Virginia Lucas Poetry ScrapbookMain MenuAbout This ProjectThe PoemsResearch Essays"Not Ours The Vows," by Bernard Barton"Oh no we never mention Her" by Thomas Haynes Bayly"A man's a man for a' that," by Robert Burns"The Death of the Flowers," by William Cullen Bryant"Darkness," by Lord Byron"The Parting Requiem" by Louisa Macartney Crawford"A Name in The Sand" by Hannah F. Gould"Twilight" by Fitzgreen Halleck"The Rock Beside the Sea," by Felicia Dorothea Hemans"The Maniac," by Matthew Gregory LewisPage compiled by Anthony Tamberrino"Psalm of Life," by Henry Wadsworth Longfellow"The Grave" by James Montgomery"Farewell but Whenever You Welcome the Hour" by Thomas Moore"The Last Rose of Summer" by Thomas Moore"Love Not" by Caroline Norton"To _______" by Percy Bysshe Shelley"White Roses," by Sarah Louisa P. Smith"There are Gains for All Our Losses," by Richard Henry Stoddard"Love" by Charles Swain"Rest," by Susan Archer Talley"Ask Me No More" by Alfred, Lord TennysonTranscription and essays by Christian Ritter"And I have felt a spirit which disturbs me," by William Wordsworth
White Roses Formal Description
12016-12-12T13:07:36-08:00Aidan Kincaidc4644d537641db2e811059aca614839b8459ca97105931plain2016-12-12T13:07:36-08:00Aidan Kincaidc4644d537641db2e811059aca614839b8459ca97White Roses is a descriptive/narrative poem detailing a wedding scene. The poem is thirty two lines long—comprised of four eight-line stanzas. It is written in the past tense apart from the final stanza, which transitions to the present tense. Each stanza of the poem follows the rhyme scheme abcbdefe. The consistency of the two pairs per stanza rhyme scheme lends a steady, rhythmic quality to the poem’s musicality. The first two stanzas feature only masculine rhyme (hue/dew, sigh/die, wreath/beneath, fair/there). The third features only feminine rhyme (glistened/listened, taken/forsaken). The fourth and final stanza complicates the rhyming variety further with pairs of each style (dying/sighing, them/them). The three pairs of feminine rhyme give the scheme a kind of arc, as it moves from simple monosyllabic rhymes to two syllable rhymes and back. The poem’s meter is complex. The poet employs an informal trochaic dimeter, where several unstressed syllables in some metric feet are condensed—giving the two stresses of many of the poem’s lines a quick ‘drum-tap’ introduction. It is also possible to interpret the poem’s meter as alternating four-foot and three-foot lines. For instance, in the opening line of each stanza, “They were gathered for a bridal”, one could break the line into the first two equal stresses, followed by four trochees. However, the poem’s meter and rhythm quickly breaks down when interpreted as alternating trochaic tetrameter and iambic trimeter. Placing the sole stresses on the initial syllables of “gathered” and “bridal” in the same line results in a rhythmically consistent meter. Alliteration is used sparingly throughout the poem, the most notable examples being repeated f sounds in stanzas one, three, and four—“fair and fairy sisters”, “false and faithless listened”, and “They are faded, and the farewell” respectively. This repeated consonance gives an emphatic and breathy feel to the verse, and forces the reader to slow down in order to enunciate them. There is some personification given to the eponymous roses of the poem. Notable also is the repetition of the initial line at the beginning of each stanza. The repeated phrase is utilized to both describe the titular white roses and to cleverly transition to the setting and the drama of the poem.