4U1$Poetry$Essay$Exemplars$$$$• This$file$contains$five$student$exemplars$of$the$grade$12$Poetry$Comparison$Essay.$$

$• Their$purpose$is$to$inform$and$inspire$you.$$• Please$do$not$copy$from$them.$All$of$them$are$logged$in$the$Turnitin.com$database.$

$• All$these$essays$have$been$evaluated$as$level$4$and$above,$although$not$a$single$one$of$them$is$perfect.$$

$• These$essays$are$placed$in$a$rank$from$highest$to$lowest$in$terms$of$total$percentage$grade.$$

$• The$first$essay$has$been$evaluated$to$be$in$the$4M+$range$(about$93%).$$$

$• The$last$essay$comes$in$at$the$4L$range$(about$85%).$$$• The$other$three$fall$somewhere$in$between$in$terms$of$their$mark$percentages.$

December 5, 2013 ENG4U1-0_ Poetry Essay

The Quest for the Ideal – Doomed to Failure

The “ideal” in our society is typically presented as something good; something desirable;

something within reach. So it is not a surprise that human beings spend much time and energy trying to

achieve the “ideal weight”, the “ideal complexion” and the “ideal image”. The media and popular culture

strongly influence beliefs and attitudes creating unattainable ideals in every aspect of one’s life. What is

even more disturbing is that the ideal is increasingly portrayed as uniform or singular as the world

becomes more interconnected. Thus, it is refreshing, humbling and a big relief to step back and read

poetry. Alice Major, Maxine Tynes and Alfred Lord Tennyson explore the theme of “the quest for the

ideal” in their respective poems “puce fairy book”, “The Woman I Am In My Dreams” and “The Lady of

Shalott”. Using contrast and symbolism these poets look at the ideal versus reality to demonstrate that

the quest for the ideal is doomed to failure with disastrous consequences.

A woman who strives to be a man’s “ideal woman” will have to sacrifice her identity according to

Alice Major. Speaking to a male lover, Major examines five fairy tales involving a perfect princess and

uses contrast to show the difference between an ideal and a real woman. While a male’s fairy tale

vision of the perfect woman in “puce fairy book” is someone like Rapunzel “waiting in a tower / braids of

hair like ropes” (1-2), this stands in contrast with a real woman whose “hair would never grow long

enough” (4). Another example of an ideal woman is Sleeping Beauty sleeping in a garden “never been

kissed” (7), which stands in opposition to a real woman who has had other relationships; has had “other

princes” (8). Major also uses the symbol of the “crystal slipper” (17) from “Cinderella” to represent the

male’s image of the perfect woman. As Major says, this image is outdated “slightly passé” (19) and one

size does not fit all. The only way a real woman can fit one’s big foot into this ideal slipper is by “cutting

off [her] toe” (24). Figuratively and literally, a real woman has to cut off pieces of her identity (her flaws)

and of her body in order to fit the mould of perfection.

It is physically impossible in Maxine Tynes’ poem to become the “ideal woman”, so striving for

perfection will only result in disappointment. Like Major, she uses contrast to differentiate a real woman,

her real self suffering from a disability with limited mobility, from an ideal woman, her dream self who

December 5, 2013 ENG4U1-0_ Poetry Essay

2

has no physical or mental limitations and can do anything she wants. “The woman I am in my dreams /

is taller that I am / and sees the world as she walks / unlike me with eyes on every step” (1-4). An ideal

woman can cross her legs “high up on the knee / the hip / the thigh” (12-14), versus a real and disabled

woman who can only cross her legs “at the ankle” (15). Tynes also uses shoes as a symbol; in this

case “killer spike heels” (19), “high and red” (18) to represent society’s view of the perfect woman

versus “Nikes” (20) to represent society’s view of the disabled. The perfect woman is high, elevated, far

from reality, and confident whereas the disabled woman is lowly, on the ground, close to reality, inferior

and lacking in self-esteem. Tynes ends her poem by saying that she uses this vision of the perfect

woman to help her cope with her reality: “I wake up and carry part of her / with me everywhere” (35 -

36). She is not as angry as Alice Major and this leaves the reader feeling profoundly sad since a

disabled woman will never get to strut those heels and will experience ongoing disappointment. It is

impossible for her to become society’s ideal woman.

In order for an artist to create, she or he must not be distracted by the “ideal”. Otherwise, as

seen in Alfred Lord Tennyson’s poem, the artist’s inspiration and ability will die. Tennyson, like the other

two poets uses contrast to juxtapose the ideal with the real. On the ideal side stands “Camelot”, the

sexy, fun, dynamic, bustling town and on the other side stands “Shalott”, the quiet, reflective, static

island. Shalott is described as having “Four gray walls, and four gray towers” (15), whereas Camelot is

where “the river eddy whirls” (51), where there are “red cloaks of market girls” (53), and “Sometimes a

troop of damsels glad, / An abbot on an ambling pad, / Sometimes a curly shepherd lad” (55-57).

