'“Look, stranger, at this island now” by W.H. Auden Essay\r'

'This poem us a â€Å" melodious” exercise in which the poet reveals his technical skill by using level-headed techniques and figurative language to beef up his description of a word picture. It is one of Auden’s few poems of natural description, perhaps of the coast in the due west Country of Eng bring in.\r\nThe first stanza requires the stranger †someone unacquainted with(predicate) with the island of kingdom of Britain but perhaps acquainted with the sort out of it as a dull and gloomy transmit †to look at, and examine his prejudice about, Britain, as it is revealed (â€Å" observe”) for his enjoyment by the sun get out dancing and waver on the waves of the sea. The alliteration and consonance of -l- becomes (leaping, light, delight) and of the dental -t- and -d- intelligents (light, delight, discovers) in the second line, and the variation of long vowel sounds in â€Å"leaping” and â€Å"light”, in concert with the repetiti on of â€Å"light”, creates a fast-flying dancing effect which mimics the upbraiding of sunlight off waves.\r\nIn two more(prenominal) commands the narrator requires the stranger to stand and remain good-tempered so that he can hear the sound of the sea, varying in pile, perhaps according to the unalterability required, while the pattern of stresses on â€Å"wander” and â€Å"river”, in the penultimate line, and on â€Å"swaying sound of the sea”, in the last line, combined with the sibilance, conveys an idea of the changing volume of sound coming from the sea, and the continued whispering sound that it makes.\r\nThe second stanza invites the stranger to wait at the prognosticate where a blue field ends in a methamphetamine hydrochloride cliff, which drops to a shingle beach below. The waves heave up the beach until they are halted by the cliff. The vowel rhyme of the long -au- vowel sound in â€Å"small” and â€Å"pause” in the f irst line, which concludes with the command to pause, gives the photograph of something long ending suddenly, which creates a feeling of distrust and uncertainty as to what comes next and kick ups the ending of the land and the beginning of the air. The same assonance in â€Å"glass”, â€Å"walls”, â€Å"falls” and â€Å"tall” creates the same hotshot of addition but its quick repetition in â€Å"chalk wall falls” conveys the idea of a rapid or sheer drop, the alliteration of -f- conveying the notion of air bubbling up in foam.\r\nThe onomatopoetic â€Å"pluck” and â€Å"knock” vividly conveys the dragging and quid effect of the waves on the shingle and the cliff, the sturdy defiance of the last-named being suggested in the simile â€Å"oppose”. The metaphor and onomatopoeia in â€Å"scrambles”, with its clutter of consonants, again vividly conveys the quick sliding descent of the shingle down the beach, the si bilance re-creating the sound it makes, while the metaphor in â€Å"sucking”, together with the break in the word, gives some idea of the regnant pulling action of the ebbing waves. Again, the description of the dupe and the placing of â€Å"lodges” at the end of the line creates a sense of suspension which emphasizes the difficulty of maintaining a perch on the wave and hints at the brevity of the stay.\r\nThe third stanza takes us further out to sea and describes the beams which leave the port wine (â€Å"diverge”), and which seem, because of their diminutive size, as small as seeds. The simile â€Å" care floating seeds” suggests they are mien new life. They are so far absent that they do not seem to be controlled by men (â€Å"voluntary”) though they are on â€Å"errands” (which diminishes the grandeur of their journeys) which are â€Å"pressing” (these words suggest that those who direct these vessels have an exaggerated idea of the importance or value of these journeys). The rhyming of â€Å"diverge” and â€Å"urgent” creates a sense of the ploughing movement of the ship as it passes through the water.\r\nThe last four lines of this stanza double back to the start of the poem and suggest that the whole scene may continue to live in the remembering of the observer, passing as silently and casually and beautifully as the clouds reflected in the water of the harbour pass, like people strolling at leisure. Here, the alliteration and consonance of the nutty -m- sounds in â€Å"memory”, â€Å"mirror” and â€Å"summer”, and the half-rhymes of â€Å"mirror” â€Å"summer” and â€Å"saunter” all convey a sense of gentle and relaxed ease, appropriate for scenes which are recalled in moments of leisure.\r\nThe poem, then, invites the stranger to see for himself the beauty of this island at this superfluous moment in time. Although it suggests a need t o re-examine old prejudices about the island kingdom, it also functions as a celebration of the senses of sight and hearing which are utilize in observing the scene and in re-living the experience.\r\nIt is indite in three stanzas of seven lines. The rhyme turning away of the first stanza is abcdcbd. The line lengths are varied efficaciously, to suggest changes in the movement of waves or in the distance of a sound or a feeling. patronage or end-stopped likes are used effectively to convey similar ideas or impressions.\r\n'