Approvement imagery analysis samuel taylor coleridge's poems
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The research discusses Samuel Taylor Coleridge poems. The writer studies three poems as the object of the study, they are: Kubla Khan, the Nightingale, and Frost at Midnight. Imagery analysis uses as the theoretical frame work of the research. The method of the research is descriptive qualitative to depict about the content of
Firstly the writer focuses on imagery analysis, and imagery description of those poems. The goals of the research are to find and understand the imaginative power of Samuel Taylor Coleridge. The writer also discusses the way of Samuel Taylor Coleridge describing imagery in the poems.
In his conclusion, the writer concluded that Samuel Taylor Coleridge use several kinds of imageries, such as visual imagery, auditory imagery, tactile imagery, and organic imagery. Coleridge also uses both techniques in describing or developing the imagery, literal description, and figurative description.
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Submitted to the Faculty of Adab and Humanities In Partial fulfillment of the Requirements
For the Degree of Strata (S 1)
By
MUCHAMAD SYUHADA NIM. 102026024528
Advisor:
DANTI PUJIANTI, S.Pd. MM. Nip: 132233516
ENGLISH LETTERS DEPARTEMENT FACULTY OF ADAB AND HUMANITIES
SYARIF HIDAYATULLAH STATE ISLAMIC UNIVERSITY JAKARTA
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iii of the requirement for the strata one degree.
Jakarta, September 12, 2007
Examination Committee
Chair Person
Dr. Muhammad Farkhan, M.Pd. NIP:150229480
Secretary
Drs. A.Seafudin, M.Pd. NIP:150261902
Members Examiner I
Elve Oktafiyani , M.Hum. NIP:150317724
Examiner II
Inayatul Chusna , M.Hum. NIP:150331233
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DECLARATION
I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the University or other Institute of higher learning, except where due acknowledgement has been made in the text.
Jakarta, January 4, 2008
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ACKNOLEDGEMENTS
The writer would like to thank Allah the one for divine gift of grace. He alone we ask for help, for guidance and everything. He has given the writer many favors. He has allowed the writer to finish this thesis. It is a great pleasure for the writer. Praise and peace be upon the Master of the Messengers, the prophet Muhammad SAW. May we always he in straight way until the end of the world.
The writer also absolutely deserves to thank to his advisor, Mrs. Danti Pujianti, S.Pd. MM. who has guided him by counseling and advising until this thesis finished. Without her guidance, this thesis will never be completed.
The writer also wants to thank to:
1. Dr. Abdul Chair, MA. Dean of Faculty of Adab and Humanities. 2. Dr. Muhammad Farkhan, M.Pd. the Head of English Department 3. Drs. Saifuddin, M.Pd. the Secretary of English department
4. His beloved parents. They have supported him much morally and materially, their merits and sacrifice will never paid.
5. All of lectures in English Department who have taught and educated him during his study at U.I.N.
6. All staffs of Syarif Hidayatullah State Islamic University Main library, and all staffs of English Department library
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8. For Arwinda Yuvita a special person that inspires me for such along time. 9. All his classmates in the English Department, Romlih, Imam G, Andri Z ,
Hendra S, Sofwatunida, Ahmad Zakky, Engkin Z, Al-Furqon, M. Firdaus, M Hasits, Andri H, A Yunus, S C Ummah, Nia T, Nia T and those whom cannot be mentioned one by one.
Finally, the writer hopes that this thesis will be usefull for the writer himself and for those who interested in literary research.