Tennyson does not use shoes as a symbol like the other two poets, but uses Sir Lancelot to symbolize

perfection. Similar to Major’s use of a fairy tale crystal slipper, Tennyson uses a mythical figure to

symbolize the ideal. When Lancelot enters the poem, he is radiant as “The sun came dazzling thro’ the

leaves” (75) and he, his horse and his attire are shiny and oh so beautiful: “The helmet and the helmet-

feather / Burn’d like one burning flame together” (94-95). The allure of perfection is so powerful, and the

Lady of Shalott even though she knows she will be cursed, “A curse is on her if she stay / To Look

down to Camelot” (40-41), leaves her artwork to gaze at Lancelot. The web, which symbolizes her

December 5, 2013 ENG4U1-0_ Poetry Essay

3

artistic inspiration/ability, disappears in that moment: “Out flew the web and floated wide” (113). An

artist cannot be distracted by superficial shiny appearances – the ideal; an artist needs to search her or

his inner self for inspiration – the real. The artist will figuratively and literally die; not only will she or he

lose artistic inspiration/ability, but she or he will die since an artist has no choice, but to be an artist, and

will die if unable to create art.

These three poets make one rethink the value of striving for the ideal. The “ideal”, contrary to

what the media and popular culture might have one believe, is not something good; not something

desirable; not something within reach. One can learn from the Lady of Shalott to shield one’s eyes and

soul from the distorted shiny appearance of the ideal. It is so difficult since images of perfection are so

pervasive in our society, and becoming more uniform as the world becomes more interconnected. It is

harder and harder to fit this singular mould, so rather than expend all one’s energy trying to erase one’s

flaws; one should reject the mould and embrace oneself. It may be socially isolating to turn one’s back

on television and other social media, but pursuing the quest for the ideal and trying to eradicate one’s

imperfections is doomed to failure. And the consequences are disastrous – sacrifice of identity,

perpetual disappointment and even death.

Eng$4U10_$ The$Poet’s$Quest$for$the$Ideal$ student$name$

!! $

$

For centuries, Man has been obsessed with the quest for the paragon of beauty, but

where does this pursuit lead? Ideal beauty may be defined as something that is admired for its

desirable qualities and flawless nature. Many artists have striven to achieve the ideal only to

realize that perfection is impossible to attain since it is subjective and highly variable. The

elusive nature of human beauty is further increased by its temporal nature. As we grow old, our

beauty withers and dies. Thus, many artists believe that the quest for the ideal must journey into

the realm of immortal beauty. Beauty is ideal when its perfection is everlasting. To achieve

eternal beauty one must let go of one’s temporal beauty and strive to grab hold of the impossible.

This feat involves taking risks and making great sacrifices. In “Constantly Risking Absurdity,”

“Sailing to Byzantium,” and “Puce Fairy Book,” Lawrence Ferlinghetti, William Butler Yeats

and Alice Major use allusion, similes and metaphors to depict the quest for the ideal as a pursuit

of eternal beauty that requires great risk taking and sacrifice for, as the old adage states, “nothing

ventured, nothing gained. ”

In “Constantly Risking Absurdity,” Ferlinghetti, through the use of allusion, simile and

metaphor, compares the poet engaged in the quest for beauty to an acrobat performing a death-

defying, high wire act, “Constantly risking absurdity / and death /whenever he performs / above

the heads / of his audience / the poet like an acrobat /climbs on rime / to a high wire of his own

making….” (1-8) Ferlinghetti alludes to a trapeze artist and with the use of a simile reveals that

the poet, like the acrobat, must walk along life’s precarious path, risking absurdity and even

death, as he searches for beauty in art. The “high wire of his own making” is a metaphor

comparing the acrobat’s high wire to the poem the poet is writing. The poem, like the high wire,

is “above the heads of his audience,” or above their understanding. To be immortal a poet must

write poetry that is accessible. However, the quest for perfection is not a common task and this

makes the task of creating accessible yet ideal poetry extremely challenging. Furthermore, the

poet “climbs on rime” which is a surface that is dangerously slippery. The poet risks failure if he

falls, and hence his pride and reputation, in order to find beauty while we are entertained by his

theatrics. These theatrics allude to the poet’s use of poetic devices. Perhaps, Ferlinghetti is the

acrobatic poet, “a little charleychaplin man / who may or may not catch / her fair eternal form /

spreadeagled in the empty air / of existence.” (29-33)Ferlinghetti alludes to Charlie Chaplin to

indicate that the poet is not a high brow intellectual but rather a funny “little” man who seeks to

catch the personified Beauty. A metaphor is used to compare the ideal of beauty to a beautiful

Eng$4U10_$ The$Poet’s$Quest$for$the$Ideal$ student$name$

!! $

$

woman, “her fair eternal form,” who is open to being caught since she is “spreadeagled.” This

image reveals that there is the potential for catching the ideal but we don’t know if the poet ever

does achieve his goal. There are no answers in the “empty air of existence” just as there is no

guarantee that the poet’s quest will be successful. The poet risks absurdity and the death of his

reputation when he sets out upon the perilous quest of trying to catch eternal beauty, but it is a

risk Ferlinghetti is willing to take to achieve the ideal.

