Compare and contrast the poet’s attitude to and appreciation of the natural world in at least two poems you have studied

The simple beauty of disposition is an saying many of us take for granted in our everyday lives the adorable extends of birds welcoming anformer(a) day and the powerful gush of a f al mavens universe some examples of these. But t here(predicate) be those indivi bivalents who have endeavoured to full comprehend the marvellous complexity of the world some us. Such findings argon present in the work of many poets namely Gerard Manley Hopkins (1844 1889) and Henry Wadsworth Longfellow (1808 1882). Hopkins and Longfellow were two contemporary poets from the nineteenth century from different cultures, English and American severally who relished in the gift of nature with all her attributes. two of their work is characterised by a deep and personal sense of appreciation of the beauty of the cancel world work that when studied makes us truly delight in the wonder that is nature.The two poems that I feel effectively communicate Hopkins and Longfellows ideas are respectively c olorful Beauty and S straightwayflakes. Although they are similar in their discip railway line concerning their love for the natural world, the poems do differ in the way in which each poet relates his ideas.Hopkins poem Pied Beauty is peerless of the roughly famous, distinction and linguistically accessible pieces combining the pieces of nature and religion. In it the poet praises the creator for the immortal range and scope within creation. His appreciation of the natural world ranges in scale from a rainbow trout to an entire adorn. Even from its title alone we greet that this curtal sonnet is effectively a song of praise for all things pied that is bi-coloured, streaky or patched.The poem Snowflakes by Longfellow is in like manner an expression of the poets emplacement to and appreciation of the natural world. In it Longfellow describes in minute detail the subtile beauty of a single snowflake and makes us much sensitive not only of snow, but of the other small thi ngs surrounding us, qualification us realise their importance.Both poems ac shaftledge existence and power of a creator. In Pied Beauty a song of praise is presented in the first line of the poems triumphant, alliterative opening stanza, as Glory be to God immediately places Hopkins appreciation of the beauty of the natural world in a sacred context. Also as the poem concludes with the exhortation value him it is clear that the piece is deliberately framed as a Christian hymn of thanksgiving for the infinite variety in nature.The opening line also introduces the poems division dappled things and this is the first of many adjectives describing parti-coloured natural elements.Snowflakes on the other hand opens with an altogether more maternal aspect of nature although the acknowledgement of a powerful creator is still present discover of the bosom of the AirOut of the cloud-folds of her garments shakenThis personification of the female plaster cast creates a Mother Earth type fig ure that I feel Longfellow apply to successfully communicate his love and understanding of all things natural to a wide audience as a mother figure is something most of us could relate to. In this particular instance it is this Mother Earth entity that produces and generates the innumerous millions of snowflakes. We can directly contrast this to Hopkins Pied Beauty where a mannish creator is presumed and praised Praise him.Both poems perceive and praise a religious dimension to the beauty of the supernatural world. The religious theme in Pied Beauty is continued as appropriately the poets eyes seem to watch up at heaven as he appreciates the beauty of skies of couplet colour implying that the skys beauty was the work of God. This image also lends a sweep panoramic aspect to his poetic attention as I gauge the vast immeasurable skies above. Then foreshadowing a technique wont later in the poem, Hopkins immediately narrows his broader focus down to refer to the streaked marki ngs on one brinded cow.In Snowflakes this religious theme is expressed in describing the shape of the snowflake as some inspired expression indicating a superior eternal contribution to the formation of the snowflakes.As we know the two poems are about beauty that is all around us, but I noticed that both poems focus on diminutive and large natural entities. In Pied Beauty Hopkins comments on rose-moles on trout and finches-wings. It seems that no aspect or detail of nature is too midget or insignificant to escape the poets attention. But on the contrary he also refers to skies and landscape showing the range in which nature is present. In Snowflakes Longfellow is concentrating more on the actual snowflake instead than an overview of all things beautiful. thus far in contrast he also comments on the woodland and result fields in which the seemingly harmless snowflake had somehow devoured.Both poems also use alliteration to achieve their impact in places. In Snowflakes he descr ibes the woodland as being brown and bare and the accomplishment of the snow as Silent, and soft, and slow. This repeated initial consonant sound is used to set the scene that the poet is trying to behave. This is also present in Pied Beauty when the sky is described as being of couple-colour to convey the varying shades and tones present in the sky above. Also by describing the chestnuts as Fresh-firecoal the poet is helping us to envisage fully the sight of the dual coloured chestnuts falling from a tree.In Pied Beauty Hopkins uses a wide range of vocabulary to describe the many parti-coloured aspects of nature, dappled, couple-colour, and freckled being examples of these. But it is the use of the ledger fickle that I found rather striking, as one would normally use the word to refer to a person with mood swings some like personality changes. But here it is used to emphasise the speed and acceptance of change in the landscape and environment.I also noticed that the opening of Snowflakes featured many examples of O assonance Outbosomcloud-foldsOverwoodlands brownsoftslow and snow. It is almost as if the poet is purposely repeatedly using words that contain the letter O (physically circular in shape) to bombard the page, reminding us of a multitude of snowflakes as they completely cover the ground. The poet continues to acknowledge the over powering nature that the snow possesses in Over the woodlands brown and bare,Over the harvest fields forsakenThe use of the word forsaken reiterates Longfellows notion that the snow can capture anything in its path. As hygienic as imagery the poet also used such poetic devices as onomatopoeia and sibilance to relate the descent of snow to the ground, Silent and soft and slow which I feel he does and to great affect.Even from the title of Hopkins poem we know his focus is on the infinite variety of all dappled things, pairing in the single, uniform reality of Gods creating power. Snowflakes on the other hand focuses on the one phenomenon of snow, something that blankets over and makes uniform the entire and varied landscape. I also noticed that in Pied Beauty the sheath of the poem is introduced in the first line Glory be to God for dappled things. This simply states that the poem shall be a song of thanks to God for everything in nature of a pied quality. Snowflakes on the other hand describes a voyage made by the subject and where it originated from rather than stating plainly what it is. The actual subject of snow is not explicitly mentioned until the end of the first stanza (although it may be argued that the title of the poem is an obvious indication of the subject matter).From reading the poems it is flourishing to notice the different attitudes of the narrators of the poems. The tone in Pied Beauty is one of joyous exuberance by use of language such as Glory be and Praise. On the contrary Snowflakes takes a more mellow, introspective almost restless approach in describing its subject degraded heart and secret of despair are some examples of this. Also in Pied Beauty the poem is celebratory and is about beauty. Snowflakes on the other hand is simple and complex and is beauty.After studying both poems in depth I feel that through the work of Longfellow I now would see and appreciate the complexity in the simplicity of snowflakes. But boilers suit I prefer the work of Hopkins. His exploitation of the verbal subtleties and music of English, of the use of alliteration, repetition and a highly compressed syntax were all in the interest of projecting deep personal experiences, including his sense of Gods mystery, grandeur and lenience in all things counter.He called the energising prosodic element of his verse sprung rhythm in which each foot may consist of one stressed syllable instead of the regular number of syllables used in tralatitious rhythm. The result is a muscular verse, intense and vibrant that combines accuracy of observation, undismayed imagination, deep feeling and intellectual depth. All in all a wonderful piece that for me as of yet shall remain one of the most touching I have read.