Jakarta, June 21, 2007
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TABLE OF CONTENT
ABSTARCT ……….………...……….i
APPROVEMENT...……….ii
LEGALIZATION..………..iii
DECLARATION………...………..iv
ACKNKOWLEDGEMENT………...v
TABLE OF CONTENT………..vi
CHAPTER I: INTRODUCTION……….. 1
A. Background of the Research………. 1
B. Focus of the Study……….3
C. Research Question……….4
D. Significance of the Research………..4
E. Research Methodology………..4
i. The objective of theResearch……….4
ii. The method of the Research ..…....………5
iii. The instrument of the Research .……….. 5
iv. Unit Analysis ………5
v. Place and Time ……….6
CHAPTER II: THEORITICAL FRAMEWORK………7
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1. Imagery Definition ………...7
2. Kinds of Imagery ……….9
a. Visual imagery ……….………. 9
b. Auditory imagery ….……….. 10
c. Organic imagery ……….……….. 10
d. Old factory imagery.………. 11
e. Tactile imagery………. 11
f. Kinesthetic imagery……….………. 12
g. Gustatory imagery………. 12
B. Imagery Description/ Imagery Development ……….. 13
1. Direct Description………14
2. Figurative Description….………15
C. Figurative Language….………..……….. 15
a. Figurative Language Definition……….. 15
b. Kinds of Figure of Speech………. 15
CHAPTER III: RESEARCH FINDINGS……….19
A. Imagery Analysis………. 19
1. Kubla Khan……….……….19
a. Imagery analysis on “Kubla Khan”……….……….20
1. Visual imagery……….. 20
2. Auditory imagery……….. 22
b. Imagery description on “Kubla Khan”...………..22
c. Analysis resume………23
2. Frost at Midnight………..………..26
a. Imagery analysis on “Frost at Midnight”……...……….28
1. Visual imagery ………..……28
2. Auditory imagery………..……….29
b. Imagery description on “Frost at Midnight”……….….……30
c. Analysis resume………...32
3. The Nightingale....……….. 36
a. Imagery analysis on “The Nightingale”………39
1. Visual imagery……….. 39
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3. Tactile imagery……….. 41
b. Imagery Descriptionon “The Nightingale”……….…….41
c. Analysis resume………42
B. Discussion……… 48
CHAPTER IV: CONCLUSIONS AND SUGGESTIONS………...50
A. Conclusions……….. 50
B. Suggestions………51
BIBLIOGRAPHY APENDIXES
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CHAPTER I
INTRODUCTION
F. Background of the Research
Samuel Taylor Coleridge was a familiar name for every people who concern with the literary works. Coleridge honored as central pillar of Romantic Movement together with William Wordsworth1. There was a general agreement that Romantic Movement began after the publication of Coleridge and Wordsworth prominent work
“Lyrical Ballads”in 17982.
Samuel Taylor Coleridge born in Ottery St. Mary on 21 October 1772, youngest of the ten children of John Coleridge, a minister, and Ann Bowden Coleridge. During his life, Coleridge has made masterpiece of poetry. People admitted that Coleridge have an expressive and imaginative ability in improving his poetry to become some great works3. Unique and mystifying idea frequently appears in many of his poems. With his talents and capacity as the great poet, Coleridge ables to change or transform an ordinary idea and object into wonderful and attracting one4.
1
Samekto s.s. Ikhtisar Sejarah Kesusastraan Inggris.(Jakarta: Daya Widya, 1998), P 67
2 Ibid 3
Luxemburg Jan Van.Tentang sastra.,(Jakarta: Intermassa,1991), P 165
4 Ibid
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In his poems, Coleridge temporarily abandons his immediate surroundings, exchanging them for an entirely new and completely fabricated experience5. His addicted in opium play an important role on his imaginative power6.
The definition of imagination is the ability to create mental images or pictures7. Imagery is mental images or pictures in poetry8. The faculty which transmits poetic image is the imagination9. At all, imaginative power of Coleridge which transfers into poetic structure or poetry called imagery. The writer realizes that imaginative power of the poems reflecting imagery.
Like the other romantics, Coleridge worships nature and uses the poetry to describe the beauty of the natural world. All of Coleridge poems express a respect and delight natural observation10.
Romantic idea and imaginative power combine in Coleridge poems such as “Kubla Khan”. The first three stanza of “Kubla Khan” entirely consists of imagination. Coleridge claims that while sleeping, he had fantastic vision and composed simultaneously some two or three hundred lines of poetry11. On “Kubla Khan” Coleridge illustrates the natural scene, like walls and tower encircling beautiful garden, forests, crevasse, water fountains, and devious river. More over,
5
http://www.sparknotes.com/poetry/coleridge/section3.rhtml (13th August 2006)
6 Ibid 7
Hornsby, A.S.Oxford Advanced Learner Dictionary of Current English. (Oxford: Oxford University press, 1995), P. 592
8
Siwantoro.Apresiasi Puisi-Puisi Sastra Inggris.(Surakarta: Muhammadiyah University Press,2002), P. 50
9
Lewis, Day.The poetic image. (London: Cape London, 1947), P.91
10
http://www.exampleessays.com/viewpaper/90832.html ( August 13th 2006)
11
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Coleridge gives description of Holy River that flow over the hills and cave which turn into the sea with no living spirits there. On the other words this poem take set on the nature and brought the core of romantic idea.
