List of Poetic Devices used in Class 11 English (Elective) Woven Words Book Poems
Poetic Devices in Class 11 English Poems – Do you find it tough to identify the poetic devices used in poetry? This post is for you. For the convenience of students of class 11 Elective English, we have gathered all poetic devices in the poems of the Woven Words book. Get familiar with the figures of speech and also see the examples where they have been used.
- Poem 1 – The Peacock
- Poem 2- Let Me Not to the Marriage of True Minds
- Poem 3 – Coming
- Poem 4 – Telephone Conversation
- Poem 5 – The World Is Too Much with Us
- Poem 6 – Mother Tongue
- Poem 7 – Hawk Roosting
- Poem 8 – Ode to a Nightingale
1. Alliteration : Alliteration is the repetition of initial consonant sounds in words that are close together. The alliteration used in the poem The Peacock are ‘arched away’.
2. Allegory : Allegory is the expression of truths or generalizations about human existence by means of symbolic fictional figures and their actions. The Peacock can be read as an allegorical poem, where the description of the bird’s beauty extends to represent deeper themes. It encapsulates the poet’s deep affection and pride for India and her longing for her homeland and its scattered people.
3. Assonance : Assonance is the repetition of vowel sounds within a short sequence of words. Some of the instances of Assonance in the poem The Peacock are ‘seems to come from nowhere’, ‘The slender neck arched’, ‘and as he darts away’, ‘arched away’, ‘bees/In the bushes nearby’, ‘glimpse/of the very end’, ‘veranda/And read a’, ‘one of your favourites’ ‘Violet fringed with golden amber’,and ‘The moment you begin to live/inside the book’.
4. Consonance : Consonance is the repetition of consonant sounds (not necessarily at the beginning of words) within a short sequence of words. Some of the instances in the poem The Peacock are ‘seems to come from’, ‘as he descends’, ‘told/that you have to sit in the’, ‘preferably one of your favourites/with great concentration’, ‘bees/In the bushes nearby’ and ‘he gathers/his tail/To shut those’.
5. Hyperbole : A hyperbole is a rhetorical device that is mainly used to make something look and sound a lot better than it actually is. The poet uses exaggeration to emphasize the magnificence of the peacock by describing the eye patterns on the peacock’s tail as eyes of “amber” and “gold” creates an ethereal and almost magical effect, going beyond a literal description.
6. Imagery : Imagery is a literary device used in poetry, novels, and other writing that uses vivid description that appeals to a readers’ senses to create an image or idea in their head. This is perhaps the most prominent device. Bhatt uses highly descriptive language to create a visual feast for the reader, focusing on the peacock’s beauty and movements. Some of the instances in the poem are “a flash of turquoise”, “blue shadow”, “dark glowing eyes, / Violet fringed with golden amber” and “slender neck arched away”. These images engage the reader’s senses and make the peacock’s presence almost tangible. Beyond just visual imagery, the poem engages in auditory imagery like “His loud sharp call”, “steady hum of bees / In the bushes nearby will stop”. The phrase “It is the tail that has to blink” is the kinesthetic imagery describing the movement of the peacock’s tail as it contracts or expands, which can be interpreted as a sort of collective “blinking” of all those eye-like markings.
7. Personification : Personification is a figure of speech that is used to attribute human characteristics to something that is not human. Bhatt gives human-like qualities to the peacock. The peacock is referred to as “He” and “His” throughout the poem, lending it a sense of agency and importance. The idea of the peacock’s tail having to “blink / For eyes that are always open” personifies the eye patterns on its feathers, giving them a watchful, almost sentient quality.
8. Symbolism : Symbolism is a literary device where symbols—such as characters, objects, or ideas—represent something else. The peacock itself is a central symbol in the poem. It symbolizes cultural pride and the yearning for the poet’s homeland, India. The vibrant colors and majestic presence of the peacock are often associated with India’s rich heritage. The elusive nature of the peacock mirrors the challenges of reconnecting with one’s cultural identity, especially for a diasporic writer like Bhatt. The act of the peacock gathering its tail to “shut those dark glowing eyes” can symbolize the moment of withdrawal or mystery inherent in such a beautiful and wild creature.
Related:
Poem 2- Let Me Not to the Marriage of True Minds
1. Alliteration : The repetition of initial consonant sounds in words close to each other. The alliteration in “marriage of true minds”, “compass come”, “Whose worth’s”, and “remover to remove” which adds a subtle musicality and cohesion to the lines, making them more memorable and impactful.
