Existentially Implying that change and loss are permanent These sounds emphasis words both associated with Infinity silent, loss. No vicissitude, worst and transience surprised, impatient, present, years, restore Fundamental the sonnet opposition of instantaneous and eternity Words acceptance Surprised by Joy is about the opposition of instantaneous and eternity.
These strong sounds compel their stress throughout the sonnet. This could be allusion to the wind simile of the first line. The combination of Caesura and Enjambment created by striking deictic punctuation The end rhymes hold the chaotic thoughts together with loaded significance. Caesura tumble clauses forward onto the next line, Just as thoughts necessitate subsequent thoughts Enjambment. He asserts rhetorically through his question that no power could exert itself sufficiently to "blind" him to his "most grievous loss.
The speaker then avers that having that thought of the fact that his beloved had died brought "the worst pang that sorrow ever bore.
That other occasion occurred as he "stood forlorn" just after the death of his loved one, probably by the gravesite. At that time, as he stood by the grave of the departed, he suffered deeply "knowing my heart's best treasure was no more. The speaker recalls the distressing awareness that he would never look upon "that heavenly face" again. He remembers thinking that time "neither present time, nor years unborn" would ever resolve the grief he was experiencing.
Strong emotion can bring about many different kinds of worldly experiences. The strong feeling that penetrates the heart and then runs beyond the mind is capable of attracting the soul in its infinite wisdom and storehouse of thoughts and experiences and eliciting from the soul the very objects on which the mind and heart have depended for love and affection. Answer: William Wordsworth has reported that this poem "was in fact suggested by my daughter Catharine long after her death.
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Interesting Literature. Privacy Policy. Loading Comments The natural event, the source of the joy, un-described but beautifully left to our imaginations, is quickly erased. Nature, for once, fails the poet. Use of eye-rhyme and half-rhyme helps this informality: to the ear, these rhymes lack precision. Meanwhile, the voice becomes increasingly subdued. The long "oor" sounds of the sestet's rhyme-words are like moans. The diction itself becomes rather platitudinous "best treasure", "heavenly face" : it is telling us what the first quatrain so expressively showed.
A sonnet of asymmetrical, top-heavy intensity then, turning its face away from the epiphanic to the quotidian — it can't be considered a great poem, or can it? Perhaps there are times when the one proverbial swallow really does make a summer.
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