How to Read and Enjoy the Classics

Tag: Authors (Page 2 of 2)

Emotional Tone and Kinds of Language in “Snowy Evening”: Understanding Poetry Step 4

Scene shows woman at right in red jacket admiring a blue lake down in a canyon.

Similar to the speaker in Frost’s “Stopping by Woods on a Snowy Evening,” this lonely person pauses to admire a spectacular natural scene.

So far I’ve urged you to wade in to a poem slowly, taking time to imagine and experience the images and the situation described. When do we begin to understand and think about the meaning, the bigger ideas, in the poem?  Right now.

Emotional Tone

Let’s take a second look at Frost’s “Stopping By Woods on a Snowy Evening,” here.  While focusing on the poem’s imagery in Step 3, you have probably been sensing the speaker’s mood all along.  But now, let’s pause and get a fuller sense of the emotional tone of the poem, and how it uses both concrete and abstract language.  Think first about what the speaker seems to feel and also what the text seems designed to make readers feel.

This poem’s lovely but stark imagery conveys a sense of awe at the scene’s beauty, but also loneliness and un-humanness. It is the “darkest evening of the year.” The mentioned village seems to be far from this unpopulated spot. The speaker is very attracted to this lonely scene and wishes to linger (he is “stopping” after all); yet apparently this stop is untypical for him. He feels a sense of tension and trespass, since he mentions the owner who won’t be able to see him, and senses the horse’s confusion and impatience at this unusual stop.

Snowy forest with rough road passing into its depths, showing two tracks of vehicles. Reminiscent of "Stopping by Woods on a Snowy Evening."

Frost’s speaker travels a lonely path next to a snowy forest.

Taking in the emotional tone, we can now notice points where the poem’s word choices shift from concrete to abstract language. The appearance of abstract language is an important signal for readers to start thinking about what the poem means, not just bask in the experience of sound and imagery.

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William Faulkner’s Literary Acrobatics: A Look at “A Rose for Emily”

Photo of William Faulkner posing against a brick wall, by Carl Van Vechten

William Faulkner. By Carl Van Vechten*

In his famous piece of short fiction “A Rose for Emily,” William Faulkner writes under seven pages to cover over 50 years of an unusual woman’s life, along with the mystery of a strange crime, and what her fellow townspeople thought about it all. Even more amazing, this small gem of a story asks important philosophical questions about how much we can really know about other people, and why we invent stories about folks to fill in the blanks, usually without realizing we are making things up. All this in under seven pages? How does Faulkner do it?

“A Rose for Emily” is intriguing not only for its characters, its grisly plotline, and its themes; it is a showcase for Faulkner’s consummate literary acrobatics. Let’s take a closer look.

SPOILER ALERT: Plot details will be mentioned. You may want to read the story first, if you haven’t already.

You may have read “A Rose for Emily” in high school. A lot of my students had. Nobody forgets the end of the story, the big revelation that Miss Emily had murdered her Yankee lover (who was about to leave her) and spent years sleeping next to his rotting corpse. Creep factor is definitely high enough to merit the oft-awarded descriptor “Southern Gothic.” However, this isn’t the part that stuns me the most. What amazes me is how complex, interesting, and thoughtfully composed this little tale is.

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Experience Imagery: The Easiest Step in Understanding Poetry (Step 3)

View of a snowy forest in the evening, tall ghostly trees, snow on the ground, no people in sight.

“Stopping by Woods on a Snowy Evening”

Don’t Jump Too Fast to “What the Poem Means”

Reading literature, especially poetry, is more than deciphering words; it is a mental experience. Therefore, don’t be too quick to sum up what any poem “means” or “what the poet is trying to say.” Jumping too fast to some theme or main idea of a poem is a sure way to miss much of the value of reading poetry, and possibly the meaning, too. Certainly we will come to analyzing ideas and meanings, but not just yet.

First, go on in to the poem; read it through a couple of times, and walk around in it for a little while. Where are you? What do you hear, see, taste, touch or feel, and smell? Language that depicts an experience of any of the five senses is called “imagery.” Dwell a bit on the imagery of the poem to create the poem’s setting in your mind, and to experience the situation or drama of the poem along with the poem’s speaker (the word we use for a narrator of a poem).

