Elezer Habtewold Essays (1336 words) - Rhetoric, Humanities

Elezer Habtewold Ms. Riley Rhet 1302 February 10, 2017 There is trust From the beginning of time, we have seen numerous extraordinary addresses that are viewed as stupendous in todays time. What made them so incredible? Possibly it was the manner in which they associated with their crowd, or the manner in which the discourse was completed, or perhaps the renowned jokes we as a whole love and recall. Despite these reasons, these discourses have figured out how to last incalculable years are still recollected today. In any case, even today, authentic addresses are being made by numerous incredible pioneers. In his discourse at the Standford's graduation function in 2005, Steve Jobs conveyed a discourse that enraptured the youthful and skilled Standford graduating class. Remain hungry, remain silly, he said as he closed his discourse. What could that mean precisely? All things considered, that expression is one that was deliberately put in by Jobs in request to make an enduring impact on his crowd. By the utilization of ethos, sentiment, and organizing th e discourse, Jobs worked admirably of conveying his musings and convictions to his crowd in an exact way. In a really determined world, it's near difficult to demonstrate a point without indicating a variety of realities. In any case, Jobs depends just on his conclusion and past occasions as proof. His utilization of stories made an extraordinary substitute for the realities that he was inadequate. The accounts assume an enormous job in showing a picture of himself that is made to resemble the ordinary individual. He portrays himself as somebody that has conquered the hardships he's confronted. Occupations incorporates his inability to show the crowd that notwithstanding his prosperity, he is much the same as the normal individual that experiences each day battles. On the off chance that his notoriety and achievement didn't slant a crowd of people part to hear him out, making himself sound increasingly human certainly will. He separates this generalization that rich and effective individuals are simply given the achievement and cash without confronting any difficulty. Building up this pi cture of himself shows the utilization of ethos, however it additionally permits him to win the hearts of his crowd. This likewise prompts greater validity and more profound association with the crowd. Out of nowhere and out of the blue, Jobs again presents the possibility of disappointment and achievement, of good and bad times, so as to permit the crowd to comprehend the genuine proportion of accomplishment and the stuff to be effective. While keeping up basic language and lingual authority, Jobs uses illustrations and symbolism so as to summon pity and hopelessness from the crowd when he talks about being terminated from Apple. I felt that I had let the past age of business people down-that I had dropped the mallet as it was being passed to me. I met with David Packard and Bob Noyce and attempted to apologize for messing up so gravely. I was an open disappointment, and I even idea about fleeing from the valley, Jobs says. At that point, he by and by presents the general contention of his discourse in discussing how he defeated his challenges. Occupations takes note of that since he realized that he was as yet infatuated with what he did, he kept on driving forward instead of sto pping or fleeing. He began two new gigantic organizations, NeXT and Pixar, and even recovered his situation as the CEO of Apple after only quite a while. Consequently he tells his crowd, The best way to accomplish extraordinary work is to cherish what you do. Showing his difficulties makes unwavering quality, however it additionally makes an enthusiastic association with the crowd. During his discourse, he makes reference to the time he was terminated from his own organization after he had gone through years developing it. This conspicuous story of disappointment is amazingly relatable to any individual paying little mind to progress. Occupations sets aside the crowd back in effort to restore the sentiments of disappointment which I'm certain the crowd additionally felt for. This wistful association makes a significantly more grounded relationship with his crowd. He additionally recounts to the narrative of his cancer.This makes another contention for poignancy. A great many people can identify with disease. Possibly they know somebody who has malignant growth, has had disease themselves, or has found out about malignant growth some place. This again brings feeling once again into the

Northern Ireland Essay Example for Free

Northern Ireland Essay Inside the outcomes numerous significant variables have emerged. Taking a gander at the guide created utilizing my national rivalry and neighborhood rivalry I can see that the stores are almost equally spread across Northern Ireland. This discloses to me that there is an enormous enough market for PC games in the Northern Ireland zone as these stores can be continued. Then again this reveals to me that there is now a great deal of built up national rivalry, and the business I am opening isn't entering a hole in the market. An enormous number of the stores (4) are arranged in Belfast, which can be effectively gotten to by Lurgan through the m1. So I would need to treat these Belfast stores as a genuine danger, and I would need to shield the nearby market from purchasing there games there and furthermore by tempting some of there client to shop at our Lurgan store. This would imply that I would need to give the clients something that isn't offered in the Belfast stores. The neighborhood rivalry comprises of three stores in the Craigavon zone which, despite the fact that not in the quick territory, despite everything represent the most genuine danger to my business. The stores are now settled, and this implies there is a market, despite the fact that there may not be sufficient space for another games store. Be that as it may, the bit of leeway I have is that none of these three stores are situated in Lurgan town focus, so that would mean there is an undiscovered market that I can go into. My secret perception of game shows me an effective business in the Belfast zone. I instructed me that a PC games store is one in which many individuals peruse and not accepting the first occasion when that they are in the store. This would disclose to me that we would need to entice client into purchasing what they might be keen on. This would expect me to employ skilful staff who might have an unmistakable fascination for PCs and would have a wide extent of information about the games and hardware that would be accessible. I would want to be an administrator that has a great deal say over every part of the business I would have the option to receive a McGregor hypothesis Y approach. I would do this, as I might want to delegate to my laborers to successfully utilize their abilities to the most elevated level. It would likewise help in improving association and inspiration, and furthermore help in the costs that might be meet in employing additional chiefs or staff. Be that as it may, as I need a great deal of command over my business I may have a few qualities of a hypothesis X director as I would be on the floor as much as could reasonably be expected, and furthermore would attempt to settle on all the primary choices to be taken in the business. Investigation of my survey results furnishes me with different significant numeric outcomes. The principal significant outcome that I went over was that all of my respondents claimed a PC. This was critical, as my potential market would need to be people who previously claimed a PC, and would be keen on my products, thus in the event that they didn't effectively possess a PC these merchandise would be pointless to the customers. Quickly this implies this inquiry give me a gauge of how enormous my potential clients is. Anyway these potential client may not be keen on games and possessing a PC may not imply that they could be convinced to go to my store. Knowing now in the event that the individual possessed a PC or not I, at that point expected to discover what sort of PC they may claim. I found that most of respondents possessed a PC or a Playstation. This was noteworthy in that the second most mainstream was the Playstation which is an unadulterated gaming machine, and this would recommend that there is an enormous number of people living in the Lurgan region who appreciate PC games and might be keen on my store. Realizing who possesses a PC games support I was then keen on knowing how every now and again the respondents would purchase PC games, to know how frequently clients would utilize my store. Over portion of the respondents would purchase their games more than a half year separated. This is a negative outcome as it disclose to me that there might be spells when the business might not have a lot of custom and periods when it does, making adjusting the books an up slope task. I was keen on knowing where my respondents would purchase their games to know where the vast majority of my opposition originates from (locally or broadly), and whether the Lurgan market would pull in any of their custom. The outcomes gave me that most of the respondents would not accepting their games from the Lurgan region thus my national rivalry would represent a greater danger than first anticipated. Finally I was interested to whether the respondents would utilize a master store in the event that it were accessible. The dominant part said that they would imply that a ton of the respondents who don't accepting their games in Lurgan may in the event that they had a superior nature of administration. My subsequent survey never really additional data demonstrated me an extremely huge outcome. The greater part of the main survey respondents didn't buy games in the Lurgan zone, thus I expected to take a gander at where they would then buy. I found that 3 respondents buy games in Belfast, 1 in Lisburn and 3 in Portadown. In any case, what was most huge is that the store in Belfast and Lisburn (some portion of the national market) were authority store, for example, the one that I was arranging. This could recommend that these master stores draw in my nearby market away in light of something that solitary an authority store offers. When taking a gander at the property estimations in the Lurgan territory I ran over different properties, which could be conceivably bustling areas, where I could draw in a wide and enormous extent of my likely clients. I required a retail property sufficiently enormous to oblige the entirety of my items and their format, including enough space that would be expected to introduce each part in a way that is sorted out and welcome the client to take a gander at our items. I likewise required a property that was not going to push up my fixed expenses so high that I couldn't in any way, shape or form meet them, and would have issues in the long haul in making a benefit or have the option to make back the initial investment. The principal property that I had taken a gander at was the most encouraging of the considerable number of properties in the Lurgan region. It was situated at 35 William Street Lurgan. At 75000, this was the least expensive property that was as of now accessible in the Lurgan territory, and cost is a significant factor, as I would wish to downplay my potential expenses. I could achieve a home loan on the property implying that I would not need to pay out such an enormous total on start and not run into money related troubles from the beginning. Additionally banks are constantly keen on putting resources into establishments as they are viewed as less unsafe than most different business new businesses. The property is likewise a size that is attainable enough to hold everything that I require and furthermore leave enough floor space for me to work with. I could utilize the highest floors for workplaces for myself or to lease to different firms. Anyway these floors need some extra work done. The property is additionally found only 100-200 yards from the town community and is adjoining from a vehicle leave implying this is an entirely open property. I discovered not very many properties in the Lurgan region, with Century 21 expressing most retail properties are sold before a handout can be made. Different properties that I had found in the Lurgan territory where either excessively little, costly, or found excessively far from the town community.

Leo tolstoy-a great humanist essays

Leo tolstoy-an incredible humanist articles Leo Tolstoy was an incredible humanist. Development of human character was a subject of his The primary personage of the story The Death of Ivan Ilyich is normal authority who lead his life as indicated by an exacting social code, never going astray based on what was rule d by society, by his pleasure, by materialistic thought processes, however never by inner voice. His contact with his better half and youngsters was restricted and shallow since he didn't discover joy in this. His life fulfilled him when he was solid, yet when he confronted with passing his dejection overpowered him. After the mishap which begins his long biting the dust Ivan Ilyich understood that his life, however he has been effective and has consistently done the legitimate things, is all bogus. He comprehended that his life was pointless. As his ailment advanced, Ivan Ilyich felt progressively the should be cherished. Just before passing he recognized what genuine inclination is. Ivan Ilyich had genuine compassion and sympathy from worker His ethical hopelessness was more regrettable than physical. The consequence of this was Ivan Ilyich in kicking the bucket turned into the person that he never was in his run of the mill life. He comprehended that his thought about his average and supportiveness was simply hallucination. He felt as though he were being pressed down into a dark opening and there at the base was light. This illustration serves as picture of physical demise and profound resurrection. His demise brought forth new awareness. He out of nowhere apparent that man's fundamental life has a place with the soul and prosperity is accomplished through adoring of individuals. He approached pardoning of his family for his transgressions and invited demise... This ethical change makes genuine finish of his unbelievable As a moralist Tolstoy might want to play consideration of Russian scholarly people how seriously they live, how they squander their gifts, qualities, and capacities. He approached moral ... <!

