طالبات وطلاب الشعرlane447

[سهر]

السلام عليكم ورحمة الله وبركاته

بنات وشباب تعثرت في كم قصيده واحتاج شرح لها

( 1) Break,break,break by Alfred,Lord Tennyson
In A station of the Metro by Wallace Steven ( 2
An Irish Airman foresees his death (3
3) Nothing Gold Can Stay by Robert Frostاسفه اذا كثرت عليكم
بس اذا احد عنده شرح مفصل لكل ستانزا اكون شاكره

[سهر]

ياويلي 15مشاهد ولا رد واحد حتى لو رفع للموضوع

اجل محد ياخذ بويتري الا انـــــآ!!!

[فصوووول]

إن شاء الله احد يفيدك من الأخوان
انا دورت على القصايد اللي كتبتيها عندي في ملخصات قديمه ما لقيتها
اتمنى لك التوفيق
تقبلي مروري

[خالد السبعي]

An Irish Airman Foresees His Death
BY
WILLIAM BUTLER YEATS
I know that I shall meet my fate
Somewhere among the clouds above;
Those that I fight I do not hate,
Those that I guard I do not love;
My country is Kiltartan Cross,
My countrymen Kiltartan's poor,
No likely end could bring them loss
Or leave them happier than before.
Nor law, nor duty bade me fight,
Nor public men, nor cheering crowds,
A lonely impulse of delight
Drove to this tumult in the clouds;
I balanced all, brought all to mind,
The years to come seemed waste of breath,
A waste of breath the years behind
In balance with this life, this death.

