The two poems I have chosen to look at are the extract of Summer: The second pastoral, or Alexis by Alexander Pope and the extract from Kubla Khan by Samuel Taylor Coleridge.

2. (a) Choose any two poems from the WJEC Poetry Anthology that you would recommend to a friend. Using literary and linguistic concepts and approaches, look closely at the content, style and structure of each poem in order to justify your selection.

I enjoy Pope’s sense of humour in this piece. It is a piece of satire, and the mockery of conventional love poetry and pastoral lyrics, to me, make a humourous and entertaining piece. Pope opens with an imperative sentence, a command for the reader and the subject of the poem, the lover, to see the scene he is about to set. He uses an exclamation mark, which is the first of five. This abundance of imperatives and exclamations emphasises the poem’s exaggerated and mocking tone. In this first line, Pope uses sibilance. The s sound within ‘See what delights in sylvan scenes appear’ creates a gentle tone, and adds to the idea of being tempted into the scene by the writer. Within this line, there is a sense of being slowly, eased into the scene, created both by the sibilance, and by the assonance created upon the strong, elongated e sound ‘See what delights in sylvan scenes appear!’. He continues both these techniques into the next line with ‘Descending’ and ‘Elysium here’.

Pope mocks love poetry immediately. He suggests that the Gods have descended from the heavens to be in this forest, that because his love is here, has become an alternative Elysium. Of course, Elysium is an eternal spring, no rain, no snow, no storms, and to have this on earth is an exaggeration and sarcastic. Pope uses all the Latin spellings and names throughout the poem. The original Elysian fields is Greek, but by using the Latin, Pope is mocking the formality of romantic poetry, or using the formality to contrast to the poem’s ultimate goal of amusing the reader.

The tradition of the loved one being beautiful, the lover - here the poet - being devoted, and the loved being unobtainable is, here implicitly mocked. He uses Diana, the huntress, who, as a virgin goddess is unobtainable, and Venus who was made to marry the only ugly and deformed god! Using these two examples also mocks the idea that all is perfect between lovers, as Venus was always cheating on her husband, Adonis being one of her other lovers, and the only person to ever see Diana naked, was turned into a stag so she could shoot him.

Pope uses a formal yet simple rhyme scheme of a series of rhyming couplets. This seems to make the poem move faster, not the objective of a conformist pastoral or love poem. On the page, the poem has no specific shape or stanzas. With eleven syllables to a line, the patterns are formal, similar to the language, but by using the conventional patterns and structures, Pope can highlight the ridiculous tone of the poem. He also avoids enjambment; a technique used to make the poem flow, and this suggests a bluntness, and critical tone to the piece.

He compares the woman to a lovely nymph, a daughter of Zeus, a clear overstatement of what she is. Again, Pope uses assonance ‘bless the silent hours,/when swains from shearing seek their nightly bow’rs;’, this gives a soft gentle tone. He uses three lines to tell the reader that it is dusk and the farmers are going home, this idea of love poets drawing out and using too many words to describe simple things is exaggerated and thereby mocked here. It could be interpreted that Pope is using ambiguity also, as he uses ‘sultry’ meaning oppressively hot, but taken out of the context it can imply strong sexual attraction, thereby, Pope is saying, just get to the point!

The personification of ‘Love’ is typical of love poetry. Here it alludes to the genesis idea of the devil as a snake. The cunning viper hides, whilst Love is good and lives in his heart. Pope uses imagery, and creates a visually humourous scene, as the trees move to shade her, and the flowers just pop up all around her.

The woman is described as a goddess, with so much power, the fauna and flora move out of her way where she walks, even the temperature and winds change to please her, and the whole of nature worships her, such exaggeration it is ridiculous. He compares her to the honey of the bees, and says that he knows of nothing sweeter. This is so cliché and cringe-worthy, it is entertaining and funny. Pope describes the birds as chanting, not singing, a quasi-religious reference, to suggest they worship her. But her singing is better anyway, compared to Orpheus’, another mythological reference, Orpheus was a master magician with almost magical properties, and was able to tame wild beasts with his song, and the gods wanted him to sing for them. In the end, the Furies dismembered Orpheus! Perhaps, Pope’s choices of mythological references are meant to be flawed, again, mocking the use of mythology in love poetry.

