, through nature and beauty. He first describes melancholy as, “Sudden from heaven like a weeping cloud, that fosters the droop-headed flowers fall, and hides the green hill in an April shroud (Lines 11-13).” Basically, Keats describes melancholy as a wave of sadness, unexpected and as if everything is in shades of grey. He then provides ways to evade from this sadness by suggesting, “ Then glut thy sorrow on a morning rose, or on the rainbow of the salt-sand wave, or on the wealth of globed peonies (lines 15–17).” In turn, the poet suggests that one should evade melancholy by turning to nature and looking at beauty that Mother Nature has to offer, he even offers examples like looking upon a rose or a rainbow, that can take someone away from their melancholy for a moment. In turn, I also like the paradox Keats makes in the beginning of the poem and end of the poem, by relating, “By nightshade, ruby grape of Proserpine (line 4)” and “Can burst Joy's grape against his palate fine (line 28).” He personifies, the grape to represent death and joy, and that makes that transition from the melancholy one feels in the beginning of the poem, to the joy one feels after melancholy as passed away.

Likewise, “Ode to a Nightingale,” Keats explores another dark topic, death. In this poem, the poet talks about death, and relates his experiences with a nightingale. The nightingale initially triggers happy memories, of greenery and summer time. However, the poet then disproves his previous sentiments by dreaming of alcohol and death, claiming that he wants to fade away and be forgotten, and he relates his reasoning by making a comparison to the nightingale. “What thou among the leaves hast never known, The weariness, the fever, and the fret, Here, where men sit and hear each other groan; Where palsy shakes a few, sad, last grey hairs, Where youth grows pale, and spectre-thin, and dies; Where but to think is to be full of sorrow (Lines 22-27).” In turn Keats is making a comparison, how the nightingale has the freedom to explore different areas, fly about the greenery, but never be able to understand the worries and the sorrow that mankind faces. He furthermore makes a transition of human life in a very morbid statement, as if one is young and full of life, and the next moment he or she is dead, with weariness and sorrow. Thus, I believe that Keats is comparing and contrasting the ability of an animal like the nightingale to be so free and inspired by its ability to see various aspects of nature, but as humans we have roles in society that makes as weary, and ask young kids we have hopes and dreams, and as we fit into out roles that turns into weariness and sorrow. Consequently, I believe Keats trying to motivate us to be inspired by nature, by the nightingale and its everlasting freedom.

On a lighter night, “Ode to autumn,” is all about embracing changes, and Keats links every aspect of change to nature and beauty of greenery. “Where are the songs of spring? Ay, where are they? Think not of them, thou hast thy music too, — While barred clouds bloom the soft-dying day, and touch the stubble-plains with rosy hue; then in a wailful choir the small gnats mourn, among the river-sallows, borne aloft, Or sinking as the light wind lives or dies (Lines 23-29).” As suggested above, Keats talks about the changes that occur between seasons, shorter days as darkness evades us earlier, autumn leaves changing to rosy colors, from green fields to red/yellow fields, and finally the river movement furiously alive due to the autumn wind. In turn, I also believe, though Keats is presenting the changes that occur from season to season, and the beauty that comes about these changes. I also feel like he is relating it to humans, ascribing them to embrace change and look at the beauty of change, and not the ugliness.

Finally, in the poem, “Ode on Grecian Urn,” Keats is describing images he sees on an Urn, which is an artifact that holds ashes. This poem plays with concept of young love and innocence, and how images frozen in time retain a sense of beauty. Take for example Keats questioning an image of two young lovers, “ Fair youth, beneath the trees, thou canst not leave, thy song, not ever can those trees be bare; bold lover, never, never canst thou kiss, though winning near the goal-yet, do not grieve; she cannot fade, though thou has not they bliss, forever wilt thou love, and she be fair (lines 15-20)!” Basically Keats describes a scenario on the urn where two young lovers so close to each other and so close to kissing, but not reaching the zenith. However, he claims that while they will never kiss, they will be in the same state of reverie, young and in love, and entranced with each other’s beauty. Keats brings about multiple points in this statement, he talks about wanting and yearning for ones lover, and he also describes the innocent and fresh feeling of being young and in love, while contrasting the concept of old age and loss of zeal that once existed. Consequently he echoes these sentiments in lines 46- 47, “ when old age shall this generation waste, thou shalt remain, in midst of other woe.” Keats is basically suggesting that will human lives are continuous and we can never remain young and we have multiple worries, the urn and the lovers on this urn are frozen in time, and continuously young and a reverie of romance. Consequently, I believe that Keats is making a statement that we should enjoy every joyous and sincere moment in our lives, because unlike the urn, our moments are not frozen, we are human and we will never get to re-live that moment.  