Like Ferlinghetti, Yeats, in “Sailing to Byzantium,” suggests that one must take risks

and make sacrifices in order for Man’s soul to be immortalized in art. Throughout this poem,

Yeats alludes to his own personal fear of aging. The aged speaker’s quest for the ideal has led

him to leave his home, “THAT is no country for old men. The young / in one another’s arms,

birds in the trees / - Those dying generations - at their song / … / Caught in that sensual music all

neglect / Monuments of unageing intellect.” (1-3, 7-8)Yeats uses a metaphor that compares

human experience to various art forms to clarify why the speaker is leaving his homeland. The

people there were focused on corporeal beauty which he disdains because it is temporal just like

their “sensual music.” In the second stanza, Yeats alludes to the image of a scarecrow when he

refers to man’s body, “An aged man is but a paltry thing. / A tattered coat upon a stick, unless /

Soul clap its hands and sing,” (9-11) but the soul can make the body sing, metaphorically

speaking. Yeats extends his metaphor in the line, “Nor is there singing school but studying /

Monuments of its own magnificence” (13-14) to suggest that he has left “THAT” country

because they did not value the eternal beauty of the soul and mind. There were no schools to

teach people’s souls to sing; rather, they built monuments that idolized their temporal, physical

beauty. Consequently, as the title informs us, the speaker risks “Sailing to Byzantium.” Yeats

alludes to Byzantium because the speaker is on a spiritual pilgrimage and Byzantium is located

in the holy land. Furthermore, this great metropolis was a social, political and cultural

superpower. The speaker prefers the people of Byzantium since they are concerned with ancient

wisdom and spirituality. Keats’ simile, “O sages standing in God’s holy fire / As in the gold

mosaic of a wall” (17- 18) compares the oracles of Byzantium to a golden mosaic. This metaphor

alludes to the precious nature of sages, valuable because of their spiritual and intellectual nature.

The speaker asks the sages to teach his soul how to sing but he realizes that to do this he must

sacrifice his mortal body, “And be the singing-masters of my soul. / Consume my heart away;

sick with desire / And fastened to a dying animal / It knows not what it is; and gather me / Into

Eng$4U10_$ The$Poet’s$Quest$for$the$Ideal$ student$name$

!! $

$

the artifice of eternity.” (20-24) The term “artifice” refers to man- made art. The speaker knows

his soul must break free of his body and find eternal life in a golden sculpture of a bird. In

contrast to the birds of nature found in “THAT” country, his soul, resting in a beautiful, golden

sculpture, might achieve immortality as it reminds the “lords and ladies of Byzantium / of what

is past, or passing, or to come.” (31-32) The speaker is on a quest for the ideal that leads him to

realize that he must sacrifice his own corporeal existence for the precious gift of eternal beauty.

However, like Ferlinghetti, Yeats does not give us the satisfaction of knowing whether the

speaker was successful in achieving this seemingly impossible goal.

Unlike, Ferlinghetti and Yeats, Alice Major, through the use of allusion, simile and

metaphor, suggests that the pursuit of eternal beauty, as represented by classic fairy-tale

princesses, requires great personal sacrifice; however, Major believes that the prize is not worth

the self- sacrifice. Her poem, “Puce Fairy Book,” suggests that one should have the courage to be

themselves rather than attempting to live up to unrealistic standards of beauty. Unlike the other

poems discussed, this poem is told from a female point of view. Throughout the poem, Major

alludes to various fairy-tale princesses in order to suggest that society has created an ideal image

of women that is unobtainable. Her allusion to Rapunzel defends this idea, “you wanted

Rapunzel waiting in a tower / braids of hair like ropes / stairs that only you could climb / my hair

would never grow long enough.” (1-4) The simile of “hair like ropes” creates the image of a

princess trapped by her own beauty. Furthermore, this prison of beauty has become an unrealistic

standard. No matter how hard the speaker works she would never be able to fulfill her man’s

expectations because of her physical flaws. Major, alluding to Sleeping Beauty and using a

metaphor that compares a forest to sexual experience, points to the unrealistic expectations that

women are innocent, “you wanted a lady sleeping in a garden / no rings on her fingers / never

been kissed / other princes had made it through my forest.” (5-8) In Major’s allusion to The

Princess and the Pea, she reverses the roles to depict the prince as being unable to sleep due to

the princess’ flaw metaphorically represented by a pea, “I piled up mattresses to cushion you /

but you tossed and turned / bruised by that one small nub.” (13-15) Major’s message is revealed

in her final allusion to Cinderella, “you brought me a crystal slipper / … / my foot was too big to

fit into it / you might have been the one true prince / but on mature consideration / I declined

with thanks the honour / of cutting off my toe.” (17-24)The speaker is unwilling to sacrifice

herself in order to fit into the male’s unrealistic and childish vision of perfection. She may risk

Eng$4U10_$ The$Poet’s$Quest$for$the$Ideal$ student$name$

!! $

$

losing her ideal love but she does not lose her sense of self. One might argue that in doing so, the

speaker obtains the most beautiful prize of all, self-love.