Metamorphosis Essays (575 words) - Absurdist Fiction,

Transformation Ordinary? In the public eye today, there are numerous generalizations and biases against individuals who don't fit into the standards of society. Society will in general see these individuals as untouchables and in this way estrange them from numerous regular social exercises. One of the most conspicuous instances of individuals who experience the ill effects of this estrangement are those with the HIV infection, all the more usually known as AIDS. Helps casualties endure a considerable lot of indistinguishable troubles and separations from the fundamental character in Franz Kafka's short novel The Metamorphosis. All through The Metamorphosis, Gregor's family serves to speak to society, while Gregor himself fills in as an immediate portrayal of any individual who doesn't fit into the standards of society, specifically those individuals who experience the ill effects of AIDS. In the start of The Metamorphosis, the primary character, Gregor, is changed into a bug for the time being and before long learns the trouble of not being typical. He figures out how to live in a manner that doesn't upset society, or even his own family. Before turning into a bug, Gregor was a persevering sales rep who was undervalued by his family. After his change, Gregor is ignored by his family, except for Grete, and the family before long dismisses Gregor as one of their own, similarly as society dismisses individuals who are not typical. Gregor's dad can be contrasted with the oppressive individuals in the public eye. He is the prevailing player of the family and stays harsh all through the story. The dad's forcefulness is uncovered in the start of the story when he thumps tenderly, yet with his clench hand (217) on Gregor's entryway. Utilizing his clench hand to thump on his child's entryway infers a desire to move quickly and forcefulness in his character. While there are num erous oppressive individuals in the public eye, simultaneously there are numerous individuals who are mindful. Grete speaks to the mindful individuals in the public eye, however even the most mindful individuals can get scornful. She assumes on the liability of thinking about Gregor and keeps up that Gregor is still piece of the family. Notwithstanding, as the story advances she gets disturbed with Gregor and perspectives him as a weight to the family. Despite the fact that having AIDS isn't as evident as being changed into a bug, AIDS can cause the equivalent wrecking impacts once it is uncovered. The most widely recognized dread that individuals in the public arena have of AIDS is communicating with somebody who has the infection. Gregor encountered this equivalent dread of connection. This dread is most observable when Grete is playing the violin for the house visitors. Gregor strolls in to the parlor and, in the wake of seeing Gregor, the house visitors become disturbed in view of the appalling conditions (240) of the family. Another comparability between Gregor's sickness and AIDS is that there is no fix. Both Gregor and AIDS casualties need to live realizing that they can't change the manner in which they are, which shows up. By uncovering himself to the house visitors, Gregor exhibits this lack of interest and affronts the visitors. Both Gregor and AIDS casualties figure out how to live with the numerous restrictions set out by society. In any case, these confinements can be overpowering and very debilitating on occasion. Through his family's response, Gregor encounters a typical subject in the public arena today; in the event that you are not viewed as ordinary by all accounts, at that point you can't carry on with a typical life. At long last Gregor understands that he can't calm the psychological and physical strains of being a bug and concludes that demise English Essays

From Unilineal Cultural Evolution To Functionalism Essays

From Unilineal Cultural Evolution To Functionalism A few anthropological hypotheses developed during the mid twentieth century. Ostensibly, the most significant of these was Functionalism. Bronislaw Malinowski was a noticeable anthropologist in Britain during that time and had extraordinary effect on the advancement of this hypothesis. Malinowski proposed that people have certain physiological needs and that societies create to address those issues. Malinowski considered those to be as being nourishment, generation, asylum, and security from adversaries. He additionally recommended that there were other fundamental, socially determined requirements and he saw these as being financial aspects, social control, training, and political association Malinowski suggested that the way of life of any individuals could be clarified by the capacities it performed. The elements of a culture were performed to meet the essential physiological and socially determined requirements of its individual constituents. A. R. Radcliff-Brown was a contemporary of Malinowski's in Britain who likewise had a place with the Functionalist way of thinking. Radcliff-Brown contrasted from Malinowski extraordinarily however, in his way to deal with Functionalism. Malinowski's accentuation was on the people inside a culture and how their needs formed that culture. Radcliff-Brown idea people immaterial, in anthropological investigation. He imagined that the different parts of a culture existed to keep that culture in a steady and consistent state. Radcliff-Brown concentrated consideration on social structure. He recommended that a general public is an arrangement of connections keeping up itself through robotic criticism, while foundations are deliberate arrangements of connections whose capacity is to keep up the general public as a framework. Goldschmidt (1996): 510 Simultaneously as the hypothesis of Functionalism was creating in Britain; the hypothesis of Culture and Personality was being created in America. The investigation of culture and character looks to comprehend the development and improvement of individual or social way of life as it identifies with the encompassing social condition. Barnouw (1963): 5. At the end of the day, the character or brain research of people can be considered and ends can be drawn about the Culture of those people. This way of thinking owes a lot to Freud for its accentuation on brain science (character) and to an antipathy for the supremacist hypotheses that were famous inside Anthropology and somewhere else around then. American anthropologist Ruth Benedict built up the Culture and Personality school. She portrayed societies as being of four kinds Apollonian, Dionysian, Paranoid and Meglomaniac. Benedict utilized these sorts to portray different societies that she contemplated. The most well known type of the school of Culture and Personality is Margaret Mead. Margaret Mead was an understudy of Franz Boas and Ruth Benedict. Despite the fact that over the span of her profession she would overshadow the acclaim of her guides, especially the last mentioned. Mead's first field study was on the Pacific Island of Samoa, where she contemplated the lives of the immature young ladies in that culture. From this field study, she delivered her well known work Coming of Age in Samoa (1949). In this work, she examined the connection among culture and character by contrasting the lives of teenagers in Samoa to those of American young people. She focused especially on the sexual encounters of the young ladies she concentrated in Samoan culture; making the inference that the explicitly lenient environment of Samoan culture delivered more beneficial less ?turbulent? teenagers than that of her own progressively stifled American culture. The hypotheses of Culture and Personality and Functionalism tended to and countered huge numbers of the more interesting parts of the Evolutionary and Diffusionist speculations of the nineteenth century. The approach created by these pioneers is still being used by anthropologists today. That is, member perception and a total contribution in the way of life and language of the individuals being examined. Eric Wolf counters the functionalist position by recommending that a culture can't be seen just in relationship to the brain research of the people inside the way of life and the ends that may be drawn from that. Wolf considers culture to be society as a procedure of organizing and change. He fights that a general public must be found in its verifiable setting. At the point when Wolf says - The functionalists, thus, dismissed through and through the approximate history of the diffusionists for the investigation of inward working putatively disengaged wholes Wolf (1982), he is disagreeing with the rejection of the verifiable setting of a general public and the putative segregation of social orders. He

Essay on Ozone and Greenhouse Effect

Essay on Ozone and Greenhouse Effect Ozone and Greenhouse Effect May 16, 2019 in Ecology Introduction Rational use of natural resources and environmental protection are two very important and urgent problems in the world. Their solutions are inseparably connected with the world struggle for peace, the prevention of nuclear disaster, disarmament, peaceful coexistence and mutually beneficial cooperation of all countries. In the last decade, humanity has seen a sharp temperature increase. Why does it happen? Scientists claim that the reason for this is a destructive human activity that leads to a global climate change. Fuel combustion in power plants, a dramatic increase of waste and means of transport, and a reducing amount of forested areas lead to the increase of carbon dioxide emissions in the Earth's atmosphere. As a result, the humanity observes the emergence of so-called greenhouse effect. The mankind explores the nature without understanding of the possible consequences. This study, therefore, focuses on the ozone and greenhouse effect and their impact on the humanity and ecolog y. Body One of the main ecological problems nowadays is ground-level ozone. It should be said that ozone is a gas that appears in both the earth's upper atmosphere and at its ground level. Depending on its location, this gas can be useful or harmful for our health and the environment. Useful ozone appears in the natural way as a protective covering in the upper atmosphere, and it prevents the suns harmful UV rays from reaching the planet. Unfortunately, it is easy to destroy it by industrial facilities chemical compounds, motor vehicle exhaust, chlorofluorocarbons and other substances. What is more, if it is destroyed, it is not easy to renew. As a result, holes in the ozone layer occur (Ground Level Ozone).

