summary of THE VAGABOND written by RL Stevenson..
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In the first stanza the speaker summarizes the joys of the life he loves. He has the radiant sky above him ("the jolly sky": personification and metonymy). He has the byway right at hand near to him ("the byway nigh me"). When he sleeps at night, he sleeps in nature's natural bed and has the ceiling of the sky above him ("Bed in the brush with the stars to see"). For breakfast, he dips his morning bread in the fresh cool river instead of in a cup of coffee or tea.
The second stanza, also repeated as the fourth stanza, describes his sentiment that whether the storms (i.e., "blow": storm or forceful blast) of autumn come early or late, he wants the earth around him (not four walls) and the road beneath his feet (not a Persian carpet). He makes it clear that the only thing he seeks to have is the sky above and the road to follow beneath him. There are instances of personification and metonymy in lines one and three (personification) and line seven (metonymy).
Stanza three gives a sketch of the hardships of life outdoors in autumn: "blue" frostbite on the fingers; the silent birds; frosty fields as white as flour; the absence of a warm fireside sanctuary. Yet he insists that he will not yield to the cold of autumn--or even winter!--and will have "the heaven above / And the road below me." Personification is in lines one and four, which also has metonymy. "White as meal" is a simile, while "fireside haven" is a metaphor.
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SUMMARY
The Vagabond Summary
Robert Louis Stevenson
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Summary and Analysis
“The Vagabond,” by the English poet Robert Louis Stevenson (1850-1894), is spoken by a free-spirited rambler who claims to enjoy his sometimes challenging and isolated existence of moving from place to place in the great outdoors. The poem has been memorably set to music by the great English composer Ralph Vaughan Williams (1872-1958) and is widely performed and often recorded in that setting.
The poem begins with a vigorous, imperative, and emphatically accented verb (“Give”), thereby already implying the energy of the speaker. Yet the speaker is neither genuinely demanding nor actually weak (as that verb might imply). Instead, all he wants—all he asks for—is the kind of life he prizes and already possesses. Thus the first line already suggests his essential character: he is (in an effective example of alliteration) in “love” with the “life” he leads. Therefore, although he seems to ask for something in the poem’s first word, he actually desires (and apparently needs) very little. He is happy with his present lifestyle, but he by no means seems complacent and egotistical. He complains about nothing and no one, instead deriving simple pleasures from his close contact with nature. Appropriately enough to such a speaker, the language of the poem is simple, clear, colloquial, and unpretentious