Which Line Most Directly States The Speaker’S Feelings In Song Vii By Rabindranath Tagore? 2023

Which Line Most Directly States The Speaker’S Feelings In Song Vii By Rabindranath Tagore?

Which Line Most Directly States The Speaker’S Feelings In Song Vii By Rabindranath Tagore
In Rabindranath Tagore’s “Song VII,” which sentence best expresses the sentiments of the speaker? “She does not take pride in her attire or her adornment.”

What is the theme of the poem Song VII?

Advertisement – Guide continues below The Arts of Writing and Literature We’re accustomed to hearing individuals talk about themselves (don’t we all enjoy doing that? ), but we’re not used to hearing poetry talk about themselves. The fact that Tagore’s “Song VII” is a poem about itself makes it a unique and noteworthy work.

What do you call language that appeals to the senses and creates an impression quizlet?

Enables the reader to form a mental image of the poet’s whole family and circle of acquaintances. assists in defining the voice of the speaker in connection to his “brothers” or the community. What do you term the use of words that evokes an impression while also appealing to the senses? -metaphor.

What does the speaker want to do with his or her life song VII?

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The adornments that she wore have been removed by my song. The poetry “Song VII” is bookended by musical imagery; the very final line evokes the image of “a flute of reed for thee to fill with melody,” and the poem is titled “Song VII.” Because Tagore was such a prolific musician and singer in his own right, it is not strange that he would summon such imagery and create this clear link between poetry and song.

The speaker starts off by giving the poetry a personality of its own by personifying it. In the opening line, he grants the poem the ability to physically remove from itself anything it considers “decoration” since the song “had thrown off her adornments.” In addition to this, the poetry is claimed to be capable of possessing an ego and an opinion of itself, despite the fact that it is defined as having “no pride of attire and ornamentation.” The speaker of the poem refers to the poem as a “intermediary” in a “union” that takes place between him and some other person whose identity is not revealed but which is implied by the use of the first-person plural voice.

He also makes the observation that “ornaments” would disrupt the “union” and that “they would come between thee and me.” The speaker’s use of words like “adornments,” “dress,” “decoration,” and “Ornaments” all hint to flowery language that only helps to put distance between himself and the unknown other.

This anxiety over the gap that exists between reality and its representation, as well as the speaker’s wish to steer clear of the situation altogether, is made abundantly clear by the absence of rhyme and meter in the poem. Each line in “Song VII” is succinct, straightforward, and comes to a complete stop at the conclusion; the sentences are characterized by syntax that is meticulous and sparse, as well as a mild use of imagery and metaphor.

The structure of the sentences themselves, as opposed to a predetermined metrical pattern, is what determines the length of each line rather than the pattern itself. In conclusion, the speaker avoids using unnecessary elaborate language and syntax since, in the speaker’s opinion, such language and syntax would drive a wedge of distance between himself and “thee.” The “jingling” that often accompanies poetry that is too ornamented would only help to “drown thy murmurs.” The addressee of the poem, as indicated by the use of “thee” and “thy,” has been unclear up until this point.

On the other hand, in the second stanza, the speaker addresses a “master poet” who has the power to make him feel inadequate: I have come to worship at the feet of the master poet that you are. This addressee might be interpreted in a number of different ways, but they all welcome the divine into the realm of the poem.

The addressee of the poem is not a simple human; rather, it is a figure that is analogous to a muse or a higher force. When seen via this prism, the references made in the opening verse start falling into place. The “whispers” that are “drowned” by excessive adornments are actually the divine itself, some ultimate meaning that can only be communicated via poetry when a “poet’s vanity” is not engaged in the writing of the poem.

The following two lines of the poem continue to address the “master poet,” and they further indicate that there is a heavenly or godlike presence involved in the process of artistic creation. The speaker expresses a desire for his life and creative abilities to serve as a channel for the divine in the following way: Please allow me to make my life as straightforward and uncomplicated as a reed flute so that you can fill it with song.

