Imagery Analysis 1. Kubla Khan

CHAPTER III RESERCH FINDING

A. Imagery Analysis 1. Kubla Khan

Kubla Khan In Xanadu did Kubla Khan 1 A stately pleasure-dome decree : Where Alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea. 5 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, 10 Enfolding sunny spots of greenery. But oh that deep romantic chasm which slanted Down the green hill athwart a cedarn cover A savage place as holy and enchanted As eer beneath a waning moon was haunted 15 By woman wailing for her demon-lover And from this chasm, with ceaseless turmoil seething, As if this earth in fast thick pants were breathing, A mighty fountain momently was forced : Amid whose swift half-intermitted burst 20 Huge fragments vaulted like rebounding hail, Or chaffy grain beneath the threshers flail : And mid these dancing rocks at once and ever It flung up momently the sacred river. Five miles meandering with a mazy motion 25 Through wood and dale the sacred river ran, Then reached the caverns measureless to man, And sank in tumult to a lifeless ocean : And mid this tumult Kubla heard from far Ancestral voices prophesying war 30 The shadow of the dome of pleasure Floated midway on the waves ; Where was heard the mingled measure From the fountain and the caves. It was a miracle of rare device, 35 A sunny pleasure-dome with caves of ice A damsel with a dulcimer In a vision once I saw : It was an Abyssinian maid, And on her dulcimer she played, 40 Singing of Mount Abora. Could I revive within me Her symphony and song, To such a deep delight twould win me, That with music loud and long, 45 I would build that dome in air, That sunny dome those caves of ice And all who heard should see them there, And all should cry, Beware Beware His flashing eyes, his floating hair 50 Weave a circle round him thrice, And close your eyes with holy dread, For he on honey-dew hath fed, And drunk the milk of Paradise.

a. Imagery analysis on “Kubla Khan” 1. Visual imagery

Visual imagery early appears at the beginning of the poem. The first stanza lines 1-5 of the poem shows Coleridge illustration of natural scene. He mentions a stately pleasure-dome flow over the sacred river of Alph through cavern down to the sunless sea. The dome rises in Xanadu by the decree of Kubla Khan. In the second stanza lines 6-11 Coleridge still uses visual imagery. Coleridge gives further illustration of stately pleasure-dome of Kubla Khan. The dome was build upon vast fertile ground. The dome rounds with walls, and towers. There is also some garden bright at the sinuous rills, which blossomed many incense bearing tree. Then Coleridge changes his view into the covert which grown as the hills, and covered the sunny spot of greenery. In the third stanza, Coleridge applies imagery in almost entire of stanza. From the beginning of stanza lines 12-17 he uses visual imagery to describe vision of deep romantic chasm which slanted down to the green hill. It is a charming place, and it was a holy place with the wailing women waited her demon lover belong to. Next lines lines 18-24 Coleridge turns his view into a bursting fountain. The speaker Coleridge sees a huge fragment came along with the bursting water from the fountain, and then the water flow into a river. Next 4 lines lines 25-28 continue the description before; these lines tell and give imaginative view about the journey of sacred river. The rivers water flows in mazy motion through the wood and dale before reach the cavern measureless to man and finally sink in lifeless ocean. In the last stanza the writer still finds visual imagery. Like other, this stanza begi n with visual imagery. Then the writer meets another visual imagery in lines thirty-five until thirty-nine which was described Coleridge vision of a damsel with dulcimer. The damsel is an Abyssinian maid. The last visual imagery in this poem appears in lines fifty until fifty four. It describes about the look of Abyssinian maid. The maid has flashing eyes, and floating hair. She fed a honey dew, and drunk a milk of paradise.

2. Auditory imagery

Auditory imagery is a device that the poet uses to exercise an auditory experience. Coleridge also uses this kind imagery in this poem. In lines forty until forty five, the writer found first auditory imagery in lines twenty nine until thirty. The imagery illustrates Kubla Khan lying on tumult eventually hear any voices from the far side screaming war. Next, the writer finds auditory imagery in lines thirty three until thirty four. Imagery in these lines illustrates the sound of fountain, and caves heard like a melody. In lines forty until forty five Coleridge again used auditory imagery to illustrate the sound of dulcimer played by a damsel of Abyssinian maid. The sound strain as symphony played loud, long, and made any body delighted. The last auditory imagery in this poem settles in lines forty eight until forty ninth. Coleridge hear all of people yelled at him, they said to Coleridge to be aware while he built sunny dome in air.

b. Imagery description on “Kubla Khan”