2. Assonance : Assonance is the repetition of similar vowel sounds within words that are close to each other, but whose consonant sounds may differ. It creates an internal rhyme, rhythm, and musicality. Some of the instances of Assonance are “Let me not to the marriage of true minds”,”Admit impediments. Love is not love“, “Which alters when it alteration finds”, “Or bends with the remover to remove.”, “ever-fixed”, “tempests and is never shaken”, “O no”, “looks on”, “never shaken”, “every wandering”, “Whose worth’s unknown, although”, “height be taken”, “Love’s not Time’s fool, though rosy”, “Within his bending sickle’s”, “with his brief”.
3. Consonance : Consonance is the repetition of similar consonant sounds within words that are close to each other, especially at the end of words or in the middle, but with different vowel sounds. Some of the instances of Consonance are “Let me not to the marriage of true minds/Admit impediments”, “It is the star to every wandering bark”, “never shaken”, “wandering bark,/Whose worth’s unknown”, “although his height be taken”, “rosy lips and cheeks”, “sickle’s compass”, “compass come” and “never writ, nor no man”.
4. Hyperbole : Hyperbole is exaggerated statements or claims not meant to be taken literally, used for emphasis or effect. The concluding couplet employs hyperbole: “If this be error, and upon me proved, / I never writ, nor no man ever loved.” The speaker’s claim that if his definition of love is wrong, then he has never written (thus invalidating his entire poetic career) and no one has ever loved, is an extreme exaggeration. It serves to powerfully underscore his absolute conviction in the eternal and unwavering nature of true love.
5. Negation/Apostrophe (Implicit): Negation is the use of negative statements to define something by what it is not. Apostrophe is a figure of speech in which a speaker directly addresses someone or something (often an abstract idea) that is not present or cannot respond. The sonnet extensively uses negation to define love, starting with “Let me not to the marriage of true minds / Admit impediments. Love is not love / Which alters when it alteration finds.” This repeated use of “not” and “no” rigorously establishes what true love is not, thereby emphasizing its absolute and unshakeable qualities by excluding all that would diminish it. While not a direct address, the speaker’s firm declarations against false notions of love can implicitly be seen as an address to those who misunderstand its true nature.
6. Imagery : Imagery refers to the use of descriptive language that appeals to one or more of the five senses (sight, sound, smell, taste, touch) to create vivid mental pictures or sensory experiences for the reader. A steadfast “mark” (lighthouse) enduring the “tempests” (storms) and a luminous “star” guiding a “wandering bark” (ship) creates visual imagery. These images appeal directly to the reader’s sense of sight, making love’s abstract qualities tangible and relatable. There’s a strong contrast between the stability of the “ever-fixed mark” and the “star” versus the turbulent “tempests” and the aimless “wandering bark.” This contrast highlights love’s power to remain constant amidst chaos and uncertainty.
7. Metaphor : A metaphor is a figure of speech that directly compares two unlike things without using “like” or “as,” stating that one thing is another. The sonnet is rich in metaphors for love. Love is directly called “an ever-fixed mark”, comparing it to a lighthouse or a fixed beacon that stands firm against storms, guiding ships. It is also called “the star to every wandering bark”, directly comparing love to the North Star, which historically guided sailors and remained constant. These metaphors emphasize love’s steadfastness, guidance, and unwavering presence.
8. Personification : Personification is a figure of speech where human qualities or actions are attributed to inanimate objects or abstract ideas. In the sonnet, “Time” is personified. It is referred to with the pronoun “his” and depicted as having a “bending sickle”, an attribute of the Grim Reaper. This personification makes Time an active force of decay and change, against which love is specifically presented as being impervious (“Love’s not Time’s fool”).
9. Repetition : The reoccurrence of a word, phrase, or idea for emphasis. The repetition of the root word “alter” (“alters when it alteration finds”) and “remove” (“bends with the remover to remove”) creates a strong rhetorical rhythm. This repetition emphasizes the very actions that true love supposedly does not do, reinforcing the theme of constancy. The similar sounds also create a sense of linguistic neatness, mirroring the clear and logical definition of love being presented.
10. Symbolism : Symbolism is the use of objects, people, or ideas to represent something else. “Rosy lips and cheeks” symbolize youthful physical beauty and vitality, which are inherently transient. The “bending sickle” is a potent symbol of death, decay, and the destructive power of Time. The “ever-fixed mark” and “star” symbolize constancy, guidance, and unchanging reliability. “Wandering bark” symbolizes a lost or uncertain soul, seeking guidance.
Related:
- Let Me Not to the Marriage of True Minds Summary and Explanation
- Let Me Not to the Marriage of True Minds Question Answers
1. Alliteration : Alliteration is the repetition of consonant sounds in the same line in quick successions.
- “fresh-peeled voice”
- “serene / Foreheads of houses”
The repetition of the ‘p’ sound creates a crisp, gentle rhythm in “fresh-peeled voice”. The repetition of the ‘h’ sound is soft and calming in “serene / Foreheads of houses”.