I enjoyed this poem, both for its humour, and it’s layering. It’s magical and mythological mood and atmosphere worked to exaggerate and mock the conventional pastoral lyrics and love poetry, whilst entertaining the reader. The poem itself is, in certain sections, meaningless without a knowledge of other stories. References to gods, and religion give this poem a background and another depth, which I found interesting and enjoyable. In the same way, Kubla Khan tells a story. It is narrative of a real historical event. Coleridge seems to take a critical and scornful view upon the building of the ‘pleasure-dome’. I think Coleridge has chosen a particular event, so long back, and extreme – another son of Genghis Khan wanting to take over the world – only to express his view of men and nature. Implicitly, I imagine, the ancestors of Kubla Khan prophesying war, is more of a warning to Coleridge’s contemporaries than just a story.

Coleridge uses ‘pleasure-dome’ at the second line, but at the thirty-first line, he changes the syntax to give ‘dome of pleasure’. He uses a mirroring effect, to show the reversed shadow, and to encourage the reader to see the relevance or moral of this story now. Syntax is used often and cautiously in this piece. Coleridge re-arranges the words to correspond with the stresses of the piece. By using foregrounding, within the first line, Coleridge is able to put an emphasis on ‘Xanadu’ and ‘Kubla Khan’, whilst still keeping the meaning. This creates a strength that the reader picks ...

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Coleridge creates a sense of immensity, and how insignificant people are, with lines such as ‘measureless to man’ and the imagery of deep chasms and ancient fields. It almost creates a sense of awe. Coleridge uses lexical sets such as ‘holy’, ‘enchanted’, ‘haunting’ and ‘demon’ to give a mystical and captivating atmosphere and mood to the poem. Powerful adjectives such as ‘savage’ and ‘romantic’ are used to contrast with each other and make the language even more powerful. He also uses oxymorons, putting ‘tumult’ and ‘lifeless’ together and metaphors such as ‘dancing rocks’. Lexical sets of ‘forced’ and ‘burst’ make this poem stand out from the rest with forcefulness and strength. All these factors seem to create a fantasy scene, the final line strongly suggesting this, contrasting a ‘sunny pleasure-dome with caves of ice!’, but Coleridge’s use of onomatopoeia such as ‘wailing’, alliteration and imagery in the line ‘Five miles meandering with a mazy motion’ make it easy for the reader to imagine, and he succeeds in bringing the indescribable vastness to life in the readers mind. In 1817 the Monthly Review said, “The poem itself is below criticism,”, but I consider this poem to be full of style, and technique, that results in an original, enjoyable and clever piece of poetry.

(b) Select one poem that you would not recommend to a friend. Justify your selection by looking closely at its content, form and style. Go on to show how the contextual factors relevant to your chosen poem could have influenced your dislike of it.

To Autumn by John Keats is certainly not a poem I would recommend to a friend. This is the style of poetry that made Summer: The second pastoral, or Alexis by Alexander Pope so attractive and amusing.

The ode is a very formal style. The poet almost perfectly follows the decided rhyme scheme, through all three stanza’s. He uses iambic pentametre to follow the traditional formality of an ode. He occasionally uses enjambment to change the rhythm as he desires, and half rhymes to keep the context of the poem, but he never sacrifices its rigid formality. This I find lifeless, and regimentary, almost as if the poet has little opinion or is writing for something other than his own pleasure.

The ode opens with ‘Season of mists’ which uses sibilance, followed by ‘mellow’ and again sibilance in ‘fruitfulness’ and these create the ‘mellow’, peaceful tone that is apparent throughout the poem. He continues the fruitfulness element throughout this stanza, with constant references to the ripening fruits of summer. He also continues the peaceful, slow tone. In line two, he personifies the sun by saying it is ‘maturing’. The ‘ing’ sound protracts the word, and again slows the poem down to represent the gentility of the atmosphere created by the poem.

The second stanza opens with a direct address. This draws the reader in, and in the second line, Keats reveals who he is talking to. He uses personification as a base in the second stanza, whereas he only glanced over it in the first. He manipulates the reader into visualising Autumn, as a woman, hair blowing in the wind, careless, and gentle. The second stanza also invites the reader to apply their senses to the poem. Keats plays on the reader’s imagination to see Autumn sat ‘on a granary floor,’ to feel the wind that blows around Autumn, and to smell the poppies.

