I. AND, like a dying lady lean and pale, Who totters forth, wrapp'd in a ga!y "eil, Ot of her #ha$%er, led %y the insane And fee%le wanderings of her fading %rain, The $oon arose p in the $rky east A white and shapeless $ass. II. Art tho pale for weariness Of #li$%ing hea"en and ga!ing on the earth, Wandering #o$panionless A$ong the stars that ha"e a different %irth, And e"er #hanging, like a &oyless eye
That finds no o%&e#t worth its #onstan#y' P. B. Shelley is #onsidered %y $any to %e a$ong the greatest, and one of the $ost inflential leaders of the (o$anti# Mo"e$ent. Of no poet in English, or perhaps in any other tonge, #old it %e said with $ore srety, that the prsit of the spirit of %eaty do$inates all his work. )or *helley it interfsed all natre and to possess it was the goal of all endea"or. The "isi%le world and the world of thoght $ingle the$sel"es ine+tri#a%ly in his #onte$plation of it. )or hi$ there is no %ondary line %etween the two, the one is as real and a#tal as the other. It is in The Moon P. B. Shelley addresses the %asi# ,estion of ro$anti#is$- what is %eaty' How is it en&oyed' The Moon is a sper% e+a$ple that shows that e"erything depends on the eye of the %eholder. What strikes $ost is the #ontrasting featre that the poe$ offers. The Moon is a %rilliant fsion of poeti# #rafts$anship and skilled i$agery. The $oon has %een #o$pared to two different personas in the two stan!as- a lean and senile %ody in the first stan!a and a lonely and weary lady in ,est of a #o$panion. Here is the per#eption of the sa$e $oon %y the different personae. The natral o%&e#t $oon is "iewed fro$ the %i.#olor shades- one diseased and another de&e#ted lo"er. In the first stan!a, we find the $oon as a personified lady of weak health, lean and pale who #o$es ot of her #ha$%er in fe"erish tre$%les. *he e$erges fro$ a thin "eil of #lods in a /ga!y "eil0. Her insanity only %rings her ot in the %la#k eastern sky with no ro$anti# appeals %t an insipid, shapeless $ass of nattra#ti"eness. The slow and %lrred "isi%ility of the $oon strikes no poplar $ythi#al i$ages %t of sorrowfl sffering- And, like a dying lady lean and pale, Who totters forth, wrapp'd in a gauzy veil, Out of her chamber, led by the insane And feeble wanderings of her fading brain, The moon arose up in the murky east A white and shapeless mass! In the se#ond stan!a the $oon appears to %e $ore traditional poeti# i$age of lady in lo"e. Here the $oon is /wandering #o$panionless0. Hers is the lonely i$age of (th in align field of #orn. 1ike the %lessed da$o!el, she is in hea"en %t with no hea"enly pea#e. Her lo"er li"es in the far %eneath the planet earth and she re$ains %sy sear#hing hi$. )arther, the $oon and the stars are different geographi#al presen#e is artisti#ally highlighted as ha"ing /a different %irth0. A$ong the planets and stars, she re$ains the lonely satellite. *he is #hanging her hea"enly positions again and again with &oyless eyes to find her lo"er. *he is faithfl in lo"e and in her #onstan#y she %ids for the lo"er in down earth. The i$age of s#h a lady in lo"e with no real lo"er is itself a $elan#holi# paint of a lady forlorn- Art thou pale for weariness Of climbing heaven and gazing on the earth, Wandering companionless Among the stars that have a different birth, And ever changing, like a "oyless eye That finds no ob"ect worth its constancy#! It is also to %e re$e$%ered that the poe$ %egins with a #on&n#tion 2and3 as if the "erse is a #ontined #ataloge of o%ser"ations. The "ision of $oon "aries fro$ $an to $an and what strikes the key note is the definition of %eaty that it is the #o$pendi$ of identity with whi#h we are addressed with. Trly speaking, *helley is a diffi#lt poet4 to follow his $eaning with ease and se#rity re,ires a ni$%le and poeti# intelligen#e, whi#h #o$parati"ely few readers are possessed of. 5t the $ain reason why this poe$ is poplar is %e#ase it has h$an interest- it is filled with the enthsias$ of h$anity and e$%odies his o%ser"ation of life. We will agree with this &dg$ent and all who #are to read the thoghts of a great poet pon $any points of high literary and philosophi#al interest will find a ri#h treat in 6er#y 5ysshe *helley0s The Moon. H.W. Longfellow's N!"