summery of kingfisher writer name w.H.Davie
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n this wonderful poem, the poet tells us that every human being is uniquely different. The human personality is a natural creation, as reiterated by the poet in the intial lines.
“ It was the Rainbow gave thee birth,
And left thee all her lovely hues;
And, as her mother’s name was Tears,
So runs it in my blood to choose…”
It is the Creative Power that disposes the poet to sit beside lonely pools and under trees that gaily and swayingly weep.
But we also get criticized for our traits. This poem can also be seen as an allegory highlighting the plight of introverts and extroverts. Both are tacitly looked down upon in the company of other. The kingfisher is branded vain and ambitious if it displays its glorious huesand claps its wings before the windows of proud kings. The poet too receives the same criticism when he chooses soothing solitude over the glitzy fervor of mankind.
I also love a quiet place
That’s green, away from all mankind;
A lonely pool, and let a tree
Sigh with her bosom over me.
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M.R. Meghana, B.T.ECH Entrepreneurship & Presentatation, Vani Talent School
Answered Jul 10, 2018
The poem opens with a paradox taken from the early Greek philosopher Heraclitus, which states that only change itself is unchanging. Olson’s rendering of the phrase emphasizes the will of change, which gives pretext to what follows. The poem cuts abruptly to a party in its last hour somewhere in Mexico, near the ruins of an Aztec city, perhaps Tenochtitlán, the old Aztec capital that is now Mexico City. A man is addressing a stunned audience of guests with remarks about the deterioration of Mexican culture, the downward path of change toward entropy. “The pool is slime,” he concludes, and disappears into the http://ruins.So begins part 1 of a three-part meditation on change and the poet’s responsibility to heed the shiftings of reality in his calling as writer. Part 1, the longest of the sections, is divided into four smaller movements, each with its own set of relations to be worked out. Various principles are at work in the building up of the poem’s content. In the first movement of part 1, the juxtaposition of elements is cinematic, a “jump-cut” technique of butting events together without transition markers.
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Sakshi Mishra, Tutor at Shiv Academy (2018-present)
Answered Jul 5, 2018
The poem opens with a paradox taken from the early Greek philosopher Heraclitus, which states that only change itself is unchanging. Olson’s rendering of the phrase emphasizes the will of change, which gives pretext to what follows. The poem cuts abruptly to a party in its last hour somewhere in Mexico, near the ruins of an Aztec city, perhaps Tenochtitlán, the old Aztec capital that is now Mexico City. A man is addressing a stunned audience of guests with remarks about the deterioration of Mexican culture, the downward path of change toward entropy. “The pool is slime,” he concludes, and disappears into the ruins.
So begins part 1 of a three-part meditation on change and the poet’s responsibility to heed the shiftings of reality in his calling as writer. Part 1, the longest of the sections, is divided into four smaller movements, each with its own set of relations to be worked out. Various principles are at work in the building up of the poem’s content. In the first movement of part 1, the juxtaposition of elements is cinematic, a “jump-cut” technique of butting events together without transition markers.
The second movement combines elements of three different topics, each separate and sequential in the poem’s exposition but increasingly part of some deeper unifying chord tying all three topics together. The Eon the stone, the first topic, is an allusion to the description by Plutarch, the second century c.e. Roman writer, of a navel stone..
“ It was the Rainbow gave thee birth,
And left thee all her lovely hues;
And, as her mother’s name was Tears,
So runs it in my blood to choose…”
It is the Creative Power that disposes the poet to sit beside lonely pools and under trees that gaily and swayingly weep.
But we also get criticized for our traits. This poem can also be seen as an allegory highlighting the plight of introverts and extroverts. Both are tacitly looked down upon in the company of other. The kingfisher is branded vain and ambitious if it displays its glorious huesand claps its wings before the windows of proud kings. The poet too receives the same criticism when he chooses soothing solitude over the glitzy fervor of mankind.
I also love a quiet place
That’s green, away from all mankind;
A lonely pool, and let a tree
Sigh with her bosom over me.
1.7k Views · View Upvoters · Answer requested by Marbita Syiemlieh
Upvote· 12
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M.R. Meghana, B.T.ECH Entrepreneurship & Presentatation, Vani Talent School
Answered Jul 10, 2018
The poem opens with a paradox taken from the early Greek philosopher Heraclitus, which states that only change itself is unchanging. Olson’s rendering of the phrase emphasizes the will of change, which gives pretext to what follows. The poem cuts abruptly to a party in its last hour somewhere in Mexico, near the ruins of an Aztec city, perhaps Tenochtitlán, the old Aztec capital that is now Mexico City. A man is addressing a stunned audience of guests with remarks about the deterioration of Mexican culture, the downward path of change toward entropy. “The pool is slime,” he concludes, and disappears into the http://ruins.So begins part 1 of a three-part meditation on change and the poet’s responsibility to heed the shiftings of reality in his calling as writer. Part 1, the longest of the sections, is divided into four smaller movements, each with its own set of relations to be worked out. Various principles are at work in the building up of the poem’s content. In the first movement of part 1, the juxtaposition of elements is cinematic, a “jump-cut” technique of butting events together without transition markers.
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Sakshi Mishra, Tutor at Shiv Academy (2018-present)
Answered Jul 5, 2018
The poem opens with a paradox taken from the early Greek philosopher Heraclitus, which states that only change itself is unchanging. Olson’s rendering of the phrase emphasizes the will of change, which gives pretext to what follows. The poem cuts abruptly to a party in its last hour somewhere in Mexico, near the ruins of an Aztec city, perhaps Tenochtitlán, the old Aztec capital that is now Mexico City. A man is addressing a stunned audience of guests with remarks about the deterioration of Mexican culture, the downward path of change toward entropy. “The pool is slime,” he concludes, and disappears into the ruins.
So begins part 1 of a three-part meditation on change and the poet’s responsibility to heed the shiftings of reality in his calling as writer. Part 1, the longest of the sections, is divided into four smaller movements, each with its own set of relations to be worked out. Various principles are at work in the building up of the poem’s content. In the first movement of part 1, the juxtaposition of elements is cinematic, a “jump-cut” technique of butting events together without transition markers.
The second movement combines elements of three different topics, each separate and sequential in the poem’s exposition but increasingly part of some deeper unifying chord tying all three topics together. The Eon the stone, the first topic, is an allusion to the description by Plutarch, the second century c.e. Roman writer, of a navel stone..
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