In “The Nightingale” and “Frost at Midnight” Coleridge visits the themes of Childhood, and the poetry relationto nature. As in “Frost at midnight”, the success of “The Nightingale” rests on evocation of a dramatic setting, in this case “The Nightingale” take the setting on the old mossy bridge where the speaker and his friend hear the nightingale song12. While “Frost at Midnight” set the scene in the cold and silent February night. Everyone in the household is sleeping except the poet, who is sitting by a dying fire13.
Referring to the explanations above, the writer interested to analyze imagery used on three Samuel Taylor Coleridge Poems, the poems are: Kubla Khan, Frost at Midnight, and the Nightingale. Three poems reflect imaginative power, and essential idea of romanticism.
G. Focus of the Study
This research focuses on the imagery of “Kubla Khan”, “The Nightingale”, and “Frost at Midnight” by Samuel Taylor Coleridge through imagery analysis, and explanations of imagery development.
12
http://www.sparknotes.com/poetry/coleridge/section4.rhtml (August13th 2006)
13
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H. Research Question
The Question of the research consists of:
1. What kinds of imageries do Samuel Taylor Coleridge use in Kubla Khan, Frost at midnight, and The Nightingale?
2. How does Samuel Taylor Coleridge develop imagery in Kubla Khan, Frost at midnight, and The Nightingale?
I. Significance of the Research
The writer hopes this research will enrich the literary studies especially in understanding poetry. This research hoped to be useful for anyone who wants to know more aboutColeridge’s poems.The writer also hopes that the research can give information to all the people that have some interest to analyze Coleridge’s poems more intensively.
J. Research Methodology
1. The objective of the research The objectives of the research are:
a. To know about the kinds of imageries appear on Samuel Taylor Coleridge poems (Kubla Khan, The Nightingale, and Frost at Midnight).
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b. To know about the way of Samuel Taylor Coleridge develops imageries on his poems (Kubla Khan, The Nightingale, and Frost at Midnight).
2. The method of the research
This research is a descriptive qualitative method with descriptive analysis explanations. It describes kinds of imageries appear on Samuel Taylor Coleridge poems. The analysis includes imagery analysis, which contains explanation about kinds of imagery that Coleridge uses in the poems.
3. The instrument of the research
The writer would be the instrument on this research. He obtains the data by reading any books such as Northon Anthology of Modern Poetry, The poetic image, Romance Mode of Literature Saries and other resources that related to this research such as online reference, article, and journal.
4. Unit analysis
The unit analysis of this research is three poems of Samuel Taylor Coleridge. The poems taken from Northon Anthology of Modern Poetry by Richard Elman, 1973.
1) Kubla Khan
2) The Nightingale 3) Frost at Midnight
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5. Place and Time
This research had been done at The State Islamic University Syarif Hidayatullah Jakarta. It was for 9th-10thsemester, 2006/2007.
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CHAPTER II
THEORETICAL FRAMEWORK
D. Imagery
3. Imagery Definition
In poetry, an image was presentation of word that the poet has perceived. Imagery is the collective word we use for a group of images. The description could be of an object seen, sound, smells, taste, touch or other physical sensation of human body14.
Imagery in a poem appeals to our senses (including sensations of heat, sight, smell, taste, touch, sound) are imagery15. Perrine defines imagery as the representation of sense experience through language. Poetry appeals directly to our sense of course through music and rhythm which we actually hear when it is read aloud, but directly it appeals to our senses through imagery as the representation to the imagination of sense experience16.
Imagery usually called mental picture in a poem, where the readers can experience what the poem said. Essentially the true ‘meaning’ of a poem lies in the total response effect that is upon the readers. That effect often stimulate a response
14Ellman, Richard and O’clair, Robert.
