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Stanza 1 Summary
Get out the microscope, because were going through this poem line-by-line.
Lines 1-2
I was angry with my friend:
I told my wrath, my wrath did end.
As the poem opens, the speaker describes how he was angry with his friend. Bad times.
Still, he told his friend he was angry ("I told my wrath"), and presumably why he was
angry, and his anger disappeared. Happy days are here again!
We notice that these lines are linked with end rhyme and a pretty consistent rhythm. We
wonder if this form will continue. (Spoiler alert: Check out "Form and Meter" for more
on this.)
Lines 3-4
I was angry with my foe:
I told it not, my wrath did grow.
The speaker describes a different scenario, now. He was once angry with his "foe" (a.k.a.
his enemy), but didn't tell him about it.
Since the speaker did not talk about his anger ("I told it not"), his anger got bigger and
bigger ("my wrath did grow").
You know how, when you keep something bottled up inside, it tends to make that feeling
more intense and overwhelming? We're guessing that this is what's going on for the
speaker here.
Stanza 2 Summary
Get out the microscope, because were going through this poem line-by-line.
Lines 5-8
And I watered it in fears,
Night and morning with my tears;
And I sunned it with smiles,
And with soft deceitful wiles.
The speaker talks more about how his anger grows. Using figurative language, he treats
this anger very much like a plant. A plant needs water and sun in order to grow, and so
apparently does his anger.
He watered it with his "fears" and his "tears" and made sure it got plenty of sunshine.
Now, we know that the speaker didn't give his anger-plant real sunshine. Instead, he gave
it "smiles" and "deceitful wiles." These are more like "fake" sunshine.
They help the plant to growlike real sunshine would for a real plant..
A wile is a "crafty, cunning, or deceitful trick." "Deceitful wiles," then, are superdeceitful tricks (or really, really cunning traps). The speaker suggests that he is a very
deceptive person and that he is planning something very sinister and mischievous.
Whatever it is, though, his anger seems to dig it, since those deceitful schemes are like
sunshine to it.
A growing plant is usually a good, positive thing, a symbol of life. It seems ironic that a
growing plant is being compared to a growing anger. Is anger a good thing in the world of
this poem?
Stanza 3 Summary
Get out the microscope, because were going through this poem line-by-line.
Lines 9-12
And it grew both day and night,
Till it bore an apple bright.
And my foe beheld it shine.
And he knew that it was mine,
Because of the speaker's efforts, his plant (anger) eventually bears ("bore") fruit: an
"apple bright." Yum!
The speaker's enemy sure thinks so. The enemy sees the fruit of the speaker's wrath, and
somehow he's able to recognize that it belongs to the speaker. It's not clear how, though.
Stanza 4 Summary
Get out the microscope, because were going through this poem line-by-line.
Lines 13-16
And into my garden stole
When the night had veiled the pole;
Aha! The enemy has seen this anger-apple in the speaker's garden. So, it's safe to say
that's how he knows it is the speaker's.
That doesn't stop the enemy from trying to steal it, though. After he has seen the apple,
the "foe" sneaks into the speaker's garden at night.
The word "stole" is a past tense of the verb "steal," which in this context means
something like "sneak in secretly." This word also suggests "steal" (like a thief steals). It
seems that the speaker is blaming his foe, or calling him a thief.
This happens when it's super-dark out. In the phrase "night had veiled the pole," pole
refers to the top of the earth, as in the "north pole," but it can also mean the pole star, also
known as the North star, also known as Polaris. It's an important star for navigation, since
it's bright and it stays pretty much fixed in the sky. Tonight, though, the night has "veiled"
it, covered it up. This star, used in navigating folks safely through danger, is not visible.
Uh-oh!
To suggest that the night (an abstract time) could actually cover up the star (like a person
might) is to use personification.
Apparently, at some point in the super-dark night, the enemy eats the apple, which ends
up killing him or making him fall asleep. It's not clear which, although the speaker is glad
to see him laid out in the garden. We're going to go with death for the enemy here, since
the speaker would likely not be too happy if his enemy both ate his apple and used his
garden like a cheap hotel.
Still, the word "glad" is a bit ambiguous here (it could have more than one meaning).