Thus, the pursuit of the illusive ideal of beauty is presented through the use of

allusions, metaphors and similes by Lawrence Ferlinghetti, William Butler Yeats and Alice

Major as involving great risk and sacrifice. Furthermore, there is no guarantee that the quest will

be successful or worth the sacrifice. In “Constantly Risking Absurdity,” The acrobatic poet’s

goal to catch Beauty and, in “Sailing to Byzantium,” the aged traveller’s wish is to embed his

soul in art. Both of these quests are left unresolved; while, in “Puce Fairy Book,” the quest is

never undertaken. The heroine decides that the perfect life of a fairy-tale princess is unrealistic

and not to her liking. She knows she isn’t perfect but she chooses to love herself for who she is

and see beyond the imperfections. While Ferlinghetti and Yeats observe the old adage “nothing

ventured, nothing gained,” Major abides by Pindar, a Greek lyric poet in 400 B.C., who said,

“Seek not, my soul, the life of the immortals; but enjoy to the full the resources that are within

thy reach.” Perhaps it is time for us to cease our quest for the immortal and unobtainable ideal

and be satisfied with the beauty of our mortality.

Student Name ENG4U1-0_

Poetry Comparison Essay

Many poets have explored the dichotomy between the temporal and eternal realms and many of

them cite the eternal world as the ideal. In opposition, several poets seem to dislike the static

nature of utopia and suggest that living in the real world, even if it is just for a short time, is

much better than the sameness of the world of dreams, art and heaven. Though the eternal seems

ideal for most, there is also an unearthly quality to it and variation as to what said ideal world

may actually be. Maxine Tynes, John Keats and William Butler Yeats all use imagery and

diction to portray an ideal, which, for all three of them, lies in an eternal, ethereal world

In The Woman I Am in My Dreams, Maxine Tynes creates a dream world in which the

poet’s dream-self is more confident, portraying the dream world as filled with motion, in contrast

to the immobile real realm. When speaking of the dream world, the writing is often more

frenzied and animated, creating this sense of mobility that is not evident in the real world.

“Moves from Nikes to spikes/ and the kind of pumps/ that go with a dress/ and having your hair

done,” (Tynes, 20-23) states Tynes. This quote contains the only rhyme in the poem—“from

Nikes to spikes”—and, through her use of diction, she creates a vivid image of what her ideal

woman would look like, portraying her as a sexual being with more confidence that the narrator

has while awake. In addition to the almost euphoric sense of her diction in this part of the poem,

a good deal of imagery helps to create a sense of mobility in the dream world that is not present

in the waking hours. Tynes puts great emphasis on her legs that “speak for her in footsteps on the

road/ they laugh at hills and/ at rolling, unforgiving gravel.”(Tynes 29-31) This quote sexualizes

legs and portrays them as the instrument of confidence. At the end of the poem, the poet seems to

accept that, though she wishes she could be the woman that exists when she is asleep, she is

unable to do so. She can, however, take parts of her dream-self with her in the real world.

While the narrator in The Woman I Am in My Dreams seems to accept that she cannot

attain her dream world, Keats presents a narrator who is more conflicted with which world he

wants to be a part of in Ode on a Grecian Urn. Keats portrays the real world as temporal and,

yet, three dimensional, inhabited by real people. The art world, which he uses a Grecian Urn to

symbolize, is shown as being inhabited by beauty and youth on a flat plane that can never move.

The narrator of this poem is confused about which world is the superior world, speaking of how

the art world is both eternal and sorrowful, as the lovers will forever stare into each other’s eyes

but never kiss. “Ah, happy, happy boughs! that cannot shed/ your leaves, nor ever bid the spring

adieu,” (Keats 21-22) Keats describes, repetition of the word “happy” showing the narrator’s

dismay that the world portrayed on the urn is not the one he lives in. Keats also uses the

repetition as a symbol of the sameness on the urn, implying that, no matter how much time

passes, nothing will ever change on the image. Towards the end of the poem, the poet’s view

begins to switch and he begins to question the allure of the ethereal art world. He states “For ever

panting, and for ever young:/ All breathing human passion far above,/ that leaves a heart high-

sorrowful and cloy’d,/ a burning forehead, and a parching tongue,” (Keats 27-30) which implies

the sorrow of a world that cannot change and the sadness of being trapped in art, unable to move.

At the end of the poem, when Keats says “‘Beauty is truth, truth is beauty,’” it is unclear if the

speaker is the poet or a being from the art world. This quote does, however, serve to prove that

the art world, which is described as being beautiful, is the truth and, therefore, the superior world

in which the poet would like to reside.