The speaker is not a musician, contrary to what readers of poetry may anticipate a poet to compare themselves to. Rather, the speaker is the instrument that the real musician, some type of deity, may play, and by casting himself in this role, he is suggesting that he is a vessel that transmits a deeper meaning.

“Song VII” is reminiscent of a prayer due to the fact that it addresses the divine directly and begs for help. The final request made by the speaker of this piece is for the divine to go through him throughout the creative process in the same way that air moves through the body of a flute.

What is the effect of the authors use of apostrophe in the poem?

How should an apostrophe in a literary work be formatted? – In written expression, the use of an apostrophe is intended to draw the focus of the reader away from the speaker and toward another component of the sentence. A person who is not present or a third party is typically the focus of apostrophes.

At other times, the subject of their attention is a non-living thing, a location, or even a concept in the abstract.
Exclamations are a common way for them to start out.
It’s possible that this is a sound, like O! There’s also the possibility that it’s the name of the person or thing the speaker is addressing.

Consider the following excerpt from one of Emily Dickinson’s poems: GOOD nite! Who or what extinguished the candle? A jealous zephyr, not a doubt. Oh, my good friend, you had no idea. How much longer will that heavenly candle burn? The angels toiled tirelessly; their efforts are now futile for you! This stanza begins with Dickinson addressing the night by calling it by its name, which she does at the very beginning of the line.

What is the major theme of the poem?

The theme of a poem is the overarching moral or observation the poet makes about human nature and how it relates to everyday life. Finding the central concept is the first step in determining the topic of a piece.

What message does the child with Prince’s robe convey?

Analysis: In this song, Tagore makes an appeal advocating simplicity and, in doing so, makes use of the idea of a kid who has been over-decorated by his mother. This song emphasizes the necessity for a poet to live a modest life near to Nature and among the ordinary people rather than the rich life.

It also emphasizes the need for a poet to live among the common people. Because a child who is dressed in fine, magnificent clothes is unable to play because his clothes and jewels restrict his movements and because he is afraid of destroying these fine things, a poet who relies on too many luxurious and ornamental elements is unable to compose poetry that is straightforward and uncomplicated.

What do you call language that appeals to the senses and creates an impression of metaphor personification imagery apostrophe?

Definition of “Sensory Language” One definition of “Sensory Language” is a word or group of words that are used to evoke mental imagery and help the reader visualize the tale or poetry. Imagery is a literary method that engages the reader’s senses, whereas Sensory Language refers to a writing style and the manner in which authors employ words to conjure up mental pictures in the minds of their audience members.

The authors convey their feelings, thoughts, and ideas in such a way that they pique the reader’s interest and stimulate their imagination.
Despite the fact that it is frequently used to stimulate the reader’s creative thinking, it also plays an essential part in progressing the narrative or embellishing a poem.

Two words are combined to form the term “sensory language,” and those words are “language” and “sensory.” It involves utilizing words to construct mental pictures that appeal to the senses of sight, hearing, smell, taste, and touch. [Case in point:] [Case in point:]

What sense or senses does the imagery appeal to what ideas does it emphasize?

Words and phrases used to describe an event in such a way as to re-create that sensation for the reader are known as imagery. Imagery typically engages one or more of the reader’s five senses, including sight, hearing, smell, taste, and touch, in order to assist the reader in visualizing the subject matter of the description.

What is it called when a writer uses descriptive language to appeal to a reader’s five senses?

Question Answer 1. the central figure; the individual who is being challenged. Protagonist 2. the individual or thing that constitutes a difficulty in a situation. Antagonist 3. A course in the study of literature The depiction of abstract concepts or ethical precepts via the use of illustrative people, places, or things is the focus of the fourth genre.

Allegory 5.
The utilization of sensory-provoking language that appeals to the senses of the reader 6.
The order in which the occurrences of the event take place. Plot 7.
A piece of writing that makes fun of something or someone, typically with the intention of helping to better a situation. Satire 8.
The period of time and location in which the narrative takes place.9.

a mode of figurative expression that draws parallels between two things by employing the words “like” or “as.” 10. a figure of speech in which one uses words to convey a meaning that is not the same as, or even the reverse of, the word’s literal meaning Verbal Irony 11.