John Keats was an english romantic poet that presented multiple themes to his audience, whether it be using the power of poetry and stories to circumvent one's condition, to be inspired by nature to circumvent melancholy or death, to accepting changes and finally to enjoy every moment as it doesn't last a lifetime. Each theme that Keats presents not only represent his thoughts and outlook of the human condition, but also represent idealistic ways to look at life. 

Analysis of " The Rime of the Ancient Mariner" by Samuel Coleridge

“The Rime of the Ancient Mariner” by Samuel Coleridge represents the clash of mysticism and religion, with imagination. The poem beings when the ancient mariner is telling guests at a wedding about his journey at sea, this story evolves into morale that others should abide by and transforms the imagination of his journey at sea to represent the wrath and goodness of god. Coleridge uses various symbols and expands on poetic concepts to represent the mariner’s journey, beginning with the albatross serving as a good omen and a journey led by good wind and fair weather. Then for no explicable reason, the mariner kills the albatross, bringing about terrible weather, and the sprit of the albatross avenging its death. Consequently, we see the mariner and his fellow seamen struggle through terrible weather, on the verge of death and cannibalism, when the mariner ultimately prays to god for mercy. Finally, the mariner is relieved of his dreadful act, as the weather improves and his men are lifted by the spirit from their former stance, eventually leading to land. “The Rime of the Ancient Marnier,” not only expresses the extent of Coleridge’s vast imagination and his interest in creating a sense of topography within one’s imagination, but he also reveals his religious ideals and the sense of mysticisms that exists within one’s life.

“ The Wedding- Guest sat on a stone: He cannot choose but hear; and thus spake on that ancient man, the bright-eyed Mariner.” As suggested above, in lines 17- 20, this is how the tale of the mariner begins, as he is attending a wedding party, he enthralls attention from the wedding audience to listen to a ravishing and ravaged tale at sea. However, no one knows the intentions of his tale, but his beckoning and over-powering voice draws attention away from the wedding party to his own tale. Like most tales at sea, the mariners story starts of with good intentions and great sea-faring weather, however they suddenly hit with a problem of titanic proportions, “The ice was here, the ice was there, the ice was all around: it crack’d and growl’d, and roar’d and howl’d, like noises in a swound! (Lines 59- 62)” Basically, just as the mariner’s sea-faring journey was going well, they were hit by dreadful circumstances, ice, which could be deadly to the ship if one is unaware of how to navigate through the ice.

However, just as the mariner’s journey took a deadly twist, a good omen sweeps through the ship and leads them through the treachous ice to safe waters. This is evident in lines 64-70, “ At length did cross an Albatross, through the fog it came; as if it had been a Christian soul, we hail’d it in god’s name. It ate the food it ne’er had eat, and round and round it flew. The ice split with a thunder-fit; the helmsman steer’d as through!” In turn, Coleridge points out that the albatross bird serves as good omen, steering them through ice and bringing them to manageable waters. Consequently, one could infer that the albatross represents the spirit of god, when one is dealing with difficult times god has a peculiar way of raising hope and allowing one to get through tough times. Thus, not only does Coleridge set up a hypothetical-mystical geographic understanding of the land that the mariner is about to embark upon. But, Coleridge sets up a premise for his audience at the beginning of the poem by introducing a sea-faring mariner about to embark on a treacherous journey, saved by god’s messenger in the nick of time.  However, the mariner’s treacherous act is about to take him on an unfaithful turn of events.             

“ And I had done an hellish thing, and it would work’em woe: For all averr’d, I had kill’d the bird that made breeze blow. Ah wretch! The bird to slay, that made the breeze to blow! ” As stated above in lines 91-96, the mariner had killed the albatross bird with his cross bow, and was unthankful and spiteful of the act that had allowed them great weather and the ability to navigate through ice. Concurrently, Coleridge makes a sudden shift of the environment to represent what was good and holy that had brought about great sea-faring weather, and shifts to deceitful and vengeful weather foreshadowed by the mariner’s act, forewarning the events that were about to ensue. In turn, in lines 120- 123, Coleridge says, “ water, water, everywhere, and all the boards did shrink; water, water everywhere, nor any drop to drink.” These lines represent the boat close to being shipwrecked; the wrath of god when one commits an act against his beautiful creatures, and foretells the difficult events that that mariner and his comrades are about to face.

