This is an analysis of the poem The Harp, And Despair, Of Cowper that begins with:
Sweet bard, whose tones great Milton might approve,
And Shakspeare, from high Fancy's sphere,... full text
Elements of the verse: questions and answers
The information we provided is prepared by means of a special computer program. Use the criteria sheet to understand greatest poems or improve your poetry analysis essay.
- Rhyme scheme: abbaccdeedffgXXgdddggdXegccg
- Stanza lengths (in strings): 28,
- Closest metre: iambic tetrameter
- Сlosest rhyme: shakespearean sonnet
- Сlosest stanza type: sonnet
- Guessed form: unknown form
- Metre: 1111110101 11001101 1000101 1101010011 110101 100101011101 11111101 11010101 11010101 10010101 11 10000101 1010111 010100 10110001 1011011001001 11010101 11111101 111011 11010101 1101011 1100010101 1001010101 1100110101 0101010011 0101 110101010101 111111011111
- Amount of stanzas: 1
- Average number of symbols per stanza: 1027
- Average number of words per stanza: 192
- Amount of lines: 28
- Average number of symbols per line: 36 (medium-length strings)
- Average number of words per line: 7
Mood of the speaker:
There are many exclamation marks in the poem. The speaker is excited. He or she has strong feelings on the subject that is described in the poem.
The author used lexical repetitions to emphasize a significant image; his, in, vain, he are repeated.
The poet used anaphora at the beginnings of some neighboring lines. The same words in, he are repeated.
If you write a school or university poetry essay, you should Include in your explanation of the poem:
- summary of The Harp, And Despair, Of Cowper;
- central theme;
- idea of the verse;
- history of its creation;
- critical appreciation.
Good luck in your poetry interpretation practice!
Pay attention: the program cannot take into account all the numerous nuances of poetic technique while analyzing. We make no warranties of any kind, express or implied, about the completeness, accuracy, reliability and suitability with respect to the information.
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