2. Imagery : Imagery is used to make readers perceive things involving their five senses.
- “Light, chill and yellow”
- “Foreheads of houses”
- “A thrush sings, / Laurel-surrounded / In the deep bare garden”
- “Its fresh-peeled voice / Astonishing the brickwork”
Larkin vividly describes the setting and sounds of early spring evenings. These lines create visual and auditory imagery that immerses the reader in the scene.
3. Personification : Personification is the representation of an abstract quality or idea in the form of a person, creature, etc., as in art and literature.
- “Light, chill and yellow, / Bathes the serene / Foreheads of houses”
Light is personified as if it can bathe houses, and houses are given “foreheads,” humanizing them.
4. Simile : It is a literary device that compares two unlike or different things.
- “Feel like a child / Who comes on a scene / Of adult reconciling”
The speaker compares himself to a child witnessing an adult situation, evoking confusion and unexpected joy.
5 Symbolism : It is the use of an object, person, situation or word to represent something else, like an idea, in literature.
- Spring symbolizes renewal and emotional awakening.
- The thrush’s song may symbolize hope or innocence, breaking through the mundane.
Related:
Poem 4 – Telephone Conversation
1. Alliteration : Alliteration is the repetition of initial consonant sounds in words close together. Some of the instances of alliteration are ‘Silence. Silenced’, ‘silence, surrender’, ‘clinical, crushing’, ‘Silence for spectroscopic/Flight of fancy, till truthfulness’, ‘Friction, caused—Foolishly’ and ‘receiver rearing’.
2. Assonance : ‘The price seemed reasonable’, ‘Silence. Silenced transmission of/Pressurised good-breeding’, ‘Voice, when it came’, ‘long gold-rolled/Cigarette-holder pipped’, ‘Red double-tiered’, ‘ill-mannered silence, surrender’, ‘Pushed dumbfounded’, ‘clinical, crushing in its light/Impersonality’, ‘African sepia’—and as afterthought’, ‘see/The rest of me’ and ‘Her receiver rearing on the thunderclap’.
3. Auditory Imagery : The “Silence. Silenced transmission” after the speaker’s confession of being African is a powerful example of auditory imagery, conveying the landlady’s shock and judgment more effectively than words. When her voice returns, it’s described as “Lipstick coated,” suggesting a smooth, artificial sound, later becoming “Hard on the mouthpiece” when she loses her composure. The thought of her “receiver rearing on the thunderclap” about his ears conveys the imagined harshness of her reaction.
4. Consonance : Consonance is the repetition of consonant sounds within nearby words, regardless of the vowel sounds. Some of ghe instances of consonance are ‘reasonable, location/Indifferent’, ‘Nothing remained/But self-confession’, ‘Silence. Silenced transmission of/Pressurised good-breeding’, ‘Lipstick coated, long gold-rolled/ Cigarette-holder pipped’,
‘Stench/Of rancid breath of public hide-and-speak’, ‘Red double-tiered’, ‘ill-mannered silence, surrender’, ‘Pushed dumbfounded’, ‘Considerate she was’, ‘like plain or milk chocolate’, ‘Hard on the mouthpiece’, ‘peroxide blonde’, ‘Her receiver rearing on the thunderclap’ and ‘rather/See for yourself’.
5. Hyperbole : Hyperbole is exaggerated statements or claims not meant to be taken literally, used for emphasis or effect. The “Palm of my hand, soles of my feet Are a peroxide blonde.” is a clear hyperbole. While palms and soles are lighter, they are not literally “peroxide blonde.” This exaggeration is used for comic effect and to highlight the absurdity of categorizing skin color with such literal exactness. The line “My bottom raven black” is another hyperbole. While some areas of skin might be darker, “raven black” is an exaggeration, again used to push the landlady’s obsession with color to a ridiculous extreme.
6. Irony : Irony is a literary device where there’s a contrast between what is said and what is actually meant, or between what appears to be and what is actually true. In “Telephone Conversation,” irony is a central and powerful poetic device used to expose the absurdity and hypocrisy of racism.