In the third stanza, Keats moves away from such a variation of sensuous appeals and lexis, and concentrates on the sounds around the audience. The elongated vowel sound of the lexis ‘wailful’ is almost onomatopoeic. He repeats this with the ‘red-breast whistles’ and ‘gathering swallows twitter’. Thereby encouraging the reader to actually hear the sound as they say it.

His first line of the final stanza again is a direct address. It is now to Autumn as a season, compared to other seasons, and does not try to create a picture of Autumn as a women, but he still personifies. This personification objectifies something that cannot be touched, or seen, and makes it thereby more accessible to the reader.

His third line opens with ‘While barred clouds bloom’ and these words use the b’s and l’s to create a powerful introduction and contrast to the gentle ‘soft-dying day’. He again uses this in ‘touch the stubble-plains’ to contrast to ‘rosy hue’. This emphasises the serenity of the end of the line, by powering the start. It is similar to speeding up the pace for a time, to emphasise the slower pace afterwards. Keats does this in the last three lines of the second stanza. The structure of the grammar and the rhyme pushes the reader to move fast, then the last four words ‘oozings hours by hours’ uses long droopy vowel sounds to slow the pace, emphasising the mood, atmosphere and meaning, as well as neatly drawing the stanza to a conclusion.

The final stanza is almost contradictory. He opens by saying that even though spring is gone, Autumn has it’s good attributes: ‘thou hast thy music too,’ - a contented thought for the present. He then begins a lexical set focused around death and decay- ‘soft-dying’, ‘mourn’, ‘dies’ giving a much less positive feel to it. He writes as if very aware however, that this season and spring will come again, as he refers to the ‘full-grown lambs’, he is emphasising the cycles of nature, and thus includes the seasons. The final two lines seem to suggest the very near onset of winter. It has gradually come to dusk, and he sees the winter arriving, but in a much more pleasing tone. By including the robin red-breast, Keats gives a charming symbol of winter; the joyful idea that the swallows are going to a land where it is still summer, leave the reader with a sense of contentment and the peace the poet has felt throughout.

I found this to be the typical pastoral poetry, and ultimately, it does not interest me, or attract me. Even though all three poems that I chose feature around nature, I certainly prefer Pope’s cynical view of such poetry as Keats’, and the interesting perspective that Coleridge takes, in the interference of man upon nature. Although Keats is skilled in imagery, and can almost draw the scene in the reader’s mind, I find the scene unexciting.

And Again in Welsh?