Modern poem An Introduction to Poetry.(New York: W. W. Northon and Company, Inc,1976) P. Xl
15
Barnett, Sylvan and Bergman, monren and Burto, William.Literature for Composition second Edition.(Boston: ,1988) P. 729
16
Perrine, Lawrence and R, ARP, Tomas.sound and Sense: An Introduction to Poetry.(New York: Brace Harcuort and World, Inc,1992) P. 56
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which is not just reaction to what the poet has to say, but it also draws on the readers own intellectual and emotional experience. Imagery can be central importance in creating this response within the readers17.
Pradopo defines imagery as images which appear on poem. Those images relate to thereader’smind and sense experience.
According to Siswantoro, imagery is mental picture or imagination which appears as the reaction of creative readers when understanding and exploring the poems. Imagery presents if readers involving cognitively and emotionally in poems18. Imagery refers to the "pictures" which we perceive with our minds, eyes, ears, nose, tongue, skin, and through which we experience the "duplicate world" created by poetic language. Imagery evokes the meaning and truth of human experiences not in abstract terms as in philosophy, but in more perceptible and tangible forms. This is a device by which the poet makes his meaning strong, clear and sure19.
Imagery is poetic reference to the five senses (sight, touch, smell, hearing, and taste). Essentially, imagery is a group of words creating mental image. People have clear image of those "experienced" things, which they can recall at will20.
17 Ibid 18
Siswantoro, Op Cit. P. 49
19
Christine Abriza, http://www.realliteraturedir.com/read_book-4290-26-Poetry-C.html (November 6th 2006)
20
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From the definitions above the writer identifies imagery is the poetic device that refers to the senses experience in order to make the readers participate in the world of poem.
4. Kinds of Imagery a. Visual Imagery
Visual imagery is an imagery which relates to the visual imagination. Example:
Continous as the star that shine And twinkle on the Milky Way, They stretched in never-ending line
Along the margin of a bay: Ten thousand saw I at a glance Tossing their head in sprightly dance
(“Daffodils”, WilliamWordsworth) These lines of poems proceed visual imagination into the readers’ mind. The poem experiencesvisualization the daffodils which grows continuously.
b. Auditory Imagery
Auditory imagery is an imagery which relates to the auditory imagination.
Example:
Hear the sledges with the bells— Silver bells!
What a world of merriment their melody foretells! How they tinkle,tinkle, tinkle
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(“The Bells”, Edgar Allen Poe) These lines of Poe’s poem are auditory imagery. Here, Poe raises the auditory experience of the readers by describing the sledges of bells were ringing on the snowy night, and it has been stirred up tinkle-tinkle sound.
c. Organic Imagery
Organic imagery is an imagery which relates to the internal sensations of human body, such hunger, thirst, pain, drunk, and others.
Example:
“O where have ya been, Lord randall, my son?” O wherehave ye been, my hansome young man?” “I here been to the wild; mother, make my bed soon, For I,m weary will haunting. And fain wald laid down”.
“Where gat ye your dinner, Lord Randall, my son? Where gat ye your dinner, my handsome young man?”
“I dined will my true-love; mother, make my bed son, For I’m weary will haunting, and fain wald laid down”.
(“Lord Randall”) The lines of poem above describe organic imagery. The readers may experience, and feel the tiredness of Lord Randall when he answers his mother question whilst he lied upon a bad.
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d. Olfactory Imagery
Old factory is an imagery which relates to the olfactory or smelling sense.
Example:
The buzz-saw snarled and rattled in the yard And male dust and dropped stove-length sticks of wood,
Sweet-scanted stuff when the breeze drew across it.
(“Out Out”, Robert Frost) These lines of poem describe about the sweet fragrant from the wood dust blows with the wind. These lines were old factory imagery.
e. Tactile Imagery
Tactile imagery is an imagery which relates to the temperature or heat senses such cold, and warm.
Example:
How like a winter hath my absence been From thee, the pleasure of the fleeting year!
