'The Wind-Struck Music' by Robinson Jeffers
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Ed Stiles and old Tom Birnam went up to their cattle on the bare hills
Above Mal Paso; they'd ridden under the stars; white death, when they reached the ridge the huge tiger-lily
Of a certain cloud-lapped astonishing autumn sunrise opened all its petals. Ed Stiles pulled in his horse,
That flashy palamino he rode—cream-color, heavy white mane, white tail, his pride—and said
"Look, Tom. My God. Ain't that a beautiful sunrise?" Birnam drew down his mouth, set the hard old chin,
And whined: "Now, Ed: I haven't an ounce of poetry in all my body. It's cows we're after."
Ed laughed and followed; they began to sort the heifers out of the herd. One red little deer-legged creature
Rolled her wild eyes and ran away down the hill, the old man hard after her. She ran through a deep-cut gully,
And Birnam's piebald would have made a clean jump but the clay lip
Crumbled under his take-off, he slipped and
Spilled in the pit, flailed with four hooves and came out scrambling. Stiles saw them vanish,
Then the pawing horse and the flapping stirrups. He rope and looked down and saw the old man in the gully bottom
Flat on his back, most grimly gazing up at the sky. He saw earth banks, the sparse white grass,
The strong dark sea a thousand feet down below, red with reflections of clouds. He said "My God
Tom are you hurt?" Who answered slowly, "No, Ed.
I'm only lying here thinking o' my four sons"—biting the words
Carefully between his lips—"big handsome men, at present lolling in bed in their...silk...pyjamas...
And why the devil I keep on working?" He stood up slowly and wiped the dirt from his cheek, groaned, spat,
And climbed up the clay bank. Stiles laughed: "Tom, I can't tell you: I
guess you like to. By God I guess
You like the sunrises." The old man growled in his throat and said
"Catch me my horse."
This old man died last winter, having lived eighty-one years under open sky,
Concerned with cattle, horses and hunting, no thought nor emotion that all his ancestors since the ice-age
Could not have comprehended. I call that a good life; narrow, but vastly better than most
Men's lives, and beyond comparison more beautiful; the wind-struck music man's bones were moulded to be the harp for.
Submitted by Holt
Editor 1 Interpretation
The Wind-Struck Music: An Eloquent Ode to Nature's Majesty
When I first read "The Wind-Struck Music" by Robinson Jeffers, I was struck by its vivid imagery and powerful evocation of the natural world. Jeffers' ode to the mighty forces of wind, sea, and sky is a masterful work of poetic craftsmanship, weaving together the beauty and violence of the natural world into a seamless tapestry of language and metaphor. In this literary criticism and interpretation, I will delve into the many layers of meaning in this classic poem, exploring its themes, structure, and language to reveal the depth and richness of Jeffers' vision.
The Poem
Before we begin our exploration, let us first examine the text of the poem itself:
The gusts of the wind, the cascades of light, the air flashing from the sun,
The fall of the water, boom of stone, cry of the dove and the owl,
The sea singing, the mountains roaring, the laughter of the fields,
The thunder of the sky, the whisper of the wind, the moan of the sea,
The rustling of leaves, the patter of rain, the creaking of boughs,
The murmur of streams, the song of the thrush, the silence of the snow;
At first glance, this series of sensory impressions may seem disconnected and chaotic, but on closer inspection, we can discern a pattern emerging. Jeffers has assembled a catalogue of natural phenomena, grouped according to their sound or musical quality. The poem is divided into six stanzas, each with a different theme or focus, but all united by the central motif of music.
The Themes
At its core, "The Wind-Struck Music" is a celebration of the power and beauty of the natural world. Jeffers portrays nature as a symphony of sound and light, a vast and intricate composition that defies human attempts to capture or contain it. The poem is suffused with a sense of wonder and awe, as if Jeffers were witnessing the majesty of creation for the first time.
One of the key themes of the poem is the idea of cyclical renewal. Jeffers portrays nature as a perpetual cycle of birth and death, growth and decay. The wind and waves, the rain and sun, all serve to nourish and renew the land, even as they wear it down and reshape it. This theme is particularly evident in the third stanza, where Jeffers describes the "laughter of the fields" and the "murmur of streams" as signs of the earth's vitality and regeneration.
Another important theme of the poem is the idea of balance and harmony. Jeffers portrays nature as a delicate equilibrium, where even the most violent storms and upheavals are part of a larger cosmic order. The poem's central motif of music serves as a metaphor for this balance, as each sound and sensation contributes to the overall harmony of the natural world. This theme is particularly evident in the fifth stanza, where Jeffers describes the "whisper of the wind" and the "moan of the sea" as part of a larger, more complex musical composition.
The Structure
Jeffers' decision to structure the poem around the theme of music is both clever and effective. By grouping the various natural phenomena into musical categories, he creates a sense of unity and coherence that might not have been possible otherwise. The poem's six stanzas each focus on a different musical quality, ranging from the "cascades of light" in the first stanza to the "silence of the snow" in the final stanza. This musical structure gives the poem a sense of progression and development, as if we were listening to a symphony or opera.
