Hardy neutral tones pathetic fallacy

The overall structure of the poem is circular rather than linear as it starts and ends in the same geographical place.

In addition, the description of the fallen leaves from the ash is quite gentle — that is, that the language is relatively reserved. Any subject. Even the summing-up statements so characteristic of Frost are enigmatic, pointing back to the concrete facts that defy formulation. This could symbolise the shortness of their love and the quickening of its death. The fourth stanza is different to the other stanzas as it is the last one and because it is seen as a distant memory. The table of solid rock symbolises the solidity of their relationship when they were younger and adds to the whole affectionate tone of that stanza. The poem is also written in quatrains which is the most simplistic and straightforward grouping of sets of four lines, it is also one of the most recognizable. This leads to the point in the comparison of Frost and Hardy that raises crucial issues of evaluation because of their adversary relation to modernism. He manages, I think, by resisting not only pathetic fallacy but also formulation. Your time is important.

The language clearly links nature in the word choices of the poem and often the link helps to clearly explain what the speaker wants to say. The enjambment in the poem effectively acts as a waterfall, as the structure mimics that of water flowing.

This could symbolise the shortness of their love and the quickening of its death. The title, Neutral Tones gives connotations of bleakness, monotony and disincentive sentiments. For them there was really nothing sad. Structure The poem consists of four stanzas. Here Hardy is different. His negative feelings about love are conveyed especially effectively here because they are expressed right at the beginning of the poem — this sets an unhappy tone for the first stanza, which deepens further into the poem. Through the use of structure, language and form, the audience captures the emotion, mood and atmosphere of the poems. Interestingly, the leaves presumably from the same tree in the last stanza are 'grayish', almost as if the memory is stronger than the reality from where the speaker currently stands. The retrospective narration, shown through the use of past tense in the second stanza, initiates atmosphere of reminiscence of better times in their relationship, which is contrasted with the switch in present tense at the beginning and end of the poem. The reason, I think, is that Williams seems even more prosaic than Frost because he writes free verse. The poem goes on to describe the place where the poem is set and where the purl of a little valley [falls] The use of the word purl accentuates the movement and sound of the flowing water. He manages, I think, by resisting not only pathetic fallacy but also formulation. Overall, nature has a very important role to play in Hardys poetry.

Left behind by just melted snow only to be sucked up by spring foliage, these pools have hardly an existence substantial enough for formulation or judgment. The reader or listener may interpret this as a religious reference from Hardy — perhaps he feels that his failing love is inevitable because it has been predefined by God this introduces the idea of fate coming into the equation.

It emphasises the simplicity of the love they had when they were young.

neutral tones analysis

The use of quatrains are proven to be very effective in the way the poem is received by the audience as it emphasises, not only the flow of the rhythm in the verses, but also creates the feeling of spell-like charm, giving it a nostalgic effect.

But such an argument would be illusory.

neutral tones line by line analysis

His best poems are enigmatic, repaying endless rereadings. The pairs of rhymed lines contribute to the straightforward style of the poem, supporting the idea of a neutral telling of the tale.

Under the Waterfall is also a very good example of the link between nature and use of language, as the poem begins with water acting as a catalyst to a memory which brings the speaker joy.

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Hardy, Frost, and the Question of Modernist Poetry