The Poem
“An Irish Airman Foresees His Death” is a short dramatic monologue, originally one of four poems written by William Butler Yeats to commemorate the death of Major Robert Gregory, son of Lady Augusta Gregory (Yeats’s onetime patron and later his colleague). Gregory, never a close personal friend of Yeats, was a multitalented Renaissance man, titled Irish gentry, athlete, aviator, scholar, and artist who, even though over the age for compulsory military service, enlisted in World War I. He did so because it was a magnificent avenue for adventure.
The poem is equally divided into two eight-line sentences with four iambic tetrameter quatrains. Yeats writes in the first person, donning the persona of the airman as he prepares to go into battle in the sky. In the first quatrain, Yeats shows the airman’s ambiguous feelings about fighting in the war; he has no strong emotions concerning either those he is fighting against or those he is fighting to protect. Even with these mixed sentiments, however, he is sure that he will die in this adventure. Not only is death from enemy contact possible but also, with aviation in its infancy, the chances for mechanical error multiply the dangers he faces.
The second quatrain continues this ambiguity as the airman realizes the fruitlessness of his participation in the war. He knows that no matter what the outcome of his personal battles, they will not affect the overall war effort—nor will the outcome of the war affect the lives of the Irish peasants with whom he identifies.
The third quatrain indicates the selfish desire for adventure that was the airman’s reason for enlisting to fight. His rugged individualism made his choice preordained; only his method of fighting was open. True to a romantic tradition, the airman chose the imagined “chivalry” of single combat in the rarefied heavens over the anonymity of the wholesale slaughter which the ground soldier confronted on the battlefield when faced with the advancements of modern warfare. Gone were the traditional concepts of bravery and honor; the arbitrariness of artillery, machine-gun fire, and poison gas killed randomly.
In the final line of the last quatrain, Yeats leaves the first person when he says, “In balance with this life, this death.” Particular attention should be paid to Yeats’s shift to “this” life, “this” death as opposed to using “my.” He is universalizing the airman’s experiences, transcending the politics of World War I and moving to the realization of the futility of all wars, all waste of human life.
Throughout the poem, the airman feels no sense of disappointment, no misgivings about his fate, no disillusionment about his outcome. He has accepted the challenge in the tradition of the romantic hero and will continue on toward his preordained end.
Forms and Devices
At first glance, the structure of the poem seems awkward, almost as if Yeats made punctuation errors by omitting periods. There are also two locations where he has used semicolons rather than commas (after “clouds above” in line 2 and after “clouds” in line 12). Yeats uses these semicolons to provide positive links with the thoughts immediately following. He links (and contrasts) the serenity in the line ending “clouds above” with the agitation among the populace, figuratively “below” him both in space and temperament. In line 12, he uses the semicolon to link (and contrast) the “tumult in the clouds” with the clear, rational balancing of his mind.
Yeats, always the quintessential Irish nationalist, uses this poem as a vehicle to allude ironically to the part that the Irish played in World War I. When the airman states, “Those that I fight I do not hate,/ Those that I guard I do not love,” he is showing implicitly that the Irish, who were constantly at odds with British domination, were forced into the war on the Allied side with ambivalent feelings. They had no more sympathy for the British than they had for the Germans.
Voluntarily fighting as a British ally, the airman may be grouped with the “Byronic heroes,” the literary epitome of Romantic individuality. True to this phor, the airman comes to realize his own self-destruction and embraces it with composure and aristocratic nonchalance. He did not have to fight, but when “A lonely impulse of delight/ Drove to this tumult in the clouds,” he joins the legions of Byronic heroes (Robert Browning’s Childe Roland, Alfred, Lord Tennyson’s Ulysses, and Lord Byron’s Manfred, to name a few) who are a combination of boundless energy and fatalistic recklessness.
The airman knew that his death was predestined; it can be compared to the death of Icarus from Greek mythology. Icarus, ignoring his father’s (Daedalus’s) warnings as they were escaping from Minos in Crete, flew too near the sun on the wax and feather wings that he and his father had constructed. The heat from the sun melted the wax, and Icarus fell to his death. The airman knows that as he continues to be driven to the “tumult in the clouds” he, too, will eventually meet his death.
This foreknowledge of fate is effectively used, as is the juxtaposition of contrasting thoughts throughout the poem. Two prevalent examples are the airman not hating the enemy and not loving the Allies. The airman is placing himself above such emotions and continuing on his personal “quest” for adventure. In the age of technologically advanced weaponry, it would be impossible for the Byronic hero to pursue his adventures on the ground; it was left to the Yeatsian hero to turn to the skies.
Themes and Meanings
In “An Irish Airman Foresees His Death,” Yeats uses the dramatic monologue to accomplish a dual purpose. Yeats is using the death of an Irish hero to further the prestige of Irish nationalism; Gregory was well-suited for the purpose. He was of the nobility; he was a volunteer in the truest sense of the word; he was a worldly, sophisticated Renaissance man; he was a war hero (recipient of the Military Cross); and he was an Irish patriot. No matter what the true reason Gregory chose to fight in World War I, he was an ideal vehicle for Yeats’s propaganda.
Several ironic facts may be noted about Gregory’s death and about the possible influence that he may have had (if his life had continued) on both the public and private sphere. Gregory was accidentally shot down by an Allied war plane, a fact that Yeats did not know at the time he composed this poem. Gregory also had been active in Irish politics prior to his enlistment. After the war, England sent in the hated Black and Tans to enforce order in Ireland. Because of Gregory’s prestige and power, he may have been able to exert some mollifying control over the chain of events that immediately followed the armistice. His death also led his impoverished wife to sell his ancestral home, Coole, because she was unable to manage the estate.
Yeats’s second purpose is to explore the futility of war and the waste of human life that results. The airman balances his past life and his future, and decides that they are equally wasteful. War will have no effect either on him or on the populace for whom the war is supposedly being fought. The banality of the situation is that the airman is able to see this and is able to ignore the emotional pleas that are normally used to entice men to fight. Yeats was confronted with a complex problem. The traditional language of poetry was of no use in conveying the ghastly horrors of modern trench warfare. Many poets, such as Siegfried Sassoon, Wilfred Owen, and Edward Thomas, developed a new language and form to meet these new demands. For Yeats, an escape back to the traditional romantic hero allowed him to voice his own poignant protest in a world gone mad.

[خالد السبعي]

IN A STATION OF THE METRO
by
Ezra Pound

"In a Station of the Metro" is an Imagist poem by Ezra Pound published in 1913 in Poetry The poem attempts to describe Pound's experience upon visiting an underground metro station in Paris in 1912, and Pound suggested that the faces of the individuals in the metro were best put into a poem not with a deion but with an "equation". Because of the treatment of the subject's appearance by way of the poem's own visuality , it is considered a quintessential Imagist text. The poem was reprinted in Pound's collection Lustra in 1917, and again in the 1926 anthology Personae: The Collected Poems of Ezra Pound , which compiled his early pre-Hugh Selwyn Mauberley works.
The poem
The poem contains only fourteen words, further exemplifying Imagism's precise economy of language. Pound was influential in the creation of Imagist poetry until he left the movement to embrace Vorticism in 1914. Pound, though briefly, embraced Imagism stating that it was an important step away from the verbose style of Victorian literature and suggested that it "is the sort of American stuff I can show here in Paris without its being ridiculed". "In a Station at the Metro" is an early work of Modernist poetry as it attempts to "break from the pentameter", incorporates the use of visual spacing as a poetic device, and contains not a single verb.
Text
IN A STATION OF THE METRO
The apparition of these faces in the crowd ;
Petals on a wet, black bough.



Analysis

The poem was first published in 1913 and is considered one of the leading poems of the Imagist tradition. Written in a Japanese haiku style, Pound’s process of deletion from thirty lines to only fourteen words typifies Imagism’s focus on economy of language, precision of imagery and experimenting with non-traditional verse forms. The poem is Pound’s written equivalent for the moment of revelation and intense emotion he felt at the Metro at La Concorde, Paris. Pound explains in his artic value.
The poem is essentially a set of images that have unexpected likeness and convey the rare emotion that Pound was experiencing at that time. Arguably the heart of the poem is not the first line, nor the second, but the mental process that links the two together. "In a poem of this sort," as Pound explained, "one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective." This darting takes place between the first and second lines. The pivotal semi-colon has stirred debate as to whether the first line is in fact subordinate to the second or both lines are of equal, independent importance. Pound contrasts the factual, mundane image that he actually witnessed with a phor from nature and thus infuses this “apparition” with visual beauty. There is a quick transition from the statement of the first line to the second line’s vivid phor; this ‘super-pository’ technique exemplifies the Japanese haiku style. The word “apparition” is considered crucial as it evokes a mystical and supernatural sense of imprecision which is then reinforced by the phor of the second line. The plosive word ‘Petals’ conjures ideas of delicate, feminine beauty which contrasts with the bleakness of the ‘wet, black bough’. What the poem signifies is questionable; many critics argue that it deliberately transcends traditional form and therefore its meaning is solely found in its technique as opposed to in its content. However when Pound had the inspiration to write this poem few of these considerations came into view. He simply wished to translate his perception of beauty in the midst of ugliness into a single, perfect image in written form.
It is also worth noting that the number of words in the poem (fourteen) is the same as the number of lines in a sonnet. The words are distributed with eight in the first line and six in the second, mirroring the octet-sestet form of the Italian (or Petrarchan) sonnet.
Another analysis
The short poem “In a Station of the Metro” is an example of Pound's artistic theory of Imagism, which he advocated for a brief while in his career and which had a lasting impact on his writing and modern poetry. During his time in London, just before World War I, Pound developed a theory of poetry, which he termed Imagism, that stripped away the rhetorical excesses and vagueness that he believed obscured so much of contemporary poetry. In their places he advocated precise, careful presentation of specific images accurately rendered. Although Pound would later move beyond this rather limited concept, he retained the essential parts of it, and many of the passages in the Cantos are basically Imagist in their style.
An Imagist poem, by the very definition of the term, was brief. Seldom has the concision been carried so far as Pound's 1913 verse, “In a Station of the Metro,” which consists of only two lines. The poem appears to be a translation of some Japanese haiku, and while Pound was undoubtably influenced by that tradition, his poem was completely original.
He has left a deion of how he composed it. One evening, while coming out of the London subway (the “metro” of the title), Pound was struck by the sight of a beautiful face, then another and yet another. Seeking to express this experience, he began writing a poem which ran to thirty-two lines. After much paring and revision, he finally achieved the image and effect he sought: “The apparition of these faces in the crowd;/ petals on a wet, black bough.”
Although at first reading the poem seems to be about very little (and even that little is mysterious), a second glance shows how well it fits into Pound's theory of imagism and just how Imagism works. To begin with, there is the single image, designed in this case to reproduce an experience not literally but emotionally and psychologically. Further, the image is presented in a specific literary form, the phor, recognized since ancient Greece as one of the most powerful devices of poetry. Aristotle, for example, termed the proper use of phor the supreme test of a writer. This use of phor is worth noting, because Pound is often considered a poet who rejected past conventions and techniques. Actually, he delighted in the poetic devices and scorned only their inferior use.
In keeping with Imagist theory, the words in the poem are, with one significant exception, concrete and specific: “faces,” “crowd,” “petals,” and “bough” are all common English nouns, strung together in conventional English syntax. The two adjectives, “wet” and “black,” are hardly unusual, and are just the sort of precise words to modify a noun such as “bough.” Moreover, the phor is logical: Beautiful faces seen against a rainy London evening are like flower petals on a dark, wet branch. Through a careful selection of relevant images, Pound has re-created for the reader the effect impressed upon him that night.
The one word that is not a concrete noun is “apparition,” and its unusual nature is highlighted by its placement at the beginning of the poem. By using this word, suggestive of ghostly sightings or supernatural experiences, and linking it with a string of commonplace nouns and modifiers, Pound is again re-creating what happened and what he experienced: a seemingly ordinary climb up a flight of subway stairs that turned into a vision.
In only two lines and fourteen words, Pound managed to re-create an entire experience by careful use of a specific image. A brief poem has been made to carry more emotional and psychological weight than Pound's contemporaries would have thought possible. His poetic successors would find the techniques used here essential in writing the poetry of the rest of the twentieth century.