The deviation from the typical or anticipated outcome of a series of events caused by the actual outcome of those occurrences.
The Irony of the Circumstance 12.
When the viewers are aware of a scenario but the characters themselves are clueless about it.
The Irony Is Dramatic 13.
A form of metaphorical language that imbues inanimate things or animals with human characteristics and attributes.

Personification 14. the standpoint or point of view from which a narrative is conveyed. The View From Here 15. a certain category of element, device, or incident that appears several times in a single literary work. Motif 16: the processes by which a character evolves as a result of their ideas, actions, or speech.

Characterization 17.
The use of the same consonant sounds over and over again.
Alliteration 18.
A figure of speech that consists of two words that appear to be opposites of one another.
Oxymoron 19.
The perspective or stance that an author takes with regard to the subject of his or her writing.
A person, place, object, or event that stands in for something else and is referred to as a symbol.

Symbol 21. The overarching concept that is explored in a work. Theme 22. a form of metaphorical language that draws a direct connection without employing the words “like” or “as” The practice of use language that is oblique or courteous in order to convey an idea that is typically seen as being unfavorable.

A brief mention of anything that is not directly related to the subject of a literary work 24.
Allusion 25.
An indication or “hint” of what is to come Foreshadowing 26.
A pivotal or defining moment in the plot of a narrative The climactic moment 27, a recollection Flashback 28.
Using a phrase or combination of words repeatedly with the purpose of emphasizing something or creating an impression Repetition 29.

a pun on the word “play.” A hilarious use of language that incorporates a term or phrase that may be interpreted in more than one way at the same time. Pun 30. The component is symbolic of the whole. “All hands on deck!” Synecdoche 31, the practice of using words in a way that imitates sounds They pique our interest by appealing to our sense of hearing, and they contribute to bringing a description to life.

A series of syllables that have been invented by the author to depict the way a sound actually sounds.
Examples: Caarackle! Onomatopoeia 32.
A remark that is intentionally overstated in order to emphasize its point.
Its purpose is not to deceive the reader but rather to drive home a certain point.
For instance, she has reiterated her position many million times.

Hyperbole number 33: phrases unique to a certain language An expression of a particular language that is unique to itself or that cannot be comprehended by deconstructing it into the separate meanings of its constituent parts. Some examples: I look up to you in the highest regard.

It’s time to confront the consequences of our actions.
Idiom 34: a creative and poetic image, or a piece of literature that incorporates such an image, particularly a comparison that is exaggerated or unrealistic.
Conceit 35 The use of parallel structure involves demonstrating that two or more concepts are on an equal level of priority by utilizing the same pattern of words.

This might take place on the level of the word, the phrase, or the sentence. The use of coordinating conjunctions like as “and” and “or” is the standard method for joining structures that are parallel to one another. Parallel structure 36. A figure of speech in which a person or object that does not actually exist is addressed as if it were present and able to understand what is being said about it.

Which line from Song VII by Rabindranath Tagore is an example of personification Brainly?

Which passage from Rabindranath Tagore’s “Song VII” best exemplifies the literary device known as personification? “My poet’s conceit falls in humiliation before thine gaze,” it says in the poem.

Why does the speaker want to connect to the divine in the poem Gitanjali?

The Beginning of Song No.7 – Imagine supposing a poem was a beautiful woman (just go with us for a second here, Shmoopers). Now, let’s imagine that she’s wearing a gorgeous dress, and that she’s accessorized it with a ton of exquisite jewelry, including bangles, earrings, necklaces, and why not even an anklet? After that, she starts removing all of this ritzy clothing and jewelry.

Earrings, bangles, and necklaces are all removed from the victim.
Bye-bye, anklet.
At long last, she dons a casual outfit consisting of a relaxed pair of jeans and a t-shirt.
The speaker of Rabindranath Tagore’s “Song VII” imagines his poetry in the form of a lady who is stripping off all of her “adornments,” which may seem a little strange, but this is indeed what the speaker is thinking.