2. a ) Ddethol unrhyw 'n ddau canau chan 'r WJEC Awenyddiaeth Blodeugerdd a argymellech at chyfaill. Yn arfer 'n llengar a 'n ieithyddol concepts a ddyfodfeydd , chraffu ar 'r bodlona , arddull a adail chan pob un caniad er chyfiawnha 'ch ddetholiad. 'r 'n ddau canau Ddetholais at edrych ar ydy 'r dynnu chan Haf : 'r eilia 'n fugeiliol , ai Alexis at Alexander Bab a 'r dynnu chan Kubla Khan at Samuel Taylor Coleridge. Fedda bab s bwyll chan arabedd i mewn hon chlytia. Dydy bisyn chan ddychan , a 'r chroesanair chan 'n gonfensiynol cara awenyddiaeth a 'n fugeiliol ddyrifau , ata , gwna a 'n ddigrif a yn adlonni chlytia. Bab opens ag an imperative ddedfryda , gorchymyn achos 'r darllenwr a 'r darostwng chan 'r caniad , 'r cariad , at canfod 'r golygfa dydy am at chyflea. Arfer gwaedd farcia , sy 'r 'n flaen chan bum. Hon abledd chan imperatives a gwaeddau emphasises 'r caniad s chwyddedig a yn coegi donyddiaeth. I mewn hon 'n flaen bannod , Bab arferiadau sibilance. 'r s blymio mewn ‘See beth fwynderau i mewn sylvan golygfeydd ledrithia creates a 'n addfwyn donyddiaeth , a adds at 'r ddrychfeddwl chan yn bod demtiedig i mewn i 'r golygfa at 'r hysgrifennwr. Mewn hon bannod , mae bwyll chan yn bod 'n anniben , esmwythaedig i mewn i 'r golygfa , creedig ill dau at 'r sibilance , a at 'r assonance creedig ar 'r 'n bybyr , estynedig e blymio ‘See beth fwynderau i mewn sylvan golygfeydd ledrithia! ’. Arhosa ill dau hyn techniques i mewn i 'r 'n gyfnesaf bannod ag ‘Descending' a ‘Elysium 'ma '. Bab mocks cara awenyddiaeth 'n ddi-oed. Awgryma a 'r Dduwiau wedi disgyn chan 'r nefoedd at bod i mewn hon choedwig , a achos eiddo cara ydy 'ma , wedi d an alternative Baradwys. Wrth gwrs , Baradwys ydy an 'n dragwyddol darddu , na bwrw glaw , na bwrw eira , na chythymau , a at ca hon acha briddo ydy gormodiaith a 'n goeglyd. Bab arferiadau pawb 'r Lladin sillafiadau a enwau throughout 'r caniad. 'r 'n gysefin Elysian barciau ydy Groegwr , namyn at yn arfer 'r Lladin , Bab ydy yn coegi 'r ffurfioldeb chan 'n rhamantus awenyddiaeth , ai yn arfer 'r ffurfioldeb at chyferbynna at 'r caniad s ultimate goal chan yn diddanu 'r darllenwr. 'r draddodiad chan 'r caredig hun yn bod 'n arddun , 'r cariad 'ma 'r awenydd yn bod 'n ffyddlon , a 'r caredig yn bod unobtainable ydy , 'ma implicitly coegedig. Arfer Diana , 'r huntress , a , fel forwyn dduwies ydy unobtainable , a Gwener a gwnaed at briodi 'r ond 'n anhardd a 'n afluniaidd dduw! Yn arfer hyn 'n ddau enghreifftiau hefyd mocks 'r ddrychfeddwl a pawb ydy berffeithio cyd-rhwng cariadau , fel Gwener was beunydd yn cafflo arni g Adonis yn bod hun chanddi arall cariadau , a 'r ond berson at bob amser canfod Diana 'n noeth , chorddwyd i mewn i carw fel allai egina 'i. Bab arferiadau a 'n ffurfiol eto 'n annichellgar odla sgamia chan chyfres chan yn odli chwpledau. Hon seems at gwna 'r caniad chwimia hymprydiwr , mo 'r 'n wrthrychol chan a conformist 'n fugeiliol ai rhieingerdd. Acha 'r dudalen , 'r caniad has na 'n benodol llunia ai bannau. Ag hun ar ddeg sillafau at bannod , 'r batrymau ydy 'n ffurfiol , cyffelyb i 'r dafodiaith , namyn at yn arfer 'r 'n gonfensiynol batrymau a structures , Bab all highlight 'r 'n chwerthinllyd donyddiaeth chan 'r caniad. Yntau avoids enjambment dechneg arferedig at gwna 'r caniad ddylifa , a hon suggests bylni , a 'n beryglus donyddiaeth at 'r chlytia. Chyferbynna 'r benyw at