Sonnet Analysis - When I Have Fears that I May Cease to Be - Literature Essay Samples

John Keats sonnet When I have Fears that I may Cease to Be, written in 1818 when the poet was twenty-three years old, deals with the young mans fears that he will not live long enough to accomplish what he wants to in life. He is afraid that his artistic and poetic potential will not be fulfilled, and that his love will be cut short. Based on Keats letters and his biography, we can assume that the speaker is indeed Keats himself. Interestingly, the poem was written before Keats contracted tuberculosis, from which he would die a mere three years after the poem was written, adding an eerie, portentous quality to the sonnet. However, it is understandable that he would have fears of an untimely death. His mother had died of the disease a few years earlier, and his younger brother was currently suffering from it.When I have Fears is in many ways typical of Keats work. He was a master of the sonnet form, and the poem is full of sensitive passion and the romantic imagery for which he is famous. Throughout the poem Keats uses a variety of poetic elements, including form and metrics, to help convey his thoughts and to emphasize his imagery. The poem takes the form of a Shakespearian sonnet, and rather strictly adheres to that structures template. The lines follow the standard ababcdcdefefgg rhyme scheme, and, making the rhymes as simple as possible, they are all perfect and masculine. Each rhyme is clearly differentiated from the others as well. Also in keeping with the definition of the form, the poem is written in iambic pentameter. All the lines have a neat ten syllables, and six of them are perfectly iambic. The remaining eight lines have generally few foot substitutions, with occasional trochees and spondees appearing.The form of the Shakespearian sonnet is so ideally suited for this poem that Keats must have seen little need to buck against it. In fact, doing so would probably undermine the perfect match of the sonnets form with his content. In the w ords of Paul Fussel, the sonnet as a form tends to imply a particular, highly personal, usually somewhat puzzled or worshipful attitude toward experience, which is exactly what Keats conveys in this poem. Continuing to follow the mold of the Shakespearian sonnet, When I have Fears is set up as a thought or long sentence that is not completed until the final lines of the poem. Each quatrain starts with the word when and the introduction of an elaborate circumstance, but we do not find out what happens when these things occur until the middle of the twelfth line, when the completion of the idea is thrust upon us, signaled by the word then, which clearly marks the turn in the sonnet.Each quatrain introduces a slightly different idea, but the ideas are all related, and all tie into the fear of an untimely death. The final two and a half lines after the turn are different, as discussed above. However, under the powerful influence of the Petrarchan sonnet, When I have Fears slightly v eers away from the true Shakespearian form. Although the ideas of the three quatrains all tie into the central idea, there is a clear distinction between the interconnected ideas presented in the octave that he will not be able to write all he wants in his lifetime and the separate fear expressed in the third quatrain that his love will be cut short. This causes the feeling of a slight shift between the octave and the sestet, which is where the turn would be expected in a Petrarchan sonnet. Perhaps the leaning away from the Shakespearian sonnet occurs because sonnets of that form tend to have quick, often witty resolutions at the end, whereas Petrarchan sonnets, with more lines to slowly ease and develop the conclusion of the poem, tend to have endings that are more emotional and in depth. Supporting this notion even further, Keats found it necessary to elongate his couplet by an extra half line. With the slight melding of these two sonnet forms, Keats created a perfect, tai lored vehicle for the expression of his ideas. The octaves two quatrains discuss his fear that he will not reach his poetic potential specifically that he will not be able to write all he wants or express all he can before he dies. This idea is broken into two main images and metaphors, one for each quatrain. The poem opens with imagery of a bountiful harvest. Keats likens the unreaped bounty to himself, saying that he (his mind and emotion, his teeming brain (l2)) is very full and fertile. He fears he will not be able to fully harvest (by writing poetry) all of his metaphorical grain in his lifetime: Before my pen has gleand my teeming brain, / Before high-pilÃÆ'Â ©d books, in charactery, / Hold like rich garners the full ripend grain; (2-4). In the second quatrain, the idea expressed is that of the nearly endless supply of beauty in nature and Keats desire to document and reflect it (to trace (7) it). He recognizes both the simple, clear beauty of the natural world in s hadows (8) and the nights starrd face (5), as well as a deeper, more hidden and mysterious beauty that is still partially obscured and will take time which he may not have to fully understand and express. He recognizes this masked beauty as Huge cloudy symbols of a high romance (6). It is not clear whether he means the high romance to refer to the potential, unwritten poetry or if it exists in nature by itself, while the unnecessary figure of John Keats stands idly by. Either way, it is clear that something is out there, untapped. The first two quatrains work together to give the impression that there is so much raw material in the world that, to continue the metaphor, as long as Keats lived his field need never be fallow. In the third quatrain, perhaps due in part to the Petrarchan influence discussed earlier, the idea shifts slightly to voice another element of Keats concern that his life will be cut short. He now expresses the fear that he will lose his beloved. Just as he fears that his life will not be allowed to run its full course, he does not allow the quatrain to run its expected measure: it is only three and a half lines long. He emphasizes the abrupt cut by the use of a hyphen, conveying a sense of suddenness and even urgency that parallels his feelings: Never have relish in the faery power / Of unreflecting love; then on the shore (11-12). The comparative shortness of this quatrain can have other implications as well. It can be interpreted to mean that love is short and fleeting, and can end at any minute. Calling his beloved fair creature of an hour (9) supports this notion. Additionally, Keats devotes more than twice as many lines to discussing his desire to write poetry than his unwillingness to let go of love, perhaps making a qualitative judgment about the two. After the three quatrains, then in the middle of line twelve marks a clear turn in the poem and indicates that the reader will finally find out what happens when all t he previous thoughts occur to the poet. Accordingly, the final two and a half lines do just that. When he has such thoughts, he stand[s] alone, and think[s] (13), Till love and fame to nothingness do sink (14). That is, he feels himself put into perspective by the wide world (13), and feels that he is nothing, and everything is insignificant and meaningless including his fear of not writing all he can and his thwarted desire to achieve fame and lasting love. In addition to Keats themes of his fear of dying before his full potential is reached and of the fleeting nature of love, an interesting dichotomy between thought and feeling is explored. It is clear that Keats wants to feel and not to think. This is a bit paradoxical, since the action of writing a poem necessitates thinking (even if it is thinking about feeling). Things that Keats states explicitly as thoughts are generally negative, often specifically referencing death (he think[s] that [he] may never live to trace (7 )), and at the end of the poem he stand[s] alone and think[s]2 (13), which brings on a very sad, empty feeling. Keats exalts feeling over thought. He yearns for unreflecting love (12). That is, love without thought. He says that he might Never have relish (11) in such love, implying that not only will he not experience it in the future if his life is abbreviated, but that he has not yet had it. He seems to be saying that he is not capable of stopping thought, and simply feeling, even though he would like to. Other things related to feelings as opposed to thoughts are also positive. When he beholds (5) nature, he is awed and inspired by it. He is not thinking about it, but simply letting the feelings it arouses wash over him. [W]hen I feel / That I shall never look upon thee more (9-10) may seem to be an exception to this idea, associating feeling with something negative, but in fact its not. He is simply using a misnomer, calling the thought of never looking upon his belove d a feeling. One final idea expressed in the poem is Keats desire to strive for and to believe in idealistic fantasies, even though he knows that they are not realities. In the end he comes to terms with the almost cruelly indifferent, depressing world. He alludes to these fantasies when he calls writing poetry the magic hand of chance (8), and when he mentions the faery power (11) of love (in this case also playing into the idea that love is only a myth). Keats uses many poetic elements to emphasize these themes and to help convey his meanings and images. In addition to making use of essentials like meter, Keats also employs many smaller techniques throughout the poem. The repetition of the word when at the beginning of each quatrain and the parallel structure of the of the first lines of the first two quatrains serves to repeatedly draw attention to the focus on time, and keeps bringing the reader back into the immediate moment. Similarly, the parallelism and repetition of the word before in lines two and three does the same thing on a smaller scale. Not exact repetition, but the use of similar sounding words is also found. The similarity of the words fair (9) and faery (11) links the two ideas, perhaps implying that love (which fair creature indicates by metonyme) is only faery (a magical illusion). Keats uses alliteration in many other places as well. The hard g sound is repeated in the first quatrain with the words gleand (2), garners (4), and grain (4). All of these words also carry stress. The repetition of the clear, full sound, in addition to the fact that the words are all associated with images of plentiful things, enhances the image of bountiful fields. Similarly, the r sound is repeated in this quatrain. It is found in the words brain (2), and charactery (3), as well as many times in line four, Hold like rich garners the full ripend grain. Again, all of the r sounds are stressed. When spoken, the sound is naturally heavy and a bit drawn out, creating a feeling of indelibility, which, after all, is what Keats, would like himself and his work to be. More alliteration is found in line thirteen with the words wide world. In this case the sound is especially pertinent to the image: when spoken, the w sound actually makes the mouth wide, and the sound itself seems to have a wide feel. The juxtaposition of wide world with I stand alone (both line 13) emphasizes the contrast between the two images. Keats does other little things like this that enhance the poems imagery. The apostrophes in the words nights starrd (5) form a concrete image, as they actually look like stars perched above the words. The fact that the apostrophe in starred is unnecessary (even if it was written starred, the pronunciation would be the same) lends credence to the idea that Keats was cognizant of the image the apostrophes create. Keats simile that books hold grain like rich garners (4) works within the harvest metaphor to self-c onsciously bring attention to the fact that it is a metaphor and a poem, maintaining no pretense of reality. He acknowledges that he is like a full field of grain, he does not try to pass himself off as one. This picks up on the theme of the disconnection between magic, fantasy, poetry, and cold reality. Then, in the same breath, he jumps back into the metaphor by saying that his poetry is not like, but is full ripend grain (4), as he strives to regain the fantasy. The last main poetic element that Keats uses in this sonnet is meter. As mentioned earlier, the meter remains rather regular throughout the poem. It is iambic pentameter, as expected in a traditional sonnet, and about half of the lines have slight variations. Since the meter of most of the poem is so regular, the slight alterations that occur seem especially important. Some of the substitutions serve specific, clear purposes in addition to simply making the rhythm of the poem interesting and not overly sing-song or predictable. Small words and articles throughout the poem that should be stressed according to strict iambic pentameter often are not. Some examples of these little, unstressed words are the (4), of (6), and with (8). Often times there are two of them in a row, like with the (8), and in the (11). The lack of an expected stress on an insignificant word allows for the stresses on the more important words to carry more weight and receive more notice. Keats inserts extra stresses in a number of places. In line three, the words high-pilÃÆ'Â ©d are both stressed, creating a spondee in the place of an iamb. The two stresses work directly with the meaning and imagery of those two words, creating a building-up feeling. It almost seems like there are three stresses in a row, since the reader nearly skips over the unstressed second syllable of pilÃÆ'Â ©d to go straight to the more substantial, stressed word, books. This third stress adds to the feeling even more, making it really feel like a big pile is being built. The word starrd (5) also carries an irregular stress. Just like the concrete imagery of the apostrophes in this phrase, the three stressed words in a row, nights starrd face, seem almost like stars perhaps Orions belt, if thats not stretching it too far which adds to the imagery. The word Huge in line six carries a stress for rather obvious reasons. It would be counterintuitive for a word meaning something large and grand to be unstressed. Also, the previous line starts with the word Behold, but does not say what to behold (the Huge cloudy symbols) until the next line. After the anticipation and excitement created by this delay and enjambment, the declaration of the object is surely worthy of a stress. The unexpected stress on the word fair in line nine serves to emphasize the alliteration with the word that comes before it (feel), again tying feeling together with positive, fair things. Additionally, the stress is important because i t marks a change in the poem: he is now addressing someone, the fair creature of an hour (9), even if it is just for a couple of lines. Never in line eleven forms a trochee for emphasis instead of an iamb. Never is an extremely important word, since the whole idea is that he wont achieve the lofty goals and happy love that he desires. Lastly, wide and world in line thirteen are both stressed, as is necessary in order to highlight the alliteration and convey the wide feeling of the words. Throughout When I have Fears that I may Cease to Be, Keats employs a plethora of poetic elements to convey his meanings and enhance his imagery. Form and metrics are paramount among these, as Keats masterfully adheres to and abstracts from the sonnet form in order to reap all of its potential.

