1. What vision does the poet want to show to the reader?

1.

The Dalliance of the Eagles

Skirting the river road, (my forenoon walk, my rest,) Skyward in air a sudden muffled sound, the dalliance of the eagles, The rushing amorous contact high in space together, The clinching interlocking claws, a living, fierce, gyrating wheel, Four beating wings, two beaks, a swirling mass tight grappling, In tumbling turning clustering loops, straight downward falling. Till o'er the river pois'd, the twain yet one, a moment's lull, A motionless still balance in the air, then parting, talons loosing, Upward again on slow-firm pinions slanting, their separate diverse flight, She hers, he his, pursuing. Walt Whitman

Here is the description of the courtship ritual of eagles (at end of description), but Whitman always means more than he says. Whitman means that humans are in a courting with death, gripping onto life and falling headlong just avoiding a premature death. Why? For the thrill of being and the joy of living. We all want something that safe living does not provide. We all want to cartwheel through life uncertain if this will be our very last moment. It gives us living in this moment. It does not mean we should go out and live dangerously, but look deeper to find that which is our deepest longing. Then chase it passionately. "Although Walt Whitman had never actually seen the bald eagle's courtship ritual called cart wheeling, he wrote The Dalliance of the Eagles based on the description a friend had given him of this extraordinary display. Once attracted to a potential partner, the bald eagle may begin one of several elaborate courtship rituals called "cartwheeling." In this magnificent display, the eagles soar to dizzying heights, lock talons, and begin a breathtakingly death-defying plunge to the earth. Just moments before striking the ground, the eagles disengage and once again soar to the heavens. If the timing is not perfect, certain death awaits this pair of speeding bullets."

2.

The Eagle (A Fragment)

He clasps the crag with crooked hands; Close to the sun in lonely lands, Ring'd with the azure world, he stands. The wrinkled sea beneath him crawls; He watches from his mountain walls, And like a thunderbolt he falls. Lord Alfred Tennyson, 1854

I used to spend long summer hours sitting on the steep slopes of the Plymouth Hoe, with its spectacular view across the Plymouth Sound, watching the surf and the sea-birds. This poem reminds me of those cliffs, the biting wind carrying the smell of the sea, and the harsh calls of the gulls. Conversely, whenever I see the sea I would be reminded of Tennyson's description of the 'wrinkled sea' and remember this poem. So strong is the connection that deliriously mutually-reinforcing association between the sea, the Devonian coastline, and this poem in my mind that in my fanciful memories I would see on a clear day an eagle gliding high above the coastline and, through its eyes, see myself looking up but I don't remember ever having seen an eagle in the wild. This poem is short almost abrupt and while some may wonder if it is a part of a larger work (because Tennyson titled this poem The Eagle (A Fragment)), I sense that it is meant to be so short, for in a lifetime one could be so fortunate to glimpse an eagle in its natural element. I have, however, never looked more closely at this poem before today. For Puisi-Poesy, for the first time, I am going to take the poem apart and delve its intricacies. It might get a bit dense but do come along with me and let's see what we'll find. We'll start with the first line: He clasps the crag with crooked hands; The alliterative hard 'c' sounds in this line clasps, crag, crooked heckle for the listener's attention. The metaphor in this line is remarkable: 'crooked hands'. Why not 'feet'? the eagle uses its talons to grab and carry away its prey, using its feet like how we would use our hands. Also, the use of the word 'clasp' evokes an image of a link in a chain, as in the clasp of a bracelet, and here it is literally an image of a mountain chain linked to the eagle. It makes the eagle seem larger than life. We see that the first line is set in a regular iambic tetrameter, but the lines immediately following it, the second and third lines, both start with a trochee (a stressed syllable followed by a non-stressed one, e.g. TI-ger) i.e.:

He CLASPS the CRAG with Crooked HANDS; CLOSE to the SUN in Lonely LANDS, RING'D with the Azure WORLD, he STANDS. At the end of line 1, we would expect the next syllable to be an unstressed one but as we move to line 2, we encounter a stressed beat. The intuitive reaction is to speed through the next syllables to regain the rhythm. In line two, the phrase 'lonely lands' can be slowed down, dwelling on the l's, lengthening the beats to compensate for the compression earlier in the line the line's rhythm is balanced; after the compression, the expansion. In line 3, a caesura is used as a device to control the poem's rhythm. As with line 2, again we intuitively speed through the first part of the line (note also the contraction of the word ring'd). Then, the comma after 'azure world' the caesura in question prompts a short pause before we continue with 'he stands'. Again the rhythm of the line is balanced; after a compression, a pause for expansion. Contrast the first stanza with the second one, which follows a rigid rhythm instead: The Wrinkled SEA beneath him CRAWLS; He Watches FROM his Mountain WALLS, And LIKE a Thunderbolt he FALLS. I have seen versions of this poem with a comma in the sixth line i.e. "And like a thunderbolt, he falls." Others leave it out. Perhaps it is a revised version, or maybe it is simply where people would intuitively pause and therefore they have inserted the comma. I would prefer to omit the comma, for I believe that Tennyson intended this stanza to be read continuously, building the momentum with the unwavering beats to flow unimpeded until we arrive at the final image of the eagle's fall. Try reading the line out loud to sense the difference: And like a thunderbolt [pause] he falls. or And like a thunderbolt he falls. Which do you like better? The poem is strongly end-rhymed, as you can see. It has an aaa bbb rhyme structure. No runon lines... all are strongly end-stopped, giving a stately pace to the poem. Because of its rhythmic qualities, as we have seen, and also for its sounds, it is a delightfully euphonious poem. I have noted the alliterative 'c'-words in the first line: 'claps', 'crag', 'crooked'; in the second line we have 'close', linking it to the first line; then: 'lonely' and 'lands', 'ring'd' and 'wrinkled', 'watches' and 'walls'.

Alliteration is the repetition of words with the same starting sound while assonance is the repetition of the vowel sounds. This poem exhibits a high level of assonance. The first stanza is dominated with the sounds of the long-'a' in 'clasps', 'crag', 'hands', 'lands', 'azure' and 'stands'. The second stanza is peppered with the stressed-'a' sound in 'crawls', 'watches', 'walls', with near-rhymes in 'mountain' and 'thunder-'. Another obvious example of assonance in this poem are the 'ee' sounds in the fourth line: "The wrinkled sea beneath..."