From two ways of imagery description, Coleridge in this poem uses the both literal and figurative description. Kubla Khan entirely uses literal imagery description. Coleridge describes his vision of stately pleasure-dome with all of it natural beauty without using figure of speech. But in third stanza, the writer finds some figure of speech. First figure of speech is personification line 18. This personification applied in visual imagery, it describes the earth seems like to breath when a mighty fountain momently forced. Next, the writer find simile lines 21-22. This figure of speech also applied in visual imagery. It describes a huge fragment burst like rebounding hail or like chaffy grain beneath the thresher’s flail.

c. Analysis resume

In this section the writer gives complete review from the both imagery analysis and description analysis. He shows the analysis in table form. He analyzes the poem lines per lines in order simplify the analysis, and description analysis of Kubla Khan poem. Lines Number Lines of Poem Kinds of Imageries Kinds of Description Techniques Explanation 1-5 In Xanadu did Kubla Khan A stately pleasure-dome decree: Where Alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea. Visual imagery Literal description In this lines Coleridge start to awaking the imagination which became the basic of this poem. He begin with visual scene of a stately pleasure- dome with the sacred river of Alph ran through cavern down to the sunless sea which built by the decree of Kubla Khan. 6-9 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 ; Visual imagery Literal description Next lines Coleridge used visual imagery. Coleridge viewedthose stately pleasure-dome built at the landscape of fertile ground. The dome girdled round by walls and tower. It also had gardens bright with sinuous rills. 10-11 And here were forests ancient as the hills, Visual Literal Again here, Coleridge used Visual imagery. Enfolding sunny spots of greenery. imagery description Coleridge described the visionary of ancient forests as the hills which was enfolding sunny spots of greenery. 12-17 But oh that deep romantic chasm which slanted Down the green hill athwart a cedarn cover A savage place as holy and enchanted As eer beneath a waning moon was haunted By woman wailing for her demon-lover And from this chasm, with ceaseless turmoil seething, Visual imagery Literal description Another imaginative visionary by Coleridge, these lines viewed the savage places down the deep Chasm which slanted to the green hills. At that place, there was a woman crying her demon lover. 18-24 As if this earth in fast thick pants were breathing, A mighty fountain momently was forced : Amid whose swift half- intermitted burst Huge fragments vaulted like rebounding hail, Or chaffy grain beneath the threshers flail : And mid these dancing rocks at once and ever It flung up momently the sacred river. Visual imagery Figurative description These lines were the only imagery lines that used figure of speech. There were some figures of speech settled here. Personification set in lines As if this earth in fast thick pants were breathing; a mighty fountain momently was forced amid whose swift half inter-mitted burst. Then it comes again in lines, And mid these dancing rocks at once and ever, It flung up momently the sacred river. The other figures of speech which appeared in these lines were simile. It appeared in line Huge fragments vaulted like rebounding hail, Or chaffy grain beneath the thresher. 25-28 Five miles meandering with a mazy motion Through wood and dale the sacred river ran, Then reached the caverns measureless to man, Visual imagery Literal description These lines were the sequel of following. Still in the same form visual imagery, these lines also tried to exercised visual experience. It illustrated And sank in tumult to a lifeless ocean : the sacred river which flew in mazy motion through the wood and dale then reached the cavern measureless to man and finally sank to the lifeless ocean. 35-39 It was a miracle of rare device, A sunny pleasure-dome with caves of ice A damsel with a dulcimer In a vision once I saw: It was an Abyssinian maid, Visual imagery Literal description These lines showed Coleridge imagination about a sunny pleasure- dome with caves of ice. There also resided a damsel with the dulcimer, she was an Abyssinian maid 40-45 And on her dulcimer she played, Singing of Mount Abora. Could I revive within me Her symphony and song, To such a deep delight twould win me, That with music loud and long, Auditory imagery Literal description Then a damsel that Coleridge illustrated on his poem, tried to confirm the auditory sense. With auditory imagery Coleridge pointed up to sound of dulcimer played by a damsel. The sound was loud and long and made us felt deeply delighted upon it. 48-49 And all who heard should see them there, And all should cry, Beware Beware Auditory imagery Literal description When Coleridge stated that he Would built that dome in air, the auditory sense would heard the people sound yelled at him, and said that he should be aware. 50-54 His flashing eyes, his floating hair Weave a circle round him thrice, And close your eyes with holy dread, For he on honey-dew hath fed, And drunk the milk of Paradise. Visual imagery Literal description The poem closed by visual imagery. The appearance of a damsel of Abyssinian maid with his flashing eyes, floating hair, fed the honey dew, and drunk the milk of paradise had completely revived imagination and exercised out visual experience