Sonnet Analysis - When I Have Fears that I May Cease to Be - Literature Essay Samples

John Keats sonnet When I have Fears that I may Cease to Be, written in 1818 when the poet was twenty-three years old, deals with the young mans fears that he will not live long enough to accomplish what he wants to in life. He is afraid that his artistic and poetic potential will not be fulfilled, and that his love will be cut short. Based on Keats letters and his biography, we can assume that the speaker is indeed Keats himself. Interestingly, the poem was written before Keats contracted tuberculosis, from which he would die a mere three years after the poem was written, adding an eerie, portentous quality to the sonnet. However, it is understandable that he would have fears of an untimely death. His mother had died of the disease a few years earlier, and his younger brother was currently suffering from it.When I have Fears is in many ways typical of Keats work. He was a master of the sonnet form, and the poem is full of sensitive passion and the romantic imagery for which he is famous. Throughout the poem Keats uses a variety of poetic elements, including form and metrics, to help convey his thoughts and to emphasize his imagery. The poem takes the form of a Shakespearian sonnet, and rather strictly adheres to that structures template. The lines follow the standard ababcdcdefefgg rhyme scheme, and, making the rhymes as simple as possible, they are all perfect and masculine. Each rhyme is clearly differentiated from the others as well. Also in keeping with the definition of the form, the poem is written in iambic pentameter. All the lines have a neat ten syllables, and six of them are perfectly iambic. The remaining eight lines have generally few foot substitutions, with occasional trochees and spondees appearing.The form of the Shakespearian sonnet is so ideally suited for this poem that Keats must have seen little need to buck against it. In fact, doing so would probably undermine the perfect match of the sonnets form with his content. In the w ords of Paul Fussel, the sonnet as a form tends to imply a particular, highly personal, usually somewhat puzzled or worshipful attitude toward experience, which is exactly what Keats conveys in this poem. Continuing to follow the mold of the Shakespearian sonnet, When I have Fears is set up as a thought or long sentence that is not completed until the final lines of the poem. Each quatrain starts with the word when and the introduction of an elaborate circumstance, but we do not find out what happens when these things occur until the middle of the twelfth line, when the completion of the idea is thrust upon us, signaled by the word then, which clearly marks the turn in the sonnet.Each quatrain introduces a slightly different idea, but the ideas are all related, and all tie into the fear of an untimely death. The final two and a half lines after the turn are different, as discussed above. However, under the powerful influence of the Petrarchan sonnet, When I have Fears slightly v eers away from the true Shakespearian form. Although the ideas of the three quatrains all tie into the central idea, there is a clear distinction between the interconnected ideas presented in the octave that he will not be able to write all he wants in his lifetime and the separate fear expressed in the third quatrain that his love will be cut short. This causes the feeling of a slight shift between the octave and the sestet, which is where the turn would be expected in a Petrarchan sonnet. Perhaps the leaning away from the Shakespearian sonnet occurs because sonnets of that form tend to have quick, often witty resolutions at the end, whereas Petrarchan sonnets, with more lines to slowly ease and develop the conclusion of the poem, tend to have endings that are more emotional and in depth. Supporting this notion even further, Keats found it necessary to elongate his couplet by an extra half line. With the slight melding of these two sonnet forms, Keats created a perfect, tai lored vehicle for the expression of his ideas. The octaves two quatrains discuss his fear that he will not reach his poetic potential specifically that he will not be able to write all he wants or express all he can before he dies. This idea is broken into two main images and metaphors, one for each quatrain. The poem opens with imagery of a bountiful harvest. Keats likens the unreaped bounty to himself, saying that he (his mind and emotion, his teeming brain (l2)) is very full and fertile. He fears he will not be able to fully harvest (by writing poetry) all of his metaphorical grain in his lifetime: Before my pen has gleand my teeming brain, / Before high-pilÃÆ'Â ©d books, in charactery, / Hold like rich garners the full ripend grain; (2-4). In the second quatrain, the idea expressed is that of the nearly endless supply of beauty in nature and Keats desire to document and reflect it (to trace (7) it). He recognizes both the simple, clear beauty of the natural world in s hadows (8) and the nights starrd face (5), as well as a deeper, more hidden and mysterious beauty that is still partially obscured and will take time which he may not have to fully understand and express. He recognizes this masked beauty as Huge cloudy symbols of a high romance (6). It is not clear whether he means the high romance to refer to the potential, unwritten poetry or if it exists in nature by itself, while the unnecessary figure of John Keats stands idly by. Either way, it is clear that something is out there, untapped. The first two quatrains work together to give the impression that there is so much raw material in the world that, to continue the metaphor, as long as Keats lived his field need never be fallow. In the third quatrain, perhaps due in part to the Petrarchan influence discussed earlier, the idea shifts slightly to voice another element of Keats concern that his life will be cut short. He now expresses the fear that he will lose his beloved. Just as he fears that his life will not be allowed to run its full course, he does not allow the quatrain to run its expected measure: it is only three and a half lines long. He emphasizes the abrupt cut by the use of a hyphen, conveying a sense of suddenness and even urgency that parallels his feelings: Never have relish in the faery power / Of unreflecting love; then on the shore (11-12). The comparative shortness of this quatrain can have other implications as well. It can be interpreted to mean that love is short and fleeting, and can end at any minute. Calling his beloved fair creature of an hour (9) supports this notion. Additionally, Keats devotes more than twice as many lines to discussing his desire to write poetry than his unwillingness to let go of love, perhaps making a qualitative judgment about the two. After the three quatrains, then in the middle of line twelve marks a clear turn in the poem and indicates that the reader will finally find out what happens when all t he previous thoughts occur to the poet. Accordingly, the final two and a half lines do just that. When he has such thoughts, he stand[s] alone, and think[s] (13), Till love and fame to nothingness do sink (14). That is, he feels himself put into perspective by the wide world (13), and feels that he is nothing, and everything is insignificant and meaningless including his fear of not writing all he can and his thwarted desire to achieve fame and lasting love. In addition to Keats themes of his fear of dying before his full potential is reached and of the fleeting nature of love, an interesting dichotomy between thought and feeling is explored. It is clear that Keats wants to feel and not to think. This is a bit paradoxical, since the action of writing a poem necessitates thinking (even if it is thinking about feeling). Things that Keats states explicitly as thoughts are generally negative, often specifically referencing death (he think[s] that [he] may never live to trace (7 )), and at the end of the poem he stand[s] alone and think[s]2 (13), which brings on a very sad, empty feeling. Keats exalts feeling over thought. He yearns for unreflecting love (12). That is, love without thought. He says that he might Never have relish (11) in such love, implying that not only will he not experience it in the future if his life is abbreviated, but that he has not yet had it. He seems to be saying that he is not capable of stopping thought, and simply feeling, even though he would like to. Other things related to feelings as opposed to thoughts are also positive. When he beholds (5) nature, he is awed and inspired by it. He is not thinking about it, but simply letting the feelings it arouses wash over him. [W]hen I feel / That I shall never look upon thee more (9-10) may seem to be an exception to this idea, associating feeling with something negative, but in fact its not. He is simply using a misnomer, calling the thought of never looking upon his belove d a feeling. One final idea expressed in the poem is Keats desire to strive for and to believe in idealistic fantasies, even though he knows that they are not realities. In the end he comes to terms with the almost cruelly indifferent, depressing world. He alludes to these fantasies when he calls writing poetry the magic hand of chance (8), and when he mentions the faery power (11) of love (in this case also playing into the idea that love is only a myth). Keats uses many poetic elements to emphasize these themes and to help convey his meanings and images. In addition to making use of essentials like meter, Keats also employs many smaller techniques throughout the poem. The repetition of the word when at the beginning of each quatrain and the parallel structure of the of the first lines of the first two quatrains serves to repeatedly draw attention to the focus on time, and keeps bringing the reader back into the immediate moment. Similarly, the parallelism and repetition of the word before in lines two and three does the same thing on a smaller scale. Not exact repetition, but the use of similar sounding words is also found. The similarity of the words fair (9) and faery (11) links the two ideas, perhaps implying that love (which fair creature indicates by metonyme) is only faery (a magical illusion). Keats uses alliteration in many other places as well. The hard g sound is repeated in the first quatrain with the words gleand (2), garners (4), and grain (4). All of these words also carry stress. The repetition of the clear, full sound, in addition to the fact that the words are all associated with images of plentiful things, enhances the image of bountiful fields. Similarly, the r sound is repeated in this quatrain. It is found in the words brain (2), and charactery (3), as well as many times in line four, Hold like rich garners the full ripend grain. Again, all of the r sounds are stressed. When spoken, the sound is naturally heavy and a bit drawn out, creating a feeling of indelibility, which, after all, is what Keats, would like himself and his work to be. More alliteration is found in line thirteen with the words wide world. In this case the sound is especially pertinent to the image: when spoken, the w sound actually makes the mouth wide, and the sound itself seems to have a wide feel. The juxtaposition of wide world with I stand alone (both line 13) emphasizes the contrast between the two images. Keats does other little things like this that enhance the poems imagery. The apostrophes in the words nights starrd (5) form a concrete image, as they actually look like stars perched above the words. The fact that the apostrophe in starred is unnecessary (even if it was written starred, the pronunciation would be the same) lends credence to the idea that Keats was cognizant of the image the apostrophes create. Keats simile that books hold grain like rich garners (4) works within the harvest metaphor to self-c onsciously bring attention to the fact that it is a metaphor and a poem, maintaining no pretense of reality. He acknowledges that he is like a full field of grain, he does not try to pass himself off as one. This picks up on the theme of the disconnection between magic, fantasy, poetry, and cold reality. Then, in the same breath, he jumps back into the metaphor by saying that his poetry is not like, but is full ripend grain (4), as he strives to regain the fantasy. The last main poetic element that Keats uses in this sonnet is meter. As mentioned earlier, the meter remains rather regular throughout the poem. It is iambic pentameter, as expected in a traditional sonnet, and about half of the lines have slight variations. Since the meter of most of the poem is so regular, the slight alterations that occur seem especially important. Some of the substitutions serve specific, clear purposes in addition to simply making the rhythm of the poem interesting and not overly sing-song or predictable. Small words and articles throughout the poem that should be stressed according to strict iambic pentameter often are not. Some examples of these little, unstressed words are the (4), of (6), and with (8). Often times there are two of them in a row, like with the (8), and in the (11). The lack of an expected stress on an insignificant word allows for the stresses on the more important words to carry more weight and receive more notice. Keats inserts extra stresses in a number of places. In line three, the words high-pilÃÆ'Â ©d are both stressed, creating a spondee in the place of an iamb. The two stresses work directly with the meaning and imagery of those two words, creating a building-up feeling. It almost seems like there are three stresses in a row, since the reader nearly skips over the unstressed second syllable of pilÃÆ'Â ©d to go straight to the more substantial, stressed word, books. This third stress adds to the feeling even more, making it really feel like a big pile is being built. The word starrd (5) also carries an irregular stress. Just like the concrete imagery of the apostrophes in this phrase, the three stressed words in a row, nights starrd face, seem almost like stars perhaps Orions belt, if thats not stretching it too far which adds to the imagery. The word Huge in line six carries a stress for rather obvious reasons. It would be counterintuitive for a word meaning something large and grand to be unstressed. Also, the previous line starts with the word Behold, but does not say what to behold (the Huge cloudy symbols) until the next line. After the anticipation and excitement created by this delay and enjambment, the declaration of the object is surely worthy of a stress. The unexpected stress on the word fair in line nine serves to emphasize the alliteration with the word that comes before it (feel), again tying feeling together with positive, fair things. Additionally, the stress is important because i t marks a change in the poem: he is now addressing someone, the fair creature of an hour (9), even if it is just for a couple of lines. Never in line eleven forms a trochee for emphasis instead of an iamb. Never is an extremely important word, since the whole idea is that he wont achieve the lofty goals and happy love that he desires. Lastly, wide and world in line thirteen are both stressed, as is necessary in order to highlight the alliteration and convey the wide feeling of the words. Throughout When I have Fears that I may Cease to Be, Keats employs a plethora of poetic elements to convey his meanings and enhance his imagery. Form and metrics are paramount among these, as Keats masterfully adheres to and abstracts from the sonnet form in order to reap all of its potential.