The speaker is not referring to things in a literal sense, of course. In order to discuss his poetry, he employs the image of a lady in clothing as a metaphor. His primary idea is that it is preferable to write poetry using straightforward language rather than intricate terminology.

To back to his metaphor, there are occasions when a woman appears more attractive in a t-shirt and trousers without any makeup on than she does in a dress with jewelry and other accoutrements. Now, we know what you’re thinking because you’ve told us: “Amazingly, this poem really encourages young women to dress casually and wear jeans.

Greetings, friend, and welcome to the twenty-first century.” And you’d be absolutely correct. There is no getting around the fact that it is objectifying when a guy discusses poetry while referring to a woman’s attractiveness. At the same time, though, it is essential to be aware that this poetry originates from a totally different era and location from where we currently find ourselves.

The year 1910 marked Tagore’s debut as a published author in his native Bengali language. Gitanjali is the name of the collection that contained his work once it had been translated into English after a period of two years (or, Song Offerings ). As a result of the widespread acclaim accorded to his poetry, he was awarded the most prestigious literary honor there is, the Nobel Prize in Literature, exactly one year later, in 1913.

He was the first person from a continent other than Europe to win. In addition to that, he was a polymath. You might be wondering what a polymath is. A person who fits this description is one who possesses a high level of expertise in a variety of fields.

Tagore was a multi-talented artist who was also accomplished in music and poetry.
Throughout addition to composing more than 2,000 songs in his career, he is credited with revolutionizing Bengali literature, which is literature that is produced in the Bengali language, which is one of the primary languages spoken in India.

And this is before we even get to the fact that he started making art when he was 60 years old and went on to become an influential figure in the field of modern art. Tagore’s literary output, together with his involvement in many political and spiritual causes, helped make him one of the most well-known Indian authors of all time.

This guy had everything going for him.
All of this is only to say that while reading “Song VII,” it is essential to look past this outmoded metaphor in order to understand the larger point that the poem is trying to make about language.
The speaker argues in Tagore’s poem that the objective of his poetry is to establish a connection to the divine.

And he says that the most effective approach to communicate with the holy is via poetry that makes use of straightforward language. Like a fancy woman (or, if we’re being honest, a fancy guy), fancy poetry is overly concerned with how it seems to outside observers.

What was the final request of the lover to his beloved in the last ride together?

The poem “The Last Ride Together” by Robert Browning is about the final meeting of two lovers and how that “last ride” becomes a point in the speaker’s life that he will never forget. The poem centers on the idea that the “last ride” will be remembered for the rest of the speaker’s life. In this Continue reading “When delivering an a href=”https://poemanalysis.com/poetic-form/dramatic-monologue/” data-gt-translate-attributes=””dramatic monologue, the speaker first of all offers a backdrop of the narrative. The speaker is parting ways with his sweetheart at this time. Before they separate ways, he makes one more request: that his lover accompany him on one last ride before they part ways. The lady agrees to go ahead and accept the invitation. It would appear that she is also interested in spending a few more moments with the individual for whom their hearts sprang for delight at the same time. Due to the fact that this is the final part of their voyage, the speaker and the woman want to make the most of this moment together. Nevertheless, she remains silent for the entirety of the poem. The only one who dwells about his sentiments is the speaker, and he utilizes various comparisons to demonstrate that they are, in fact, in a better situation than the other party. Their love is fleeting, yet Read more ” data-gt-translate-attributes=” ” href=”https://poemanalysis.com/definition/sublime/”> “sublime, Even if they won’t be seeing one other in the near future, they will be able to reflect on this event forever and ever.

Which line is an example of apostrophe?

Examples of Apostrophes in Literature Apostrophes have been employed in writing ever since the ancient times, and they have been utilized by many famous writers in the literary heritage of the English language. The apostrophe was utilized rather frequently by William Shakespeare in the text of his characters’ sentences.