2. Frost at Midnight

Frost at Midnight The Frost performs its secret ministry, 1 Unhelped by any wind. The owlets cry Came loud--and hark, again loud as before. The inmates of my cottage, all at rest, Have left me to that solitude, which suits 5 Abstruser musings : save that at my side My cradled infant slumbers peacefully. Tis calm indeed so calm, that it disturbs And vexes meditation with its strange And extreme silentness. Sea, hill, and wood, 10 This populous village Sea, and hill, and wood, With all the numberless goings-on of life, Inaudible as dreams the thin blue flame Lies on my low-burnt fire, and quivers not ; Only that film, which fluttered on the grate, 15 Still flutters there, the sole unquiet thing. Methinks, its motion in this hush of nature Gives it dim sympathies with me who live, Making it a companionable form, Whose puny flaps and freaks the idling Spirit 20 By its own moods interprets, every where Echo or mirror seeking of itself, And makes a toy of Thought. But O how oft, How oft, at school, with most believing mind, 25 Presageful, have I gazed upon the bars, To watch that fluttering stranger and as oft With unclosed lids, already had I dreamt Of my sweet birth-place, and the old church-tower, Whose bells, the poor mans only music, rang 30 From morn to evening, all the hot Fair-day, So sweetly, that they stirred and haunted me With a wild pleasure, falling on mine ear Most like articulate sounds of things to come So gazed I, till the soothing things, I dreamt, 35 Lulled me to sleep, and sleep prolonged my dreams And so I brooded all the following morn, Awed by the stern preceptors face, mine eye Fixed with mock study on my swimming book : Save if the door half opened, and I snatched 40 A hasty glance, and still my heart leaped up, For still I hoped to see the strangers face, Townsman, or aunt, or sister more beloved, My play-mate when we both were clothed alike Dear Babe, that sleepest cradled by my side, 45 Whose gentle breathings, heard in this deep calm, Fill up the intersperse vacancies And momentary pauses of the thought My babe so beautiful it thrills my heart With tender gladness, thus to look at thee, 50 And think that thou shalt learn far other lore, And in far other scenes For I was reared In the great city, pent mid cloisters dim, And saw nought lovely but the sky and stars. But thou, my babe shalt wander like a breeze 55 By lakes and sandy shores, beneath the crags Of ancient mountain, and beneath the clouds, Which image in their bulk both lakes and shores And mountain crags : so shalt thou see and hear The lovely shapes and sounds intelligible 60 Of that eternal language, which thy God Utters, who from eternity doth teach Himself in all, and all things in himself. Great universal Teacher he shall mould Thy spirit, and by giving make it ask. 65 Therefore all seasons shall be sweet to thee, Whether the summer clothe the general earth With greenness, or the redbreast sit and sing Betwixt the tufts of snow on the bare branch Of mossy apple-tree, while the nigh thatch 70 Smokes in the sun-thaw ; whether the eave-drops fall Heard only in the trances of the blast, Or if the secret ministry of frost Shall hang them up in silent icicles, Quietly shining to the quiet Moon. 75

a. Imagery analysis on “Frost at Midnight” 1. Visual Imagery

Like Kubla Khan, this poem begins with the use of visual imagery. First and second lines of poem give an illustration of midnight scene. In the middle of the night there is a frost which performs it secret ministry silent with no help from a wind. Next visual imagery settles in lines fourth until seventh. These lines visualize Coleridge alone with no one accompanied him. That lonely man wake-up between any rested inmates in the cottages, there is also cradled infant slept beside him. In lines eleven until twenty third, Coleridge again visits visual sense experience. By his imaginative power Coleridge takes every mind into his poem’s world. Through Coleridge’s sight there are thin blue flame lies on low burnt fire, and some thing called film which fluttered upon the grate. Coleridge regards those things as motion of nature which gives it sympathy to him as the inmates lived there, and made it as companionable form. Six lines of the second stanza is visual imagery. In these lines Coleridge sets visual scene upon a school, and lets himself to stare behind two bars, and saw some fluttering stranger. Suddenly, Coleridge changes his view. He took on his sight upon his lovely birth place, where the old church tower built. The third stanza begins with Coleridge visual description upon his child. In line forty fifth, Coleridge illustrates that his beloved son sleep beside him. Another visual description upon Coleridge’s son came forward in lines forty nine, and fifty. Coleridge tells that his son was so beautiful that made his heart thrilled anytime to look at the baby. Next lines lines 52-54 Coleridge mentions his birth place where he reared. It is great city with the clearly skies in the night. In lines fifty fifth until fifty sixth, Coleridge makes a hoping upon his son. The poet wishes that his son would wander like a breeze, which roved upon the lakes and the sandy shore to the crags of Ancient Mountain then flied over the clouds which stared between lakes, shores, and mountain crags. In the last stanza fourth Coleridge uses visual imagery in lines sixty sixth until seventy first. Here, Coleridge explores all sight of the season. First, Coleridge illustrates the summer scene which always made the earth with green. Then, the poet describes the winter scene by illustrating the redbreast which sit and sing betwixt the tuft of snow of the bare branch of mossy apple-tree, while night thatch smokes in the sun thaw.