“And some in dreams assured were of the spirit plagued us so; nine fathom deep he followed us from the land of mist and snow.” As suggested by lines 131- 134, Coleridge represents the albatross bird as a good omen, a gift from god when one is facing hard times, however we see the transformation that the albatross makes from a good omen to a vengeful spirit that wants the mariner and his comrades to see the result of their hateful crime and their unappreciative nature. He also represents good and bad through the topography, linking the albatross with great sea-faring weather and crediting it’s ability to break up the ice and navigate the ship through rough waters, likewise the spirit represents the merciless side of god when his gifts are not appreciated, and the mariner and his crew are shipwrecked and are weary, unable to drink water and un- aroused to take charge.

“There passed a weary time. Each throat was parch’d, and glazed each eye. A weary time! A weary time!” As suggested by lines 144 -146, the mariners were faced by vengeful wrath of god, and they were holding onto any spirit within them to get through this time, with no water to drink and weariness setting them in a stance between earth and afterlife, the tried to maintain what life they had left. This is evident in lines 159 – 160, “through utter drought all dumb we stood! I bite my arm, I suck’d the blood.” In turn, to maintain some life and sustenance, the mariner resorted to drink his blood to prevent his body from going fully numb. Consequently, Coleridge represents the perseverance of the spirit to teach the mariner a lesson. However, the mariner does feel a sense of remorse and that is evident in lines 241 -244. “I look’d upon the rotting sea, and drew my eyes away; I look’d upon the rotting deck; and there the dead men lay.” In turn, the mariner feels guilt for the act he committed and sees the consequences for his actions as his companions are slowly dying. Nonetheless, he turns back to god and prays for forgiveness and asks that the spirit be broken.

“I look’d to heaven, and tried to pray; But or ever a prayer had gusht, A wicked whisper came, and made my heart as dry as dust.” In lines 245- 248, we see a shift in the mariner as he transforms from killing the albatross in spite, to facing the consequences of his actions, finally remorseful of his actions and praying to god for forgiveness. Coleridge also loves using the eerie topography of one’s imagination to represent the various aspects of the mariner’s journey. Finally, after what has been a long and winding journey for the mariner and his companions, all faith is not lost as god appears within the confines of Coleridge’s imagination and takes pity upon the mariner’s soul. This is evident in lines 283- 288, “ O happy living things! No tongue their beauty might declare: a spring of love gush’d from my heart, and I bless’d them unaware: sure my kind saint took pity on me, and I bless’d them unaware.” In turn, this represents the mariner breaking free from the curse that has been placed upon him, and the tides of the poem changes as the spirit overtakes the mariner and his comrades to fulfill the rest of the journey.   

“The silly buckets on the deck, that had so long remain’d, I dreamt that they were fill’d with dew and when I awaoke, it rain’d” As represented in lines 298- 301, the rain symbolizes a new or clean start and purging of impurities, it also represents the change in topography from the mist and snow to rain, as well as mariner’s being brought back to life from their previous parched and lowly state. Consequently, in lines 332 – 335, “They groan’d, they stirr’d, they all uprose, nor spake, nor moved their eyes; it had been strange, even in a dream, to have seen those dead men rise.” In turn, this represents the complete break of the curse, as the mariner’s comrades arise and the spirit uplifts them to be fully functional again. Finally, the curse has been broken, water has been replenished, the men regain energy through the spirit and the weather has improved, the intrinsic power within the mariners and his companions lead them to a familiar and reassuring site, land.

           Samuel Coleridge loves to make inferences to god and uses various symbols to represent god through out the poem, he also portrays a sense of mysticism through the weather and the eerie journey of the mariner. As the topography changes throughout the mariner’s journey, so does the mariner’s attitude and the consequences of his actions, it is almost as if Coleridge is trying to prove that one’s actions always has consequences, and hence this is mirrored between the mariner’s actions and the nature of weather and its consequences, as well as the nature of god.  In turn, I believe the reason that the mariner tells the wedding party about his journey because as his voyage ends and he has learned his lessons, likewise counted his blessings, another has begun and he wants them to learn from his actions and his mistakes. 

Analysis of Kubla Khan

Romantic literature involves the exploration of nature and the finite qualities of the human imagination; a poet that revolutionized the concept of nature and how nature is reflected in one’s imagination is Samuel Taylor Coleridge.  This is evident in his poem, “Kubla Khan,” not only does Coleridge refer to a historical figure like Kubla Khan, but he describes the topography of Kubla Khan’s empire within the expanses of his kingdom and the vast unknown nature outside of his kingdom. However unlike Coleridge’s counterparts during the romantic period, Coleridge has no structure to his poem, it almost seems as if he jotted down his imagination of a mysterious land, one within the confines of the lush and safe empire, and another wild and restless area outside of the territory. Coleridge is known to state contradictory ideas within his poetry, nonetheless the author combines the two contradictory factors to create an overlapping understanding of the topography of Xanadu, otherwise known as Kubla Khan’s kingdom.     