The narrator of Ode on a Grecian Urn, though confused, decides that the art world better

represents his Utopia. In Sailing to Byzantium Yeats has the same idea, stating that he would

rather be in heaven than on earth, though the narrator of Sailing to Byzantium is certain of his

choice from the beginning of the poem. The first stanza is filled with scorn towards the real

world, which is described as filled with youth who have no notion that they will eventually grow

old and who put all their emphasis on love and naiveté as opposed to the virtues of the narrator,

who appears to value knowledge above all else. He uses alliteration—“ The young in another’s

arms, birds in the trees/ –those dying generations—at their song/ The salmon-falls, the mackerel-

crowded seas,/ Fish, flesh, or fowl/ Commend all summer long/ Whatever is begotten, born and

dies. ” (Yeats 2-6) —to portray the narrator’s dislike of the youth and the temporal world,

evoking the harsh ‘f’ sound to emphasize the point. The remainder of the line is filled with

imagery that conveys a crowded world so filled with youth that there is no room for intellect or

the elderly. The “mackerel-crowded seas” are also used as a symbol for conformity, showing that

all the young are the same, naïve and under the belief that they are immortal. In addition to the

poet’s distain towards the young and their way of thinking, he implies, contrary to the views of

Keats in Ode on a Grecian Urn that the temporal world is flat and that heaven is a three

dimensional space filled with light and knowledge. This point is emphasized through imagery

when Yeats writes “Come from the holy fire, perne in a gyre/ And be the singing-masters of my

soul” (Yeats 19-20). This line—specifically “perne in a gyre”—shows the difference between the

temporal world and the eternal one, implying that there is a spiralling quality to heaven that is

not present in the temporal and real world.

All of the narrators of the poems choose the eternal, ethereal world of dreams, art or

heaven over the concrete world, though, as is the case in Ode on a Grecian Urn, the narrator is

conflicted about which world he wants to belong to as opposed to Sailing to Byzantium, in which

the narrator is certain of where he wants to be. In The Woman I Am in My Dreams, the poet is

able to accept that she is not privy to her dream world, though she decides that she will take

whatever she can from her dreams and apply them to the real world. Since the inception of

human beings, there has been an unending quest for an ideal world, which, it seems, is different

to every person. It is perhaps best to recognize, as Tynes does in The Woman I Am in My

Dreams, that the ideal world is not attainable but certain parts of it can still be accessed and used

as inspiration to improve the real world.

student'name' ENG4U100_' December'9th,'2013'

'

Poetry'Essay!English'poet'Percy'Bysshe'Shelley'once'said'“Poetry'lifts'the'veil'from'the'hidden'beauty'of'the'world,'and'

makes'familiar'objects'be'as'if'they'were'not'familiar.”'The'three'authors'Alfred'Lord'Tennyson,'William'

Shakespeare'and'W.B.'Yeats'attempt'to'lift'this'“veil”'and'reveal'to'us'their'definitions'of'truth'and'beauty.'In'

Tennyson’s'poem'“The'Lady'of'Shalott”,'he'contends'that'the'lady'lives'in'the'artist’s'eternal'world,'and'may'not'

exist'in'the'real'world'outside'her'window.'Shakespeare’s'Sonnet'18'delineates'the'flaws'of'nature'and'how'it'is'

not'a'suitable'comparison'to'the'speaker’s'love.'Finally,'Yeats’'“Sailing'to'Byzantium”'portrays'one'of'his'most'

common'themes,'that'the'artificial'world'is'superior'to'that'of'nature.'In'these'three'poems,'the'authors'use'

repetition'and'symbolism'to'demonstrate'their'definitions'of'the'ideal'of'beauty.'

Alfred'Lord'Tennyson’s'poem'“The'Lady'of'Shalott”'has'been'dissected'throughout'history,'with'many'

hidden'meanings'being'found,'largely'due'to'Tennyson’s'masterful'use'of'poetic'devices.'Two'words'are'

repeated'in'each'stanza'of'this'poem:'Camelot'and'Shalott.'The'repetition'of'the'word'Camelot'in'the'fifth'line'of'

every'stanza'may'be'used'to'represent'its'unattainability.'The'constant'repetition'of'the'word'makes'it'seem'

more'like'a'distant'dream'than'a'tangible'and'lively'location'just'down'the'river'from'the'yearning'Lady'of'

Shalott.'To'contrast'Camelot’s'vigour,'the'word'Shalott'is'repeated'in'the'last'line'of'every'stanza,'distinctly'

separated'from'Camelot'and'portraying'the'depth'of'the'Lady’s'isolation'in'her'lifeless'prison.'Symbolically'there'

is'also'much'to'analyze,'most'notably'the'“web”'on'which'the'Lady'weaves'and'the'island'on'which'she'is'

trapped.'The'loom'on'which'the'Lady'weaves'is'her'only'way'to'replicate'the'outside'world'as'she'gazes'into'her'

mirror'as'the'“Shadows'of'the'world'appear”'(30).'Her'eternal'world'is'a'still'artistic'beauty,'but'it'is'only'a'

“shadow”'of'the'real'thing'and'she'longs'for'the'raw'and'natural'beauty'of'Camelot.'The'island'of'Shalott'is'cut'

off'from'the'main'land,'similar'to'how'the'Lady'is'segregated'from'reality.'When'the'reader'is'introduced'to'

Lancelot,'the'utmost'desire'of'the'Lady,'the'final'line'of'that'stanza'is'“Beside'remote'Shalott”'(81),'reminding'

the'reader'of'the'terrible'isolation'of'the'Lady.'These'ideas'of'the'contrast'between'Camelot'and'the'island'of'

Shalott,'between'eternal'and'temporal,'and'between'freedom'and'confinement'show'how'the'artist'must'create'art'and'only'observe,'but'not'take'part'in'the'world'around'them.'

