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The original version, recorded by Dion, featured a gentle folk rock production from Phil Gernhard and arrangement from John Abbott. The song features a flugelhorn, an electric organ, bass, and drums.
It also includes a "Poetry Round Robin" where famous poems are rewritten in the style of the next poet in line, featured Casey at the Bat as written by Edgar Allan Poe. Sportswriter Leonard Koppett claimed in a 1979 tongue-in-cheek article that the published poem omits 18 lines penned by Thayer, which changed the overall theme 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. Tennyson explained, "The Pilot has been on board all the while, but in the dark I have not seen him…[He is] that Divine and Unseen Who is always guiding us ...
Critics have analyzed the musical or sound of the poem as opposed to its literary meaning. A. E. DuBois in "The Jazz Bells of Poe" places the emphasis on the musical quality of the poem which presages jazz and 20th century musical idioms. [8] DuBois sees the poem as a dramatic song that is a precursor for Vachel Lindsay. DuBois makes ...
The framing device is the narrator having a dream. In this dream or vision he is speaking to the Cross on which Jesus was crucified. The poem itself is divided up into three separate sections: the first part (lines 1–27), the second part (lines 28–121) and the third part (lines 122–156). [1]
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In other words, the verb tenses and tone suggest the speaker is slowly accepting her decision through the poem, rather than actively making the choice. M.D. Uroff agrees, seeing the end of the poem as a tentative return to health, but also views the poem as an expression of the mind's ability to “generate hyperboles to torture itself.”
The poem is an ode, and its subject is the pursuit of the human soul by God's love - a theme also found in the devotional poetry of George Herbert and Henry Vaughan. Moody and Lovett point out that Thompson's use of free and varied line lengths and irregular rhythms reflect the panicked retreat of the soul, while the structured, often recurring refrain suggests the inexorable pursuit as it ...