“The Lovesong of J. Alfred Prufrock”
https://www.poetryfoundation.org/poetrymagazine/poems/detail/44212
In a piece as winding and labyrinth-like as this, it helps to keep track of the worlds that Prufrock bounces between throughout the poem. Look for the parlor, the sea, the city, and the anteroom in particular. The changes of world are usually signified by a stark shift in imagery and tone (for example, noir to etherealness when going between the city and the parlor). You can also follow his line of reasoning with regard to the “overwhelming question,” for which he arrives at a conclusion in the Hamlet section. The question combines with the motif of aging and mortality to give the poem a decidedly existential flavor.
“The Wasteland”
https://www.poetryfoundation.org/poems-and-poets/poems/detail/47311
Since there is no decisive consensus on “The Wasteland,” the ordinary reader will benefit from reading the poem as five main worlds, made distinct by the poem’s five primary headings. Throughout the poem is the continuing theme of death, decay, and destruction, which show up in unique but obvious ways in each section. The first half of the poem is more naturally centered, while the second half has a much more urban feel to it. Watch for a dazed, removed tone as well as various historical allusions throughout, which heighten the sense of surreality in the face of destruction (particularly in the “unreal city” portion of the poem).
“This is Just to Say”
https://www.poetryfoundation.org/poems-and-poets/poems/detail/56159
In twelve lines and 28 words, WIlliam Carlos Williams paints a picture of a relationship that is either (depending on the reader’s inclination) comfortably intimate and worn in, or on the verge of a spectacular collapse. Depending on the line of reasoning that the reader chooses, a simple, loving tone or one of dry, biting sarcasm emerges. Either way, the poem’s title situates it as a commonplace interaction of daily life, and the plums are definitely more than just fruit -- they are a symbol of the life that the speaker and addressee share, though what they mean is up for debate.
“The Red Wheelbarrow”
https://www.poetryfoundation.org/resources/learning/core-poems/detail/45502
When reading William Carlos Williams’ “The Red Wheelbarrow,” look out for screaming existential dread wrapped up in the deafening silence of Williams’ utterly simple, declarative language and imagery of a stock farm scene. The picture of a meadow and chickens after a rain is entirely idyllic, but Williams hints at the tip of the iceberg in the first two lines by noting their importance to some unknown entity.
“April”
http://www.poemhunter.com/i/poem_images/189/april-41.jpg
Destruction and warfare are readily apparent in “April,’ where the narrator finds himself utterly razed at the hands of three fate-like creatures. The mention of the olive boughs lying desiccated and stripped on the ground implies a peace process that’s gone horribly wrong, but goes unnoticed by onlookers (curtesy of “the bright mist”). Overall, look for a sense of existentialism and regret hidden among oblivious passers-by. Also, notice how the title contrasts with the content of the poem -- April, traditionally a month of rebirth, here hosts a scene of death and indefinite conclusion.
“Commission”
http://www.bartleby.com/300/82.html
Watch for Pound’s waffling between cynicism and genuine idealism and ambition in the lists of various scourges of the modern world -- some sarcastic, some not. Note the anaphora of “go to,” which gives the poem an active, iussive quality, as well as serving to break the fourth wall by addressing the reader (presumably). Also, notice the somewhat lofty ideals expressed in the poem -- railing against a lack of imagination, an absence of love, the complacency that creeps in with time. Take “Commission” as a communication of Pound’s more essential ideals.
https://www.poetryfoundation.org/poetrymagazine/poems/detail/44212
In a piece as winding and labyrinth-like as this, it helps to keep track of the worlds that Prufrock bounces between throughout the poem. Look for the parlor, the sea, the city, and the anteroom in particular. The changes of world are usually signified by a stark shift in imagery and tone (for example, noir to etherealness when going between the city and the parlor). You can also follow his line of reasoning with regard to the “overwhelming question,” for which he arrives at a conclusion in the Hamlet section. The question combines with the motif of aging and mortality to give the poem a decidedly existential flavor.
“The Wasteland”
https://www.poetryfoundation.org/poems-and-poets/poems/detail/47311
Since there is no decisive consensus on “The Wasteland,” the ordinary reader will benefit from reading the poem as five main worlds, made distinct by the poem’s five primary headings. Throughout the poem is the continuing theme of death, decay, and destruction, which show up in unique but obvious ways in each section. The first half of the poem is more naturally centered, while the second half has a much more urban feel to it. Watch for a dazed, removed tone as well as various historical allusions throughout, which heighten the sense of surreality in the face of destruction (particularly in the “unreal city” portion of the poem).
“This is Just to Say”
https://www.poetryfoundation.org/poems-and-poets/poems/detail/56159
In twelve lines and 28 words, WIlliam Carlos Williams paints a picture of a relationship that is either (depending on the reader’s inclination) comfortably intimate and worn in, or on the verge of a spectacular collapse. Depending on the line of reasoning that the reader chooses, a simple, loving tone or one of dry, biting sarcasm emerges. Either way, the poem’s title situates it as a commonplace interaction of daily life, and the plums are definitely more than just fruit -- they are a symbol of the life that the speaker and addressee share, though what they mean is up for debate.
“The Red Wheelbarrow”
https://www.poetryfoundation.org/resources/learning/core-poems/detail/45502
When reading William Carlos Williams’ “The Red Wheelbarrow,” look out for screaming existential dread wrapped up in the deafening silence of Williams’ utterly simple, declarative language and imagery of a stock farm scene. The picture of a meadow and chickens after a rain is entirely idyllic, but Williams hints at the tip of the iceberg in the first two lines by noting their importance to some unknown entity.
“April”
http://www.poemhunter.com/i/poem_images/189/april-41.jpg
Destruction and warfare are readily apparent in “April,’ where the narrator finds himself utterly razed at the hands of three fate-like creatures. The mention of the olive boughs lying desiccated and stripped on the ground implies a peace process that’s gone horribly wrong, but goes unnoticed by onlookers (curtesy of “the bright mist”). Overall, look for a sense of existentialism and regret hidden among oblivious passers-by. Also, notice how the title contrasts with the content of the poem -- April, traditionally a month of rebirth, here hosts a scene of death and indefinite conclusion.
“Commission”
http://www.bartleby.com/300/82.html
Watch for Pound’s waffling between cynicism and genuine idealism and ambition in the lists of various scourges of the modern world -- some sarcastic, some not. Note the anaphora of “go to,” which gives the poem an active, iussive quality, as well as serving to break the fourth wall by addressing the reader (presumably). Also, notice the somewhat lofty ideals expressed in the poem -- railing against a lack of imagination, an absence of love, the complacency that creeps in with time. Take “Commission” as a communication of Pound’s more essential ideals.
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