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Scholars have noted that the form of the poem follows the content: the wavelike quality of the long-then-short lines parallels the narrative thread of the poem. The extended metaphor of "crossing the bar" represents travelling serenely and securely from life into death. The Pilot is a metaphor for God, whom the speaker hopes to meet face to face.
A writer learning the craft of poetry might use the tools of poetry analysis to expand and strengthen their own mastery. [4] A reader might use the tools and techniques of poetry analysis in order to discern all that the work has to offer, and thereby gain a fuller, more rewarding appreciation of the poem. [5]
In the mid-19th-century, the phrase "the harbor bar be moaning" in the poem and lyric "Three Fishers" connected working-class suffering to the noises. Later in that century, Alfred Lord Tennyson wrote " Crossing the Bar ", coupling "May there be no moaning of the bar" with images of life's end, and then designated it as essentially his own requiem.
The Well Wrought Urn: Studies in the Structure of Poetry by Cleanth Brooks and Paul Rand. Harcourt, Brace 1975 ISBN 9780156957052 "Review of Poems, in Two Volumes by Francis Jeffrey, in Edinburgh Review, pp. 214–231, vol. XI, October 1807 – January 1808; Composed upon Westminster Bridge, September 3, 1802 in audio on Poetry Foundation
The poem is a distorted view of a single reality, and the variation in meter can be seen to reflect the manic-depressive emotional tone of the speaker. While the poem was Tennyson's own favourite (he was known very willingly to have recited the poem in its entirety on social occasions), it was met with much criticism in contemporary circles.
Symphonic poem, "A Vision of Life" for soprano, bass, chorus & orchestra p. 1907; revised 1914 "Eton Memorial Ode" (Bridges) for chorus & orchestra p. 1908 "Ode on the Nativity" (Dunbar) for soprano, chorus & orchestra p. 1912; Naval Ode "The Chivalry of the Sea" (Bridges) for chorus & orchestra p. 1916
He published 10 poetry collections and one book about writing poetry (see references below). One of Booth's early poems, "Chart 1203," is indicative of the physical character of some of his poetry and also of his lifelong love of the sea and sailing: [6] Whoever works a storm to windward, sails in rain, or navigates in island fog,
Flow Chart is easily all of these things... Ashbery has shown us again that he can go more than the distance we expect of great poets, but neither the terrain he covers nor the course he takes is altogether very exciting. Flow Chart is a great accomplishment, but it sometimes reads more like a big effort than a real tour de force." [2]