This means that even if there are many single daffodils, they are made dancing together by the breeze. According to Durrant, “hough each flower has its own life and movement, all are part of the dance, the pattern that responds to the breeze” ( Wordsworth and the Great System 130). Again, the speaker believes the description of a dance, a harmonious swaying by the wind, to be much more adequate.
By the word “fluttering”, an onomatopoeia, the author establishes a certain impression of a rhythm within the line, and this is why the flowers' movement is so vivid, but not disorganized. Furthermore, a soft “breeze” (6) causes the daffodils to flutter and to dance. Here we are not only informed about what is located around the flowers, but it shows that the observer's mind is active again, insofar as the view is directly focused on “the lake” and “the trees”, using a parallelism that reinforces the perception of nature and the detailed glance at it. The position of the flowers is more precisely explained in line five when the lyric I lets the reader know that the daffodils are growing “beside the lake, beneath the trees”. In doing so, these flowers are presented as more precious- in this way the reader gets more aware of the beauty and importance of the daffodils. The speaker has a closer look at the daffodils which are not just depicted as yellow, but as “golden”. Due to this movement, the latter is capable of “giving it coherence” (ibid). The reason for this rearrangement, as Durrant suggests, is the now active mind of the lyric I. In other words the shapelessness, as of a crowd, which the daffodils at first seemed to exhibit, is turned into a pattern… ( Durrant, William Wordsworth 20). Its shift in perception can be interpreted as being a sudden energy of mind the poet slightly rearranges the pattern they form in his mind, and sees them as a 'host'. At the beginning the daffodils are described as a “crowd” (3), that is as a disorganized accumulation however, the lyric I immediately corrects its first impression by admitting that the flowers are rather growing in a “host” (4). The unexpectedness is further emphasized by an inversion moving the reader's attention towards this first expression. But then, without having expected it (“all at once”, 3), the lyric I awakens from its reverie because it sees “golden daffodils” (4). The observer remains passive, just watching a peaceful landscape while drifting aimlessly over it.
It is remote from the earth, thus seemingly detached and perceiving its surroundings from above, then looking down on “vales and hills” (2). The lyric I opens the poem by comparing itself to a lonely cloud, walking around without any explicitly mentioned purpose or destination. The poem consists of 24- line iambic tetrameter verses which are further organized into four sestets, with a quatrain underlying the rhyme scheme of an alternate rhyme, and a rhyming couplet. Yet this impression has such a deep and intensive effect on the observer that the latter always remembers this extraordinary experience when he or she is “n vacant or in pensive mood” (20). William Wordsworth's poem “I wandered lonely as a cloud” deals with the apparently simple encounter of the lyric I with many daffodils growing in a beautiful landscape and surpassing everything in their elegance and pulchritude. “The subject of these Stanzas is rather an elementary feeling and simple impression (approaching to the nature of an ocular spectrum) upon the imaginative faculty, than an exertion of it.” Analysis of the poems 1.1 Analysis of “I wandered lonely as a cloud” Eventually, facing the similarities and differences, there will be a conclusion about a reader's role in the interpretative process of these two poems, and literary works in general. After having shown the poems' inner form and and content, I will provide a comparative analysis with regard to several aspects such as author and period, circumstances under which the poems came into being, or form and content.
I will begin with “I wandered lonely as a cloud” and investigate the stylistic devices of every stanza, relate them to the latter as a whole, and finally figure out their functions to show how they support my argumentations concerning their ramification.Īs far as Bukowski's “8 count” is concerned, I will continue with the same mode of procedure, showing the formal and stylistic devices as well as how the poem is made up and in what way its composition contributes to the created effect. This term paper will analyse and confront the poems by William Wordsworth and Charles Bukowski.
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