Sonnet Analysis - When I Have Fears that I May Cease to Be - Literature Essay Samples

John Keats sonnet When I have Fears that I may Cease to Be, written in 1818 when the poet was twenty-three years old, deals with the young mans fears that he will not live long enough to accomplish what he wants to in life. He is afraid that his artistic and poetic potential will not be fulfilled, and that his love will be cut short. Based on Keats letters and his biography, we can assume that the speaker is indeed Keats himself. Interestingly, the poem was written before Keats contracted tuberculosis, from which he would die a mere three years after the poem was written, adding an eerie, portentous quality to the sonnet. However, it is understandable that he would have fears of an untimely death. His mother had died of the disease a few years earlier, and his younger brother was currently suffering from it.When I have Fears is in many ways typical of Keats work. He was a master of the sonnet form, and the poem is full of sensitive passion and the romantic imagery for which he is famous. Throughout the poem Keats uses a variety of poetic elements, including form and metrics, to help convey his thoughts and to emphasize his imagery. The poem takes the form of a Shakespearian sonnet, and rather strictly adheres to that structures template. The lines follow the standard ababcdcdefefgg rhyme scheme, and, making the rhymes as simple as possible, they are all perfect and masculine. Each rhyme is clearly differentiated from the others as well. Also in keeping with the definition of the form, the poem is written in iambic pentameter. All the lines have a neat ten syllables, and six of them are perfectly iambic. The remaining eight lines have generally few foot substitutions, with occasional trochees and spondees appearing.The form of the Shakespearian sonnet is so ideally suited for this poem that Keats must have seen little need to buck against it. In fact, doing so would probably undermine the perfect match of the sonnets form with his content. In the w ords of Paul Fussel, the sonnet as a form tends to imply a particular, highly personal, usually somewhat puzzled or worshipful attitude toward experience, which is exactly what Keats conveys in this poem. Continuing to follow the mold of the Shakespearian sonnet, When I have Fears is set up as a thought or long sentence that is not completed until the final lines of the poem. Each quatrain starts with the word when and the introduction of an elaborate circumstance, but we do not find out what happens when these things occur until the middle of the twelfth line, when the completion of the idea is thrust upon us, signaled by the word then, which clearly marks the turn in the sonnet.Each quatrain introduces a slightly different idea, but the ideas are all related, and all tie into the fear of an untimely death. The final two and a half lines after the turn are different, as discussed above. However, under the powerful influence of the Petrarchan sonnet, When I have Fears slightly v eers away from the true Shakespearian form. Although the ideas of the three quatrains all tie into the central idea, there is a clear distinction between the interconnected ideas presented in the octave that he will not be able to write all he wants in his lifetime and the separate fear expressed in the third quatrain that his love will be cut short. This causes the feeling of a slight shift between the octave and the sestet, which is where the turn would be expected in a Petrarchan sonnet. Perhaps the leaning away from the Shakespearian sonnet occurs because sonnets of that form tend to have quick, often witty resolutions at the end, whereas Petrarchan sonnets, with more lines to slowly ease and develop the conclusion of the poem, tend to have endings that are more emotional and in depth. Supporting this notion even further, Keats found it necessary to elongate his couplet by an extra half line. With the slight melding of these two sonnet forms, Keats created a perfect, tai lored vehicle for the expression of his ideas. The octaves two quatrains discuss his fear that he will not reach his poetic potential specifically that he will not be able to write all he wants or express all he can before he dies. This idea is broken into two main images and metaphors, one for each quatrain. The poem opens with imagery of a bountiful harvest. Keats likens the unreaped bounty to himself, saying that he (his mind and emotion, his teeming brain (l2)) is very full and fertile. He fears he will not be able to fully harvest (by writing poetry) all of his metaphorical grain in his lifetime: Before my pen has gleand my teeming brain, / Before high-pilÃÆ'Â ©d books, in charactery, / Hold like rich garners the full ripend grain; (2-4). In the second quatrain, the idea expressed is that of the nearly endless supply of beauty in nature and Keats desire to document and reflect it (to trace (7) it). He recognizes both the simple, clear beauty of the natural world in s hadows (8) and the nights starrd face (5), as well as a deeper, more hidden and mysterious beauty that is still partially obscured and will take time which he may not have to fully understand and express. He recognizes this masked beauty as Huge cloudy symbols of a high romance (6). It is not clear whether he means the high romance to refer to the potential, unwritten poetry or if it exists in nature by itself, while the unnecessary figure of John Keats stands idly by. Either way, it is clear that something is out there, untapped. The first two quatrains work together to give the impression that there is so much raw material in the world that, to continue the metaphor, as long as Keats lived his field need never be fallow. In the third quatrain, perhaps due in part to the Petrarchan influence discussed earlier, the idea shifts slightly to voice another element of Keats concern that his life will be cut short. He now expresses the fear that he will lose his beloved. Just as he fears that his life will not be allowed to run its full course, he does not allow the quatrain to run its expected measure: it is only three and a half lines long. He emphasizes the abrupt cut by the use of a hyphen, conveying a sense of suddenness and even urgency that parallels his feelings: Never have relish in the faery power / Of unreflecting love; then on the shore (11-12). The comparative shortness of this quatrain can have other implications as well. It can be interpreted to mean that love is short and fleeting, and can end at any minute. Calling his beloved fair creature of an hour (9) supports this notion. Additionally, Keats devotes more than twice as many lines to discussing his desire to write poetry than his unwillingness to let go of love, perhaps making a qualitative judgment about the two. After the three quatrains, then in the middle of line twelve marks a clear turn in the poem and indicates that the reader will finally find out what happens when all t he previous thoughts occur to the poet. Accordingly, the final two and a half lines do just that. When he has such thoughts, he stand[s] alone, and think[s] (13), Till love and fame to nothingness do sink (14). That is, he feels himself put into perspective by the wide world (13), and feels that he is nothing, and everything is insignificant and meaningless including his fear of not writing all he can and his thwarted desire to achieve fame and lasting love. In addition to Keats themes of his fear of dying before his full potential is reached and of the fleeting nature of love, an interesting dichotomy between thought and feeling is explored. It is clear that Keats wants to feel and not to think. This is a bit paradoxical, since the action of writing a poem necessitates thinking (even if it is thinking about feeling). Things that Keats states explicitly as thoughts are generally negative, often specifically referencing death (he think[s] that [he] may never live to trace (7 )), and at the end of the poem he stand[s] alone and think[s]2 (13), which brings on a very sad, empty feeling. Keats exalts feeling over thought. He yearns for unreflecting love (12). That is, love without thought. He says that he might Never have relish (11) in such love, implying that not only will he not experience it in the future if his life is abbreviated, but that he has not yet had it. He seems to be saying that he is not capable of stopping thought, and simply feeling, even though he would like to. Other things related to feelings as opposed to thoughts are also positive. When he beholds (5) nature, he is awed and inspired by it. He is not thinking about it, but simply letting the feelings it arouses wash over him. [W]hen I feel / That I shall never look upon thee more (9-10) may seem to be an exception to this idea, associating feeling with something negative, but in fact its not. He is simply using a misnomer, calling the thought of never looking upon his belove d a feeling. One final idea expressed in the poem is Keats desire to strive for and to believe in idealistic fantasies, even though he knows that they are not realities. In the end he comes to terms with the almost cruelly indifferent, depressing world. He alludes to these fantasies when he calls writing poetry the magic hand of chance (8), and when he mentions the faery power (11) of love (in this case also playing into the idea that love is only a myth). Keats uses many poetic elements to emphasize these themes and to help convey his meanings and images. In addition to making use of essentials like meter, Keats also employs many smaller techniques throughout the poem. The repetition of the word when at the beginning of each quatrain and the parallel structure of the of the first lines of the first two quatrains serves to repeatedly draw attention to the focus on time, and keeps bringing the reader back into the immediate moment. Similarly, the parallelism and repetition of the word before in lines two and three does the same thing on a smaller scale. Not exact repetition, but the use of similar sounding words is also found. The similarity of the words fair (9) and faery (11) links the two ideas, perhaps implying that love (which fair creature indicates by metonyme) is only faery (a magical illusion). Keats uses alliteration in many other places as well. The hard g sound is repeated in the first quatrain with the words gleand (2), garners (4), and grain (4). All of these words also carry stress. The repetition of the clear, full sound, in addition to the fact that the words are all associated with images of plentiful things, enhances the image of bountiful fields. Similarly, the r sound is repeated in this quatrain. It is found in the words brain (2), and charactery (3), as well as many times in line four, Hold like rich garners the full ripend grain. Again, all of the r sounds are stressed. When spoken, the sound is naturally heavy and a bit drawn out, creating a feeling of indelibility, which, after all, is what Keats, would like himself and his work to be. More alliteration is found in line thirteen with the words wide world. In this case the sound is especially pertinent to the image: when spoken, the w sound actually makes the mouth wide, and the sound itself seems to have a wide feel. The juxtaposition of wide world with I stand alone (both line 13) emphasizes the contrast between the two images. Keats does other little things like this that enhance the poems imagery. The apostrophes in the words nights starrd (5) form a concrete image, as they actually look like stars perched above the words. The fact that the apostrophe in starred is unnecessary (even if it was written starred, the pronunciation would be the same) lends credence to the idea that Keats was cognizant of the image the apostrophes create. Keats simile that books hold grain like rich garners (4) works within the harvest metaphor to self-c onsciously bring attention to the fact that it is a metaphor and a poem, maintaining no pretense of reality. He acknowledges that he is like a full field of grain, he does not try to pass himself off as one. This picks up on the theme of the disconnection between magic, fantasy, poetry, and cold reality. Then, in the same breath, he jumps back into the metaphor by saying that his poetry is not like, but is full ripend grain (4), as he strives to regain the fantasy. The last main poetic element that Keats uses in this sonnet is meter. As mentioned earlier, the meter remains rather regular throughout the poem. It is iambic pentameter, as expected in a traditional sonnet, and about half of the lines have slight variations. Since the meter of most of the poem is so regular, the slight alterations that occur seem especially important. Some of the substitutions serve specific, clear purposes in addition to simply making the rhythm of the poem interesting and not overly sing-song or predictable. Small words and articles throughout the poem that should be stressed according to strict iambic pentameter often are not. Some examples of these little, unstressed words are the (4), of (6), and with (8). Often times there are two of them in a row, like with the (8), and in the (11). The lack of an expected stress on an insignificant word allows for the stresses on the more important words to carry more weight and receive more notice. Keats inserts extra stresses in a number of places. In line three, the words high-pilÃÆ'Â ©d are both stressed, creating a spondee in the place of an iamb. The two stresses work directly with the meaning and imagery of those two words, creating a building-up feeling. It almost seems like there are three stresses in a row, since the reader nearly skips over the unstressed second syllable of pilÃÆ'Â ©d to go straight to the more substantial, stressed word, books. This third stress adds to the feeling even more, making it really feel like a big pile is being built. The word starrd (5) also carries an irregular stress. Just like the concrete imagery of the apostrophes in this phrase, the three stressed words in a row, nights starrd face, seem almost like stars perhaps Orions belt, if thats not stretching it too far which adds to the imagery. The word Huge in line six carries a stress for rather obvious reasons. It would be counterintuitive for a word meaning something large and grand to be unstressed. Also, the previous line starts with the word Behold, but does not say what to behold (the Huge cloudy symbols) until the next line. After the anticipation and excitement created by this delay and enjambment, the declaration of the object is surely worthy of a stress. The unexpected stress on the word fair in line nine serves to emphasize the alliteration with the word that comes before it (feel), again tying feeling together with positive, fair things. Additionally, the stress is important because i t marks a change in the poem: he is now addressing someone, the fair creature of an hour (9), even if it is just for a couple of lines. Never in line eleven forms a trochee for emphasis instead of an iamb. Never is an extremely important word, since the whole idea is that he wont achieve the lofty goals and happy love that he desires. Lastly, wide and world in line thirteen are both stressed, as is necessary in order to highlight the alliteration and convey the wide feeling of the words. Throughout When I have Fears that I may Cease to Be, Keats employs a plethora of poetic elements to convey his meanings and enhance his imagery. Form and metrics are paramount among these, as Keats masterfully adheres to and abstracts from the sonnet form in order to reap all of its potential.