a lovely nymph , ferch chan Zeus a amlyma overstatement chan beth dydy. Ail , Bab arferiadau assonance ‘bless 'r 'n dawedog horiau , / pryd swains chan yn cneifio argeisia 'n hwy beunoeth blygu rs' , hon gives a 'n esmwyth 'n addfwyn donyddiaeth. Arfer 'n dri banodau at ddeud 'r darllenwr mai chyflychwr a 'r amaethwyr ydy yn cerdded addef , hon ddrychfeddwl chan cara awenyddion yn arlunio i maes a yn arfer gormod eiriau at darlunia 'n annichellgar bethau chwyddir a thereby coegedig 'ma. Allai bod cyfieithedig a Bab ydy yn arfer amwysedd hefyd , fel arfer ‘sultry' yn golygu 'n drymaidd 'n boeth , namyn cymeredig oddi 'r chyd-destun all imply 'n bybyr 'n rhywiol atynfa thereby , Bab ydy yn deud , jyst ca at 'r atalnoda! 'r personification chan ‘Love' ydy typical chan cara awenyddiaeth. 'ma chyfeiria at 'r genesis ddrychfeddwl chan 'r andras fel neidr. 'r chyfrwyster gwiber chrwyn whilst Cara ydy da a bucheddau i mewn eiddo asgre. Bab arferiadau imagery , a creates a 'n weledol 'n ddigrif golygfa , fel 'r brennau chwimia at chysgoda 'i , a 'r blodau jyst pop i fyny pawb amdani. 'r benyw darlunir fel dduwies , ag ogystal allu , 'r fauna a flora chwimia oddi 'i ffordd ble cerdd , hyd yn oed 'r dymheredd a awelon chyfnewid at blesio 'i , a 'r chrynswth chan anian addoliadau 'i , 'n gyfryw gormodiaith dydy 'n chwerthinllyd. Chyferbynna 'i at 'r fêl chan 'r gwenyn , a says a adwaen chan ddim 'n felysach. Dyma fel cliché a chreinia - 'n arobryn , dydy yn adlonni a 'n ddigrif. Bab describes 'r adar fel yn canu , mo yn canu a quasi - 'n grefyddol chyfeiriad , at awgryma addolan 'i. Namyn 'i yn canu ydy gwella anyway , cyferbynedig at Orpheus' , arall 'n chwedlonol chyfeiriad Orpheus was athro ddewin ag agos magical properties , a was 'n abl at ddofa gwyllt anifeiliaid ag eiddo caniad , a 'r dduwiau wanted 'i at byncio atyn. I mewn 'r darfod , 'r Chythreulesau ddiaelodedig Orpheus! Atfydd , bab s ddewisiadau chan 'n chwedlonol chyfeiriadau feddylir at bod flawed , ail , yn coegi 'r arfer chan chwedloniaeth i mewn cara awenyddiaeth. Feddais hon caniad , ill dau achos 'i arabedd , a 'i s layering. 'i s magical a 'n chwedlonol fodd a awyrgylch gweithiedig at chwydda a choega 'r 'n gonfensiynol 'n fugeiliol ddyrifau a cara awenyddiaeth whilst yn adlonni 'r darllenwr. 'r caniad itself ydy , i mewn 'n ddiau adrannau , 'n ddiystwr heb adnabyddiaeth chan arall chwedlau. Chyfeiriadau at dduwiau , a chrefydd anrhega hon caniad cefndir a arall ddyfnder , a Canfyddais yn diddori a feddadwy. I mewn yr un ffordd Kubla Khan tells chwedl. Dydy narrative chan a 'n sylweddol 'n hanesyddol canlyniad. Coleridge seems at chymer a 'n beryglus a scornful golyga ar 'r yn adeiladu chan 'r ‘pleasure - chromen '. Dybia Coleridge wedi dethol fanylyn canlyniad , 'n gyhyd bacia , a eithaf – arall ab chan Genghis Khan wanting at chymer ar 'r byd – ond at datgan eiddo golyga chan ddynion a anian. Implicitly , Bwria , 'r chyndadau chan Kubla Khan yn proffwydo rhyfela , ydy hychwaneg chan rhybudd at Coleridge's chyfoedion na jyst chwedl. Coleridge arferiadau ‘pleasure - chromen ' am 'r eilia bannod , namyn am 'r thirty - 'n flaen bannod , chyfnewida 'r chystrawen at anrhega ‘dome chan bleser '. Arfer a mirroring effeithia , at arddangos 'r reversed chysgoda , a at annog 'r darllenwr at canfod 'r relevance ai foeswers chan hon chwedl awron. Chystrawen arferir amal a 'n ochelgar i