El Greco: Espolio 1 The carpenter is intent on the pressure of his hand 2 on the awl and the trick of pinpointing his strength 3 through the awl to the wood which is tough 4 He has no effort to spare for despoilings 5 or to worry if he’ll be cut in on the dice 6 His skill is vital to the scene and the safety of the state 7 Anyone can perform the indignities It’s his hard arms 8 and craft that hold the eyes of the convict’s women 9 There is the problem of getting the holes exact 10 (in the middle of this elbowing crowd) 11 and deep enough to hold the spikes 12 after they’ve sunk through those bared feet 13 and inadequate wrists he knows are waiting behind him 14 He doesn’t sense perhaps that one of the hands 15 is held in a curious gesture over him — 16 giving or asking forgiveness? — 17 but he’d scarcely take time to be puzzled by poses 18 Criminals come in all sorts as anyone knows who makes crosses 19 are as mad or sane as those who decide on their killings 20 Our one at least has been quiet so far 21 though they say he talked himself into this trouble 22 a carpenter’s son who got notions of preaching 23 Well here’s a carpenter’s son who’ll have carpenter sons 24 God willing and build what’s wanted temples or tables 25 mangers or crosses and shape them decently 26 working alone in that firm and profound abstraction 27 which blots out the bawling of rag-snatchers 28 To construct with hands knee-weight braced thigh 29 keeps the back turned from death 30 But it’s too late now for the other carpenter’s boy 31 to return to this peace before the nails are hammered ANALYZING POETRY The SQIF Analysis Analyzing a poem may seem like an impossible task if one does not approach the assignment calmly. A successful analysis can be written using this simple formula: Summary + Quote + Interpretation + Format = Analysis These four divisions may serve as the body paragraphs in the analysis of a poem. Introductory sentences can be added to the beginning of the summary paragraph. Depending on the number and length of the quotes and the interpretations, these two sections may consist of as many paragraphs as are needed. The next section, discussing the format, may only require one paragraph, and the final comments should comprise the conclusion. Each section should address the following ideas: A. Summary Begin with the literal meaning of the poem, by paraphrasing the text of the poem line by line, or stanza by stanza. Consider some of the following points: 1. 2. 3. 4. 5. Who is the speaker and to whom is he speaking? What is the setting in time and place? What happens in the poem? Describe the characters or ideas in the poem. Does the poet offer a solution or make a statement? These questions should help to reveal the literal meaning of the poem. Here are some suggestions for discovering a "second level" of meaning, or the figurative meaning: 1. 2. What is the overall purpose of the poem? Are words used for their literal meaning or are other meanings implied? e.g., the colour "black" may refer to "night" or "evil" 3. Are figures of speech used to create another level of meaning? • • • • • • • • • • You may think of other questions that may help you to summarize the literal and figurative meanings. However, make sure that you do not stray from the ideas presented in the poem. Always ask yourself the question, "Does the idea happen in the poem?" i.e., is it suggested by words or lines in the poem? or does the idea just happen in your own head? i.e., with no support from the poem. B. + C. Quotes and Interpretation The next section of your analysis will point out significant quotes in the poem and attempt to interpret them in a larger context. This section may consist of one paragraph with two or three quotes and interpretations, or a number of paragraphs concentrating on several quotes. The length of this section of your analysis may depend on the length of the poem, or on the depth of the interpretations. Also, the interpretations should attempt to stay as close to the initial analysis as possible. Quotes should be set off by quotation marks and each should not be longer than one or two lines. If too long, quotes will unnecessarily interrupt the reader’s understanding of the poem. Work through the poem systematically, i.e., discuss quotes in the order they appear in the poem. D. Format Now that you have analysed the content of the poem, you can work on the format. This means that you should study the structure of the poem concentrating on the following: Number and length of stanzas Line length Rhyme and meter Effective figures of speech Significance of title Use of diction Poet’s style Pauses and punctuation Capitalization Grammar and phrase structure There may be additional poetic techniques you will discover on your own. Be sure to connect their use with the author’s purpose. E. Conclude Your analysis with a few statements about the overall effect of content and format. If your analysis is correct, these