2. Auditory Imagery

In this poem Coleridge also uses auditory imagery in expressing his imagination. First auditory imagery in this poem settles in the first stanza lines 2-3. Coleridge touches sound experience with the illustration of the owlet voice which came louder. Then, Coleridge uses the silentness in exercising sound experience lines 8-10. No sound, no voice, just a sound came tremendously but the calm, and silent has maintain the auditory sense. In the second stanza the writer finds the only auditory imagery in lines thirtieth until thirty fourth. Coleridge sets the sound of the church bells which was rang like music, and strained all over the day. That sound makes any ears felt a wild pleasure. The third stanza conducts auditory imagery in lines forty sixth until forty eight. By these lines Coleridge trails the auditory experience to the breath sounds of his cradled infant who slept beside. The last auditory imagery comes in lines seventy first until seventy fifth of fourth stanza. Here Coleridge tries to explore auditory experience with illustration of the eave drop-fall sound which only heard in the trances of the blast and the silent ness of icicles.

b. Imagery Description on “Frost at Midnight”

At the first stanza the writer recognizes Coleridge applying both ways in describe imagery literally, and figurative imagery description. This poem began with visual imagery which is using figurative description. Secret ministry of frost here is symbol for celebration of glorious nature aspect. Next lines 2-3, and 4-7 are auditory and visual imagery which apply literal description. The second and third lines 4-7 illustrate the setting of the speaker settled. Coleridge as the speaker of this poem set on his own cottage with no one accompanied him. He sat beside his sleeping child. Next imagery is auditory imagery with figurative description lines 8-

10. This imagery using paradox, contrast situation appeared here. Coleridge

mentions how the calmness and silent came through the situation. Those calm, and silent had been disturbed any vexes meditation. Then personification emerges in lines eleventh until twenty third visual imagery. Coleridge illustrates a blue flame which laid on low burnt fire, film that fluttered on the grate, and sympathies of nature to Coleridge as the only living people in that room. Coleridge uses figure of speech in lines thirtieth until thirty fourth visual imagery, he uses personification to illustrate the church bells sounds which haunted him with wild pleasure. Visual imagery occurred in lines thirty seventh until forty forth use literal descriptions for the writer view of any strangers that meet him in his school and town. At the beginning of third stanza Coleridge describes his cradled sleeping by his side, line 45, and visual imagery. Auditory imagery in lines forty sixth until forty eighth points up to the breath sounds of his cradled sleeping by him side. Coleridge commits literal description to visual imagery in lines forty ninth until fifty fourth, Coleridge look his beautiful cradled with thrilling heart. Those lines proceeded any scene that he called as birthplace, it is great city with the pent mid cloister dim with a right clear sky. Next, Coleridge uses figurative description to frame visual scene. In lines fifty fifth until fifty ninth the writer find simile. Coleridge uses simile here, in order to express his own feeling about his child that wandering like a breeze. Last imagery in this stanza is auditory imagery with literal description lines 60-65. The imagery experiences lovely sound with the eternal language speech by the God. The sound tells back that He God would always be in anything and anything would be in Him. In last stanza of the poem, the writer finds two different kinds of imageries. First, the writer find visual imagery with figurative description lines 66-71. Here, Coleridge uses personification by mentioning the summer which cloth general earth with greenness. The writer finds auditory imagery with figurative description lines 71-75. In this imagery Coleridge again mentions the secret ministry as a symbol for celebration of natural aspect. But here, imagery uses to explore auditory sense with the illustration of the eave drop-fall sound which only hear in trances of the blast and the silentness of icicles.