Sonnet Analysis - When I Have Fears that I May Cease to Be - Literature Essay Samples

John Keats sonnet When I have Fears that I may Cease to Be, written in 1818 when the poet was twenty-three years old, deals with the young mans fears that he will not live long enough to accomplish what he wants to in life. He is afraid that his artistic and poetic potential will not be fulfilled, and that his love will be cut short. Based on Keats letters and his biography, we can assume that the speaker is indeed Keats himself. Interestingly, the poem was written before Keats contracted tuberculosis, from which he would die a mere three years after the poem was written, adding an eerie, portentous quality to the sonnet. However, it is understandable that he would have fears of an untimely death. His mother had died of the disease a few years earlier, and his younger brother was currently suffering from it.When I have Fears is in many ways typical of Keats work. He was a master of the sonnet form, and the poem is full of sensitive passion and the romantic imagery for which he is famous. Throughout the poem Keats uses a variety of poetic elements, including form and metrics, to help convey his thoughts and to emphasize his imagery. The poem takes the form of a Shakespearian sonnet, and rather strictly adheres to that structures template. The lines follow the standard ababcdcdefefgg rhyme scheme, and, making the rhymes as simple as possible, they are all perfect and masculine. Each rhyme is clearly differentiated from the others as well. Also in keeping with the definition of the form, the poem is written in iambic pentameter. All the lines have a neat ten syllables, and six of them are perfectly iambic. The remaining eight lines have generally few foot substitutions, with occasional trochees and spondees appearing.The form of the Shakespearian sonnet is so ideally suited for this poem that Keats must have seen little need to buck against it. In fact, doing so would probably undermine the perfect match of the sonnets form with his content. In the w ords of Paul Fussel, the sonnet as a form tends to imply a particular, highly personal, usually somewhat puzzled or worshipful attitude toward experience, which is exactly what Keats conveys in this poem. Continuing to follow the mold of the Shakespearian sonnet, When I have Fears is set up as a thought or long sentence that is not completed until the final lines of the poem. Each quatrain starts with the word when and the introduction of an elaborate circumstance, but we do not find out what happens when these things occur until the middle of the twelfth line, when the completion of the idea is thrust upon us, signaled by the word then, which clearly marks the turn in the sonnet.Each quatrain introduces a slightly different idea, but the ideas are all related, and all tie into the fear of an untimely death. The final two and a half lines after the turn are different, as discussed above. However, under the powerful influence of the Petrarchan sonnet, When I have Fears slightly v eers away from the true Shakespearian form. Although the ideas of the three quatrains all tie into the central idea, there is a clear distinction between the interconnected ideas presented in the octave that he will not be able to write all he wants in his lifetime and the separate fear expressed in the third quatrain that his love will be cut short. This causes the feeling of a slight shift between the octave and the sestet, which is where the turn would be expected in a Petrarchan sonnet. Perhaps the leaning away from the Shakespearian sonnet occurs because sonnets of that form tend to have quick, often witty resolutions at the end, whereas Petrarchan sonnets, with more lines to slowly ease and develop the conclusion of the poem, tend to have endings that are more emotional and in depth. Supporting this notion even further, Keats found it necessary to elongate his couplet by an extra half line. With the slight melding of these two sonnet forms, Keats created a perfect, tai lored vehicle for the expression of his ideas. The octaves two quatrains discuss his fear that he will not reach his poetic potential specifically that he will not be able to write all he wants or express all he can before he dies. This idea is broken into two main images and metaphors, one for each quatrain. The poem opens with imagery of a bountiful harvest. Keats likens the unreaped bounty to himself, saying that he (his mind and emotion, his teeming brain (l2)) is very full and fertile. He fears he will not be able to fully harvest (by writing poetry) all of his metaphorical grain in his lifetime: Before my pen has gleand my teeming brain, / Before high-pilÃÆ'Â ©d books, in charactery, / Hold like rich garners the full ripend grain; (2-4). In the second quatrain, the idea expressed is that of the nearly endless supply of beauty in nature and Keats desire to document and reflect it (to trace (7) it). He recognizes both the simple, clear beauty of the natural world in s hadows (8) and the nights starrd face (5), as well as a deeper, more hidden and mysterious beauty that is still partially obscured and will take time which he may not have to fully understand and express. He recognizes this masked beauty as Huge cloudy symbols of a high romance (6). It is not clear whether he means the high romance to refer to the potential, unwritten poetry or if it exists in nature by itself, while the unnecessary figure of John Keats stands idly by. Either way, it is clear that something is out there, untapped. The first two quatrains work together to give the impression that there is so much raw material in the world that, to continue the metaphor, as long as Keats lived his field need never be fallow. In the third quatrain, perhaps due in part to the Petrarchan influence discussed earlier, the idea shifts slightly to voice another element of Keats concern that his life will be cut short. He now expresses the fear that he will lose his beloved. Just as he fears that his life will not be allowed to run its full course, he does not allow the quatrain to run its expected measure: it is only three and a half lines long. He emphasizes the abrupt cut by the use of a hyphen, conveying a sense of suddenness and even urgency that parallels his feelings: Never have relish in the faery power / Of unreflecting love; then on the shore (11-12). The comparative shortness of this quatrain can have other implications as well. It can be interpreted to mean that love is short and fleeting, and can end at any minute. Calling his beloved fair creature of an hour (9) supports this notion. Additionally, Keats devotes more than twice as many lines to discussing his desire to write poetry than his unwillingness to let go of love, perhaps making a qualitative judgment about the two. After the three quatrains, then in the middle of line twelve marks a clear turn in the poem and indicates that the reader will finally find out what happens when all t he previous thoughts occur to the poet. Accordingly, the final two and a half lines do just that. When he has such thoughts, he stand[s] alone, and think[s] (13), Till love and fame to nothingness do sink (14). That is, he feels himself put into perspective by the wide world (13), and feels that he is nothing, and everything is insignificant and meaningless including his fear of not writing all he can and his thwarted desire to achieve fame and lasting love. In addition to Keats themes of his fear of dying before his full potential is reached and of the fleeting nature of love, an interesting dichotomy between thought and feeling is explored. It is clear that Keats wants to feel and not to think. This is a bit paradoxical, since the action of writing a poem necessitates thinking (even if it is thinking about feeling). Things that Keats states explicitly as thoughts are