William'Shakespeare’s'Sonnet'18'consists'of'a'speaker'comparing'their'object'of'affection'to'a'summer’s'

day,'but'then'explaining'why'that'is'an'inadequate'metaphor'to'do'justice'to'their'love.'The'speaker'states'that'

although'a'summer’s'day'may'be'beautiful,'“And'every'fair'from'fair'sometime'declines”'(7),'signifying'the'

ephemeral'quality'of'natural'beauty.'The'repetition'of'the'word'“and”'in'lines'6'and'7'may'be'used'to'emphasise'

the'fact'that'summer'has'a'large'number'of'flaws,'thus'proving'the'speaker’s'point'that'it'is'inadequate.'When'

“Rough'winds'do'shake'the'darling'buds'of'May,”'(3)'the'“darling'buds”'symbolize'youth'being'ravaged'and'

destroyed'by'rough'winds,'representing'time.'This'is'why'the'speaker'immortalizes'their'love'by'capturing'the'

essence'of'his'love'in'“eternal'lines”'(12)'which'will'preserve'their'image'“So'long'as'men'can'breathe'or'eyes'

can'see”'(13).'Shakespeare'uses'this'sonnet'to'dispute'that'to'capture'beauty'in'the'lasting'world'of'art'is'better'than'anything'nature'can'offer,'no'matter'how'beautiful.'

student'name' ENG4U100_' December'9th,'2013'

'

W.B.'Yeats’'poem'“Sailing'to'Byzantium”'portrays'the'speaker'as'an'old'man'who'has'left'his'country'in'favour'of'Byzantium'to'immortalize'his'soul'in'the'enduring'world'of'Byzantine'art.'The'speaker'wishes'to'leave'his'mortal'body'behind,'he'wishes'for'the'sages'standing'in'God’s'holy'fire'to'“Consume'my'heart'away;'sick'with'desire/And'fastened'to'a'dying'animal.”'He'refers'to'his'heart'as'sick'with'desire'and'to'his'body'as'a'dying'animal,'clearly'wanting'to'inhabit'a'more'enduring'and'beautiful'form.'Repetition'is'used'with'the'world'“gold”'being'used'numerous'times'in'the'last'stanza'when'the'speaker'proclaims'his'desire'to'never'take'a'bodily'form'from'a'natural'thing,'but'from'“such'a'form'as'Grecian'goldsmiths'make'/Of'hammered'gold'and'gold'enamelling”'(27028),'gold'being'one'of'the'most'aesthetically'appealing'and'everlasting'elements'on'earth.'Nature'is'a'recurring'symbol'in'this'poem,'showing'that'something'that'begins'with'such'beauty'in'nature'cannot'last'and'must'follow'the'cycle'of'life'by'deteriorating'and'ultimately'perishing.'The'“birds'in'the'trees”'(2)'referred'to'in'the'first'stanza'of'the'poem'are'representative'of'youthfulness'and'living'things'that'are'free'and'carefree,'and'to'him'that'country'is'for'the'birds.'This'symbol'of'the'birds'returns'again'at'the'end'when'the'speaker'states'that'he'wants'to'“set'upon'a'golden'bough”'(30),'which'is'ironic'because'he'wants'to'become'a'golden'bird,'the'symbol'that'described'the'aspects'of'his'home'country'that'caused'him'to'leave'it.'With'this'poem,'Yeats'demonstrates'his'admiration'of'Byzantine'art'in'its'purity'and'timelessness,'and'his'contention'that'temporal'beauty'cannot'compare'to'the'eternal'world'of'art.''

The'three'poets'Alfred'Lord'Tennyson,'William'Shakespeare'and'W.B.'Yeats'use'repetition'and'symbolism'in'these'three'works'to'demonstrate'the'idea'that'the'eternal'beauty'of'art'is'better'than'the'temporal'beauty'of'nature'because'it'is'infinite'in'duration'and'will'therefore'live'on'even'after'the'creators'and'subjects'have'perished.'In'our'modern'society'of'consumerism'and'the'idea'that'everything'is'disposable,'it'is'important'to'appreciate'the'events'of'everyday,'including'naturally'beautiful'occurrences.'But'it'is'becoming'even'more'important'to'appreciate'the'art'that'is'being'forgotten'and'ignored'in'favour'of'simpler'and'more'mindless'distractions.'The'eternal'world'of'art'is'an'invaluable'resource'that'we'have'access'to'in'our'society,'and'we'should'take'advantage'of'it.'Art'is'meant'to'be'contemplated,'but'most'of'all'created'and'it'would'be'very'enriching'for'everyone'to'escape'and'appreciate'the'everlasting'medium:'art.'

