The Owl and the Pussy-Cat by Edward Lear | Analysis

The Owl and the Pussy-Cat by Edward Lear | Analysis The Owl and the Pussy-Cat In this essay I will be analysing Edward Lears poem ‘The Owl and the Pussy-Cat (Appendix 1), first providing a technical stylistic analysis concentrating on sound patterning, secondly locating its place in the history of poetry for children, and thirdly how the poem envisages childhood. Written in December 1867 for the daughter of a close friend of Lear, it was first published in an anthology by Lear entitled Nonsense Songs, Stories, Botany, and Alphabets (1871). Since then it has been published, illustrated, translated, and set to music many times. In 2001 it was voted Britains favourite poem. Lear uses simple, but creative language to tell the enchanting story of the voyaging sweethearts; the incongruous bird and cat. Comprising three stanzas, each eleven lines long, it consists of twin ballad quatrains and a three-line refrain, composed in a distinctive iambic metre. The rhyme scheme is ‘abcbdefe alternating between four and three stressed syllables per line, followed by the refrain ‘eee consisting of two lines with just one stressed syllable, and a final line with three. This uniform rhyme scheme not only gives the poem musical structure, but also coheres the very different parts of the story. The rhythmic parallelism of the refrains, in which all three lines end with the same stressed word, is a strict pattern in itself and foregrounds this part of the poem as it takes on an incantatory feel. Although the refrains are not the dominant structure of the poem, they do add musical reinforcement. The regular metrical pattern is what gives the poem its rising rhythm (anapests) and sing song form and there is little to disrupt the flow of the rhythm, or the story. The aim then is simplicit y and repetition; indeed the first instance of repetition occurs in the opening line, which features the poems title words thereby reaffirming the focus of the poem. But in the first stanza, the most noticeable sound pattern is the concentration of /p/ sounds; a phonological parallelism that extends across the text with the words ‘Pussy, ‘pea, ‘plenty‘ and ‘pound as well as occurring in ‘wrapped and ‘up. The recurrence of this plosive consonant emulates the plucking of guitar strings, which not only enhances the rhythm but also the visual effect of the serenading owl. While the plosive /p/ in ‘Pussy paired with the /b/ in ‘beautiful is not quite alliterative, it is sonorous and seductive of music, reflecting the depth and passion of the owls endearments. Note, too, that Lear also uses punctuation to emphasize meaning; the exclamation marks at the end of lines ten and eleven denote an expression of the owls feelings suggesting tha t the relationship is indeed more than just friendship. In addition to repetition and alliteration, Lear employs strong full rhymes to reinforce sound, meaning and rhythm, and they play an active part in the mood and purpose of this poem. Perfect end rhymes are the most noticeable, but there are also strong internal rhymes, namely occurring in every third line of each stanza, but also in the fifth line in the second and third ones. This mix of one and two syllable rhymes act as a sub-refrain bringing the song sound ‘round and round again to our ears while the text becomes more and more whimsical. Sound and musicality are further brought to our attention by the chiming end rhyme between ‘sing and ‘ring in lines thirteen and fifteen. The words are bright and short, as is the vowel sound, but followed by the consonant /ng/ the sound is extended, and the repetition of ‘ring in the refrain helps to mimic the ringing of a bell where we may hear the onomatopoeic resonance of ‘bong (from ‘bong-tree). The third stanza culminates in a concentration of internal and assonant rhymes which conjure a visual and aural feast to match the wedding banquet itself, with the final lines evoking the who-o-o, who-o-o of an owl through the long vowel /oo/ in ‘moon. All the qualities of song are present: pleasure, ease of repetition, memorability, rhythm, rhyme and refrains. The apparent spontaneity of these elements emerge from very traditional principles and Lears witty organisation. Besides musicality, the other main feature of the poem is ‘word-play with Lear incorporating occasional invented words: ‘bong-tree, ‘Piggy-wig and the nonsense adjective ‘runcible. As well as having a humorous effect, they introduce elements of spontaneous fantasy that punctuate the surreal journey of the anthropomorphised animals. Although these words appear made-up they still remain, just, within our normal expectations of English. However, the fact that they do deviate from the poems surrounding simple language means they are foregrounded, thus, the reader/listener pays particularly attention to them because they are satisfying to say without necessarily having to make sense. Even though ‘runcible has no actual meaning (although it has since been popularly defined as a three-pronged fork curved