Juliet gives a famous soliloquy on her balcony in the play Romeo and Juliet, which begins with the following line: “O Romeo, Romeo, wherefore art thou Romeo? ” Juliet is under the impression that she is by herself and speaks to Romeo, supposing that he is not present.
This is an example of an apostrophe, as a result of which it is deemed to be.

When Juliet delivers her speech to a dagger at a later point in the play, she once again makes use of the apostrophe: “O, joyful dagger! This is the sheath that you use. Thus let me rot and perish.” In Hamlet, another of Shakespeare’s plays, the main character, Hamlet, has a famous moment in which he speaks to the skull of a former court jester.

In this scene, Hamlet says: “I am your skull.” “Oh, how sad for Yorick!, Where are your jabs at this point? your gambols? songs of yours? your sudden bursts of hilarity, which were accustomed to get the whole table laughing?” Hamlet speaks to Yorick as if he were there via his skull, despite the fact that Yorick is not actually there.

It’s possible that the questions he asks Yorik are really ones he’s asking himself in an effort to make sense of the death and grief he’s experienced.

Sarah Bernhardt as Hamlet addresses the skull of the court jester, Yorik. An example of apostrophe.

What is the literary meaning of apostrophe?

A speech or address to a person who is not present or to a personified object, such as Yorick’s skull in Hamlet, is an example of the literary device known as apostrophe. It originates from the Greek term apostrephein, which literally translates to “to turn aside.” The punctuation mark known as the apostrophe is something that you are already familiar with.

What is blank verse in English literature?

The word “blank verse” is a literary term that refers to poetry that is composed in lines that do not have rhymes but do have meters, usually always iambic pentameter.

What is the main theme of the song No 10 of Gitanjali?

Tagore laments his inability to be as modest as God is in his humility by dwelling among the lowest of the low in this poem. He sings praises to the Lord, who lives among the poorest and most humble of people, and laments that he too cannot be as humble as the Lord.

When Tagore sings of the magnificence of God, he says that God is so magnificent that he puts his foot up on a footstool that is kept in the home of the lowest, most destitute person. He claims that he cannot kneel as low as where God’s feet rest in the depths of the poorest, most humble, and people whom society has abandoned when he prays to God and pays his obeisance.

He says this because he cannot bow as low as where God’s feet lay. Those who are arrogant can never hope to reach where God walks because God wanders among the poor, the lowly, and the lost while wearing the most humble clothes of these men. Those who are proud can never hope to reach where God walks.

What is the effect of the author addressing the poem to a master poet?

What kind of impact does it have when the poet addresses the poem to another famous poet? This gives the reader the impression that the imagined addressee is more present than before.

Where is the mind without fear summary?

The religious undertones of Where the Mind Is Without Fear are replaced with a more nationalistic tone towards the conclusion. Tagore offers prayers for the independence of the nation, and specifically for an ideal kind of liberty. He prays that his nation may one day be a place where a man can travel with his thoughts, unafraid of anything, and where he can hold his head high with respect and dignity for himself and others.

A nation in which everyone has unrestricted access to information, in which the artificial barriers that are erected between people on the basis of their caste, creed, area, and religion do not exist, and in which, as a result, the nation is not fragmented into several smaller parts.
A brand-new and liberated India, one in which its inhabitants speak with the firm belief that what they are saying is true, and one in which man genuinely works toward and ceaselessly seeks to reach perfection.

A nation in which an individual’s capacity for deciding what is right and wrong is not constrained to become dormant and wither away like a stream running dry in the sand, and in which an individual’s capacity for reasoning is not stifled by antiquated, conventional, and outmoded practices, customs, and traditions.

What harm is there if thy clothes become tattered and stained?

Put an end to this chanting, singing, and telling of beads already! To whom do you pay homage in this desolate and dimly lit nook of a temple, when all the doors are closed? Open your eyes, and you will realize that your God is not there before you. He may be found in the spot where the pathmaker is breaking stones and the tiller is working the tough terrain.