(“Winter”, Shakespeare) These two lines of poem created imagination of winter scene. The writer describes the cold of winter, and his loneliness.
f. Kinesthetic imagery
Kinesthetic imagery or movement imagery is an imagery that always associates to any motion21.
21
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g. gustatory imagery
Gustatory imagery is imagery which relates to the taste, such a sweet, and briny22.
From explanation above the writer considers seven kinds imagery which relate to the sense of human body. They are Visual imagery, auditory imagery, Organic imagery, Old factory imagery, tactile imagery, kinesthetic imagery, and gustatory imagery.
E. Imagery Description/ Imagery Development Technique
The sharpness and vividness of any image will ordinarily depend on how specific it is and on the use of effective detail. Since imagery is a peculiarly effective way of evoking vivid experience, conveying emotion as well as to causing a mental reproduction of sensations. We cannot evaluate a poem, however by the amount or quality of its imagery alone. We should never judge any single element of a poem except in reference to the total intention of that poem.
Pradopo mentions that imagery should not be out of human senses experiences. Pradopo also forbids the using of clichéd images. He supposes that the use of clichéd images cannot give poetic effect and cannot animate images on the poems23.
22 Ibid 23
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Imagery cannot limit by the direct presentation of concrete detail in their effort to transform perceptions into words. Poet may also compare that perception with something else. The alternative way is by employing the figurative language24.
Imagery was the sensory content of a work, whether literal or figurative25.The techniques of imagery making were divided into two methods26.
3. Direct description or Literally Description
The poet gives a description of any object, like panorama, idea, and any others through words. Whether it is literal, the poet cannot tell much over. The poet should understand that poems have roles, the poet requires to use a short and obvious language on his poems. Great skill in choosing the appropriate diction for the language of poetry would set an obvious imagery, without telling the details description of object. The diction itself would bring the reader into the world of imagery.
Example:
When the icicles hang by the all
And the dick shepherd blows his nail, And Tom bers log into the hall,
And milk comes frozen home in pail, When bloods is nipped and ways be foul, The nightly sings the staring owl,
“Tu-whit, tu-who!”
(“Winter”, Shakespeare)
24Ellman, Richard and O’clair, Robert.
Op Cit. P. xli
25
Barnett, Sylvan and Bergman, monren and Burto, William.Op Cit. P. 729
26
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The diction of Shakespeare poem above is ordinary words, but Shakespeare composed an imagery that brought us into the winter of sixteenth century.
4. Figurative Description
Imagery is an effective method in awaking sense experience, but still restricted by the roles of poetry which obliged the use of minimal words with maximal meaning. The poet had to choose short effective language to express imagery. As the alternative way, the poet had to use figurative language.
Example:
Oh my luve, is like a red, red rose,
(“”A red, red rose” Robert Burns) Here Robert Burns uses visual imagery and simile to describe his feelings about love. He describes his love is like a red rose.
F. Figurative Language
1. Figurative Language Definition
According to Croft figure of speech is a symbolic language or metaphorical and not meant to be literally27. Wren and Martin suggest that figure of speech is departure from the ordinary form of expression or the ordinary course of ideas in
27
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order to produce a greater effect28. Figurative language is the figure of speech to said something other than ordinary way29.
2. Kinds of figure of speech a. Metaphor
According to Barnett a metaphor emphasizes the figurative language without usinga connective such as “like” or verb such as “appears” of a terms that are literary incompatible30. According to Perrine metaphor is a figure of speech in which a comparison is made between two things essentially unlike31. Those definitions explain that metaphor is figure of speech which compare two different thing directly without using connective word such, as, as if, similar to, etc.
b. Simile
Like metaphor, simile also compares two different things, but it uses a connective word. According to Perrine simile is explicit comparison made between two things essentially unlike32. The comparison is made explicit by using some word or phrase as likes, as, than, similar to, resembles, or seems. Example:Like a thunderbolt.