like a spoon) it has a phonological playfulness with the rolling of the ‘r in ‘run followed by the two syllables in ‘cible. The hyphenation o f ‘Piggy-wig actually incorporates the phonemes and meanings of two words, ‘pig and ‘wig, managng to succeed as an internal rhyme. While the inclusion of these words doesnt really add anything to the meaning of the phrase, they do at least sustain, and quite possibly strengthen the rhythm. It is not until the final stanza that the rhythm is disrupted slightly by the ‘running over of line twenty-three into twenty-four without a pause. The effect of this enjambment is that we are hurried on to a pivotal stage in the story, the point at which a transaction occurs. The caesura at the word ‘ring creates not just a pause, but also a brief tension as we await the pigs answer. Note, too, that the direct speech in these lines references traditional marriage vows reinforced by the stress on the words ‘willing and ‘will. Furthermore, this transaction also brings the ‘real world nearer to the surface. Without a ring the marriage cannot take place. Only when the ‘deal has been done can the tale, and thus the poem, continue as before. Once the regular rhythm resumes it drives the narrative onward, ending with feline and fowl dancing ‘hand in hand, on the edge of the sand†¦by the light of the moon. Imagery created by the moonlight (traditionally invoked as being romantic) means the enchantment of the scene dances on with the fantasy sweethearts and is where the reader/listener has to leave them. In spite of the whimsical narrative and word-play the poem is solidly anchored by the strong iambic ‘gait woven through the traditional ballad form of tetrameter and trimeter. The rising rhythms move the poem along whilst being controlled by the full and stable rhymes, making it very satisfying. Lears talent first saw the light of day in A Book of Nonsense (1846) containing a collection of his limericks and amusing illustrations which proved an immediate success with readers and critics. Lears work, along with that of Lewis Carroll, developed and popularised nonsense literature, especially with regard to their use of ‘nonsense words, thus, it is often seen as a distinctively ‘Victorian genre. But literary nonsense existed long before this and, as Styles points out in her essay about the history of poetry for children, can be traced back to the ‘wildness of the nursery rhyme (Styles, p. 211). These ancient and traditional rhymes from the oral tradition, familia rly known as ‘Mother Goose rhymes, are a collection of verses, lullabies, rhymes and tunes offering humour, repetition and storytelling, although few were originally created or intended for children. Eighteenth century poetry considered suitable for children was mostly didactic or moralistic, and often mean-spirited. Its chief aims were concerned with saving the soul and creating good character and, like other childrens literature, mostly reflected the ideas that adults held about what children should be interested in. But as Puritanism waned and new ideas about childhood emerged, poetic collections written specifically for children began to appear. Tommy Thumbs Song Book (1744) was the first attempt to put nursery rhymes from the oral tradition into print, and two collections from William Blake in 1789 and 1794, although not specifically written for children, did capture the essence of childhood. Other volumes of child-centered poetry appeared in the early part of the ninetee nth century, and even though poets at this time continued to follow in the same moralistic tradition there was a growing interest in childrens emotions and experiences. The mid and late nineteenth century produced Stanzaan abundance of poetry for children, including that of Lear, which coincided with the changing views on childhood. Although the roots of nonsense verse are earlier than the nineteenth century, this is the period the most celebrated and notable examples appear. Lears limericks and nonsense rhymes were not just enjoyed by children, but also by adults, who found them a welcome relief from the restrictive teachings of the Church and Victorian society in general. These witty and humorous rhymes were fun to read aloud and easy to remember. But Lears work is not just distinguished by his linguistic play; it also included eccentric and comical drawings. Although his illustrations for ‘The Owl and the Pussy-Cat are somewhat conservative in that the animals are depicted quite realistically and appear expressionless, they do offer an interpretative effect and would have greatly enhanced the impression of the poem at the time of publication. By contrast, the single illustration in 100 Best Poems for Children (Puffin, 2002) is unsophisticated and childlike. While the small brightly coloured picture does offer a modicum of interpretation, in the context of the anthology its purpose is more generic and there is very little for a child to linger over. The lack of illustrations implies that the value of the text is greater than the visual