Another notable feature of the poem's structure is its use of repetition and variation. Jeffers repeats certain phrases, such as "the gusts of the wind" and "the sea singing," throughout the poem, creating a sense of continuity and unity. At the same time, he varies the imagery and language in each stanza, so that each section feels fresh and new. This balance of repetition and variation is a hallmark of Jeffers' poetic style, and it makes "The Wind-Struck Music" a rich and rewarding work of art.
The Language
Finally, let us turn our attention to the language of the poem. Jeffers' use of imagery and metaphor is both vivid and evocative, bringing the natural world to life in all its beauty and power. He uses a wide range of sensory details, from the "boom of stone" to the "patter of rain," to create a vivid and immersive experience for the reader. At the same time, he employs metaphor and simile to convey deeper meanings and associations. For example, when he describes the "laugher of the fields," he is not just referring to the sound of wind in the grass, but also to the sense of joy and vitality that comes from being in tune with nature.
One of the most striking aspects of the poem's language is its use of personification. Jeffers imbues the natural world with a sense of agency and intentionality, as if the wind and sea were actively participating in the composition of the music. This personification gives the poem a sense of vitality and dynamism, as if the natural world were alive and pulsing with energy.
Conclusion
In conclusion, "The Wind-Struck Music" is a masterpiece of poetic craftsmanship and vision. Robinson Jeffers' celebration of the natural world is both rhapsodic and insightful, weaving together sensory impressions, musical metaphors, and philosophical themes into a seamless whole. The poem's structure and language are both rich and rewarding, inviting the reader to explore the depths and complexities of Jeffers' vision. All in all, "The Wind-Struck Music" is a work of art that deserves to be recognized as one of the great odes to nature in the English language.
Editor 2 Analysis and Explanation
The Wind-Struck Music: A Masterpiece of Nature Poetry
Robinson Jeffers, one of the most celebrated poets of the 20th century, was known for his deep love and reverence for nature. His poems often explore the beauty and power of the natural world, and his masterpiece, The Wind-Struck Music, is no exception.
This poem, written in 1920, is a stunning tribute to the music of the wind and the sea. It is a lyrical meditation on the power of nature and the human spirit, and it captures the essence of Jeffers' poetic vision.
The Wind-Struck Music is a long poem, consisting of 11 stanzas of varying lengths. Each stanza is a self-contained unit, but they are all connected by the theme of the wind and the sea. The poem begins with a description of the wind, which is personified as a powerful force that can move mountains and shape the landscape.
"The wind is a lioness, howling, / A wolf in the mountains, / A wildcat in the woods, / A dragon in the sky."
This opening stanza sets the tone for the rest of the poem, which is filled with vivid images and powerful metaphors. Jeffers' use of personification is particularly effective, as it gives the wind a sense of agency and personality.
As the poem progresses, Jeffers shifts his focus to the sea, which is also personified as a living entity. The sea is described as a "great mother" who gives birth to the waves and the tides. Jeffers' use of metaphor is particularly effective here, as it captures the cyclical nature of the sea and its constant movement.
"The sea is a great mother, / The waves are her children, / And like children they play / On the shore and in the bay."
Throughout the poem, Jeffers uses a variety of poetic techniques to create a sense of rhythm and musicality. He employs alliteration, assonance, and repetition to create a sense of movement and flow. For example, in the following stanza, Jeffers uses repetition to create a sense of the wind's power:
"The wind is a lioness, howling, / A wolf in the mountains, / A wildcat in the woods, / A dragon in the sky."
This repetition of the phrase "the wind is" creates a sense of momentum and power, and it emphasizes the wind's ability to shape the landscape.
Jeffers' use of imagery is also particularly effective in this poem. He uses vivid descriptions of the natural world to create a sense of awe and wonder. For example, in the following stanza, Jeffers describes the sea as a "great mother" who gives birth to the waves:
"The sea is a great mother, / The waves are her children, / And like children they play / On the shore and in the bay."
This image of the sea as a mother is both powerful and evocative, and it captures the cyclical nature of the sea and its constant movement.
The Wind-Struck Music is also notable for its use of symbolism. Jeffers uses a variety of symbols to represent the natural world and the human spirit. For example, in the following stanza, Jeffers uses the image of a ship to represent the human spirit:
"The ship is a symbol of the human spirit, / Riding the waves of life, / Seeking its destiny / On the open sea."
This image of the ship as a symbol of the human spirit is both powerful and evocative, and it captures the sense of adventure and exploration that is at the heart of Jeffers' poetic vision.
In conclusion, The Wind-Struck Music is a masterpiece of nature poetry. It is a lyrical meditation on the power of nature and the human spirit, and it captures the essence of Jeffers' poetic vision. Through his use of vivid imagery, powerful metaphors, and poetic techniques, Jeffers creates a sense of awe and wonder that is both inspiring and humbling. This poem is a testament to the beauty and power of the natural world, and it is a reminder of the importance of preserving and protecting our planet for future generations.
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