28 Ibid 29
Perrine, Lawrence and R, ARP, Tomas.Op Cit. P. 54
30
Barnett, Sylvan and Bergman, monren and Burto, William.Op Cit. P. 63
31
Perrine, Lawrence and R, ARP, Tomas.Op Cit. P. 61
32 Ibid
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c. Personification
Personification is type of metaphor in which distinct human qualities, e.g., honesty, emotion, volition, etc., are attributed to an animal object or idea. Personification gives the attribute of human to being animal, an object or a concept. It is really a subtype of metaphor; an implied comparison always a human being33. Example :the sun smile to earth.
d. Symbol
Symbol is thing (could be an object, person, situation or action), which stands for something else more abstract. For example our flag is the symbol of our country. According to Perrine in a literature a symbol may be defined as something that means more than what it is34. Example: Old dog symbolized unproductive person
e. Allegory
Allegory is narrative or description that has a second meaning beneath the surface. Although the surface story or description may have its own interest, the author’s major interest is in the ulterior meaning. Allegory has been defined sometimes as an extended metaphor and sometimes as a series of related symbols35.
33
Ibid. P. 64
34
Ibid. P. 80
35
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f. Apostrophe
Apostrophe is figure of speech in which the narrator or the speaker addresses something nonhuman as if it is present or alive. According to Perrine, closely related to Personifications is apostrophe, which consists of addressing someone absent or something nonhuman as if that person or something were present and alive and could reply to what is being said. This definition is in accordance with what Barnet said that apostrophe is an address to a person or thing not literally listening36.
g. Paradox
Paradox is figure of speech which contains a contradiction statement. According to Perrine, paradox is an apparent contradiction that is nevertheless somehow true. The value of paradox is its sock value37.
h. Hyperbole or Overstatement
Hyperbole is a figure of speech that is in intentional exaggeration for emphasis or comic effect. According to Perrine, Overstatement, or Hyperbole, is a simply exaggeration, but exaggeration in the service of truth38.
i. Understatement
Under statement is a figure of speech in which the presentation of thing with underemphasizes, in order to achieve a greater effect39.
36
Barnett, Sylvan and Bergman, monren and Burto, William.Op Cit. P. 72
37
Croft, steven and Cross, Hellen.Op Cit. P. 57
38
Perrine, Lawrence and R, ARP, Tomas.Op Cit. P. 100
39
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j. Synecdoche and Metonymy
Synecdoche is figure of speech which mentions a part of something, to suggest the whole. As in, “all hands in deck,” means that all sailors to report for duty. Hands = sailors. While metonymy is figure of speech that uses a concept closely related to the thing actually meant. The substitution makes the analogy more vivid and meaningful40.
k. Irony
Irony is a situation involving some kind of incongruity or discrepancy. Like paradox, irony has meaning that extends beyond its use merely as a figure of speech41. There are two kinds of irony:
• Verbal irony is a figure of speech that expresses the opposite thought of the speaker’s mind, thus convey a meaning that contradicts the literal definition42.
• Dramatic irony is a literary or theatrical device of having a character speech which the reader or audience understands to have a different meaning43.
40 Ibid 41
Perrine, Lawrence and R, ARP, Tomas.Op Cit.
42 Ibid 43
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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 e'er 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 thresher's 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
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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
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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.
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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).
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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 Khanpoem.
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.
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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 e'er 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 thresher's 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
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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
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2. Frost at Midnight
Frost at Midnight
The Frost performs its secret ministry, 1
Unhelped by any wind. The owlet's 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 man's 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,
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Awed by the stern preceptor's 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 stranger's 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,
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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
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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
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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 Descriptionon “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
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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 usespersonification 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 findsimile. 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.
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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 personificationby 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 asymbol 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 ofFrost 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 owlet's 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 owlet's 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
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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.
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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 man's 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 preceptor's 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 stranger's 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
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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
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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. O'er 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
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Surrendering his whole spirit, of his song
And of his fame forgetful! So his fame 30
Should share in Nature's 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 O'er Philomela's pity-pleading strains.
My Friend, and thou, our Sister! We have learnt 40
A different lore: we may not thus profane Nature's 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 other's 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
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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 moment's 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 Nature's 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 infant's 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 father's 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,
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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.
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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.
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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 metaphorin line withfast thick warble his delicious notesand, would be to short for
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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. Thenmetaphor uses again when mentionairy harpsrefer 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 ofThe Nightingalepoem.
