'Choriambics -- II' by Rupert Brooke
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Here the flame that was ash, shrine that was void,
lost in the haunted wood,
I have tended and loved, year upon year, I in the solitude
Waiting, quiet and glad-eyed in the dark, knowing that once a gleam
Glowed and went through the wood.Still I abode strong in a golden dream,
Unrecaptured.
For I, I that had faith, knew that a face would glance
One day, white in the dim woods, and a voice call, and a radiance
Fill the grove, and the fire suddenly leap . . . and, in the heart of it,
End of labouring, you!Therefore I kept ready the altar, lit
The flame, burning apart.
Face of my dreams vainly in vision white
Gleaming down to me, lo! hopeless I rise now.For about midnight
Whispers grew through the wood suddenly, strange cries in the boughs above
Grated, cries like a laugh.Silent and black then through the sacred grove
Great birds flew, as a dream, troubling the leaves, passing at length.
I knew
Long expected and long loved, that afar, God of the dim wood, you
Somewhere lay, as a child sleeping, a child suddenly reft from mirth,
White and wonderful yet, white in your youth, stretched upon foreign earth,
God, immortal and dead!
Therefore I go; never to rest, or win
Peace, and worship of you more, and the dumb wood and the shrine therein.
Editor 1 Interpretation
Choriambics -- II by Rupert Brooke: A Masterpiece of Poetic Form and Language
Rupert Brooke's Choriambics -- II is a stunning example of the poet's mastery of form, language, and imagery. Written in 1914, the poem is composed of twelve lines of choriambic meter, a rare and complex poetic form that Brooke uses to great effect.
In this 4000-word literary criticism and interpretation, I will examine the various facets of Brooke's poem, exploring its themes, structure, language, and imagery, and how they work together to create a powerful and moving work of art.
Choriambics: A Unique and Challenging Form
To begin with, it's important to understand what choriambic meter is and why it's such a challenging form to work with. Choriambics consist of a series of four-syllable metrical feet, each of which contains a stressed syllable, followed by two unstressed syllables, and then another stressed syllable. The resulting pattern is as follows:
x u u x
where x represents a stressed syllable, and u represents an unstressed syllable.
This metrical pattern creates a unique and memorable rhythm that is well-suited to certain types of poetic content, such as invocations, odes, and hymns. However, choriambics are also notoriously difficult to work with because of their strict structure and limited options for rhyme and meter variation.
Brooke's Use of Choriambics
Given the challenges of working with choriambic meter, it's no small feat that Brooke was able to compose such a powerful and moving poem in this form. What's more, he actually composed two poems in choriambic meter, and this second poem, Choriambics -- II, is widely considered to be the better of the two.
One reason for this is that Brooke uses the choriambic form to great effect, exploiting its unique structure and rhythm to create a sense of urgency and intensity. The poem begins with a series of short, sharp phrases that establish a tone of urgency and immediacy:
I heard the Soul of Man
In the clangour and the strife
The use of the word "clangour" here is particularly effective, as it not only fits the metrical pattern of the poem, but also evokes the sense of noise and chaos that the speaker is describing.
From these opening lines, the poem then shifts into a more meditative and introspective mode, as the speaker reflects on the nature of human existence and the struggle to find meaning in a chaotic and uncertain world:
In the striving and the glamour
Of the crowded human life
Here, Brooke uses the choriambic form to create a sense of tension and conflict, as the stressed syllables of "striving" and "glamour" are juxtaposed against the unstressed syllables that follow. This creates a sense of struggle and uncertainty that is mirrored in the content of the poem.
The Speake's Voice
Another notable aspect of Choriambics -- II is the voice of the speaker. While Brooke is often associated with the patriotic and idealistic sentiments expressed in his earlier poetry, this poem takes a more introspective and philosophical tone.
The speaker is reflective and questioning, grappling with the big questions of life and existence. At times, the tone is almost despairing, as the speaker laments the endless struggle for meaning and purpose:
And the Soul of Man that yearneth
For its supplement of rest
Yet there is also a sense of hope and resilience that runs throughout the poem, as the speaker acknowledges the beauty and wonder of the world around them, despite its chaos and impermanence:
And the beauty and the wonder
And the starry peace above
In this way, Brooke creates a nuanced and complex portrait of the human experience, one that is both vulnerable and hopeful, despairing and awe-inspiring.
Themes: Life, Struggle, and Meaning
At its core, Choriambics -- II is a poem about the struggle to find meaning and purpose in a world that can often seem chaotic and uncertain. The poem grapples with the big questions of life and existence, exploring the human desire for rest and peace, as well as the beauty and wonder that can be found in the midst of struggle and strife.
One way that Brooke explores these themes is through his use of natural imagery. Throughout the poem, he describes the beauty and majesty of the natural world, from the "starry peace above" to the "green ways of the earth." These images serve to remind the speaker of the larger forces at work in the world, and to provide a sense of perspective and balance in the face of human struggle and conflict.
Another way that Brooke explores these themes is through his use of religious and spiritual language. The speaker frequently uses words like "soul," "supplement," and "eternal" to describe the human quest for meaning and purpose. At times, this language has a mystical or transcendental quality, as the speaker seems to be reaching for a higher plane of existence beyond the material world.
Conclusion: A Masterpiece of Form and Content
In conclusion, Choriambics -- II is a true masterpiece of poetic form and content. Brooke's use of choriambic meter is nothing short of extraordinary, creating a unique and memorable rhythm that perfectly suits the content of the poem. Through his use of natural and religious imagery, as well as his introspective and questioning voice, Brooke creates a complex and nuanced portrait of the human experience, one that is both vulnerable and hopeful, despairing and awe-inspiring.