He is there with them in the sunshine as well as the rain, and the dust is caked all over his clothes.
Put away thy sanctified cloak and, just like him, hunker down in the filth of the earth! Deliverance? Where exactly may one get this kind of salvation? Our lord has happily taken upon himself the bonds of creation, and as a result, he is bonded with all of us for all of eternity.

Come out of your meditative state and put down the flowers and incense you’ve been using. Why does it matter if the clothing that you wear get dirty and tattered? Come face to face with him and stick by his side through the strain and the perspiration on your forehead.

Gitanjali is a collection of 103 poetry written by Rabindranath Tagore himself in the English language.
The majority of these poems are translations.
The poem titled “Leave this chanting” comes in as the 11th offering in the anthology.
The poet encourages those who are very spiritual to give up their practices of counting beads and reciting mantras by singing or chanting them.

He also encourages people to cease worshiping God in a secluded area of the temple while covering half of their faces with their hands. In a very direct manner, he tells you to “Open your eyes and realize that God is not there before you.” This is not the path to follow in order to find God.

Tagore encourages those who are devout to search more than the four walls of their shrines to find the place where god actually resides.
God resides among those who are lowly and oppressed, such as those who toil the soil and pave the way by laboriously pounding stones into pathways.
He shares his home with people who work hard in both the sun and the rain, and whose clothing are covered with dust.

If the priest desires God, he needs to leave the comfort of his temple, take off his sacred robes, and put in hard labor with the lowly cultivators of the land, regardless of the weather. Tagore, in this sense, exalts the lives of the lowly laborers while disparaging the austere way of life.

The ascetic should strive for liberation as their ultimate spiritual aim in their life. This is the moment when the soul is released from the cycle of being reborn after dying. However, God Himself is entangled with each one of us via the bonds of love. God is the one who created everything and is the ultimate ruler.

Because He has willingly committed Himself to the process of creation as well as the things that He has made, He does not possess the freedom that we do. How therefore can it ever be hoped that man will be liberated from his servitude? He strongly recommends that the ascetics give up the pointless practice of using flowers and incense since it has no positive effect.

According to the poet, one cannot find God in the temple; rather, one can find God among the laborers who spend their days toiling in the filth and heat of the sun. He inquires as to whether or not there is any danger in engaging in labor in the open air and having one’s clothing become soiled. Even if your clothing are ruined or soiled in any way, there is no cause for concern because you are going to see the one who created everything.

Therefore, Tagore suggests that the experience of God requires one to actively participate in the activities of daily life. Tagore makes the argument that the infinite can only be expressed via the finite, and that the divine can only be discovered in the human form.

Tagore exemplifies the integration of introspection and activity in one’s life. The first step is to engage in contemplation, since this contributes to the cleansing of the mind. However, the potential for a rich and fulfilling spiritual life cannot be realized unless the contemplative life and the active life—that is, the life of service to others—are brought together.

The rejection of asceticism and the promotion of a vision that is positive toward the world became increasingly complex and complicated in the poems that Tagore wrote in his final years. Tagore is aware of the significance of humanism, and he uses this poem to convey the significance of humanism.

Humanists hold the belief that the ultimate form of worship consists of loving one’s neighbor and doing service to them. In addition, they think that one might find God in the midst of those who toil and are destitute. According to Tagore, the only way to worship God properly is to mingle with the lowly people of the world on an equal footing and to take part in the lowly pursuits that they pursue.

Tagore believes that those who are wealthy and haughty can never discover God because they maintain a distance from those who are oppressed and in need. According to his point of view, pride can never approach the level at which one may walk in the clothing of the humble among the poorest, the lowest, and the lost.

It demonstrates that God is found in the midst of those people whose clothing is stained with dust because they work hard in the sun and the rain. In spite of the fact that the lowly tiller’s garment is soiled and torn, God still loves him. People who are impoverished and modest and who work hard to provide for themselves are the ones who are most likely to encounter God.

Date and time of last modification: Wednesday, September 13, 2017, 1:17 AM