c. Analysis resume

In this section the writer gives complete review from the both imagery analysis and description analysis. He shows the analysis in table form. He analyzes the poem lines per lines in order simplify the analysis, and gave a brief result of imagery analysis, and description analysis of Frost at Midnight poem. Lines Number Lines of Poem Kinds of Imageries Kinds of Description Techniques Explanation 1-2 The Frost performs its secret ministry, Unhelped by any wind. The owlets cry Visual imagery Figurative description Secret ministry of frost was a symbol for celebration of glorious nature aspect. As the romantic Coleridge worshiped nature. 2-3 Unhelped by any wind. The owlets cry Came loud--and hark, again loud as before. Auditory imagery Literal description Next, Coleridge touched sound sense experience. He illustrated voice of the owlet which came and kept louder than before. 4-7 The inmates of my cottage, all at rest, Have left me to that solitude, which suits Abstruser musings : save that at my side My cradled infant slumbers peacefully Visual imagery Literal magery On these lines poeples mind would caught up the visualization of unaccompanied Coleridge which awaken between any rested inmates on his cottage. At his side, there was a baby which slept in peacefully. 8-10 Tis calm indeed So calm, that it disturbs and vexes meditation with its strange and extreme silentness. Sea, hill, and wood Auditory imagery Figurative description These lines emerged a paradox . A contrast situation appeared here. Coleridge mentioned how the calmness and silent ness came through the situation. Those calm and silent made some vexes meditation could be disturbed. 11-23 This populous village Sea, and hill, and wood, With all the numberless goings-on of life, Inaudible as dreams the thin blue flame Lies on my low-burnt fire, and quivers not ; Only that film, which fluttered on the grate, Still flutters there, the sole unquiet thing. Methinks, its motion in this hush of nature Gives it dim sympathies with me who live, Making it a companionable form, Whose puny flaps and freaks the idling Spirit By its own moods interprets, every where Echo or mirror seeking of itself, And makes a toy of Thought. Visual imagery Figurative description Coleridge used personification. when Coleridge illustrated a blue flame which laid on low burnt fire, film that fluttered on the grate, and sympathies of nature to Coleridge as the only living people on that room. But O how oft, This lines illustrated 24-29 How oft, at school, with most believing mind, Presageful, have I gazed upon the bars, To watch that fluttering stranger and as oft With unclosed lids, already had I dreamt Of my sweet birth-place, and the old church-tower Visual imagery Literal description Coleridge who stared behind the bars of his school and looked into the fluttering stranger. That made him started to imagine about his birth place. 30-34 Whose bells, the poor mans only music, rang From morn to evening, all the hot Fair-day, So sweetly, that they stirred and haunted me With a wild pleasure, falling on mine ear Most like articulate sounds of things to come Auditory imagery Figurative description Coleridge used personification here. It set when Coleridge illustrated the Church bells sounds haunted him with a wild pleasure. 37-44 And so I brooded all the following morn, Awed by the stern preceptors face, mine eye Fixed with mock study on my swimming book : Save if the door half opened, and I snatched A hasty glance, and still my heart leaped up, For still I hoped to see the strangers face, Townsman, or aunt, or sister more beloved, My play-mate when we both were clothed alike Visual imagery Literal description Then Coleridge took everyone’s mind into his dream and let us saw what was in it. He showed us 45 Dear Babe, that sleepest cradled by my side Visual imagery Literal description Again, Coleridge exercised visual imaginary experience. He illustrated that his cradled slept by him side. 46-48 Whose gentle breathings, heard in this deep calm, Fill up the intersperse vacancies And momentary pauses of the thought Auditory imagery Literal description The imaginative auditory experience trailed by these lines. Coleridge pointed up to the breath sounds of his cradled who slept by him side. 49-54 My babe so beautiful It thrills my heart with tender gladness, thus to look at thee, And in far other scenes For I was reared In the great city, pent mid cloisters dim, And saw nought lovely but the sky and stars Visual imagery Literal description Visual experience came moreover, took us into the scene of beautiful cradled that made everyone heart would thrill to looked at him. Then readers mind would proceeded into other scene, to the placed that Coleridge claim as his birthplace. It was a great city with the pent mid cloister dim, and there we could see a right clear sky. 55-59 But thou, my babe shalt wander like a breeze By lakes and sandy shores, beneath the crags Of ancient mountain, and beneath the clouds, Which image in their bulk both lakes and shores And mountain crags : so shalt thou see and hear Visual imagery Figurative description Coleridge used simile here. Coleridge used simile in order to express his own feeling that wished his Child would be like a breeze whose wander through the sky. 66-71 Therefore all seasons shall be sweet to thee, Whether the summer clothe the general earth With greenness, or the redbreast sit and sing Betwixt the tufts of snow on the bare branch Of mossy apple-tree, while the nigh thatch Smokes in the sun-thaw ; whether the eave-drops fall Visual imagery Literal description On these lines Coleridge explored all the sight. First, Coleridge illustrated the summer scene which always colored the earth with green in it every came. Then he described the winter scene by illustrated the redbreast which sit and sing betwixt the tuft of snow of the bare branch of mossy apple- tree, while the night thatch smokes in the sun thaw. 71-75 whether the eave- drops fall Heard only in the trances of the blast, Or if the secret ministry of Auditory imagery Figurative description Again here Coleridge mentioned the secret ministry of frost which became symbol for the celebration of natural frost Shall hang them up in silent icicles, Quietly shining to the quiet Moon. aspect. Delight over nature was an idea of romanticism.

