The relentless wind instils tension, not only in the fabric of the land but in the minds of the two people in the house. In this stanza, the poet is talking about the worst impact of wind on the living things including plants fields and animals gull and magpie. The windows did indeed tremble to come in and we all felt the roots of the house move below us. From the first line the reader is taken into the dramatic world of the first person speaker, the initial image being that of a vessel far out at sea, isolated by the all encompassing violence of the strong wind. There is nothing he can do to protect his house against the wind. A house is battered by wind all night—so isolated in the middle of the tumult that it seems like it's out at sea.
The grass of the fields there is a particularly brilliant watered green, and the stone walls of the enclosures that cover the hill-sides like great nets thrown over whales look coal black. I would only suggest that perhaps you could include more of a link to what the wind means for the house- the metaphor behind the poem. I shall keep reading your blogs now…. The poet then imagines wind as a herd of animals stampeding means a sudden rush of animals which are out of control and are rushing through the fields. His part in the relationship became controversial… 1319 Words 6 Pages Imagine what you are writing about. A stormy sky like a stormy sea appears black and not green but emerald acknowledging depth. In such a stance, the external surroundings function as an objective correlative of their relationship.
His first published poem appeared in 1954, the year of his graduation, and his first book of poems, 'Hawk in the Rain', was published in 1957. It does not spare the fields. Their house is literally under threat from the onslaught of the wind, and their relationship is equally under threat from whatever has caused the tension between them. Or move, stunned by their own grandeur, Over a bed of emerald, silhouette Of submarine delicacy and horror. On the surface, the poem narrates a destructive storm.
They were aware of how fragile their relationship was like a delicate glass green goblet. These are the poems that I am discussing in my essay and also what his ideas are on the poems. These are grand claims, but they are true. A Second Interpretation is perhaps one of the most controversial figures in all of the literary world. Hughes uses enjambement to create fluidity much like the flow of the wind, although there is no regular rhyme pattern, showing that its inexhaustible energy cannot be limited. Ted Hughes was a man of love.
Get out of my head and let me see for myself. It seems about to shatter the house, and the people inside fear for their lives. . Just about everyone I know who reads and writes poetry seriously owes a debt of one kind or another to Ted Hughes, directly or indirectly. For instance, the apes ravel in yawning and adoring their fleas in the sun. It appears from the third line that the speaker is probably Ted Hughes.
The third stanza introduces characters into the ordeal. This house has been far out at sea all night, The woods crashing through darkness, the booming hills, Winds stampeding the fields under the window Floundering black astride and blinding wet Till day rose; then under an orange sky The hills had new places, and wind wielded Blade-light, luminous black and emerald, Flexing like the lens of a mad eye. The aggressive wind produces violent effects as though woods crash through the darkness, the thunder of the storms make it appear as though the hills are booming. They dance on the surface among the flies. He felt that he and his wife were entirely alone.
Thus mountains are as vulnerable to the wind as a weak tent. There is no security to be found, and again, the house is in danger of being hurled away, and shifts to rearrange its position in the earth. This slowed reading pace reflects the progress of the bird and the iron bar simile has connotations of a crushing force. At noon I scaled along the house-side as far asThe coal-house door. The syntax is made for headlong rush and temporary reprieve, the punctuation allowing for pause whilst the enjambment encourages flow and increased energy.
There was no one to help them. To bring out the weak aspect of nature compared to the wind, the speaker uses the lexical set of helplessness. This is not a comfortable poem to dwell in but a thought-provoking blast that urges and prompts - what is it like to experience elemental power and what might the effect be on the vulnerable or helpless human, with little or no control? Happy memories are turning to thoughts of hunting and murder and their tastes for music and games are slipping away. Or is this a wind of change for the couple who cannot quite get their act together, because of the imposing wind, or despite the fierce gales? The alliterations highlight once again the power of the wind hitting on the house. While some esteem him because of his breathtaking way with words, others feel that his reputation was destroyed by the tragedies that surrounded his life. Hughes uses a lot of alliteration to break up the reading fluency to reflect the choppy subject of the poem.