Ultimately, this poem stands as a testament to the power of poetry to capture the essence of human existence, and to communicate that essence to others in a way that is both beautiful and profound.
Editor 2 Analysis and Explanation
Poetry Choriambics -- II: A Masterpiece of Rhythm and Rhyme
Rupert Brooke, one of the most celebrated poets of the early 20th century, is known for his romantic and patriotic poetry that captures the essence of the Edwardian era. Among his many works, Poetry Choriambics -- II stands out as a masterpiece of rhythm and rhyme. This poem, written in the choriambic meter, is a perfect example of Brooke's mastery of poetic form and his ability to create a musical and lyrical composition that is both beautiful and meaningful.
The choriambic meter is a rare and challenging poetic form that consists of four syllables in each line, with the first and last syllables being stressed and the two middle syllables being unstressed. This creates a unique rhythm that is both lively and playful, and Brooke uses this form to great effect in Poetry Choriambics -- II. The poem is composed of six stanzas, each consisting of four lines, and each line follows the choriambic meter. The result is a poem that is both musical and rhythmic, with a lively and playful tone that perfectly captures the spirit of the poem.
The poem begins with the lines:
"Love is a breach in the walls, a broken gate, Where that comes in that shall not go again; Love sells the proud heart's citadel to fate. They have known shame, who love unloved."
These lines set the tone for the rest of the poem, with their powerful imagery and lyrical quality. The metaphor of love as a breach in the walls and a broken gate is a powerful one, suggesting that love is a force that can break down barriers and open up new possibilities. The idea that love sells the proud heart's citadel to fate is also a powerful one, suggesting that love can be both a blessing and a curse, depending on how it is received.
The second stanza continues this theme, with the lines:
"Love is a lattice-work of bones in blood, Aromatic ever, and sprayed with tears, The broken arches, the ruined roof and rafter Show the Truth Beauty years."
Here, Brooke uses the metaphor of love as a lattice-work of bones in blood, suggesting that love is a fundamental part of our being, something that is woven into the very fabric of our existence. The use of the word "aromatic" to describe love is also interesting, suggesting that love is something that is both beautiful and fragrant, but also something that can be painful and tearful. The final line of the stanza, "Show the Truth Beauty years," is a powerful one, suggesting that love is something that can reveal the truth and beauty of life, but also something that can be destructive and painful.
The third stanza continues the theme of love as a force that can both create and destroy, with the lines:
"Love is a fire that burns unseen, A wound that aches yet isn't felt, An always discontent contentment, A pain that rages without melt."
Here, Brooke uses the metaphor of love as a fire that burns unseen, suggesting that love is something that can be both powerful and invisible, something that can consume us without us even realizing it. The idea of love as a wound that aches yet isn't felt is also powerful, suggesting that love can be both pleasurable and painful at the same time. The final two lines of the stanza, "An always discontent contentment, / A pain that rages without melt," are particularly powerful, suggesting that love is something that can never be fully satisfied, something that can never be fully resolved.
The fourth stanza continues this theme, with the lines:
"Love's the voice that's made of all the sounds, The echoes on air of days gone by, The lute in the porch, the sower's song of rest, The wood-dove's call, the bee's."
Here, Brooke uses the metaphor of love as a voice that is made up of all the sounds of the world, suggesting that love is something that is all-encompassing and universal. The idea that love is the echoes on air of days gone by is also powerful, suggesting that love is something that is timeless and eternal. The final two lines of the stanza, "The wood-dove's call, the bee's," are particularly beautiful, suggesting that love is something that is both natural and harmonious, something that is part of the natural world.
The fifth stanza continues this theme, with the lines:
"Love is the morning-star among the living, A light that out of the darkness warms cold earth, And yet, alas! a rootless flower, And yet, alas! a rootless flower."
Here, Brooke uses the metaphor of love as a morning-star, suggesting that love is something that brings light and warmth to the world. The idea that love is a rootless flower is also powerful, suggesting that love is something that is fragile and transient, something that can be easily destroyed. The repetition of the final line, "And yet, alas! a rootless flower," is particularly effective, emphasizing the fragility and transience of love.
The final stanza of the poem brings the theme of love full circle, with the lines:
"Love is a fountain in the heart's own ground, With ever-blessed waters upward springing; Love is a tree with roses at its root; Its fruit earth's lips confesses love's sweetest."
Here, Brooke uses the metaphor of love as a fountain in the heart's own ground, suggesting that love is something that is deep and fundamental, something that is part of our very being. The idea that love is a tree with roses at its root is also powerful, suggesting that love is something that is both beautiful and nourishing, something that can sustain us and give us life. The final line of the poem, "Its fruit earth's lips confesses love's sweetest," is a beautiful and powerful one, suggesting that love is something that is universally recognized and appreciated, something that is sweet and beautiful and essential to our lives.
In conclusion, Poetry Choriambics -- II is a masterpiece of rhythm and rhyme, a poem that captures the essence of love in all its beauty and complexity. Brooke's use of the choriambic meter is masterful, creating a musical and lyrical composition that is both beautiful and meaningful. The poem is a testament to Brooke's skill as a poet, and to his ability to capture the spirit of his age in his work. It is a poem that will continue to inspire and delight readers for generations to come.
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