"Glad" could refer to the morning, as in "the morning is glad," or it can refer to the
speaker's feelings when he sees his "foe" lying "beneath the tree."
Either way, it seems like bad times for the enemy, good times for the speaker. Or is it?
Plants
The poem is called "A Poison Tree," so, naturally, vegetation plays an important role. Indeed, the
speaker's anger grows until it eventually produces a poisonous apple that, presumably, kills his
"...
Liquid Imagery
The speaker talks about cultivating anger as if it were a plant. So, naturally he must "water" it.
Only, he doesn't water it with water, but rather with his tears. Sadness, anger, and other negativ...
The Enemy
Blake's poem is about being angry with an enemy and getting even with him. The speaker does a
lot of things to make his "foe" really seem like an enemy. For example, he tells how he (the
"foe") "st...
Plants
Symbol Analysis
The poem is called "A Poison Tree," so, naturally, vegetation plays an important role. Indeed, the
speaker's anger grows until it eventually produces a poisonous apple that, presumably, kills his
"foe." Plants, trees, and especially the processes necessary to make them grow (water, sun, care)
are our speaker's primary metaphors for how anger develops from a feeling into a destructive
action.
Lines 4: The speaker says his wrath grows because he didn't say anything about it. Of
course, anger doesn't literally grow, so growth is here a metaphor for the process by
which one's anger becomes greater and greater.
Lines 5-6: The speaker waters his anger (with tears and fears), but he doesn't literally
water it because it's not a real thing. Watering is here a metaphor for the development and
increasing power of one's anger.
Lines 7-8: The speaker gives his anger sunshine, only he doesn't literally give it sunshine.
"Sunn[ing]" is here again a metaphor for the things we do to make our anger grow. Does
it sound like a pit of snakes in here? Ah. That repetition of the S sound in the beginning
of "sunned" and "smiles" is called alliteration.
Line 9: The speaker's anger continues to grow. Anger doesn't literally grow, so growth is
here a metaphor for the process by which one's anger becomes greater and greater.
Line 10: The speaker's anger bears an "apple bright." Maybe in Blake's head anger can
bear fruit, but we know that the apple is just a symbol of, or metaphor for, the end result
of one's potent rage (in this case, a poisonous fruit that will kill a man). The repetition of
the "b" in "bore" and "bright" gives us another example of alliteration.
Line 13: The speaker tells us that his foe "stole" into his garden. The garden here seems
like a metaphor for the place in our mind where we let our anger fester, grow, develop,
and become, essentially, destructive.
Line 16: At last, the speaker's anger has matured in plant terms into a tree. The damage
that it causes is also fully developed. The "foe" lies dead beneath the tree, which comes to
stand for the giant, destructive thing that unchecked anger can become.
Lines 5-6: The speaker waters his anger at night and in the morning with fears and tears.
He doesn't literally water it because it's not a real plant, so watering is here a metaphor
for the process of cultivating one's anger, for adding fuel to the fire, we might say.
Line 7-8: The speaker gives his anger the sunshine it needs with his "smiles" and "soft
deceitful wiles." He doesn't literally give it sunshine because it's not a plant, so "sunning"
is here a metaphor for giving one's anger the nutrients it needs (Vitamin D maybe?).
Line 9: The speaker's anger grows "day and night." There is no time that's it's not
developing.
Line 14: The speaker says the "foe" came into his garden when "night had veiled the
pole." That's significant, because "the pole" could refer to the North star, which was used
to guide people safely home. Here, though, when his anger is at its height, the pole is
invisible to the speaker, and all is plunged into darkness. This imagery is telling of the
speaker's misguided, even ignorant condition, all brought on by anger.
Line 15: The speaker sees his "foe outstretched" in the morning, when light at last shines
down on the scene. It's interesting that the foe's actual death is hidden from us, the
readers. Perhaps the speaker, in his own darkness, is not aware of the consequences that
such a tree might pose.
Liquid Imagery
Symbol Analysis
The speaker talks about cultivating anger as if it were a plant. So, naturally he must "water" it.
Only, he doesn't water it with water, but rather with his tears. Sadness, anger, and other negative
feelings become the life-giving liquid that causes the anger to grow. It is arguable that, because
the speaker waters his anger with negative things like tears and fears, it eventually bears a
poisonous apple.