Let’s practice with one of my favorite poems, great for beginning readers of poetry, yet with plenty of big ideas for more experienced readers: “Stopping By Woods on a Snowy Evening” by Robert Frost. You can read it here.

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How Not to Be at Sea about the Author, Era, and Situation of a Poem: Understanding Poetry Step 2

Photo of Shakespeare Cliff at Dover Beach by John Mavin* shows the rocky strand in the foreground and the tall white chalk cliff in the background.

Shakespeare Cliff at Dover Beach by John Mavin*

When I was new at teaching college literature, I assigned Matthew Arnold’s “Dover Beach” for the first lesson in Literature and Composition because, naively, I thought it would be simple and transparent for students to understand. Ha! I was soon to learn that most people who come to this poem with no sense of cultural, historical, or geographical context are pretty thoroughly baffled by it.

That’s why I recommend finding out just a little bit about a poem’s author and era before you wade in. By looking up some minimal information about Matthew Arnold and his era, as well as investigating the meaning of the title, as we did in Step 1, we will see how a little bit of knowledge goes a long way toward helping us “find our feet” in the world of a new poem.

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Why Does “Jane Eyre” Still Matter?

Black and White movie still showing Orson Welles and Joan Fontaine as Rochester and Jane in Jane Eyre, 1943*

Orson Welles and Joan Fontaine as Rochester and Jane in Jane Eyre, 1943*

Readers still love Charlotte Bronte’s  Jane Eyre—and why not? The novel has every quality needed for total story immersion: a sympathetic heroine in plain, mistreated, brilliant, independent Jane; a dashing mysterious sexy romantic lead in Mr. Rochester; a spooky Gothic atmosphere and a chilling mystery; a host of villains in Aunt and John Reed, Mr. Brocklehurst, Blanche Ingram, and more; aides to the heroine, such as Helen, Mrs. Fairfax, and Jane’s  cousins Mary and Diana; moral temptations, thrills, fires, courageous escapes, sorrow, and suspense. But beyond joyful immersion in a wonderful, well-told story, why would readers return to it again and again? Is it just a pretty romance? Today, Jane’s moral dilemmas and particular set of problems seem outmoded; so why does Jane Eyre still matter, in a more serious intellectual sense?

More than just a fun read, Jane Eyre is a subtle, intelligent discussion of the difficulty of choosing among competing value systems. What values and principles should underpin our choices in life? What forces motivate us to choose and adhere to one set of values over another? These are the important questions Jane Eyre asks us to consider. We watch Jane struggle with these questions, and gain insight into how we struggle with values of our own. That is why Jane Eyre still matters.

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Notice a Poem’s Title: Understanding Poetry Step 1

Photo of painting by Bruegel the Elder-Landscape with the Fall of Icarus, showing plowman behind his horse in foreground, ocean view with ship and a miniature pair of legs, which is Icarus disappearing into the sea.

“Landscape with the Fall of Icarus” by Bruegel the Elder. ca 1558*

If you find yourself confused, thwarted, and frustrated when you try to understand poetry, fear not. Over a series of ten upcoming posts in the Literature 101 category, I will explain one method of helping you unlock and enjoy  the meaning of poetic texts.

Let’s start with Step 1. This seems so simple, and yet for some reason I have noticed that many readers overlook it: stop and think about what the poem’s title means. In this post, we’ll talk about one poem in which understanding the title really sets us up to understand what is going on in the whole poem: W. H. Auden’s “Museé des Beaux Arts.”

When Reading Poetry, Take Your Time

Let’s back up for a second, though, to consider that, in general, reading poetic texts is not the same as reading regular prose. Expect to read poems more slowly, and to read multiple times, for one thing. However, reading a little slower is not at all a bad thing, as you can learn by reading and enjoying more poems. Slower reading gives time to savor the beauty, the language, and the ideas of a good poem.

Also, be aware that readers can’t always depend on context to help them guess what words mean, if they don’t know those words already. Truly great poems are built tightly and efficiently, so that sometimes the whole meaning of a poem turns on one word or phrase, especially the title. Sometimes the title of a poem is the only clue given about the situation being depicted in the poem. That’s why it’s helpful, before you begin reading a poem, to spend a couple of minutes looking up unknown words in the title and generating some ideas about what the title might mean.

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