mewn hon chlytia. Coleridge re - arranges 'r eiriau at chyfateb ag 'r aceniadau chan 'r chlytia. At yn arfer foregrounding , mewn 'r 'n flaen bannod Coleridge ydy 'n abl at ddod bwys acha ‘Xanadu' a ‘Kubla Khan' whilst gostega yn cadw 'r yn golygu. Hon creates chryfder a 'r darllenwr picks i fyny acha , a all 'n ddiau bod clywedig pryd 'r caniad adroddir. Coleridge creates bwyll chan anfeidroledd , a fel 'n ddinod boblogi ydy , ag banodau 'n gyfryw fel ‘measureless at ddyn ' a 'r imagery chan ddwfn chasms a 'n hen barciau. 'i agos creates bwyll chan rhoi arswyd. Coleridge arferiadau lexical setiau 'n gyfryw fel ‘holy' ‘enchanted' ‘haunting' a ‘demon' at anrhega a 'n ddirgeledig a captivating awyrgylch a fodd at 'r caniad. 'n alluog ansoddeiriau 'n gyfryw fel ‘savage' a ‘romantic' arferir at chyferbynna ag pob un arall a gwna 'r dafodiaith hyd yn oed 'n gyfoethocach. Yntau arferiadau oxymorons , yn dodi ‘tumult' a ‘lifeless' ar y cyd a drosiadau 'n gyfryw fel ‘dancing chlegrau '. Lexical setiau chan ‘forced' a ‘burst' gwna hon caniad saf oddi mewn 'r bwyso ag forcefulness a chryfder. Pawb hyn ffactorau ymddangos at chrea a fantasy golygfa , 'r 'n ddiwethaf bannod 'n bybyr yn awgrymu hon , yn cyferbynnu a ‘sunny bleser - chromen ag hogofau chan hiâ! ', namyn Coleridge's arfer chan onomatopoeia 'n gyfryw fel ‘wailing' , chyflythreniad a imagery i mewn 'r bannod ‘Five filltiroedd yn dolennu ag a mazy chyffro ' gwna 'i 'n esmwyth achos 'r darllenwr at bwra , a dycia i mewn yn cyrchu 'r 'n annisgrifadwy vastness at buchedd i mewn 'r darllenwyr dendio. I mewn 1817 'r 'n Fisol Adolyga eb “ 'r caniad itself ydy goris beirniadaeth ” , namyn Bwylla hon caniad at bod llonaid chan arddull , a dechneg , a canlyniadau i mewn an 'n gysefin , feddadwy a 'n ddeheuig chlytia chan awenyddiaeth. b ) Ddethol hun caniad a 'ch would mo argymell at chyfaill. Chyfiawnha 'ch ddetholiad at yn craffu ar 'i bodlona , ffurfia a arddull. Cer acha at arddangos fel 'r contextual ffactorau 'n berthynasol at 'ch ddetholedig caniad could wedi dylanwadu 'ch casewch chanddi. At Hydref at Ioan Keats ydy 'n ddiau mo caniad Argymellwn at chyfaill. Dyma 'r arddull chan awenyddiaeth a made Haf : 'r eilia 'n fugeiliol , ai Alexis at Alexander Bab fel 'n atyniadol a yn diddanu. 'r awdl ydy a iawn 'n ffurfiol arddull. 'r awenydd agos 'n anhyfreg follows 'r benderfynedig odla sgamia , drwo pawb 'n dri ban s. Arfer iambic pentametre at canlyn 'r 'n draddodiadol ffurfioldeb chan awdl. E 'n achlysurol arferiadau enjambment at chyfnewid 'r rhythm fel awydda , a hanner hodlau at cadw 'r chyd-destun chan 'r caniad , namyn e erioed aberthau 'i 'n anhyblyg ffurfioldeb. Hon Ca 'n ddifywyd , a regimentary , agos fel ai 'r awenydd has hychydig argoeliad ai ydy yn sgwennu achos rhywbeth amgen na eiddo addef bleser. 'r awdl opens ag ‘Season chan chrwybrau ' a arferiadau sibilance , canlynedig at ‘mellow' a ail sibilance i mewn ‘fruitfulness' a hyn chrea 'r ‘mellow' , 'n heddychlon donyddiaeth sy 'n amlwg throughout 'r caniad. Arhosa 'r ffrwythlondeb egwyddor throughout hon ban , ag 'n ddianwadal chyfeiriadau at 'r yn aeddfedu aeron chan haf. Yntau continues 'r 'n heddychlon , arafa donyddiaeth. I mewn bannod 'n ddau , bersonola 'r heula at yn deud dydy ‘maturing'. 'r ‘ing' blymio protracts 'r eiria , a ail slows 'r caniad i lawr at chynrychiola 'r bonedd chan 'r awyrgylch creedig at 'r caniad.