3. The Nightingale

The Nightingale No cloud, no relique of the sunken day 1 Distinguishes the West, no long thin slip Of sullen light, no obscure trembling hues. Come, we will rest on this old mossy bridge You see the glimmer of the stream beneath, 5 But hear no murmuring: it flows silently. Oer its soft bed of verdure. All is still. A balmy night And though the stars be dim, Yet let us think upon the vernal showers That gladden the green earth, and we shall find 10 A pleasure in the dimness of the stars. And hark the Nightingale begins its song, Most musical, most melancholy bird A melancholy bird? Oh idle thought In Nature there is nothing melancholy. 15 But some night-wandering man whose heart was pierced With the remembrance of a grievous wrong, Or slow distemper, or neglected love, And so, poor wretch filled all things with himself, And made all gentle sounds tell back the tale 20 Of his own sorrow he, and such as he, First named these notes a melancholy strain. And many a poet echoes the conceit; Poet who hath been building up the rhyme When he had better far have stretched his limbs 25 Beside a brook in mossy forest-dell, By sun or moon-light, to the influxes Of shapes and sounds and shifting elements Surrendering his whole spirit, of his song And of his fame forgetful So his fame 30 Should share in Natures immortality, A venerable thing And so his song Should make all Nature lovelier, and itself Be loved like Nature But twill not be so; And youths and maidens most poetical, 35 Who lose the deepening twilights of the spring In ball-rooms and hot theatres, they still Full of meek sympathy must heave their sighs Oer Philomelas pity-pleading strains. My Friend, and thou, our Sister We have learnt 40 A different lore: we may not thus profane Natures sweet voices, always full of love And joyance Tis the merry Nightingale That crowds and hurries, and precipitates With fast thick warble his delicious notes, 45 As he were fearful that an April night Would be too short for him to utter forth His love-chant, and disburthen his full soul Of all its music And I know a grove 50 Of large extent, hard by a castle huge, Which the great lord inhabits not; and so This grove is wild with tangling underwood, And the trim walks are broken up, and grass, Thin grass and king-cups grow within the paths. 55 But never elsewhere in one place I knew So many nightingales; and far and near, In wood and thicket, over the wide grove, They answer and provoke each others song, With skirmish and capricious passagings, 60 And murmurs musical and swift jug jug, And one low piping sound more sweet than all Stirring the air with such a harmony, That should you close your eyes, you might almost Forget it was not day On moonlight bushes, 65 Whose dewy leaflets are but half-disclosed, You may perchance behold them on the twigs, Their bright, bright eyes, their eyes both bright and full, Glistening, while many a glow-worm in the shade Lights up her love-torch. 70 A most gentle Maid, Who dwelleth in her hospitable home Hard by the castle, and at latest eve Even like a Lady vowed and dedicate To something more than Nature in the grove 75 Glides through the pathways; she knows all their notes, That gentle Maid and oft, a moments space, What time the moon was lost behind a cloud, Hath heard a pause of silence; till the moon Emerging, a hath awakened earth and sky 80 With one sensation, and those wakeful birds Have all burst forth in choral minstrelsy, As if some sudden gale had swept at once A hundred airy harps And she hath watched Many a nightingale perch giddily 85 On blossomy twig still swinging from the breeze, And to that motion tune his wanton song Like tipsy Joy that reels with tossing head. Farewell O Warbler Till tomorrow eve, And you, my friends Farewell, a short farewell 90 We have been loitering long and pleasantly, And now for our dear homes.That strain again Full fain it would delay me My dear babe, Who, capable of no articulate sound, Mars all things with his imitative lisp, 95 How he would place his hand beside his ear, His little hand, the small forefinger up, And bid us listen And I deem it wise To make him Natures play-mate. He knows well The evening-star; and once, when he awoke 100 In most distressful mood some inward pain Had made up that strange thing, an infants dream I hurried with him to our orchard-plot, And he beheld the moon, and, hushed at once, Suspends his sobs, and laughs most silently, 105 While his fair eyes, that swam with undropped tears, Did glitter in the yellow moon-beam Well It is a fathers tale: But if that Heaven should give me life, his childhood shall grow up Familiar with these songs, that with the night 110 He may associate joy. Once more, farewell, Sweet Nightingale Once more, my friends Farewell.

a. Imagery analysis on “The Nightingale” 1. Visual imagery

Visual imagery appears in the early beginning of the poem lines 1-5.the night scene becomes setting of those lines. Coleridge also illustrates when he and his friends got to take a rest upon old mossy bridge with the glimmering river flow beneath. The next visual imagery finds in lines sixteenth until eighteenth. In these lines Coleridge sets a dramatic scene which illustrates or visualizes wandering man with the pierced heart remembering grievous wrong or slow distemper, or neglected love. Another visual imagery makes by Coleridge settle in lines fiftieth until fifty eighth. In these lines Coleridge shows visual scene of large groove and the empty castle. It is wild groove with many tangling Underwood around. The path along to the castle broken up; thin grass grew within those paths. In lines sixty fourth until seventieth, Coleridge again uses visual imagery. This imagery applies to describe Coleridge visual imagination of some night where the nightingales with dewy wings were hanged on the twigs. Those birds were having glistening bright eyes. The last visual imagery in this poem sets in lines seventy first until eightieth. In these lines Coleridge calls nightingale as a gentle maid. He describes the gentle maid living in their hospitable home The castle. At the evening those gentle glides through the pathways, and singing the loveliest song. They fly over the sky, through the moon which sometimes hiding behind the cloud.

2. Auditory imagery

First auditory imagery in this poem appears in line sixth; it describes the silent sound of stream beneath the old mossy bridge. Next auditory imagery finds in lines twelfth until fifteenth. In these lines Coleridge exercises auditory experience with illustrating the nightingale sound. Lines 19-22 illustrate the wandering man whose hear some gentle sound telling back his own sorrows. Gentle sounds here refer to the nightingale’s song. That man is the first name that notes the nightingale’s song as melancholy strain. Another auditory imagery finds in lines forty second until forty ninth. These lines experience auditory sense with the illustration of the nightingale which come with their crowd, then warble sweet nature’s voices. In lines 59-63, Coleridge uses auditory imagery. In these lines Coleridge illustrates the sound of nightingales just like song which provoked any other song. Sometimes those sounds with low piping come sweeter than the other sound around. That sounds such creates a good harmony in the air. Lines eighty first until eighty forth create visual imagery by illustrating the nightingale’s songs which awaken the entire world. The song such choral voices which strain removes a thousands airy harps. Last auditory imagery set in lines eighty ninth until ninety eighth. In these lines the speaker bids a short farewell to the nightingale, but he can not refuse beautiful sounds of the nightingales. Those sounds delay him from his journey. Even he placed his hand upon ears, the sound still hears like a wise.

3. Tactile imagery

In this poem the writer identifies that Coleridge also used tactile imagery. Tactile imagery was other kind of imagery which revived to the tactile sense such cold, and warm. Here the tactile sense can felt by Coleridge illustration of balmy night with a dim star, and then he lets to think about the vernal shower.

b. Imagery description on “The Nightingale”

In the first stanza of this poem Coleridge uses both literal, and figurative imagery description. There, the writer finds some imagery which consists of visual and auditory imagery. Generally imageries in this stanza using direct description which tries to illustrate the setting of poem. But the writer finds some figure of speech to describing imagery. Those figurative descriptions set in lines twelfth until fifteenth, these lines are auditory imagery, with the using of metaphor for melancholy bird which refers to the nightingale. Other figurative description set in lines nineteenth until twenty second auditory imagery using metaphor for melancholy strain refer to nightingale voices that regarded as melancholy musical voices. In the second stanza Coleridge uses both of imagery description. In general imageries in this stanza expose the nightingale which resides at the empty, old, huge castle. Some figurative descriptions maintains by Coleridge in this stanza, those figurative imagery description set in lines 42-46 auditory imagery, Coleridge uses metaphor in line with fast thick warble his delicious notes and, would be to short for him to utter forth his love chant. Both metaphors refer to the nightingales voices. Other figurative description sets in lines seventy first until seventy fifth visual imagery. In these lines Coleridge uses metaphor and personification. Metaphor uses when it mention gentle maid refer to the nightingales. Personification uses in line till the moon emerging, hath awakened earth and sky. In lines eighty first until eighty fourth Coleridge uses metaphor to mention the nightingales as the wakeful bird, and Personification in lines if some sudden gale had swept at once a hundred airy haps. Then metaphor uses again when mention airy harps refer to nightingales sound. The last figurative description in this stanza uses simile, to that motion tune his wanton song like tipsy joy that reels with tossing head. The third stanza is full of literal imagery description. Imageries in this stanza use to illustrate beautiful sound of nightingales that make the speaker very interest, and delight to hear that sound.