           

As suggested above, it is evident in the first stanza of the poem “Kubla Khan,” Coleridge is trying to create an environment within the confinements of the kingdom, which is safe, beautiful and defined, within the boundaries of Coleridge’s imagination. But before Coleridge describes Kubla Khan’s vast kingdom, he makes a contradictory statement. Take for example in lines 3-5, “ where Alph, the sacred river, ran, through caverns measureless to man, down to a sunless sea” In turn, Coleridge is already trying to distinct historical facts and his imagination, by describing a sunless sea, which is impossible in reality but it’s perceivable in one’s imagination. He also takes into consideration, the vast and unknown aspects of the empire by suggesting, “caverns measureless to man,” thus setting up a spooky and untamed aspect to the landscape. However, in Lines 6-11, Coleridge contradicts his previous spooky sentiments by describing the beauty of the empire, “so twice five miles of fertile ground, with walls and towers were girdled round:
and there were gardens bright with sinuous rills, where blossomed many an incense-bearing tree; and here were forests ancient as the hills, enfolding sunny spots of greenery.” Coleridge basically describes the kingdom, which is peaceful, quite, lush and protected. However, he juxtaposes his previous sentiments, when he describes, “caverns measureless to man,” where as the kingdom is measurable and defined, the caverns represent what is scary, unknown and unexplored.

Likewise, we see more of the unexplored and rich expanses of Coleridge’s imagination, and what he perceives to be the wild and unknown nature beyond the walls of the kingdom. Take for example, Lines 12 – 16, Coleridge states, “But oh! That deep romantic chasm which slanted down the green hill athwart a cedarn cover! A savage place! As holy and enchanted as e'er beneath a waning moon was haunted 
By woman wailing for her demon lover!” In turn, Coleridge describes a map of the kingdom, starting up with secure, lush environment within the boundaries of Kubla Khan’s kingdom to the rolling hills and mysterious, unruly and inexplicable outer boundaries. Basically, Coleridge is drawing up a map of his imagination, from the walled kingdom to the undefined outskirts and finally to the unknown. He also uses literary techniques to explain the undefined wilderness, take for example, “as if this earth in fast thick pants were breathing.” Coleridge personifies the earth like another human being breathing and panting, but this technique is used to describe the fear of the unknown and the rhythm and general atmosphere one perceives of the wilderness. Coleridge also likes to provide transformation of the environment from within the castle borders to the unknown beyond the boundaries and that is evident in lines 19-24, “a mighty fountain momently was forced: Amid whose swift half-intermitted burst 
Huge fragments vaulted like rebounding hail, Or chaffy grain beneath the thresher's flail: And 'mid these dancing rocks at once and ever It flung up momently the sacred river.” In this passage, Coleridge is making a transition from the rigid and conformed thinking within the castle boundaries, to the excitement and exploration of nature and it’s untamed and natural thinking process.

Finally, Coleridge combines the elements that he introduces in stanza 1 and stanza 2 and provides a playful conclusion in stanza 3. Take for example, in lines 31-34, Coleridge says, “The shadow of the dome of pleasure floated midway on the waves; where was heard the mingled measure from the fountain and the caves.” Consequently, Coleridge reintroduces the concept of the pleasure dome, the fountain and the caves, which were introduced in stanza 1 and 2. He basically suggests enlightenment, the escape from conformity and the pleasure dome that existed within the castle walls and remnants from within the boundaries, to excitement of the unknown and the inexplicable effects of nature leading to knowledge, and finally to enlightenment and a sense of peace. In turn, Coleridge does an amazing job of creating a map of the environment of his imagination, leading us through different stages and boundaries of his through process through nature and history, and finally tying up the ultimate message he is trying to convey, which is one should be led to explore nature and be curious about its environment so as to lead to enlightenment and understanding, and one should not confined within the walls of society and subjected to believe what is ingrained.  

