Kelompok 1

NURBAINAH (20131111024)

WAHYU ALAM SARI (20131111032)

WARDAH ALKATIRI (20131111029)

WALT WHITMAN

“OUT OF THE CRADLE ENDLESSLY RIOCKING”

Socialism is a social theory whose characteristic s have been moulded both by specific theoretical works, and  in the course of time, by practical politicial, legal and economic institutions and measures in communist-ruled countries. There are a man was writing a poetry about socialism. He is “Walt Whitman was born on May 31, 1819. He was the second child in a family of 11. His parents were Walter Whitman, a housebuilder, and Louisa Van Velsor. Whitman grew up in the Brooklyn district of New York and Long Island. At the age of twelve Whitman, began learning to work as a printer. It was around this time that he discovered a great passion for literature. Largely self-taught he read voraciously, including works by the great classic writers – Homer, Dante, Shakespeare, and the Bible. After a devastating fire in the printing district of New York, Whitman was left without a job, But, in 1836, at the age of 17, he began his career as teacher in the one-room school houses of Long Island. He continued to teach until 1841, when he turned to journalism as a full-time career”. file:///C:/Users/PC_39/Documents/Walt%20Whitman%20Biography%20%E2%80%A2Biography%20Online.htm. Walt Whitman is a man who writing a poetry with the tittle "Out of the Cradle Endlessly Rocking"  this poetry is telling about soci9alism too. There are some aspect that can be analysis using socialism theory in this poetry.

  Firstly, A young boy a pair of birds nesting on the beach near his home and marvels at their relationship to one another one day the female bird tails to return. The male stays near the nest, calling for his lost mate. The males cries touch something in the boy, and he seems to be able to translate what the bird is saying brought to tears by the bird’s pathos, he asks nature bto give him the one word “ Superior to all “ in the rustle of the ocean at his feet, he discerns the word “ death “ which continues, along with the birds song, to have a presence in his poetry. It is all tell about moral

Secondly, This is the inspiration to sing, to write poetry, and tell about religion "Out of the Cradle" raises the prospect of annihilation and concludes that there is nothing to do about it but sing it. In doing so, the poem places itself in a traditional genre of poems recounting the birth of poetry out of death. That is, "Out of the Cradle" dramatizes an archetypal experience of loss and reaches a familiar outcome: verse. In this genre, there is nothing else to do with irreversible loss but to describe its happening. How else can the bird recall his absent object of desire but by announcing its absence until his "carol" becomes in Whitman's rendition a worldwide annunciation? What else can Whitman make of his forsakenness but to dramatize it, to generalize bereavement into a human condition, the word of all songs? One love is lost, and all of life is changed. 

The last, This story of love and loss has usually been treated as a dramatization of a personal experience.' In image and tone, the story seems to relate in particular to the Calamus poems and the homosexual love crisis that Whitman records in this sequence. If, however, we read the poem in the specificity of its historical context, we find a democratic elegy written at a time of national crisis that unites all the elements, psychosexual and political. To read the poem in relation to the division of the American Union is not to detract from its significance as a tale of love, loss, and artistic resolution but, rather, to recognize the historical roots of this elegy of dissolution in the state of the nation on the eve of the Civil War.this tell about Politic 

To sum up, "Out of the Cradle" dominates the "Sea-Drift" grouping because it condenses Whitman's themes of love, death, sexuality, loss, and their relation to language and poetry into a single setting and situation. On the beach at night, a curious boy wanders alone, witnessing two birds living and loving together. Then one vanishes, the other searches fruitlessly, the boy questions also only to hear the ocean's final assertion of death, and the man notes "My own songs awaked from that hour.