Student'Name'

ENG-4U1-0_'

The$Quest$for$the$Ideal$

The'quest'for'the'ideal'has'plagued'the'minds'of'great'thinkers'and'artists'alike,'and'therefore'

has'been'a'prominent'theme'in'literature'since'the'beginning'of'time.'The'division'between'the'

temporal'and'eternal'realm'is'a'crucial'one'in'determining'different'forms'and'ideas'of'perfection.''In'

three'of'the'poems'discussed,'“constantly'risking'absurdity”,'“Lady'of'Shalott”'and'“The'Woman'I'am'in'

My'Dreams”,'all'found'in'Echoes'12,'the'authors'utilize'the'same'two'literary'devices'to'portray'their'

vision'of'the'ideal,'as'well'as'create'the'shared'theme'of'death'and'mortality.'Symbolism'and'

characterization'are'used'by'Lawrence'Ferlinghetti,'Alfred'Tennyson'and'Maxine'Tynes'in'these'works'of'

literature'to'achieve'his'or'her'unique'version'of'the'ideal.''

Alfred'Tennyson,'the'author'of'“The'Lady'of'Shalott”,'utilizes'both'poetic'tools'of'

characterization'and'symbolism'to'help'convey'his'depiction'of'the'quest'for'the'ideal.'The'poem'opens'

with'the'direct'characterization'of'the'Lady'of'Shalott,'“But'who'hath'seen'her'wave'her'hand?'Or'at'the'

casement'seen'her'stand?”'(Tennyson,'25-26)'The'townspeople'characterize'her'as'reclusive,'inverted'

and'even'mysterious;'Tennyson'uses'the'aid'of'symbolism'to'further'this'description,'“Four'gray'walls'

and'four'gray'towers”(Tennyson,'15)'By'using'words'such'as'“gray'“,'Tennyson'paints'a'picture'of'a'sad,'

fortified'castle'which'symbolizes'the'complete'isolation'of'the'Lady'of'Shalott.'It'is'when'the'poem'

travels'inside'the'walls'of'the'home'of'Lady'Shalott'however,'that'the'reader'realizes'the'true'reasons'

behind'her'enigmatic'ways;'she'has'been'cursed,'“A'curse'is'on'her'if'she'stay'To'look'down'to'

Camelot.”'(Tennyson,'40-41)'This'changes'the'characterization'of'the'woman,'turning'her'into'a'

temporal'being'who'yearns'to'be'a'part'of'the'world,'with'the'man'she'sees'reflected'in'her'magic'

mirror,'telling'herself'that'she'is'“Half-sick'of'shadows.”(Tennyson,'71)'The'mirror,'Lady'Shalott’s'only'

link'to'the'outside'world,'symbolizes'the'immense'difficulties'artists'face'when'trying'to'capture'the'

entirety'of'beauty.'While'yes,'the'Lady'of'Shalott'can'watch'the'enticing'town'of'Camelot'from'a'far,'she'

will'never'fully'experience'it'by'only'looking'through'one'creative'lens'(the'mirror).'In'the'end,'the'Lady'

of'Shalott'attempts'to'pursue'her'ideal'of'Camelot,'“And'at'the'closing'of'the'day'She'loosed'the'chain'

and'down'she'lay,”'but'in'doing'so'breaks'the'curse,'killing'herself.'The'Lady'of'Shalott’s'imminent'death'

symbolizes'the'insurmountable'gap'between'the'temporal'and'eternal'realms,'an'idea'portrayed'in'the'

next'poem'to'be'examined.''

Throughout'the'poem'“The'Woman'I'Am'in'My'Dreams”,'the'author,'Maxine'Tynes,'repeatedly'

uses'symbolism'and'characterization'to'express'the'frustration'the'Speaker'feels'about'her'own'

mortality'and'the'envy'she'has'towards'her'ideal.'The'excerpt,'“unlike'me'with'eyes'on'every'step'with'

eyes'ever'and'always'on'the'ground”'(Tynes,'4-2)'symbolizes'the'difference'in'confidence'between'the'

Speaker'and'her'ideal;'the'ideal'“sees'the'world'as'she'walks”'(Tynes,'3)'showing'and'reinforcing'her'

assurance,'rather'opposite'to'the'Speaker'herself.'Tynes'characterizes'the'Speaker'as'seeing'herself'as'

weak'or'inferior'to'the'woman'in'her'dreams.'In'such'lines'as,'“the'woman'I'am'in'my'dreams'lifts'one'

leg'effortlessly'over'the'other…'not'just'at'the'ankle'like'I'do.”(Tynes,'9-10,'15)'it'is'evident'that'the'