#e As a fond $other, when the day is o'er, 1eads %y the hand her little #hild to %ed, Half willing, half rel#tant to %e led, And lea"e his %roken playthings on the floor, *till ga!ing at the$ throgh the open door, Nor wholly reassred and #o$forted 5y pro$ises of others in their stead, Whi#h, thogh $ore splendid, $ay not please hi$ $ore4 *o Natre deals with s, and takes away Or playthings one %y one, and %y the hand 1eads s to rest so gently, that we go *#ar#e knowing if we wish to go or stay, 5eing too fll of sleep to nderstand How far the nknown trans#ends the what we know. $n!#o%"&!'on Hen#y W%swo#!h Longfellow (18(7-1882) is one of the $ost poplar and #ele%rated A$eri#an poets .1ongfellow's poeti# work is #hara#teri!ed %y fa$iliar the$es, easily grasped ideas, and #lear, si$ple, $elodios stylish langage. His %eatifl sonnet N!"#e is a poplar e+a$ple of his si$ple yet $elodios lyri#is$. It is not hard, then, to show in the poe$ N!"#e the general str#tre- the rhy$e.s#he$e4 the sstained si$ile e+pressed %y the two great wa"es of thoght, one in the o#ta"e and the other in the sestet4 and the #o$plete i$pression in few words. The gene#l s!#"&!"#e: !he #hy)e-s&he)e The sonnet N!"#e is $odeled pon the Italian, or 6etrar#han sonnet for$. It has forteen lines in two sets- two ,atrains for$ing an o#ta"e, rhy$ing a%%a, a%%a4 and si+ lines in two sets of three, rhy$ing a%#, a%#. The &$p of thoght i.e. the "olta of a sonnet is well str#tred too as the intensity and ineptness of the thoght #l$inates for$ the o#ta"e to sestet. As a fond $other, when the day is o'er, 1eads %y the hand her little #hild to %ed, Half willing, half rel#tant to %e led, And lea"e his %roken playthings on the floor, *till ga!ing at the$ throgh the open door, Nor wholly reassred and #o$forted 5y pro$ises of others in their stead, Whi#h, thogh $ore splendid, $ay not please hi$ $ore4 *o Natre deals with s, and takes away Or playthings one %y one, and %y the hand 1eads s to rest so gently, that we go *#ar#e knowing if we wish to go or stay, 5eing too fll of sleep to nderstand How far the nknown trans#ends the what we know. The s"s!'ne% s')'le !he o&!*e The o#ta"e stan!a %egins with a %eatifl si$ple "erse of the #hild %sy in playing while his $other is attending hi$ to take on rest. The #hild is playing day long and now is o%"iosly tired and his fond $other, as the day is o"er, her little #hild to %ed. 5t he #hild is half willing for he is tired and half rel#tant for he is still wishing to play $ore with his playthings. His %roken playthings are lying on the floor and he is ga!ing at the$ throgh the open door. His $other0s pro$ises of new playthings repla#ing old ones #an not wholly reassre and #o$fort the little #hild. E"en thogh $ore splendid and gorgeos the new arti#les it shold %e, his a$oros %roken arti#les allde hi$ still. The s"s!'ne% s')'le !he ses!e! 1ike an e+tended si$ile the sestet stan!a $akes it e+pli#it the profond philosophi#al idea #ontained in the poe$. As the relation of the fond $other and her rel#tant #hild is drawn in the first 6ara, we find the natre $other and in$ates like s is related. Natre $other deals with s, the h$an likewise. As the playthings of the #hild are %roken one after another, or pleasres of life are taken away one after another. All the sensal pleasres, rosy springs of passion of %ody and heart are taken away gradally. The gla$or of wealth and glory of yoth %e#o$e $ore sha%%y and deterred4 we are gently led to death %y the natre $other withot e"en knowing if we wish to go or stay. The eternal sleep will lll s into the gra"eyard, to the territory of the "ast nknown, the world %eyond. More srprisingly, the e+perien#es and knowledge gained in or earthly life are insffi#ient and in#apa%le of e+plaining what lies %eyond the earthly, physi#al life. The &o)+le!e ')+#ess'on 'n few wo#%s H.W. Longfellow has e+,isitely presented in the poe$ N!"#e a philosophi#al idea of death as ine"ita%le #onse,en#es of din and %stle of or life. It is the greatest %oon of or N!"#e Mo!he# that she fosters and nrtres h$an life with all sorts of $aterial pleasres and atta#h$ents. It is the sa$e natre, howe"er, $akes s old, infir$ and fragile and gradally all the playthings are taken away and the earthly %indings go shattered. 1ike in The ,e!#e! %y -"ghn. Longfellow too states or days of earth li$ited or like /#y states the ine"ita%le #onse,en#es of or life leads %t to the gra"e. 5t what re$ind s $ost are Tgo#e0s i$$ortal lines fro$ /ol%en Bo! where the Eternal 5oat$an i. e. god is rel#tant to #arry other earthy arti#les other than the $an hi$self.
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