Poetry kelompok 4

Tenny C Rahmadhani (20131111014)
Fahrian Indra P (20131111041)

A Dialogue of Self and Soul

By: William Butler Yeats

William Butler Yeats was born into a middle-class Church of Ireland family—that is, he was a product of Protestant and English descent. His grandfather and great-grandfather were members of the clergy. His father, however, rebelled against the family’s religious life, so Yeats was not reared in the traditional Christian faith, although Christian imagery and beliefs, especially moral, remained a continuing and powerful element in his poetry. For instance, his Crazy Jane poems thematically echo the conflicts between Christian morality and human desire which are the concerns of  “A Dialogue of Self and Soul.”  Too, Yeats used the form he used in  “A Dialogue of Self and Soul” in the seventh section of “Vacillation” although in the latter poem the debate is between the  “Soul”  and the “Heart”. Certainly, a knowledge of the story of the conception and birth of Christ, as well as of that birth’s religious significance, is necessary for the reader of the antithetical images of Yeats’s “The Second Coming.” However, Yeats’s own “religious” life was a committed interest in, faith in, and even practice (largely synthetic) of various occult beliefs, from his early involvement with the Rosicrucians and Theosophy to his acceptance of aspects of Eastern religions. He was far from being a rationalistic unbeliever.

Yeats was also an Irish patriot and regarded Irish culture as his own; his earliest works are steeped in Irish myth. At the same time, however, he was intensely proud of his English ancestry (to the point of exaggerating its status) and felt himself a part of historical European high culture. He would never really leave Irish myth behind, but his commitment to the European tradition, based as it was on the Christian religion, was almost everywhere in his writings. Too, he made direct use of his own life, especially in his later works—a use that gives solidity, facts, and images to his poetry, making them more alive. 

(source: www.enotes.com/topics/dialogue-self-soul)

Part I

In part 1, we found some religion issue especially in belief that in the second distich:

My Self. The consecrated blade upon my knees

Is Sato's ancient blade, still as it was,

Still razor-keen, still like a looking-glass

Unspotted by the centuries;

That flowering, silken, old embroidery, torn

From some court-lady's dress and round

The wooden scabbard bound and wound,

Can, tattered, still protect, faded adorn.

From the first stanza, “The consecrated blade upon my knees” it describes that someone use a blade and that blade hit the writer and the writer believe that the blade is a sacred blade. In the second stanza, “Is Sato's ancient blade, still as it was”. The sacred blade that hit the writer’s knees is Sato’s blade. Then, in the third, “Still razor-keen, still like a looking-glass”. The writer believe that the blade still look like razor-keen, still like a looking-glass, it cannot be changed. In the fourth stanza, “Unspotted by the centuries”. The sacred blade will never unspotted from year to year or forever. Then, the 5th until 8th stanza, “That flowering, silken, old embroidery, torn. From some court-lady's dress and round. The wooden scabbard bound and wound. Can, tattered, still protect, faded adorn”. Its describe that the sacred blade was never change, still protected and the ornament was never being faded by the time.

Part II

In part 2, we found social issues. In the second distich:

The finished man among his enemies?—

How in the name of Heaven can he escape

That defiling and disfigured shape

The mirror of malicious eyes

Casts upon his eyes until at last

He thinks that shape must be his shape?

And what's the good of an escape

If honour find him in the wintry blast?

In the first stanza, “The finished man among his enemies?”. It tells about a man and his enemies. The 2nd until 5th stanza, “How in the name of Heaven can he escape. That defiling and disfigured shape. The mirror of malicious eyes. Casts upon his eyes until at last”. It describes the enemies of the man who is so evil and has a malicious eyes. 

From these two parts, we found a different  issue between the first part and the second. In the first, it only talk about religion issue especially the writer believe in the sacred blade which cannot change by the centuries, the ornament still protected and never faded away. But in the second part, it tells about social issue that there is a blind boyhood who will change become a man. But, he has enemies that so evil.

Poetry Kelompok 3

D.H Lawrence The Ship 

 of Death

 

By :   Ajeng Kurniasari               ( 20131111002)

         Encik Gaviani Warda        ( 20131111031)        ( 20131111031)

By :  Ajeng Kurniasari               ( 20131111002)

                  ( 20131111031)

           

            David Herbert Richard Lawrence ( 11 September 1885- 2 March 1930 ) was an english novelist, poet , playwright , essaylist , literary critic and painter who published as D.H.Lawrence. His collected works , among other things, represent an extended reflection upon the dehumanising effects of moderinity and industrilialisation . In them , some of the issues Lawrence explores are emotional health , vitality , spontaneity , and instinct .