[خالد السبعي]

"Nothing Gold Can Stay"
is one of Robert Frost's most famous poems. Written in 1923
Poem
Nature's first green is gold,
Her hardest hue to hold.
Her early leaf's a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.
Meaning
The poem means that anything that is genuine will eventually fade away, and that everything that has a true beauty must eventually fade away. It is as well a different, deeper way of showing the change of the seasons.

COMMONTS
This simplistic, beautiful poem illustrates the coming of age with plants and nature. When your young your gold. Every thing is new and beautiful. The flower. After a short time, hence “But only so an hour.”, you prepare for adulthood, like when “Leaf subsides to leaf,” as a tree prepares itself for winter. “So Eden sank to grief.” refers to looking back on your past and wishing you were still a kid. “So dawn goes down to day,” is becoming an adult. You can’t stay a kid and “Nothing gold can stay.”
I think “nature” stands for “human nature” because precedes “first” which clearly points to “young age.” “First green” stands for “prima vera” in Latin, etymologically speaking. It is talking about springtime of the human nature, youth. By “gold” is meant “precious,” “treasure” or “beautiful.” So far sounds like “juventud, divino tesoro” of Bequer. He is stating that youth is a treasure. “Hue” denotes (dictionary meaning) any loud outcry or clamor. I think is referring to impulse, strength. “Her hardest hue to hold” must mean that youth’s strength is very hard to control. “Early leaf” connotes the first outcome of youth. “Flower” connotes beauty. “Leaf subsides leaf” connotes that next day follows the first day, that time goes on. “Eden” denotes the biblical paradise, where Adam and Eve were happy. It connotes joy and happiness of youth. “Sank” past of “sink” which is to go

[خالد السبعي]

Break, Break, Break
By
Alfred Lord Tennyson
Break, break, break,

On thy cold gray stones, O Sea!

