Poetic Structure and Tone
The poem consists of eight lines, in two quatrains.
The metre is largely one of anapaestic trimeter with an admix of initial iambs and trochees to break up the rather monotonous rhythm that the anapaestic line confers. Thus Blake is able to show the cyclical monotony that the protagonists are suffering, while at the same time giving a forward note of impetus and hope to the movement of the lines.
The rhyme scheme is ABAB, CDCD, with two "feminine" endings at lines five and seven, perhaps suggestive of weak outlook or expectation.
The ambiguous use of the word "Ah," and the repetition of the word "where" are noteworthy - these are discussed by Grant; the disturbance of the anapaestic rhythm in line three by Edwards.
"The speaker begins with a sigh that suggests the same weariness that he attributes to the Sunflower (a suggestion emphasized by the heavy stresses in the song). The wistful tone and the implied sympathy for the time-bound victims are disarming. But, as many critics have noted, the poem is not without irony...the sense of timeless rest is soon complicated by the ambiguous syntax."Indeed, Bloom goes so far as to say that "the lyric's tone can be characterized as a kind of apocalyptic sardonicism."
Read more about this topic: Ah! Sunflower
Famous quotes containing the words poetic, structure and/or tone:
“His mind was strong and clear, his will was unwavering, his convictions were uncompromising, his imagination was powerful enough to invest all plans of national policy with a poetic charm.”
—Woodrow Wilson (1856–1924)
“Why does philosophy use concepts and why does faith use symbols if both try to express the same ultimate? The answer, of course, is that the relation to the ultimate is not the same in each case. The philosophical relation is in principle a detached description of the basic structure in which the ultimate manifests itself. The relation of faith is in principle an involved expression of concern about the meaning of the ultimate for the faithful.”
—Paul Tillich (1886–1965)
“Our medieval historians who prefer to rely as much as possible on official documents because the chronicles are unreliable, fall thereby into an occasionally dangerous error. The documents tell us little about the difference in tone which separates us from those times; they let us forget the fervent pathos of medieval life.”
—Johan Huizinga (1872–1945)