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The Old Vicarage, Grantchester" is a light poem by the English Georgian poet Rupert Brooke (1887–1915), written in Berlin in 1912. Initially titled "The Sentimental Exile", Brooke, with help from his friend Edward Marsh , renamed it to the title the poem is now commonly known as.
She also suggests that the poem expresses "Stevens's delicately implicit trope of drinking tea as a metaphor for reading (ingesting a drink from leaves)." [5] She notes that Stevens was a tea-fancier. [6] Robert Buttel characterizes this poem as light, witty, and rococo, and as displaying compression, concentration, and precision.
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]
The poem uses the image of a flowering plant - specifically that of a chasmophyte rooted in the wall of the wishing well - as a source of inspiration for mystical/metaphysical speculation [1] and is one of multiple poems where Tennyson touches upon the topic of the relationships between God, nature, and human life. [2]
Illustration from Floral Poetry and the Language of Flowers (1877). According to Jayne Alcock, grounds and gardens supervisor at the Walled Gardens of Cannington, the renewed Victorian era interest in the language of flowers finds its roots in Ottoman Turkey, specifically the court in Constantinople [1] and an obsession it held with tulips during the first half of the 18th century.
Peppermint oil can be extracted from the leaves of the peppermint plant (see that process here) and is used in tons of different ways. Peppermint, in general is most notable for its taste, smell ...
[5] (See "The Comedian as the Letter C" regarding the topic of local poetry. See also the main Harmonium essay, especially the section "Locality".) Although this poem was written before "Comedian", Bates is proposing that Stevens "found Hoon's course more congenial than Crispin's" as his poetic project matured in the thirties.
Although Joan Richardson's reading makes the case that the poem's "true subject" is an extended holiday that Stevens and his wife, Elsie, took in the fall of 1923, and specifically that the true subject is the poet's sexuality, [14] rather it is the powerful "poetry of the subject" that displays Stevens' genius and draws readers to the poem, as ...