comments should refer back to your introductory remarks. This analysis is intended to help the student with understanding and writing about a poem. It should be used in conjunction with the student’s own teacher-specified formats for poetry analysis. Skiers (from In the Mountain) by Robert Penn Warren With the motion of angels, out of Snow-spume and swirl of gold mist, they Emerge to the positive sun. At That great height, small on the whiteness, With the color of birds or of angels, They swoop, sway, descend and descending, Cry their bright bird-cries, pure In the sweet desolation of distance. They slowly emerge to our eyes. Now On the flat where the whiteness is Trodden and mud-streaked, not birds now, Nor angels even, they stand. They Are awkward, not yet well adjusted To this world, new and strange, of Time and Contingency, who now are only Human. They smile, The human Face has its own beauty. Sample of SQIF Analysis of "Skiers" Robert Penn Warren, in his poem, "Skiers" compares the motion of skiers shushing down a mountainside to the flight of birds or, more importantly, to that of angels. On a literal level, the poem creates a common winter scene: skiers making their way joyfully down from the top of a mountain. At the bottom of the hill, these skiers seem suddenly awkward – their skis and boots are no longer extensions of themselves; these contrivances have become clumsy appendages. Figuratively, the skiers can be compared to birds – their multi-coloured ski suits representing the coloured plumages of soaring birds. The third level of understanding compares the skiers to angels and depicts the entire scene as one of spirituality, wherein a person’s spiritual aspiration is not as easily attained as one might expect. These interpretations can be supported by expression in the poem. To begin with, Penn Warren conveys the beauty of the sport skiing through his suggestion of motion, "swoop, sway, descend, and descending," and visual images, "....sweet desolation of distance." The image is thus complete when the skiers reach the bottom of the hill, "... where the whiteness is trodden and mudstreaked," and the skiers "are awkward, not yet well adjusted" to their skis and boots. They smile, of course, because of the exhilaration of the descent. But Robert Penn Warren wants the reader to see more than just skiers. And for most, the image of skiers swooping and swaying is easily likened to that of the flight of birds. And the whoops and hollers of delighted skiers to "bright birdcries." However, the discriminating reader may sense yet another level of meaning. Surely the image of the mountain, "... the positive sun", "... sweet desolation of distance," "to this world, new and strange, and "... only Human", must refer to a more spiritual life than the one people struggle with here on earth? These ideas can also be borne out by lines from the poem. "Emerging to the positive sun," suggests a previous immersion in something more common, some state from which to gain freedom. If one could remain in the "... sweet desolation of distance," the "... flat... whiteness... trodden and mudstreaked," need not be encountered. The world at the bottom of the hill is now "... new and strange," where time and plans interfere with destiny. Once again, the skiers are now "... only Human." "They smile," knowing there is another life, another choice. "Face has its own beauty." In other words, the human condition is capable of salvation. This interpretation, salvation, becomes the theme based on the subject matter, skiers descending a hill. The poet has chosen free verse for his poem, perhaps to suggest that in skiing and nature, rhythm exists, but not in a conventional way. The rhythm is created by the repetition of the consonant S, which in this case depicts the motion and sound of the skiers. Warren elects to tell the poem in the third person remaining as an onlooker, either as one who is aware of the possibilities of freedom, or desires the same for himself. Stanzas are of irregular length – the first describes the desired state, the second serves as the transition to the third, which is reality. The last line, a stanza in itself, refers to the entire poem and its justified interpretations. The movement through the stanzas, which starts out as very freeflowing, begins to slow and brake as the descent, or realization happens. This is achieved by shorter phrases. The use of capital letters, for Time, Contingency and Human tries to suggest the importance of these man-made goals. The title suffices in its simplicity leaving the reader to make his own interpretive leaps. A first reading of this poem may not reveal all levels of interpretation, but a closer look merits the notion that Robert Penn Warren isn’t simply talking about skiers, albeit he does that beautifully. Surely his technique tells the reader to go beyond the earthly. It is with "Skiers", Robert Penn Warren reminds us of the possibility.