The most obvious example of irony comes from the landlady’s initial questions about the speaker’s skin color. She asks, “HOW DARK?” and then offers choices: “ARE YOU LIGHT OR VERY DARK?” and later, “ARE YOU DARK? OR VERY LIGHT?” On the surface, these seem like simple questions, but the devastating irony lies in their underlying racist assumption. Her supposed “good-breeding” and polite behavior are utterly undermined by the rude, racially motivated inquiry. She is trying to categorize a human being based purely on skin pigmentation for the purpose of renting a room, revealing her prejudiced mind beneath a facade of civility. The speaker’s sarcastic “Considerate she was, varying the emphasis” further highlights this, as her “consideration” is actually a deeply offensive attempt to box him into a racial stereotype. Another layer of irony appears in the speaker’s own responses. When he offers descriptions like “plain or milk chocolate” or “West African sepia,” he is using sophisticated or acceptable terms to describe something the landlady has reduced to a rude, two-fold choice. This is ironic because his civilised language is lost on her, and his attempts to elevate the conversation only lead to her blunt, accent-changing questions like “WHAT’S THAT?” or “THAT’S DARK, ISN’T IT?” His sophisticated attempts to define his identity are met with ignorant bluntness, exposing the tragicomic gap between their worlds. The final ironic moment comes when the speaker describes his varying skin tones, crucial in the shocking claim that his “bottom raven black” due to “friction.” This exaggerated, absurd description is deeply ironic because it directly confronts the landlady’s obsession with color with an image so rude and personal that it forces her to confront her own offensive prejudice. The ultimate irony is that she is so concerned with his “darkness” for a property rental, yet the speaker reveals a “darkness” that is comically ordinary and private, turning her racial scrutiny into an object of ridicule. The poem, through its masterful use of irony, doesn’t just state that racism is wrong; it vividly portray its illogical, dehumanizing, and utterly ridiculous nature.
7. Imagery : Imagery refers to the use of descriptive language that appeals to our senses (sight, sound, smell, touch, taste) to create vivid mental pictures and sensory experiences. In “Telephone Conversation,” Soyinka uses rich and often contrasting imagery to paint a picture of both the physical setting and the underlying emotional and racial tension.
8. Metaphor : A metaphor is a direct comparison between two unlike things, stating that one is the other, without using “like” or “as.” The line “Voice, when it came, Lipstick coated, long gold-rolled Cigarette-holder pipped.” is a metaphor. The voice itself isn’t literally coated in lipstick or holding a cigarette holder. Instead, these descriptions create a metaphorical image of the voice’s quality – it’s artificial, perhaps affected, smooth but hinting at underlying hardness, reflecting the speaker’s perception of the landlady’s persona. The line “Stench Of rancid breath of public hide-and-speak” is a metaphor. The “Public hide-and-speak” is a metaphor for the telephone booth itself, or the anonymous nature of phone conversations that allows for prejudiced speech without direct answerability. The “rancid breath” is a metaphor for the foul, disgusting nature of the prejudice being expressed. ‘Revelation came’ implies that understanding or insight “came” to him like a sudden arrival, a metaphorical epiphany, on how to deal with her prejudiced question. ‘Wave-length adjusted’ is a metaphor borrowed from radio or communication. It suggests the speaker quickly “tuned in” to the landlady’s narrow, prejudiced way of thinking, adjusting his own communication style to try and meet her on her terms. ‘Spectroscopic Flight of fancy’ is a metaphorical phrase. “Spectroscopic” implies a scientific, detailed analysis (like a spectroscope analyzing light), which is ironic when applied to the landlady’s limited understanding. “Flight of fancy” here is a metaphorical description of the speaker’s elaborate, almost poetic self-description, which he knows will be too complex for her.
9. Visual Imagery : The poem is rich in visual details. We see the “Lipstick coated” and “gold-rolled Cigarette-holder” associated with the landlady’s voice, painting a picture of her civilised, almost artificial, appearance. This contrasts sharply with the bluntness of her questions. The setting of the phone call is brought to life with “Red booth. Red pillar-box. Red double-tiered Omnibus.” The repetition of “Red” is striking. Red can symbolize anger, shame, and the speaker’s heightened emotional state, or perhaps even the blood of racial injustice. This stark, vibrant red setting makes the abstract racial prejudice feel very real and inescapable. Later, the speaker’s self-deprecating but ironic description of his skin tones—”plain or milk chocolate,” “West African sepia,” “peroxide blonde” palms, and “raven black” bottom—creates a complex and memorable visual portrait that challenges the landlady’s simplistic worldview.
10. Olfactory Imagery : The “Stench / Of rancid breath of public hide-and-speak” is a vivid olfactory image. “Rancid” suggests something rotten, stale, and offensive, while “hide-and-speak” refers to the anonymity of the phone booth which allows for such prejudice. This powerful image conveys the speaker’s disgust and the moral decay associated with hidden racism.
11. Onomatopoeia : Onomatopoeia is the formation of a word from a sound associated with what is named. The phrase “squelching tar” directly imitates the sound of the heavy bus tires moving through or flattening soft tar, making the sensory experience of the street more realistic.
