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Can anyone help me analsye this poem? It is hardly featured on Google searches.
I have of course made my own analysis but am interested as to how other people read this poem and would like to compare with my own thoughts and findings.
Answers 3
Add YoursAnswered by Nabeela D #
Hi, i analysed this as part of a comparison with another poem. I'll try and share what i found
Subject: hunting
Form: three identical stanza's- which later helps in understanding the true purpose of the poem
rhyme scheme: consistent (abcb, dd) with rhyming couplets at the end of each stanza
Rhythm: inconsistent, however whilst the poem flows with the rhyme, we should suspect that there is some uncomfort in the poem
Tone/mood: sombre, dull, grave
Diction: repition of death, found in 'lifeless', 'dying' and 'suffocated'
Narrative: 3rd person
Overall meaning: the persona describes how the huntsman goes from one prey to another. this can be seen in the jumping of one stanza to another. Each is indetical, like the ritual of hunting becomes. It is seen as a sport many a times- without true value for life. The persona undestands
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W. H. Auden is considered one of the finest English or American poets and one of the best poets of the 20th century. He is an exemplar of modernism along with T. S. Eliot and Ezra Pound, but his later poetry differs vastly from his earlier work; critics often speak of early, middle, and late stages in his career. He is renowned for being wildly inventive and diverse in his array of forms and styles. Many of his poems, such as “In Praise of Limestone” and the poems in The Orators, are abstruse and highly intellectual, while others are renowned for their use of accessible language and relatable themes.
At Oxford in the late s, Auden read the work of Eliot and was influenced greatly by the elder poet. His first book of poetry, Poems, was printed privately in by Stephen Spender, a friend of his in the “Oxford Group,” a coterie of poets. Auden’s earliest verse also was influenced by Thomas Hardy and Wilfred Owens. These poems, as the Poetry Foundation explains, are “fragmentary and terse, relying on concrete images and colloquial concerns to convey Auden’s political and psychological concerns.
W. H. Auden
Wystan Hugh Auden was born in York, England, on February 21, He moved to Birmingham during childhood and was educated at Christ Church, Oxford. As a young man he was influenced by the poetry of Thomas Hardy and Robert Frost, as well as William Blake, Emily Dickinson, Gerard Manley Hopkins, and Old English verse. At Oxford his precocity as a poet was immediately apparent, and he formed lifelong friendships with two fellow writers, Stephen Spender and Christopher Isherwood.
In , his collection Poems was privately printed, but it wasn’t until , when another collection titled Poems (though its contents were different) was published, that Auden was established as the leading voice of a new generation.
Ever since, he has been admired for his unsurpassed technical virtuosity and an ability to write poems in nearly every imaginable verse form; the incorporation in his work of popular culture, current events, and vernacular speech; and also for the vast range of his intellect, which drew easily from an extraordinary variety of literatures, art forms, social and political theories, and scientific and technical information. He had a remarkable wit, and often mimicked
W. H. Auden
Wystan Hugh Auden () is one of the most influential voices in 20th Century poetry. It is impossible to summarise his achievements, ranging as they do across some four hundred poems in a bewildering variety of styles, as well as drama, essays, libretti, travel writing and critical works. Conventionally, though, his life is seen as being split into two distinct phases, English and American. Born in York to a physician father and missionary nurse mother, his early years laid the foundation for his lifelong engagement with science, psychoanalysis and Christianity, the Auden household being strongly Anglo-Catholic. After boarding school, he studied at Christ Church College, Oxford University, where he made important friendships with other left-leaning poets, including Stephen Spender, Cecil Day-Lewis and Louis MacNeice, who also soon became his poetic allies, although they never formed the tight-knit group of popular imagination. As the s darkened towards war, Auden came to be seen as the leading spokesman of his generation, a political writer warning against the dangers of totalitarianism. Whilst his socialism and distrust of nationalism during this period was strong, i
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