generally negative, often specifically referencing death (he think[s] that [he] may never live to trace (7 )), and at the end of the poem he stand[s] alone and think[s]2 (13), which brings on a very sad, empty feeling. Keats exalts feeling over thought. He yearns for unreflecting love (12). That is, love without thought. He says that he might Never have relish (11) in such love, implying that not only will he not experience it in the future if his life is abbreviated, but that he has not yet had it. He seems to be saying that he is not capable of stopping thought, and simply feeling, even though he would like to. Other things related to feelings as opposed to thoughts are also positive. When he beholds (5) nature, he is awed and inspired by it. He is not thinking about it, but simply letting the feelings it arouses wash over him. [W]hen I feel / That I shall never look upon thee more (9-10) may seem to be an exception to this idea, associating feeling with something negative, but in fact its not. He is simply using a misnomer, calling the thought of never looking upon his belove d a feeling. One final idea expressed in the poem is Keats desire to strive for and to believe in idealistic fantasies, even though he knows that they are not realities. In the end he comes to terms with the almost cruelly indifferent, depressing world. He alludes to these fantasies when he calls writing poetry the magic hand of chance (8), and when he mentions the faery power (11) of love (in this case also playing into the idea that love is only a myth). Keats uses many poetic elements to emphasize these themes and to help convey his meanings and images. In addition to making use of essentials like meter, Keats also employs many smaller techniques throughout the poem. The repetition of the word when at the beginning of each quatrain and the parallel structure of the of the first lines of the first two quatrains serves to repeatedly draw attention to the focus on time, and keeps bringing the reader back into the immediate moment. Similarly, the parallelism and repetition of the word before in lines two and three does the same thing on a smaller scale. Not exact repetition, but the use of similar sounding words is also found. The similarity of the words fair (9) and faery (11) links the two ideas, perhaps implying that love (which fair creature indicates by metonyme) is only faery (a magical illusion). Keats uses alliteration in many other places as well. The hard g sound is repeated in the first quatrain with the words gleand (2), garners (4), and grain (4). All of these words also carry stress. The repetition of the clear, full sound, in addition to the fact that the words are all associated with images of plentiful things, enhances the image of bountiful fields. Similarly, the r sound is repeated in this quatrain. It is found in the words brain (2), and charactery (3), as well as many times in line four, Hold like rich garners the full ripend grain. Again, all of the r sounds are stressed. When spoken, the sound is naturally heavy and a bit drawn out, creating a feeling of indelibility, which, after all, is what Keats, would like himself and his work to be. More alliteration is found in line thirteen with the words wide world. In this case the sound is especially pertinent to the image: when spoken, the w sound actually makes the mouth wide, and the sound itself seems to have a wide feel. The juxtaposition of wide world with I stand alone (both line 13) emphasizes the contrast between the two images. Keats does other little things like this that enhance the poems imagery. The apostrophes in the words nights starrd (5) form a concrete image, as they actually look like stars perched above the words. The fact that the apostrophe in starred is unnecessary (even if it was written starred, the pronunciation would be the same) lends credence to the idea that Keats was cognizant of the image the apostrophes create. Keats simile that books hold grain like rich garners (4) works within the harvest metaphor to self-c onsciously bring attention to the fact that it is a metaphor and a poem, maintaining no pretense of reality. He acknowledges that he is like a full field of grain, he does not try to pass himself off as one. This picks up on the theme of the disconnection between magic, fantasy, poetry, and cold reality. Then, in the same breath, he jumps back into the metaphor by saying that his poetry is not like, but is full ripend grain (4), as he strives to regain the fantasy. The last main poetic element that Keats uses in this sonnet is meter. As mentioned earlier, the meter remains rather regular throughout the poem. It is iambic pentameter, as expected in a traditional sonnet, and about half of the lines have slight variations. Since the meter of most of the poem is so regular, the slight alterations that occur seem especially important. Some of the substitutions serve specific, clear purposes in addition to simply making the rhythm of the poem interesting and not overly sing-song or predictable. Small words and articles throughout the poem that should be stressed according to strict iambic pentameter often are not. Some examples of these little, unstressed words are the (4), of (6), and with (8). Often times there are two of them in a row, like with the (8), and in the (11). The lack of an expected stress on an insignificant word allows for the stresses on the more important words to carry more weight and receive more notice. Keats inserts extra stresses in a number of places. In line three, the words high-pilÃÆ'Â ©d are both stressed, creating a spondee in the place of an iamb. The two stresses work directly with the meaning and imagery of those two words, creating a building-up feeling. It almost seems like there are three stresses in a row, since the reader nearly skips over the unstressed second syllable of pilÃÆ'Â ©d to go straight to the more substantial, stressed word, books. This third stress adds to the feeling even more, making it really feel like a big pile is being built. The word starrd (5) also carries an irregular stress. Just like the concrete imagery of the apostrophes in this phrase, the three stressed words in a row, nights starrd face, seem almost like stars perhaps Orions belt, if thats not stretching it too far which adds to the imagery. The word Huge in line six carries a stress for rather obvious reasons. It would be counterintuitive for a word meaning something large and grand to be unstressed. Also, the previous line starts with the word Behold, but does not say what to behold (the Huge cloudy symbols) until the next line. After the anticipation and excitement created by this delay and enjambment, the declaration of the object is surely worthy of a stress. The unexpected stress on the word fair in line nine serves to emphasize the alliteration with the word that comes before it (feel), again tying feeling together with positive, fair things. Additionally, the stress is important because i t marks a change in the poem: he is now addressing someone, the fair creature of an hour (9), even if it is just for a couple of lines. Never in line eleven forms a trochee for emphasis instead of an iamb. Never is an extremely important word, since the whole idea is that he wont achieve the lofty goals and happy love that he desires. Lastly, wide and world in line thirteen are both stressed, as is necessary in order to highlight the alliteration and convey the wide feeling of the words. Throughout When I have Fears that I may Cease to Be, Keats employs a plethora of poetic elements to convey his meanings and enhance his imagery. Form and metrics are paramount among these, as Keats masterfully adheres to and abstracts from the sonnet form in order to reap all of its potential.

Sonnet Analysis - When I Have Fears that I May Cease to Be - Literature Essay Samples