"The Tyger" and "The Chimeny Sweep" vs. "The Lamb" and "The Chimney Sweeper

William Blake likes to explore two vast parts of the spectrum of existence and experience; this concept is implicit in his “Songs of Innocence” and “Songs of Experience.” In the “Songs of Innocence,” particularly in the poems, “ The Lamb” and “The Chimney Sweeper,” Blake is trying to convey purity and hope, respectively. While, in his “Songs of Experience,” particularly in the poems, “The Tyger” and “ The Chimney Sweep,” the author completely juxtaposes his previous sentiments in the “Songs of Innocence” by portraying the flight of innocence, the prevalence of evil and the loss of hope. Consequently, Blake is making a comparison between good vs. evil, as if he is going through an internal dilemma. Blake wonders whether the naïve nature and hopes of a child, in terms of the struggle in one’s current life that will eventually provide us with a great afterlife holds greater precedent, than an experienced adult, who questions hope and whether the struggle in one’s current life is worth a vast unknown realm of heaven.

As suggested above, Blake makes some stark contrasts in his, “Songs of Innocence” and “Songs of Experience.” Two such poems that show Blake’s disparity are the “The Tyger” and “The Lamb.” In the poem, “The Lamb,” a child is questioning the existence of the lamb. This is prevalent in lines 1-3,” Little Lamb, who made thee? Dost thou know who made thee? Give thee life, and bid thee feed.” These lines represent the innocence of the child; the inquisitiveness to understand the unknown and the curiosity of a child, consequently this continuous questioning of how the lamb came about existence is prevalent through out the first stanza.

Concurrently, in the poem, “The Tyger,” the same child is questioning the existence of the tiger. This is prevalent in lines 3-4, “What immortal hand or eye, could frame thy fearful symmetry?” In turn, the same child is curious as to how the tiger came to existence, however he is more fearful of the existence, confused how one could create the lamb so innocent and virtuous and create the tiger with cruel intent. I believe that the difference between “The Tyger” and “The Lamb,” is the speaker who once had an innocent and childish outlook of the world, also trusted god and his infinite purity and intent of good. However, in “The Tyger,” the speaker has grown up, become more fearful and questions the intent of god, questioning how he can create something so pure and good like the lamb, but also create something so evil like the tiger. In turn, the speaker transitions from full trust in god to fearful, mistrust and questioning the concept of god.   

Likewise, the poems “The Chimney Sweeper” and the “Chimney Sweep” also contain the same contrast that are developed between the poems “The lamb” and “The Tyger.” In the poem, “The Chimney Sweeper,” a child is forced to become a child laborer, particularly a chimney sweeper, however instead of being miserable about the predicament the speaker is placed in, the speaker looks at the positive outcome of the miserable life he/she leads. This is prevalent in lines 1-4, “ when my mother died I was very young, and my father sold me while yet my tongue scarcely cry, “weep! weep! weep! weep!” So your chimneys I sweep, and in soot I sleep.” These lines represent a time period in England called the industrial era where children were forced into labor by their parents due to the necessity for money. In turn, the speaker claims that he or she was so young when they were forced into such a laborious and unhealthy task. However, he or she is not saddened by their predicament, this is established in lines 16 – 20, “…Were all of them lock’d up in coffins of black. And by came an angel who had a bright key, and he open’d the coffins and set them free; then down a green plain leaping, laughing, they run, and was in a river, and shine in the sun.” This line basically suggests that if you struggle and work hard, then this place of infinite possibilities, of love, light and laughter is open to you once you have passed on. In turn, these lines represent the power of religion on children, providing them the light at the end of the tunnel, and the silver lining through all of this injustice.

Nevertheless, Blake completely contrasts his original sentiments in “The Chimney Sweeper,” in the poem “The Chimney Sweep,” where the child has lost his innocence and mistrusts god. This is evident in the third stanza, “and because I am happy and dance and sing, they think they have done me no injury, and are gone to praise god and his priest and his king, who make up heaven in misery.” In turn, the child is crying for his parents, their guidance and their love, however they have placed the child in a disastrous job, chimney sweeping, claiming that his/her struggle, misery and hard work, will lead him/her to a placed called heaven. In turn, the child holds no affection for god and claims his heaven to be filled with misery because his parents hold more affection for god, than the child itself. Evidently, the child has lost all hope, and turns to nature for comfort.      

William Blake loves to compare and contrast experience and exisistence, this manifests in the poems, “ The Lamb” and “The Tyger,” as well as the poems “The Chimney Sweep” and “The Chimney Sweeper.” He starts of by exploring the innocent, curious, inquisitiveness of a child, all that is good in the world, and this is evident in “ The lamb” and “The Chimney Sweeper.” However, innocence turns into experience, and Blake grapples with the human struggle, the loss of hope and fear. This is evident in the poems, “The tyger” and “The Chimney Sweep.” In turn, Blake makes a transition from curiosity, innocent intent and fully trusting god, to being miserable, loosing all hope and questioning the existence of god.