12. Personification : Personification is a poetic device where human qualities, emotions, or actions are attributed to inanimate objects, abstract ideas, or animals. It makes non-human things seem alive and relatable. In the lines “Silence. Silenced transmission of / Pressurised good-breeding,” the abstract concept of “good-breeding” is personified.”Good-breeding” is described as being “pressurised.” This implies that it’s under stress, being held back, or being forced to maintain a certain facade. It’s as if the “good-breeding” itself is struggling to contain the landlady’s underlying prejudiced thoughts and feelings. In the lines “Voice, when it came, / Lipstick coated, long gold-rolled / Cigarette-holder pipped,” the landlady’s voice is personified. A voice, being an abstract sound, cannot literally wear lipstick, hold a cigarette holder, or “pip”. By saying “Revelation came,” the poet gives this abstract concept a sense of independent existence and action. It suggests that the understanding wasn’t just a passive thought in the speaker’s mind; it arrived actively, almost as if it were a distinct entity entering his consciousness. This makes the moment of insight feel more dramatic, sudden, and powerful for the speaker, emphasizing the cleverness of his “chocolate” analogy. The “receiver” (the phone handset) is personified. It’s described as “rearing,” like an animal or a horse about to bolt or react violently, and poised on a “thunderclap.” This vividly conveys the speaker’s sudden awareness of the landlady’s predicted angry reaction or her about to hang up, giving the inanimate object a threatening, almost alive quality.
13. Repetition : Repetition is the recurrence of words, phrases, or ideas. It is used for emphasis, rhythm, or to create a particular effect. The repetition of “Red booth. Red pillar-box. Red double-tiered Omnibus” is a strong example of repetition. This repeated “Red” emphasizes the oppressive, alarming, or even shameful atmosphere surrounding the speaker as he confronts direct racism. It makes the setting feel obvious and unforgettable.
14. Simile : Simile is a figure of speech that directly compares two unlike things, using the words “like” or “as.” In this line, ‘You mean—like plain or milk chocolate?’ the speaker explicitly compares different shades of human skin color to “plain or milk chocolate” using the word “like.” It subtly highlights the absurdity and dehumanizing nature of her question, as she is reducing human identity to the shades of a commercial product. The speaker is effectively mocking her limited racial vocabulary by providing an analogy (comparison between things that have similar features) she might comprehend.
15. Tactile Imagery : Tactile imagery is a literary device that uses descriptive language to evoke the sense of touch such as texture, temperature, and pressure, allowing readers to imagine how something might feel. Although less explicit, the feeling of being “Caught I was, foully” hints at a sense of being physically trapped or being captured by the landlady’s prejudice. The description of his “bottom raven black” due to “Friction, caused… by sitting down” brings in a subtle tactile element, grounded in a physical sensation that leads to the absurd visual.
16. Wordplay : Wordplay often involves using words in a way that is intended to be funny or witty. This can be achieved through puns, double entendres, or other forms of verbal humor. The phrase “public hide-and-speak” in “Telephone Conversation” is a brilliant example of wordplay, specifically a pun or a neologism (a newly coined word/phrase) that plays on a well-known children’s game. The most obvious connection is to the game “hide-and-seek.” This game involves players hiding while another seeks them, then revealing themselves. By twisting it to “hide-and-speak,” Soyinka immediately creates a sense of something familiar yet distorted, implying a darker, less innocent version of the game.
Related:
Poem 5 – The World Is Too Much with Us
1. Alliteration: Alliteration is the repetition of initial consonant sounds in words that are close together. The alliteration used in the poem is ‘Great God!’
2. Apostrophe : Apostrophe is when the speaker directly addresses someone or something (often an abstract idea, an absent person, or an inanimate object) that cannot respond. For an instance, “Great God! I’d rather be / A Pagan suckled in a creed outworn”, the speaker directly addresses “Great God!” This is a moment of intense emotion and frustration, a direct plea or exclamation to a divine power, emphasizing the depth of his despair over humanity’s detachment from nature.
3. Assonance : Assonance is a poetic device characterized by the repetition of vowel sounds within nearby words, even if the words do not rhyme and their consonant sounds differ. Some of the instances of Assonance in the sonnet are ‘We have given our hearts’, ‘Little we see in Nature’, ‘pleasant lea’ and ‘Or hear old Triton blow his wreathèd horn’.
4. Allusion: Allusion is an indirect or passing reference to a person, place, thing, or idea of historical, cultural, literary, or political significance. ‘A Pagan suckled in a creed outworn’ is an allusion to ancient pagan religions, which predate Christianity and were often characterized by a worship of nature and its deities. The phrase “suckled in a creed outworn” suggests being nurtured or raised within an old, discarded belief system. This allusion immediately brings to mind a worldview where nature is sacred and alive with divine presence, contrasting sharply with the materialistic modern world. “Proteus rising from the sea” is an allusion to Proteus, a minor sea deity in Greek mythology. He was known for his ability to change shape and his knowledge of the past, present, and future. Seeing him would signify a deep, mystical connection to the ancient, powerful, and mysterious forces of nature that are beyond human control or understanding. The “old Triton blow his wreathèd horn” is an allusion to Triton, the merman son of the sea god Poseidon in Greek mythology. He is typically depicted blowing a conch shell (his “wreathèd horn”) to calm or raise the waves. Hearing him would signify a direct auditory connection to the voice and power of the sea, again emphasizing a lost, ancient spiritual bond with nature.