And I would that my tongue could utter

The thoughts that arise in me.



O, well for the fisherman's boy,

That he shouts with his sister at play!

O, well for the sailor lad,

That he sings in his boat on the bay!



And the stately ships go on

To their haven under the hill;

But O for the touch of a vanished hand,

And the sound of a voice that is still!



Break, break, break,

At the foot of thy crags, O Sea!

But the tender grace of a day that is dead

Will never come back to me.
The poem begins with a strong intensity and desperation in the speaker’s sadness. This is done through the triple spondee (consecutive stressed syllables) and repetition of “break” firstly, as well as the assonance of “o” in the second line, as the sound vocalizes the feelings of loss, even though the speaker is really at a loss for words to describe his thoughts.
The sea crashing upon the rocks reflects the turmoil of emotions when faced with some great loss. Through the image of expressionless “cold gray stones” that withstand the vain crashing of the sea, the elements are not portrayed as judgmental but only a mirror to the mental condition.
Youth and Time
Tennyson foils children with an adult speaker, to show the contrast between happiness in youth, and sadness upon maturity. A sense of joy and completeness is reinforced by the poem’s sounds, firstly in alliteration where one “shouts with his sister” and the other plays with “his boat on the bay”, sibilance and stress in the verbs “shouts” and “sings”, and the rhyme of “play!” and “bay!”, which connects the two ideas together.
The two children, one a “fisherman’s boy” and the other a “sailor lad” are associated with the sea. This ties in to the idea that the sea is a phor for Tennyson’s “mental energies”, and although there is a similarity in the way the sea behaves as it crashes upon the rocks to his mind, youth with its associated happiness is a part of him too. However, it is now locked away from him; he can only experience it vicariously through the activities of two children which are a reminder of his former self.

Immoveable Death
The two children and the “stately ships” are similar as they share kinship and connection with another, be it with “sister”, “boat”, or a “haven under the hill”. This contrasts with a speaker, who is irrevocably severed from his friend by death.
This can be seen as the speaker is denied both in touch and voice, as he yearns “for the touch of a vanish’d hand,/And the sound of a voice that is still!” This builds to an acute sense of desperation in the next stanza.
In the last stanza, the poem reverts to the “Break, break, break” of the first couplet, hearkening back to the emotions conveyed initially. This points to the lack of progression and inability to rise from the circumstances, even as the poem draws to a close. There is also an interesting change in depiction of stones as “the foot of thy crags”. This emphasizes an aspect of the rocks as rough, sharp and grating, and there is a sense that the sea hurts itself as it crashes against them, confirming the damaging nature this state of mind brings.
The poem ends in enervation and futility:
But the tender grace of a day that is dead
Will never come back to me.
Anapaestic and iambic rhythms (where the stresses are at the end of the metrical foot) reinforce a sense of calmness, reinforcing the softness conveyed in the words “tender grace”. Yet the calmness is not borne of peace, but resignation and mournfulness that what is lost “will never come back to me.” The speaker’s moral spirit is ultimately broken upon the rocks of life and death.
Comparison to Other Poetry
Break, break, break has been identified by Christopher Ricks as worthy of comparison with In Memoriam, perhaps not surprising given it is the same loss of Hallam which inspired and provoked Tennyson for both poems.

[خالد السبعي]

اعتقد اني قابلتك في موضوع ثاني عن الشعر وقلت اني وصلت ملخص للدكتور عمر باقبص ويبي يراجعه وبعدها انزله هنا

[سهر]

اخوي خالد مشكور الله يعطيك العافيه ويوفقك وينجحك وييسر لك كل الصعاب ويفرج همك واش كمان...ويسخر لك عباده يارب
من جد فرجت لي هم

[بابلو]

اخوي خالد وش هو الموقع اللي استخدمته في الشرح الله يجزاك خير
وننتظر منك الملخص الله ييسر امورك