Lines Number
Lines of Poem Kinds of
Imageries
Kinds of Description
Technique
Explanation
No cloud, no relique of
Visual Literal
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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
O'er 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
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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
Nature's 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
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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 other's 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.
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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 moment's 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
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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.
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B. Discussion
Based on the analysis, the writer considers that Samuel Taylor Coleridge Poems “Kubla Khan”, “the Nightingale”, and “Frost at Midnight” are decent imaginative poems influence exclusively by the imaginative power, and romantic idea which always forwards nature as subject and worshiped it.
On these three poems Coleridge’s sets exciting thought. The writer sees Coleridge’s poems reflecting the aspect of imaginations and romantic idea. Those things settle on the setting of the poems itself, which always explore the nature as the object. In “Kubla Khan” Coleridge setsa natural imaginative scene of stately pleasure settled on Xanadu. In “The Nightingale” Coleridge explores the natural living of Nightingales, and he sets himself on the night scene upon an old mossy bridge. In “Frost at Midnight” Coleridge explores natural aspect of frost. He sets himself on silent cottages with no one accompany him.
Coleridge’s ability in combining imaginative power with romantic idea has been creating any characterization on his works. Like in those three poems, Kubla Khan, The Nightingale, and Frost at Midnight, Coleridge builds the poems with different themes, but the themes of each poem based on romantic idea. Then, in each of those three poems, Coleridge always uses his imagination, and creativity in creating unique subjects, objects, and situation that he would illustrates in his poems.
In Kubla-Khan Coleridge conveys romantic themes of natural view. Spontaneity that became a part of romantic idea also showed in this poem. The writer considers that Coleridge wrote this poem spontaneously after awaking from his
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fantastic dream. Those romantic ideas banded together with Coleridge imagination that create or emerge powerful images.
In Frost at Midnight Coleridge reflects the imagination in relation to the surrounding's (nature) of the speaker and is brought out by talking about the past, present and future of childhood.
In The Nightingale Coleridge conveys thematic idea that nature should not be described as a representation of human feelings, the fact that a melancholy man seems to identify his own feelings in the song of the nightingale did not mean that the nightingale's song is melancholy. By this poem Coleridge tries to shelter the Real idea of romantic. Like others poems before, this poem also influences by imaginative flights.
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CHAPTER IV
CONCLUSIONS AND SUGGESTIONS
A. Conclusions
Having analyzes on the previous chapter, the writer concludes that those three poems of Coleridge’s Kubla Khan, The Nightingale, and Frost at Midnight reflect the imaginative power on each poem. Imagery that intensely appears in those three poems indicate that Samuel Taylor Coleridge poems powered exclusively by imaginative flights or idea. Transferring imaginative idea through imagery, in many different kinds, had proved Samuel Taylor Coleridge capability as one of the greatest poet from romantic era.
On Kubla Khan Coleridge uses two kinds of imagery, visual and auditory imagery. In describing the imagery of the poem Coleridge use direct description and figurative language. He uses personification, and simile. This poem characterizes the romantic idea by exploring the nature as the object.
The Nightingale uses four kinds of imagery, visual, auditory, tactile, and organic imagery. Coleridge uses both direct and figurative imagery description. Figure of speech that Coleridge uses on this poem was metaphor, simile, and personification The romantic idea of settled on the theme of the poem that suggested that nature should not be described as an embodiment of human feeling, nature has it
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own immortality. Here, Coleridge worshiped nature like any other romantic poet done.
Frost at midnight uses two different kinds imagery, visual, and auditory imagery. This poem also used both direct and figurative imagery description. Coleridge used simile, metaphor, and personification. Frost at Midnight was a conversational poem that outlines the beliefs and ways of the romantic poets. This poem reflectedthe imagination in relation to the surrounding’s.
B. Suggestions
Romantic literature is interesting subject to be study or analyze. As the important part of Romantic Literature, Samuel Taylor Coleridge with all of his works also become exciting subject to explore. For all the people that interest to discover Samuel Taylor Coleridge’s works, the writer suggests to concern on the romantic, mystic, and imaginative idea. He convinces that by focusing on those three ideas would simplify the research, because after determining this research the writer found out that those three ideaswere the main idea that inspired Coleridge’s works.
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