5. Caesura : Caesura is a strong pause or break within a line of poetry, often marked by punctuation. “It moves us not.—” The dash after “not” creates a distinct pause, emphasizing the shocking lack of emotional response from humanity before the speaker’s outburst. This dramatic break highlights the central problem.
6. Consonance: Consonance is a literary device that refers to the repetition of consonant sounds in nearby words. Some of the instances of consonance are ‘Getting and spending, ‘pleasant lea’, ‘sight of Proteus rising from the sea’ and ‘Or hear old Triton blow his wreathèd horn’.
7. Enjambment : Enjambment is the continuation of a sentence or phrase from one line of poetry to the next without a pause indicated by punctuation. In the sonnet, “The Sea that bares her bosom to the moon; / The Winds that will be howling at all hours, / And are up-gathered now like sleeping flowers, / For this, for everything, we are out of tune;” These lines flow into each other, creating a continuous thought about nature’s grandness. Moreover, the lines, “So might I, standing on this pleasant lea, / Have glimpses that would make me less forlorn;” flows to complete the idea of seeing nature with new eyes. Enjambment creates a sense of natural speech flow, preventing the poem from becoming too rigid and allowing the ideas to build momentum.
8. Exclamation : An exclamation is a sudden cry or remark, especially expressing surprise, anger, or pain. “A sordid boon!” and “Great God!” are the exclamations that highlight the speaker’s strong feelings of disappointment, disgust, and a yearning for something more profound than material pursuits.
9. Imagery : Imagery uses descriptive language that appeals to the five senses, creating vivid mental pictures or sensory experiences. “The Sea that bares her bosom to the moon” is a visual imagery that creates a beautiful visual of the vast sea under moonlight, possibly showing the gentle swell of waves. “The Winds that will be howling at all hours,/And are up-gathered now like sleeping flowers” evokes a peaceful, delicate visual of flowers closed in slumber. The “glimpses that would make me less forlorn” evokes fleeting but impactful visions that uplift the spirit. The “sight of Proteus rising from the sea” creates a powerful and majestic visual of a mythical figure emerging from the ocean, suggesting grandeur and awe. William Shakespeare has used auditory Imagery in the line “hear old Triton blow his wreathèd horn”, which vividly brings to mind the distinct sound of a conch shell horn, connecting the reader directly to the imagined sound of the sea god. The line “The Winds that will be howling at all hours”, directly appeals to the sense of hearing, creating the distinct sound of powerful, vocal winds. The phrase “pleasant lea” provides a gentle visual image of a “pleasant” (agreeable, enjoyable) “lea” (a meadow or grassy field). This simple, serene setting is where the speaker wishes to stand, suggesting a desire for peace and direct connection with nature.
10. Metaphor : A metaphor is a direct comparison between two unlike things, stating that one is the other, without using “like” or “as.” In the line, “Getting and spending, we lay waste our powers”, the act of excessive consumerism and materialism is compared to a destructive force that “lays waste” or squanders our natural human abilities and spiritual energy. Our spiritual strength is being treated like a resource that can be depleted. In the line, “We have given our hearts away, a sordid boon!”, our “hearts” (representing our emotional and spiritual core, our capacity for wonder and connection) are metaphorically given away in exchange for worldly pursuits. The “sordid boon” is an ironic metaphor – it’s called a “boon” (a blessing) but is described as “sordid” (dirty, shameful), highlighting the terrible cost of this exchange.
11. Oxymoron : A figure of speech in which apparently contradictory terms appear in conjunction (a compressed paradox). The phrase “a sordid boon!” is a powerful instance of both. A “boon” is something beneficial, a blessing, or an advantage. “Sordid” means morally ignoble, dirty, or contemptible. Calling something that is supposedly a “boon” (a good thing, like material wealth or convenience) “sordid” is a direct contradiction. This paradox highlights the speaker’s bitter realization that what society considers a gain (material acquisition) is, in fact, a shameful loss of spiritual vitality.