John Keats sonnet When I have Fears that I may Cease to Be, written in 1818 when the poet was twenty-three years old, deals with the young mans fears that he will not live long enough to accomplish what he wants to in life. He is afraid that his artistic and poetic potential will not be fulfilled, and that his love will be cut short. Based on Keats letters and his biography, we can assume that the speaker is indeed Keats himself. Interestingly, the poem was written before Keats contracted tuberculosis, from which he would die a mere three years after the poem was written, adding an eerie, portentous quality to the sonnet. However, it is understandable that he would have fears of an untimely death. His mother had died of the disease a few years earlier, and his younger brother was currently suffering from it.When I have Fears is in many ways typical of Keats work. He was a master of the sonnet form, and the poem is full of sensitive passion and the romantic imagery for which he is famous. Throughout the poem Keats uses a variety of poetic elements, including form and metrics, to help convey his thoughts and to emphasize his imagery. The poem takes the form of a Shakespearian sonnet, and rather strictly adheres to that structures template. The lines follow the standard ababcdcdefefgg rhyme scheme, and, making the rhymes as simple as possible, they are all perfect and masculine. Each rhyme is clearly differentiated from the others as well. Also in keeping with the definition of the form, the poem is written in iambic pentameter. All the lines have a neat ten syllables, and six of them are perfectly iambic. The remaining eight lines have generally few foot substitutions, with occasional trochees and spondees appearing.The form of the Shakespearian sonnet is so ideally suited for this poem that Keats must have seen little need to buck against it. In fact, doing so would probably undermine the perfect match of the sonnets form with his content. In the w ords of Paul Fussel, the sonnet as a form tends to imply a particular, highly personal, usually somewhat puzzled or worshipful attitude toward experience, which is exactly what Keats conveys in this poem. Continuing to follow the mold of the Shakespearian sonnet, When I have Fears is set up as a thought or long sentence that is not completed until the final lines of the poem. Each quatrain starts with the word when and the introduction of an elaborate circumstance, but we do not find out what happens when these things occur until the middle of the twelfth line, when the completion of the idea is thrust upon us, signaled by the word then, which clearly marks the turn in the sonnet.Each quatrain introduces a slightly different idea, but the ideas are all related, and all tie into the fear of an untimely death. The final two and a half lines after the turn are different, as discussed above. However, under the powerful influence of the Petrarchan sonnet, When I have Fears slightly v eers away from the true Shakespearian form. Although the ideas of the three quatrains all tie into the central idea, there is a clear distinction between the interconnected ideas presented in the octave that he will not be able to write all he wants in his lifetime and the separate fear expressed in the third quatrain that his love will be cut short. This causes the feeling of a slight shift between the octave and the sestet, which is where the turn would be expected in a Petrarchan sonnet. Perhaps the leaning away from the Shakespearian sonnet occurs because sonnets of that form tend to have quick, often witty resolutions at the end, whereas Petrarchan sonnets, with more lines to slowly ease and develop the conclusion of the poem, tend to have endings that are more emotional and in depth. Supporting this notion even further, Keats found it necessary to elongate his couplet by an extra half line. With the slight melding of these two sonnet forms, Keats created a perfect, tai lored vehicle for the expression of his ideas. The octaves two quatrains discuss his fear that he will not reach his poetic potential specifically that he will not be able to write all he wants or express all he can before he dies. This idea is broken into two main images and metaphors, one for each quatrain. The poem opens with imagery of a bountiful harvest. Keats likens the unreaped bounty to himself, saying that he (his mind and emotion, his teeming brain (l2)) is very full and fertile. He fears he will not be able to fully harvest (by writing poetry) all of his metaphorical grain in his lifetime: Before my pen has gleand my teeming brain, / Before high-pilÃÆ'Â ©d books, in charactery, / Hold like rich garners the full ripend grain; (2-4). In the second quatrain, the idea expressed is that of the nearly endless supply of beauty in nature and Keats desire to document and reflect it (to trace (7) it). He recognizes both the simple, clear beauty of the natural world in s hadows (8) and the nights starrd face (5), as well as a deeper, more hidden and mysterious beauty that is still partially obscured and will take time which he may not have to fully understand and express. He recognizes this masked beauty as Huge cloudy symbols of a high romance (6). It is not clear whether he means the high romance to refer to the potential, unwritten poetry or if it exists in nature by itself, while the unnecessary figure of John Keats stands idly by. Either way, it is clear that something is out there, untapped. The first two quatrains work together to give the impression that there is so much raw material in the world that, to continue the metaphor, as long as Keats lived his field need never be fallow. In the third quatrain, perhaps due in part to the Petrarchan influence discussed earlier, the idea shifts slightly to voice another element of Keats concern that his life will be cut short. He now expresses the fear that he will lose his beloved. Just as he fears that his life will not be allowed to run its full course, he does not allow the quatrain to run its expected measure: it is only three and a half lines long. He emphasizes the abrupt cut by the use of a hyphen, conveying a sense of suddenness and even urgency that parallels his feelings: Never have relish in the faery power / Of unreflecting love; then on the shore (11-12). The comparative shortness of this quatrain can have other implications as well. It can be interpreted to mean that love is short and fleeting, and can end at any minute. Calling his beloved fair creature of an hour (9) supports this notion. Additionally, Keats devotes more than twice as many lines to discussing his desire to write poetry than his unwillingness to let go of love, perhaps making a qualitative judgment about the two. After the three quatrains, then in the middle of line twelve marks a clear turn in the poem and indicates that the reader will finally find out what happens when all t he previous thoughts occur to the poet. Accordingly, the final two and a half lines do just that. When he has such thoughts, he stand[s] alone, and think[s] (13), Till love and fame to nothingness do sink (14). That is, he feels himself put into perspective by the wide world (13), and feels that he is nothing, and everything is insignificant and meaningless including his fear of not writing all he can and his thwarted desire to achieve fame and lasting love. In addition to Keats themes of his fear of dying before his full potential is reached and of the fleeting nature of love, an interesting dichotomy between thought and feeling is explored. It is clear that Keats wants to feel and not to think. This is a bit paradoxical, since the action of writing a poem necessitates thinking (even if it is thinking about feeling). Things that Keats states explicitly as thoughts are generally negative, often specifically referencing death (he think[s] that [he] may never live to trace (7 )), and at the end of the poem he stand[s] alone and think[s]2 (13), which brings on a very sad, empty feeling. Keats exalts feeling over thought. He yearns for unreflecting love (12). That is, love without thought. He says that he might Never have relish (11) in such love, implying that not only will he not experience it in the future if his life is abbreviated, but that he has not yet had it. He seems to be saying that he is not capable of stopping thought, and simply feeling, even though he would like to. Other things related to feelings as opposed to thoughts are also positive. When he beholds (5) nature, he is awed and inspired by it. He is not thinking about it, but simply letting the feelings it arouses wash over him. [W]hen I feel / That I shall never look upon thee more (9-10) may seem to be an exception to this idea, associating feeling with something negative, but in fact its not. He is simply using a misnomer, calling the thought of never looking upon his belove d a feeling. One final idea expressed in the poem is Keats desire to strive for and to believe in idealistic fantasies, even though he knows that they are not realities. In the end he comes to terms with the almost cruelly indifferent, depressing world. He alludes to these fantasies when he calls writing poetry the magic hand of chance (8), and when he mentions the faery power (11) of love (in this case also playing into the idea that love is only a myth). Keats uses many poetic elements to emphasize these themes and to help convey his meanings and images. In addition to making use of essentials like meter, Keats also employs many smaller techniques throughout the poem. The repetition of the word when at the beginning of each quatrain and the parallel structure of the of the first lines of the first two quatrains serves to repeatedly draw attention to the focus on time, and keeps bringing the reader back into the immediate moment. Similarly, the parallelism and repetition of the word before in lines two and three does the same thing on a smaller scale. Not exact repetition, but the use of similar sounding words is also found. The similarity of the words fair (9) and faery (11) links the two ideas, perhaps implying that love (which fair creature indicates by metonyme) is only faery (a magical illusion). Keats uses alliteration in many other places as well. The hard g sound is repeated in the first quatrain with the words gleand (2), garners (4), and grain (4). All of these words also carry stress. The repetition of the clear, full sound, in addition to the fact that the words are all associated with images of plentiful things, enhances the image of bountiful fields. Similarly, the r sound is repeated in this quatrain. It is found in the words brain (2), and charactery (3), as well as many times in line four, Hold like rich garners the full ripend grain. Again, all of the r sounds are stressed. When spoken, the sound is naturally heavy and a bit drawn out, creating a feeling of indelibility, which, after all, is what Keats, would like himself and his work to be. More alliteration is found in line thirteen with the words wide world. In this case the sound is especially pertinent to the image: when spoken, the w sound actually makes the mouth wide, and the sound itself seems to have a wide feel. The juxtaposition of wide world with I stand alone (both line 13) emphasizes the contrast between the two images. Keats does other little things like this that enhance the poems imagery. The apostrophes in the words nights starrd (5) form a concrete image, as they actually look like stars perched above the words. The fact that the apostrophe in starred is unnecessary (even if it was written starred, the pronunciation would be the same) lends credence to the idea that Keats was cognizant of the image the apostrophes create. Keats simile that books hold grain like rich garners (4) works within the harvest metaphor to self-c onsciously bring attention to the fact that it is a metaphor and a poem, maintaining no pretense of reality. He acknowledges that he is like a full field of grain, he does not try to pass himself off as one. This picks up on the theme of the disconnection between magic, fantasy, poetry, and cold reality. Then, in the same breath, he jumps back into the metaphor by saying that his poetry is not like, but is full ripend grain (4), as he strives to regain the fantasy. The last main poetic element that Keats uses in this sonnet is meter. As mentioned earlier, the meter remains rather regular throughout the poem. It is iambic pentameter, as expected in a traditional sonnet, and about half of the lines have slight variations. Since the meter of most of the poem is so regular, the slight alterations that occur seem especially important. Some of the substitutions serve specific, clear purposes in addition to simply making the rhythm of the poem interesting and not overly sing-song or predictable. Small words and articles throughout the poem that should be stressed according to strict iambic pentameter often are not. Some examples of these little, unstressed words are the (4), of (6), and with (8). Often times there are two of them in a row, like with the (8), and in the (11). The lack of an expected stress on an insignificant word allows for the stresses on the more important words to carry more weight and receive more notice. Keats inserts extra stresses in a number of places. In line three, the words high-pilÃÆ'Â ©d are both stressed, creating a spondee in the place of an iamb. The two stresses work directly with the meaning and imagery of those two words, creating a building-up feeling. It almost seems like there are three stresses in a row, since the reader nearly skips over the unstressed second syllable of pilÃÆ'Â ©d to go straight to the more substantial, stressed word, books. This third stress adds to the feeling even more, making it really feel like a big pile is being built. The word starrd (5) also carries an irregular stress. Just like the concrete imagery of the apostrophes in this phrase, the three stressed words in a row, nights starrd face, seem almost like stars perhaps Orions belt, if thats not stretching it too far which adds to the imagery. The word Huge in line six carries a stress for rather obvious reasons. It would be counterintuitive for a word meaning something large and grand to be unstressed. Also, the previous line starts with the word Behold, but does not say what to behold (the Huge cloudy symbols) until the next line. After the anticipation and excitement created by this delay and enjambment, the declaration of the object is surely worthy of a stress. The unexpected stress on the word fair in line nine serves to emphasize the alliteration with the word that comes before it (feel), again tying feeling together with positive, fair things. Additionally, the stress is important because i t marks a change in the poem: he is now addressing someone, the fair creature of an hour (9), even if it is just for a couple of lines. Never in line eleven forms a trochee for emphasis instead of an iamb. Never is an extremely important word, since the whole idea is that he wont achieve the lofty goals and happy love that he desires. Lastly, wide and world in line thirteen are both stressed, as is necessary in order to highlight the alliteration and convey the wide feeling of the words. Throughout When I have Fears that I may Cease to Be, Keats employs a plethora of poetic elements to convey his meanings and enhance his imagery. Form and metrics are paramount among these, as Keats masterfully adheres to and abstracts from the sonnet form in order to reap all of its potential.