Seascape in memoriam by simply m a s sophie

In the poem “Seascape In Memoriam”, M. A. S i9000 Stephen Spender uses a range of literary equipment to convey the different characteristic areas of the sea. The poet emphasises the power of the ocean over humankind and the deceptive nature which in turn it shows to humanity, hiding potential violence and brutality. The poem involves the notion of sound as a method of conveying the different faces of the ocean. Tone is an important device that is used to mimic the movement of the ocean.

As a consequence of the sea’s demanding activity individuals caught unawares often result in having their particular lives removed, consequentially the theme of death is the one which is highly widespread, making the power of the sea however more evident.

The theme of the power of the ocean and its misleading nature are repeatedly lifted throughout the poem. Spender explains the marine environments of the ocean as being ‘mirrors flashing between fine-strung fires’. The metaphor of the sea being a reflect suggests the pretentiousness and the way in which it appears to be something it can not, by simply seeming harmless.

The fact that the poet person refers to the sea as being an ‘unfingered harp’ is a sign of it is potential for power that requires simply a small amount of power to be put on its marine environments with a difference in weather. Spender describes the land as though a party was taking place, ‘the coast, heaped program roses, mounts, spires’. The poet uses listing of the horse an animal that had been educated by individuals, roses that were grown and cut simply by humans and spires which will had been produced by human beings thus creating the contrast between the self-willed waves with the sea plus the tame globe.

The lies of the people in regards from the real risk associated with the marine is lifted in this composition prevalently. The poet says that the oceans gentle conduct in enjoyable weather is only superficiality, ‘a sigh just like a woman’s’ proposes that such as a woman who have sighs to be able to obtain anything she desires through the ways of obtaining compassion. The sea does the same, misleading humanity about its accurate might, concealing strength underneath its safe sighs. The waters in the sea ruin anything that stands in their way, ‘hedged in shires, these deep while anchors, the hushing trend buries’, the fact that the influx is hushing, suggests that in spite of the silence, it truly is at the same time in a position of ingesting up an entire district, furthermore supports the thought of the deceiving properties from the sea.

The statement that ‘then from the shore two zig-zag butterflies…spiralling…until that they fall into mirrored skies’ the reference to “butterflies” is a metaphor for people and their insignificance compared to the enormous benefits of the oceans, the action of spiralling suggests that because of curiosity persons often along with the trap of loss of life as a consequence of their lack of awareness of the true danger. The looking glass created within the surface with the water indicates the manner through which even though the skies is previously mentioned it does not necessarily indicate that it is better than the showing signs of damage waves from the sea.

Through the poem, Spender imitates the rhythm from the waves getting together with the shore line with the aid of tone and word options associated with patterns, suggesting the complexity in the sea, likewise the reference to music and sound manufactured constantly over the poem furthermore emphasises this idea. Through the extended metaphor of the ocean as a ‘harp’, the poet suggests the sea’s requirement of external putting on force to ensure that any activity to take place. The contradicting remark about the ‘afternoon guilds’ as being ‘burning music for the eyes’ demonstrates a confusion of senses and so implies the misleading behavioural patterns of the sea. The fact that the music is painful for the eyes is a recommendation of the assault that is associated with the activities of the sea and the losses that had been experienced, triggering pain for the eye.

The poet makes reference about several occasions to various habits ‘zig-zag’, ‘spiralling’ and ‘gyres’ this is a suggestion of the complexity of the sea that like a pattern once studied closely could actually be recognized easily. A cyclic trend can be noticed in the sculpt used by Spender, ‘wanders upon water, walking above ribbed sand’, the usage of alliteration inside the repetition of your soft consonant ‘w’ is definitely representative of the slow motion of the sea, the paragraphs are soft-flowing containing minimal punctuation.

By middle of the composition the sculpt then changes to one filled with aggression and brutality, with all the sentences turning out to be packed with diverse ideas being followed one directly by other, ‘such wings sunk in routine sacrifice’ the alliteration of the harsh and unpleasant sounding letter ‘s’ symbolises the introduction of brutality. Finally towards the conclusion of the composition the tone retreats to its first status of calm and peace. The cyclic manipulation of the tone is representative of the strategy and withdrawal of the thunderstorm or a trend. The rhyming system that is used from this poem follows no logical path of development, suggesting the unpredictability of the sea’s activity.

Spender repeatedly refers to the damage caused by the violent acts of the sea, using different literary conditions to convey the enormous loss of existence that results via human inability to recognise it is true electric power. The poet describes the sea as being “below the land” which is a metaphor referring to a grave and the “ribbed sand” is effective of the individual skeleton both these quotations furthermore emphasise the theme of death in the poem. The author says the organization inevitability from the decease of these who come into contact with the sea, by saying “they die” in a single compound key phrase, accentuating having less other outcomes in a situation of the storm.

The destructive benefits of the sea is usually embodied inside the constant reference to the objects that have been driven underwater, “sunk in rital sacrifice” this quotation reveals brutality through the use of specific words and phrases like “sacrifice” in reference to death, making it appear like there was a deliberate inspiration and reason behind any fatalities occurring in sea and that the choice of expression “rital”, suggests that these deaths had earned to take place. This really is a symbolism that attaches the power of the sea to the power of God, needing humanity to generate sacrifices because of it, just like we do religiously.

The serious consequences with the sea are demonstrated by the lengthy enumeration of what could be found within the sea “oh what voyagers, oh what heroes, flamed like pyres…. and them the sea engulfed”, the poet person makes his audience understand the bravery that is involved with facing the powerful surf through the sign of exclamation with the use of “oh”. The action-word “engulfed” that the poet selects to use advises a certain simplicity with which the action was carried out, like the sea got systematically ingested everything, keeping it upon the seabed. Spender says “legends of undersea”, the very fact that reference is made to legends is a advice of the considerable content of what the ocean had extracted from the world.

Sophie Spender, the actual power of the ocean over persons evident to the audience by making use of personification. The extended metaphor comparing the ocean to a looking glass is a suggestion of the way in which people have undermined the level of destruction that can be caused by the sea. The poet focuses on tone and description of patterns to be able to characterise the many properties with the sea. The theme of death is lifted subtly over the entire composition, hinting to the audience the way in which it immediately linked to sea activity. This kind of poem can be interpreted like a warning for humans about the danger in the extraordinarily effective waters.

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