12. Personification : Personification is when human qualities or actions are given to inanimate objects or abstract ideas. Wordsworth uses personification to bring nature to life. In the poem, ‘The World’ is not just the planet, but represents human society, its materialistic concerns, and its preoccupations. It is personified as being overly present or demanding, almost intruding upon or overwhelming humanity. In the line, “The Sea that bares her bosom to the moon”, the sea is given the human action of “baring her bosom,” making it seem like a nurturing, feminine figure openly displaying itself to the moon. In the line, “The Winds that will be howling at all hours”, the winds are given the human-like ability to “howl,” suggesting a wild, mournful, or powerful sound. In the line, “And are up-gathered now like sleeping flowers”, the winds are also described as being “up-gathered,” a human action, and compared to “sleeping flowers,” giving them a sense of gentle repose. In the line “It moves us not.”, the “It” here refers to nature’s grand displays (the sea, the winds), which are implicitly personified by the very idea that they could or should “move” human beings emotionally or spiritually. The statement highlights humanity’s failure to be affected by nature, as if nature is trying to exert an influence that humans are resisting.
13. Simile : A simile is a comparison between two unlike things using “like” or “as.” In the line, “And are up-gathered now like sleeping flowers”, the winds, which are usually boisterous, are compared to “sleeping flowers.” This simile creates an image of gentle, temporary stillness, emphasizing nature’s quiet power when not active.
Related:
- The World Is Too Much with Us Summary and Explanation
- The World Is Too Much with Us Question Answers
The poem “Mother Tongue ” by Padma Sachdev consists of the following poetic devices:-
1. Imagery : Imagery is used to make readers perceive things involving their five senses.
- “I approached a stem
- Swinging on a reed”
These lines create a vivid picture of the reed moving in nature, helping readers visualize the setting and the poet’s interaction with it.
2. Metaphor : It is a figure of speech in which an implied comparison is made between objects that are different in nature.
- “That Shahni is my mother tongue, Dogri”
The mother tongue is metaphorically described as a noble lady (“Shahni”), showing respect and affection for the language.
3. Personification : Personification is the representation of an abstract quality or idea in the form of a person, creature, etc., as in art and literature.
- “Irritated, he said
- I gave you one only the other day…”
The reed is given human qualities such as irritation and speech, making it seem alive and able to communicate with the poet.
4. Symbolism : It is the use of an object, person, situation or word to represent something else, like an idea, in literature.
- “Give me, a quill, quickly
- She must be looking for me”
The quill symbolizes the poet’s tool for writing and expressing her mother tongue, which is eagerly waiting for her creative voice.
Related:
The poem “Hawk Roosting ” by Ted Hughes consists of the following poetic devices:-
1. Imagery
Imagery is used to make readers perceive things involving their five senses.
- “My feet are locked upon the rough bark.”
Hughes uses vivid, sensory language to describe the hawk’s power and the natural world. This evokes the sense of touch and stability, emphasizing control.
2. Metaphor : It is a figure of speech in which an implied comparison is made between objects that are different in nature.
- “Now I hold Creation in my foot.”
The hawk becomes a metaphor for authoritarian power or dictatorship. This line implies control over life, nature, and even divine creation.
3. Personification : Personification is the representation of an abstract quality or idea in the form of a person, creature, etc., as in art and literature.
- “My eye has permitted no change.”
The hawk is given human qualities, such as the ability to reason, reflect, and speak.
4. Symbolism : It is the use of an object, person, situation or word to represent something else, like an idea, in literature.
- The hawk symbolizes dominance, violence, and an unchallenged power, possibly reflecting human tyranny. Its features, actions, and worldview all contribute to this symbolic role.
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1. Alliteration : Alliteration is the repetition of the same starting sound in words that are close together. This creates a musical effect and draws attention to certain phrases. Some of the instances of alliteration in the poem are ‘Singest of summer’, ‘deep-delved’, ‘song, and sunburnt’, ‘beaded bubbles’, ‘Fade far’, ‘self-same song’, ‘tread thee’, ‘do, deceiving’, ‘still stream’ and ‘sole self’.
2. Allusion : Allusion is a reference to a well-known person, place, event, literary work, or myth outside the poem. Keats uses many allusions that add depth to his work. For instance, he mentions “Lethe,” a mythical river in Greek mythology that makes the dead forget. He also refers to “Flora,” the Roman goddess of flowers, and “Hippocrene,” a mythical fountain that inspires poetry. The mention of “Ruth” from the Bible connects the nightingale’s song to a universal human experience of homesickness and sorrow.
3. Apostrophe: Apostrophe is a direct address to someone or something that is absent, dead, or cannot respond. The entire poem is an extended example of apostrophe because the speaker talks directly to the nightingale (“Thou, light-winged Dryad,” “immortal Bird!”) even though the bird cannot talk back. This creates a strong sense of personal connection and intensity in the speaker’s feelings.