Speaker'dislikes'her'temporal'or'mortal'body,'and'has'a'deep'envy'of'the'woman'she'wishes'she'was,'

her'ideal.'The'constant'comparisons'made'between'the'woman’s'ideal'and'herself'symbolizes'the'

distinction'between'the'eternal'and'temporal'realms,'“the'woman'I'am'in'my'dreams'I'wake'up'and'

carry'part'of'her'with'me'everywhere.”'(Tynes,'34-36).'This,'the'last'line'of'the'poem,'communicates'to'

the'reader'that'though'the'Speaker'knows'she'will'never'be'this'woman'in'the'temporal'realm,'the'ideal'

is'so'central'to'how'she'sees'herself'that'she'thinks'about'her'always.'This'idea'is'crucial'in'

understanding'that'the'Speaker'realizes'the'impossibility'of'truly'merging'the'temporal'and'eternal'

realms,'no'matter'how'badly'she'wishes'to.''

“constantly'risking'absurdity”,'a'poem'written'by'Lawrence'Ferlinghetti,'revolves'around'the'

ever-present'risks,'including'death,'involved'in'both'tight'rope'walking'and'the'role'of'a'poet'searching'

for'beauty,'truth'and'its'meaning.'Immediately'the'narrator'insinuates'and'characterizes'the'poet'as'

someone'who'is'intellectually'beyond'his'audience'in'the'excerpt,'“constantly'risking'absurdity'and'

death'whenever'he'performs'above'the'heads'of'his'audience.”'(Ferlinghetti,'2-3)'This'line'not'only'

communicates'the'poet’s'views'about'himself,'and'the'doubts'that'he'faces'to'cerebrally'reach'his'

audience,'but'also'provides'different'symbols'for'the'reader'to'interpret.'The'symbol'of'a'tight'rope'

walker'attempting'to'not'fall'and'successfully'reach'the'end'is'comparable'to'the'pressures'and'strains'

that'poets'experience'while'endlessly'seeking'the'truth'or'the'ideal.'Characterization'is'once'again'

utilized'by'Ferlinghetti'to'represent'how'unattainable'Beauty'is,'and'how'the'quest'to'find'and'

understand'it'is'never-ending.'“toward'that'still'higher'perch'where'Beauty'stands'and'

waits“(Ferlinghetti,'24-25)'By'capitalizing'the'b'in'beauty,'the'author'is'personifying'and'symbolizing'

Beauty'as'an'unreachable'goal,'perhaps'the'end'of'a'tightrope'or'the'discovery'of'the'poet’s'ideal.'

Furthermore,'Ferlinghetti'characterizes'the'poet'as'a'“charliechaplin'man”(Ferlinghetti,'29),'allowing'a'

comparison'to'be'made'between'Beauty,'unattainable,'everlasting'and'forever'in'the'eternal'realm'and'

the'poet,'insignificant,'mortal'and'temporal;'this'shows'the'reader'the'stark'differences'between'the'

two'characters'as'well'as'the'realms.'Though'the'poet’s'ultimate'ideal'is'attaining'Beauty,'he'accepts'

that'he'may'never'reach'it'in'the'excerpt,'“who'may'or'may'not'catch'her'fair'eternal'form'spread-

eagled'in'the'empty'air'of'existence”'(Ferlinghetti,'30-33)'and'concludes'that'though'in'poetry'the'goal'

is'to'achieve'beauty,'the'journey'and'attempts'to'get'there'are'what'the'reader'ultimately'enjoys.''

Characterization'and'symbolism'were'heavily'used'by'Alfred'Tennyson,'Maxine'Tynes'and'

Lawrence'Ferlinghetti'throughout'the'three'poems'“The'Lady'of'Shaott”,'“The'Woman'I'Am'in'My'

Dreams”,'and'“constantly'risking'absurdity”.'Without'the'usage'of'these'two'important'poetic'devices,'

all'three'authors'would'have'struggled'to'clearly'convey'his'or'her'version'of'the'ideal'and'the'

differences'between'the'temporal'and'eternal'realms.'These'differences'were'achieved'by'the'authors'

utilizing'symbolism'and'characterization'in'all'three'poems.'A'cursed'woman'and'a'magic'mirror,'a'

woman'and'her'dream-self,'and'finally'a'tightrope'walker'and'the'success'of'his'act'were'all'symbolic'of'

these'two'realms.'The'temporal'individuals'in'the'poems'were'all'characterized'to'have'a'deep'wanting'

for'his'or'her'ideal'in'the'eternal'realm,'though'in'the'end'they'realize,'in'one'way'or'another'that'it'is'

impossible'to'attain.'Tennyson,'Tynes'and'Ferlinghetti'all'depicted'quests'for'the'ideal'in'his'or'her'piece'

of'literature,'relying'greatly'on'the'aid'of'characterization'and'symbolism;'devoid'of'these'poetic'tools,'

all'three'poems'would'have'been'difficult'to'decipher,'with'the'important'division'of'the'eternal'and'

temporal'realms'left'too'blurry'to'truly'understand.''

'

'