'r eilia ban opens ag a chyfarwydda anercha. Hon dynfeydd 'r darllenwr i mewn , a i mewn 'r eilia bannod Keats reveals a dydy yn siarad â. Arfer personification fel bôn i mewn 'r eilia ban whereas e ond cipedrychedig arni i mewn 'r 'n flaen. Deimla 'r darllenwr i mewn i visualising Hydref , fel benyw , gwallt yn chwythu i mewn 'r am-dro , 'n ddiofal , a 'n addfwyn. 'r eilia ban hefyd invites 'r darllenwr at chymhwysa 'n hwy hystyron at 'r caniad. Keats chwaraeon acha 'r darllenwr s darfelydd at canfod Hydref eisteddedig ‘on hysgubor lloria ,' at balfalu 'r am-dro a belts am Hydref , a at arogla 'r babiau. I mewn 'r 'n drydydd ban Keats moves ar gerdded chan 'n gyfryw amrywiad chan sensuous apelau a lexis , a concentrates acha 'r seiniau am 'r gwrandawyr. 'r estynedig lafariad blymio chan 'r lexis ‘wailful' ydy agos onomatopoeic. Ailadrodda hon ag 'r ‘red - gwynebu chwibaniada ' a ‘gathering gwenoliaid yswitia '. Thereby yn annog 'r darllenwr at 'n weithredol chlyw 'r blymio fel ddeudan 'i. Eiddo 'n flaen bannod chan 'r 'n ddiwethaf ban ail ydy a chyfarwydda anercha. Dydy awron at Hydref fel bryd , cyferbynedig at arall brydiau , a ewigod mo brofi at chrea darlun chan Hydref fel a benywod , namyn e gostega personifies. Hon personification objectifies rhywbeth a cannot bod cyffyrddedig , ai 'n weledig , a makes 'i thereby hychwaneg 'n hygyrch at 'r darllenwr. Eiddo 'n drydydd bannod opens ag ‘While bariedig chymylau blodeua ' a hyn eiriau arfer 'r b's a l's at chrea a 'n alluog arweiniad a chyferbynna at 'r 'n addfwyn ‘soft - yn darfod ddiwrnod '. E ail arferiadau hon i mewn ‘touch 'r soflyn - faestiroedd ' at chyferbynna at ‘rosy eiliw '. Hon emphasises 'r areulder chan 'r darfod chan 'r bannod , at powering 'r chychwyn. Dydy cyffelyb i yn chwyrlïo i fyny 'r cerddediad dros dro , at emphasise 'r 'n arafach cerddediad gwedi. Keats ewigod hon i mewn 'r bara 'n dri banodau chan 'r eilia ban. 'r adail chan 'r gramadeg a 'r odla gwthiau 'r darllenwr at chwimia ymprydia , 'na 'r bara 'n bedwar eiriau ‘oozings horiau at horiau ' arferiadau ddyhea droopy lafariad seiniau at arafa 'r cerddediad emphasising 'r fodd , awyrgylch a yn golygu , cystal fel 'n daclus yn arlunio 'r ban ata casgliad. 'r 'n ddiwethaf ban ydy agos contradictory. Agora at yn deud a hyd yn oed er darddu ydy cerddedig , Hydref has 'i s da briodoleddau : ‘thou hast 'th beroriaeth hefyd ,' a 'n ddiddig ceudod achos 'r anrhega. E 'na begins a lexical chyflea canoledig am addoed a adfeilia - ‘soft - yn ' darfod ‘mourn' ‘dies' yn anrhegu lawer 'n llai 'n bendant balfalu ati. Dor fel ai iawn 'n hysbys hagen , a hon blasa a darddu ewyllysia d ail , fel chyfeiria at 'r ‘full - brifiedig ', dydy emphasising 'r chylchau chan anian , a fel includes 'r brydiau. 'r 'n ddiwethaf 'n ddau banodau ymddangos at awgryma 'r iawn chlosia onset chan aeafa. Caiff 'n raddol d at chyflychwr , a canfydd 'r aeafa arriving , namyn mewn lawer hychwaneg yn boddhau donyddiaeth. At yn cynnwys 'r choch-gam 'n goch - gwynebu Keats gives a yn aswyno arwyddlun chan aeafa 'r 'n llawen ddrychfeddwl a 'r gwenoliaid ydy yn cerdded at bro ble dydy gostega haf , ad 'r darllenwr ag bwyll chan boddlonrwydd a 'r dangnefedd 'r awenydd wedi clywed throughout. Canfyddais hon at bod 'r typical 'n fugeiliol awenyddiaeth , a ultimately , gwna mo ddiddora 'm , ai atynna 'm. Hyd yn oed er pawb 'n dri canau a Ddetholais arwedd am anian , Fi 'n ddiau prefer bab s cynical golyga chan 'n gyfryw awenyddiaeth fel Keats' , a 'r yn diddori perspective a Coleridge takes , i mewn 'r hymyrraeth chan ddyn ar anian. Serch Keats ydy 'n gelfydd i mewn imagery , a all agos arlunia 'r golygfa i mewn 'r darllenwr s dendio , Ca 'r golygfa unexciting.

The two poems I have chosen to look at are the extract of Summer: The second pastoral, or Alexis by Alexander Pope and the extract from Kubla Khan by Samuel Taylor Coleridge.

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