Line 5: The speaker waters his anger with "fears." He doesn't literally water it because it
is not a plant, so "watered" is here a metaphor for the cultivation of anger, for adding fuel
to the fire as we might say
Line 6: The speaker also waters his anger with "tears." While you could probably water
your plants with your tears (they do have water in them, after all!), it seems more likely
that the speaker is again speaking metaphorically about the cultivation of anger. It seems
that pain and sadness is an important element in the cultivation of anger. Do you see them
related in this way, too?
The Enemy
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Symbol Analysis
Blake's poem is about being angry with an enemy and getting even with him. The speaker does a
lot of things to make his "foe" really seem like an enemy. For example, he tells how he (the
"foe") "stole" into his garden, which implies that the enemy has a proclivity (i.e., a tendency
toward) for thievery. Ultimately, though, the enemy is the victim of the speaker's anger-apple.
While he may admit that he was glad to see his foe laid low, we're left feeling far more
conflicted, and more sensitive to the damage our own anger might cause others.
Lines 3-4: The speaker refuses to tell his "foe" about his anger. Something about this
person stops him from communicating with him in the same way as he is able to
communicate with his friend.
Line 11: The "foe" sees the apple shining. The apple is a symbol for the harmful outcome
of hoarding and cultivating negative emotions like anger.
Line 13: The enemy sneaks into the speaker's garden at night. The implication is that he is
a thief of some kind. As readers, we're rooting against him.
Line 16: The enemy lies dead beneath the tree. Harsh! The tree is here a symbol of, or
metaphor for, the dangerous consequences of festering anger. Although the speaker is
high-fiving the world, we're left to take a sober lesson from his ultimately disturbing
example.
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If the rhymes in the first two lines emphasize the connection between the end of wrath and
friendship, lines 3-4 emphasize just the opposite. The word "foe" rhymes with "grow," which
suggests that having enemies, or even perceiving someone as your foe, is the source from which
destructive anger springs.
Anger
Quote #3
And I watered it in fears,
Night and morning with my tears;
And I sunned it with smiles,
And with soft deceitful wiles (5-8).
The repetition of "and" three times in this stanza suggests how things like anger and "fears,"
"tears," and "soft deceitful wiles" are connected. The list-like effect of the word "and" implies
that all these things are on equal footing with one another, connected in a chain of negativity.
The poem's first two lines show how anger can be literally contained or curbed: by talking about
it! They enact this theme formally as well. In line 2, the words "my wrath, my wrath" appear
sandwiched (this figure is called chiasmus) between "I told" and "did end" in such a way that
suggests talking is a way of containing anger and making it go away.
Language and Communication
Quote #2
And I watered it in fears,
Night and morning with my tears;
And I sunned it with smiles,
And with soft deceitful wiles. (5-8)
The repetition of "and" three times in this stanza illustrates how closely linked the development
of anger and a lack of communication are. It is as if the poem is saying "I didn't speak about my
anger and then x happened and then y happened and then z happened."
Language and Communication
Quote #3
And it grew both day and night,
Till it bore an apple bright.
And my foe beheld it shine.
And he knew that it was mine (9-12)
Neither the speaker nor the "foe" speak to each other. The communication here is entirely nonverbal, and it leads to tragic consequences (for the enemy, at least). The speaker and his foe
employ other senses and physical gestures (in this stanza it's sight; in the previous stanza it's
tears, fears, and smiles), rather than communicating directly, and death results. The poem
champions speaking and listening over seeing.
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that "smiles" is paired with "wiles" illustrates the lack of any genuine emotion on the speaker's
part.
Lies and Deceit
Quote #2
And it grew both day and night,
Till it bore an apple bright.
And my foe beheld it shine. (9-11)
The apple is deceptively "bright" and "shiny." We know it is poisonous and that nothing good can
come from it. The poem suggests that anger can make things appear to be what they are not. In a
sense, anger releases a silent killer, something that is in reality incredibly dangerous, not the least
because it is so alluring.
Lies and Deceit
Quote #3
And into my garden stole
When the night had veiled the pole; (13-14)
It appears the "foe" is deceitful as well, as he sneaks into the speaker's garden at night. Of course,
for his part, the foe is deceived by the allure of the apple. Deception seems to infect, and affect,
everyone in the poem.
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