  D.H. Lawrence asks in his dark and compelling work of poetry entitled “The Ship of Death”. Written shortly before his own death in early 1930, the poem is divided into ten separate parts that proceed in what seems like a circular motion, efficiently chronicling the long and painful process of aging, the deceptive “suddenness” of death, and the pink, fleshy reappearance into the world with a miraculous rebirth. It centers itself around the images of a boat, our “ship of death” that allows the soul to survive the “soundless, ungurgling flood” that threatens to sweep us up and, if not for “the ship of death,” would swallow that little shred of ourselves that is left as the abysmal sea of eternity submerges “the last branches of the tree” of the individual’s earthly existence.

(Source : www.google.com)www.google.com )

            In that poem show that moral imagination especially in religion . That moral issue is shown for each word which are related of in the stanza. In moral religion are explain about “ Death “

"Now it is autumn and the falling fruit
and the long journey towards oblivion.

The apples falling like great drops of dew
to bruise themselves an exit from themselves.

And it is time to go, to bid farewell
to one's own self, and find an exit
from the fallen self.

Have you built your ship of death, O have you?" [1]

"Build then the ship of death, for you must take
the longest journey, to oblivion.

And die the death, the long and painful death
that lies between the old self and the new." [1]

"Piecemeal the body dies, and the timid soul
has her footing washed away, as the dark flood rises.

We are dying, we are dying, we are all of us dying
and nothing will stay the death-flood rising within us
and soon it will rise on the world, on the outside world.

We are dying, we are dying, piecemeal our bodies are dying
and our strength leaves us,
and our soul cowers naked in the dark rain over the flood,
cowering in the last branches of the tree of our life." [1]

The first ,"Now it is autumn and the falling fruit” in the first stanza . Describing the process of aging and the prepare own death .  D.H. Lawrence uses excellent imagery when describing of it .  

            The second , “Already our bodies are fallen, bruished,badly bruished , Already our  souls are oozing through the exit , “Already our bodies are fallen, bruished,badly bruished , Already our   souls are oozing through the exit “ describing Both communicate the ragged scab of a man that the most disturbing (and possibly leprous) elderly males eventually

 become, with the tell-tale smell of death hanging about them. The entire forty-line process of dying seems to reek of death.

            The Third ,  where it reads “ there is nowhere to go / only the deepening blackness darkening still”. As the poem progresses from this point, the little ship promptly disappears, swallowed by the encroaching night of eternity and slipping into the sacred void of oblivion, until all seems utterly lost.  At the beginning of stanza nine, where Lawrence speaks of the sudden materialization of a “thread” that “separates itself on the blackness,” and “fumes a little with pallor upon the dark. Describes the individual as having a heart full of peace, which is reminiscent of how an infant is when he or she first finds its mother’s breast, and lays down in a calm, relaxed state of quiet love.

            The fourth , ‘The process of dying and the process of going to sleep are similar.’ This feeling also means that one stresses all those things we have in common and ignores those things that make us different. This is the secret of being easy and tolerant and makes one feel closer to all people and natural in one’s manner with anybody at all.

            The fifth , ‘...true sufferings are impermanence, misery, emptiness, and selflessness...’

This is most how I want to live. It makes sense of life and there is the promise and hope of eternal self-improvement, which is a further delight. These are things we cannot change - they are immutable parts of the fabric of life in physical form. knowledge of death, and suffering, qualities we all share, and which give our lives meaning and purpose.

            The sixth , ‘Death is unavoidable. When the moment of death comes, neither, medicine nor religious rituals nor anything else can prevent it.’ These are fundamental nutrients, which we all need to live happy, fulfilling lives.

To sum up , The meaning of “The Ship of Death” is religious, because it draws upon traditional beliefs to shape its expression. Finally, “The Ship of Death” is less confidently a statement of certainty about religious hope for life eternal than it is about the stern necessity of psychological renewal in every person’s natural life. Perhaps each night’s sleep is a passage over the flood of death-darkness, so each morning is a survival of spirit from the death of the body in sleep’s oblivion. More clearly, though subtly, the poem’s meaning is limited to the search for self-identity: