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