c. Analysis resume

In this section the writer gives complete review from the both imagery analysis and description analysis. He shows the analysis in table form. He analyzes the poem lines per lines in order simplify the analysis, and give a brief result of imagery analysis, and description analysis of The Nightingale poem. Lines Number Lines of Poem Kinds of Imageries Kinds of Description Technique Explanation No cloud, no relique of Visual Literal The poem began 1-5 the sunken day Distinguishes the West, no long thin slip Of sullen light, no obscure trembling hues. Come, we will rest on this old mossy bridge You see the glimmer of the stream beneath, imagery description with visual imagery which illustrated the night scene. The speaker set to rested on the old mossy bridge which stream low beneath. 6 But hear no murmuring: it flows silently. Auditory imagery Literal description Silent flow of stream experienced the auditory sense to the silent situation. 7-11 Oer its soft bed of verdure. All is still. A balmy night and though the stars be dim, Yet let us think upon the vernal showers That gladden the green earth, and we shall find A pleasure in the dimness of the stars. Tactile imagery Literal description On these lines Coleridge made a different with the used of tactile imagery. Tactile imagery here revived the tactile sense. The poet set us into a balmy night with the dim stars, then let us to think or imagined the vernal showers with it coldness. 12-15 And hark The Nightingale begins its song, Most musical, most melancholy bird A melancholy bird? Oh idle thought In Nature there is Auditory imagery literal description nothing melancholy. 16-18 But some night- wandering man whose heart was pierced With the remembrance of a grievous wrong, Or slow distemper, or neglected love, Visual imagery Literal description On these lines Coleridge set a dramatic scene of wandering man whose heart was pierced with the remembrance of grievous wrong or slow distemper, or neglected love stared upon a night. 42-49 Natures sweet voices, always full of love And joyance Tis the merry Nightingale That crowds and hurries, and precipitates With fast thick warble his delicious notes, As he were fearful that an April night Would be too short for him to utter forth His love-chant, and disburthen his full soul Of all its music Auditory imagery literal description 50-58 And I know a grove Of large extent, hard by a castle huge, Which the great lord inhabits not; and so This grove is wild with tangling underwood, And the trim walks are broken up, and grass, Thin grass and king- Visual imagery Literal description Coleridge here, examined visual experience with gave some illustration. He showed a large grove and the empty castle. It was a wild grove with many tangling cups grow within the paths. But never elsewhere in one place I knew So many nightingales; and far and near, In wood and thicket, over the wide grove, Underwood around. The path along to castle was broken up; thin grass grew within the paths. But it was the only places where many Nightingales belong to. 59-63 They answer and provoke each others song, With skirmish and capricious passagings, And murmurs musical and swift jug jug, And one low piping sound more sweet than all Stirring the air with such a harmony, Auditory imagery Literal description These lines examined our auditory experience. Coleridge illustrated the sound of the Nightingale just like a song which answered and provoked any other’s song. Sometimes any sound with a low piping came sweeter than all. All of those sounds created such a good harmony in the air 64-70 That should you close your eyes; you might almost forget it was not day On moonlight bushes, Whose dewy leaflets are but half-disclosed, You may perchance behold them on the twigs, Their bright, bright Visual imagery Literal description These lines made imagine, and saw by closed eyes some night behind moonlight some nightingales with dewy wings were hang on the twigs. Those birds were having glistening bright eyes. eyes, their eyes both bright and full, Glistening, while many a glow-worm in the shade Lights up her love-torch Coleridge again here used visual imagery. 71-80 A most gentle Maid, Who dwelleth in her hospitable home Hard by the castle, and at latest eve Even like a Lady vowed and dedicate To something more than Nature in the grove Glides through the pathways; she knows all their notes, That gentle Maid and oft, a moments space, What time the moon was lost behind a cloud, Hath heard a pause of silence; till the moon Emerging, a hath awakened earth and sky Visual imagery Figurative description Coleridge used personification. Personification used in line till the moon emerging, a hath awakened earth and sky. 81-84 With one sensation, and those wakeful birds Have all burst forth in choral minstrelsy, As if some sudden gale had swept at once A hundred airy harps And she hath watched Auditory imagery Figurative description In these lines, Coleridge use personification in line as if some sudden gale had swept at once a hundred airy harps. 85-88 Many a nightingale perch giddily Visual imagery Literal description . On blossomy twig still swinging from the breeze, And to that motion tune his wanton song Like tipsy Joy that reels with tossing head. 89-98 Farewell O Warbler till tomorrow eve, And you, my friends farewell, a short farewell We have been loitering long and pleasantly, And now for our dear homes.That strain again Full fain it would delay me My dear babe, Who, capable of no articulate sound, Mars all things with his imitative lisp, How he would place his hand beside his ear, His little hand, the small forefinger up, And bid us listen And I deem it wise Auditory imagery These lines Coleridge bid a short farewell to the nightingale. But he can not refuse beautiful sounds of nightingales. Those sound delay him from his journey to go home. Even he places his hand beside ears the sounds still hear like a wise. Here, Coleridge explores the auditory sense with auditory imagery.

B. Discussion