4. Assonance: Assonance is the repetition of similar vowel sounds within words that are close to each other. Some of the instances of Assonance in the poem are ‘though of hemlock’, ‘emptied some dull opiate’, ‘light-winged’, ‘some melodious plot’, ‘beechen green’, ‘that hath’, ‘the deep-delved earth’, ‘leave the world unseen’, ‘Fade far away’, ‘The weariness, the fever, and the fret’, ‘new Love pine’, ‘beyond tomorrow’, ‘Thou wast not born for death, immortal’, ‘generations tread thee’, ‘Charm’d magic casements’, ‘opening on the foam, fancy cannot cheat’, ‘plaintive anthem fades/Past the near meadows’, ‘buried deep’.
5. Consonance : Consonance is a literary device where the same consonant sound is repeated in nearby words. This repetition can happen anywhere in the words – at the beginning, in the middle, or at the end. Some of the instances of consonance in the poem are ‘drowsy numbness pains’, ‘though of hemlock’, ‘envy of thy happy’,’Tis not through’, ‘too happy in thine happiness,/That thou’, ‘shadows numberless,/Singest of summer’,’draught of vintage’, ‘that hath’, ‘light-winged’, ‘deep-delved’, ‘country green’, ‘Dance, and Provencal song, and sunburnt mirth’, ‘the blushful Hippocrene’, ‘beaded bubbles’, ‘with thee fade away into the forest’, quite forget/What thou’, ‘palsy shakes a few, sad, last gray hairs’, ‘And leaden-eyed despairs’, ‘never known’, ‘Thou wast not born for death’, ‘immortal Bird!’, ‘hungry generations tread thee’, ‘The voice I hear this passing night was heard’, ‘Through the sad heart of Ruth’, ‘She stood in tears, The same that oft-times hath’, ‘Charm’d magic casements’, ‘perilous seas’, ‘in faery lands forlorn’, ‘Forlorn! the very word’, ‘fancy cannot cheat’, ‘thy plaintive anthem’, ‘buried deep’.
6. Imagery: Imagery is a poetic device that uses descriptive language to create vivid pictures and sensations in the reader’s mind, appealing to the five senses: sight, sound, smell, taste, and touch. The poem features rich visual imagery, depicting lush scenes like “beechen green, and shadows numberless” in the forest and the enticing description of wine with “beaded bubbles” and a “purple-stained mouth.” It conveys human sadness through phrases like “youth grows pale” and “Beauty cannot keep her lustrous eyes,” highlighting loss. The “magic casements” evoke a sense of adventure. Auditory imagery is prominent, emphasizing the nightingale that “Singest of summer in full-throated ease,” against the background of men who “groan” in suffering. The word “Forlorn!” serves as a somber reminder of reality. Taste and smell are also present, with mentions of “hemlock” and wine “Tasting of Flora and the country green,” suggesting nature’s vibrant essence. Tactile and kinesthetic imagery add depth, describing the speaker’s “drowsy numbness” and the wine’s “Cool’d a long age in the deep-delved earth.” Human suffering is illustrated through sensations of “weariness, fever, and fret,” while the nightingale’s graceful movements are evoked as it “darts away,” reflecting the speaker’s desire to “fade far away.”
7. Metaphor : A metaphor is a figure of speech where a word or phrase is applied to an object or action to which it is not literally applicable, suggesting a resemblance without using “like” or “as.” For example, the poet calls the nightingale a “light-winged Dryad of the trees,” directly comparing the bird to a mythical tree spirit. When he talks about a “beaker full of the warm South,” he is metaphorically describing the wine as embodying the warmth and spirit of a vibrant southern region.
8. Oxymoron : An oxymoron is a figure of speech that combines two words that seem to contradict each other. The poem starts with an oxymoron: “drowsy numbness pains.” “Numbness” usually means no feeling, but here it “pains,” showing a complex and confusing state. Another example is “waking dream,” which combines being awake with being in a dream, highlighting the blurred line between reality and imagination.
9. Onomatopoeia : Onomatopoeia is the use of words that imitate the sounds they describe. While not as heavily used as other devices, there are subtle instances. When the poet mentions men who “groan,” the word itself mimics the sound of pain or despair. Similarly, the word “toll” in “like a bell / To toll me back” imitates the deep, slow sound of a bell, emphasizing its impact on the speaker.
10. Personification : Personification is giving human qualities or actions to inanimate objects or animals. The poem gives human traits to non-human things, like “beaded bubbles winking at the brim,” as if the bubbles have eyes and can blink. Also, “Beauty cannot keep her lustrous eyes” gives beauty the human ability to have eyes and keep them bright. This makes the non-human elements feel more alive and relatable.
11. Simile : A simile is a comparison between two different things using the words “like” or “as.” The poet uses a simile when he says his “sense, as though of hemlock I had drunk,” comparing his feeling of numbness to the effect of a deadly poison. Later, when he is pulled back to reality, he says, “Forlorn! the very word is like a bell / To toll me back,” comparing the sudden, jarring feeling to the sound of a bell.
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