H. D. Was a lyric poet v one overarching dramatic theme: a heroine’s pursuit for love and also spiritual peace. She poetry around this one main drama, although created in concise and also crystalline images, is an evocative and often enigmatic reworking of scenes, a retelling the tales, where new characters fuse through old, where interpretations subtle transition with the perspective, and also where expertise interchanges through mystery.

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“Oread”

The early on poem, “Oread”—one the the most frequently anthologized of H. D.’s poems—has been commemorated as the epitome of the Imagist poem. First published in February, 1914, this deft six-line city not just illustrates the essence and also freshness the the Imagist approach but also foreshadows and also reflects countless of the themes come which H. D. Would certainly turn and return in she art. The 6 lines of the poem remainder on a solitary image:

Whirl up, sea— whirl her pointed pines, splash your great pines on our rocks, hurl your green over us, covering us with your pools that fir.

The picture in this city is a “presentation,” no a representation; it is a tangible, immediate manifesting of a physics thing, not a summary of a scene or an abstract feeling. On the prompt level, the city is an image of a stormy sea whose tide crests room like woodland pines together they crash versus the shore and also recede, leave rocky pools in their wake. The picture evokes a facility picture saying color, the beating of tide on a coast, sound crashing and also hushed, and even fragrance.

“Oread” has, as the Imagists insisted complimentary verse need to have, a rhythmic and linguistic breakthrough that is musical rather than metrical, corresponding to the sense of the poem. The first three lines explain an active, thrashing sea advancing on a rocky coast, and the critical three suggest a lessening forcefulness, still powerful but withdrawing. The rising and also falling activity is developed in component by emphatic, initial-stress spondees and trochees in the beginning lines that the poem, which climate give means to the much more yielding dactyls, anapest, and also iambic that the last 2 lines. This prosodic modifications are paralleled through the vowel and consonantal sounds: stormy plosives and fricatives dominate the first half; the last fifty percent employs fluid continuants to imply waning flow and also submarine calm. This change in tone is likewise underscored through the illustration of earlier vowel sound in the last 3 lines only, offering the currently a much more sonorous and also less frenzied sound.

Various gadgets give unity to the poem. The is collection as one sentence, in lowercase. The command mood of the verb that start all but the 4th line emphasizes the thrusting force of the waves. Internal rhymes subtly reinforce the main metaphor, fusing sea and forest: the aspirated h and the fluid r and l of “whirl” are repeated in “hurl”; and also the last word, “fir,” is a partial assonantal echo the the first word, “whirl,” and also “green” an in similar way echoes “sea.” consonants are recurring with prefer effect. For example, the h, l, p, and also s the “whirl up, sea” room forcibly compressed in “splash,” and also quietly recapitulated in “pools of fir.” heat 4 (“on our rocks”), which introduce character and also location, is identified from the preceding lines by its lack of a verb, its use of ago vowel sounds, and its triseme (or anapest); yet it is yoked to line 3 by enjambment, again subtly sustaining the fusion metaphor.

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“Oread” has actually an elusiveness that is typical of H. D.’s poetry: The identity of the speaker is obscure, the location of the seacoast is unspecified. Who is “us”? Why space the rocks “our rocks”? The answers lie concealed in the title, which contains much the is enigmatic and unspoken. An oread is a nymph of Greek myth—in particular, a hill nymph. Like...