component, and that the anthology is aimed at the older child who can read independently. Indeed, the publishers own website advertises it for an age group of eight to twelve years. Intere stingly, Montgomery points out that the book ‘includes rhymes for the (just) pre-schooler (Montgomery, p. 137) which suggests that the purpose of this anthology is not just for children to read alone, but also by parents, or in the classroom. Certainly part of the appeal and enduring popularity of ‘The Owl and the Pussy-Cat is that it lends itself to group choral reading. The poems jaunty rhythm, playful rhymes, nonsensical words, and the enchanting tale it tells all conspire to grab a childs attention. Creative words and light hearted verse mean children can explore language and enjoy words for their sound and the images they conjure without it necessarily having to make sense. Although the story is reminiscent of fairytales, it is the ‘nonsense words that distinguish the ‘real world from make-believe. Whether the child believes that owls and pussycats really do sail away and get married in the moonlight is irrelevant: a story, especially one told in the for m of a poem or song, is understood by the child to be part of play and the imaginative world, not the ‘real one. The rhythm and sound-patterns of the poem are more important than the potential ‘reality or credibility of the tale being told. However, the prioritising of sound and rhythm over sense and ‘realism does not mean that this ‘nonsense poem is meaningless. Lear plays on the sound of words, but with or without the nonsensical elements logic still exists and it is a perfectly coherent tale of romantic love. Yet themes emerge in terms of different depths as well as in terms of being central or peripheral. The surface topic, the one most appealing to children, is a jolly tune about animal adventures hinting at love and a comedy of marriage. On another level it is a strange pairing of species and events set to a rather hypnotic rhythm. Deeper down still, both protagonists are carnivores and night hunters. The poem then is not just about innocent ‘nons ense, but also something uncanny. Lear manages to achieve a balance between elements that seem to make sense and elements that do not; a fanciful tale set against the solid foundations of traditional song, familiar everyday language and image unfamiliarly juxtaposed, conventional but also childish. It gratifies the childs appetite for the musical and for the strange. The organisation of the rhythms, rhymes, and nonsensical words gives the poem a whimsical, and yet compelling narrative than lodges in the mind of the adult as well as the child. All these elements contribute to making it entertaining and memorable: ‘nonsense that delights the ear and the imagination.

Gender in Shakespeares As You Like It :: Shakespeare As You Like It Essays

Gender in As You Like It One of the most intriguing aspects of the treatment of love in As You Like It concerns the issue of gender. And this issue, for obvious reasons, has generated a special interest in recent times. The principal reason for such a thematic concern in the play is the cross dressing and role playing. The central love interest between Rosalind and Orlando calls into question the conventional wisdom about men's and women's gender roles and challenges our preconceptions about these roles in courtship, erotic love, and beyond. At the heart of this courtship is a very complex ambiguity which it is difficult fully to appreciate without a production to refer to. But here we have a man (the actor) playing a woman (Rosalind), who has dressed herself up as a man (Ganymede), and who is pretending to be a woman (Rosalind) in the courtship game with Orlando. Even if, in modern times, Rosalind is not played by a young male actor, the theatrical irony is complex enough. The most obvious issue raised by the cross dressing is the relationship between gender roles and clothes (or outer appearance). For Rosalind passes herself off easily enough as a man and, in the process, acquires a certain freedom to move around, give advice, and associate as an equal among other men (this freedom gives her the power to initiate the courtship). Her disguise is, in that sense, much more significant than Celia's, for Celia remains female in her role as Aliena and is thus largely passive (her pseudonym meaning "Stranger" or "outsider" is an interesting one). The fact that Celia is largely passive in the Forest of Ardenne (especially in contrast to Rosalind) and has to wait for life to deliver a man to her rather than seeking one out, as Rosalind does, is an interesting and important difference between the two friends. These points raise some interesting issues. If becoming accepted as a man and getting the freedom to act that comes with that acceptance is simply a matter of presenting oneself as a man, then what do we say about all the enshrined natural differences we claim as the basis for our different treatment of men and women?

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