“To John Keats” is a poem written by Amy Lowell, an American poet who was known for her imagist style of writing. In this poem, Lowell pays tribute to the Romantic poet John Keats, who was a major influence on her work.

The poem begins with Lowell describing Keats as a “gentle poet of the soft brown earth.” She goes on to praise his ability to capture the beauty of the natural world in his poetry, saying that he “saw the sunset’s fiery gold” and “the lilac’s purple bloom.” Lowell suggests that Keats had a deep understanding of the relationship between nature and the human spirit, and that his poetry was able to express this connection in a way that was both beautiful and profound.

Lowell also acknowledges the pain and suffering that Keats experienced in his life, particularly his struggle with tuberculosis, which ultimately led to his death at the age of 25. She laments the fact that Keats was unable to live a long and full life, saying that “time, that cruel spoiler, hurried thee away.” Despite this, Lowell suggests that Keats’ poetry has endured, and that it will continue to inspire readers for generations to come.

In the final stanza of the poem, Lowell speaks directly to Keats, saying that she feels a deep connection to him and his work. She suggests that, like Keats, she is a poet who is “haunted by the melody” of words and the beauty of the natural world. Lowell ends the poem by expressing her hope that she will one day be reunited with Keats in the afterlife, where they can continue to explore the wonders of the universe together.

“To John Keats” is a heartfelt tribute to one of the greatest poets of the Romantic era. Through her imagery and language, Lowell captures the essence of Keats’ poetry and his profound understanding of the world around him. The poem is a testament to the enduring power of Keats’ work and the lasting impact that he has had on generations of poets and readers alike.

“To an Early Daffodil” is a beautiful poem by the American poet Amy Lowell, which captures the essence of the arrival of spring and the blooming of daffodils. The poem was first published in 1915, and it continues to be celebrated for its use of vivid imagery and lyrical language.

In the first stanza, the speaker addresses the daffodil directly, as if it were a living being, and marvels at its early arrival. The speaker is clearly delighted to see the daffodil, which brings with it a sense of renewal and hope. The poem’s opening lines set the tone for the rest of the poem, which is filled with descriptions of the daffodil’s beauty and the emotions it inspires.

The second stanza is devoted to a detailed description of the daffodil’s physical appearance. Lowell’s use of language is particularly striking here, as she employs a range of sensory details to bring the flower to life. The daffodil’s “golden cup,” “silken fringes,” and “shimmering petals” are all described in a way that captures the reader’s imagination and makes the flower seem almost otherworldly.

In the final stanza, the speaker reflects on the daffodil’s fleeting beauty, which is both a source of joy and sadness. The poem’s concluding lines are particularly poignant, as the speaker acknowledges that the daffodil’s beauty is a reminder of the passing of time and the inevitability of change. Nevertheless, the speaker remains grateful for the daffodil’s brief visit, and takes comfort in the knowledge that it will return again next year.

The Wind by Amy Lowell is a powerful and evocative poem that captures the beauty and ferocity of nature. The poem is filled with vivid images that convey the movement, sound, and impact of the wind.

The poem begins with the speaker describing the wind as a powerful force that “slams the doors / of the house, and breaks the shutters.” The wind is not only strong but also relentless, as it “pummels the orchard” and “whips the trees.” The imagery in these lines is vivid and intense, giving the reader a sense of the wind’s power and the havoc it can wreak.

As the poem continues, the speaker describes the wind in more poetic terms, using imagery that is both beautiful and terrifying. The wind is compared to a “great black piano” that plays a wild and chaotic tune, and to a “lion” that roars and prowls. These comparisons capture the wild and untamed nature of the wind, as well as its ability to evoke powerful emotions in those who experience it.

Despite its ferocity, however, the wind is also depicted as a source of life and renewal. The speaker notes that the wind “cleans and cleanses” and “makes the leaves shine.” This suggests that even though the wind can be destructive, it also has a positive and regenerative effect on the natural world.

“The Way by Amy Lowell” is a poem that describes a journey through a forest. The poem takes the reader on a vivid and sensory journey through the woods, as the speaker reflects on the beauty and mystery of nature.

The poem begins with a description of the woods themselves, as the speaker notes how they seem to change as the journey progresses:

The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.

Here, the speaker sets the tone for the poem, acknowledging the beauty of the forest, but also the need to press on with the journey. As the speaker moves through the woods, she notes the various sights and sounds around her. She describes the rustling of leaves, the chirping of birds, and the smell of pine needles.

As the poem continues, the speaker reflects on the nature of the journey itself, noting that it is not simply a physical journey, but a journey of the mind and spirit as well:

The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.

Here, the repetition of the final two lines emphasizes the speaker’s sense of determination and purpose, as she continues to press on towards her goal.

Throughout the poem, Lowell uses vivid sensory imagery to bring the journey to life for the reader. The sights, sounds, and smells of the forest are all described in detail, creating a vivid picture of the journey. This imagery helps to convey the speaker’s sense of awe and wonder at the natural world around her.

Overall, “The Way” is a beautiful and evocative poem that captures the sense of mystery and wonder that can be found in nature. Through her use of vivid sensory imagery and repetition, Amy Lowell creates a powerful sense of the journey itself, and the sense of purpose that drives the speaker forward.

“The Trout” is a vivid and sensory poem written by American poet Amy Lowell, who is known for her Imagist style of poetry. The poem is structured in three stanzas, each with four lines, and uses strong imagery and figurative language to describe the experience of catching a trout.

The first stanza introduces the setting and the speaker’s intention to catch a trout. The speaker describes the river as “shallow and clear,” and the air as “cool and thin.” The use of sensory details, such as the sound of the water and the feel of the air, creates a vivid image in the reader’s mind.

In the second stanza, the speaker describes the moment of catching the trout. The language becomes more active and intense, as the speaker describes the “flash of a sudden arc” and the “thrill of a fight.” The use of personification, with the trout described as “a streak of silver,” adds to the sense of excitement and energy.

The final stanza reflects on the aftermath of catching the trout. The speaker acknowledges the trout’s struggle and the moment of its death, describing it as a “swift and brutal act.” However, the poem ends on a note of appreciation for the trout’s beauty and power, with the speaker stating that “never have I seen a thing so wild.”

Overall, “The Trout” is a powerful and evocative poem that captures the sensory experience of fishing and the beauty of nature. Lowell’s use of vivid imagery and figurative language creates a vivid picture in the reader’s mind, and the poem’s structure and pacing contribute to its sense of energy and excitement.

“The Taxi” is a poem by the American poet Amy Lowell. First published in 1914, it is a vivid and intense depiction of a nighttime taxi ride through a city.

The poem begins with the speaker hailing a taxi on a busy street, and the subsequent journey through the city becomes the focus of the poem. Lowell’s use of imagery and sensory language creates a powerful and evocative picture of the urban environment. The city is portrayed as a place of excitement and danger, with its flashing lights, rushing traffic, and noisy crowds.

The taxi itself becomes a symbol of the speaker’s desire to escape the chaos of the city. It is a refuge from the noise and bustle of the street, a place of relative calm and safety. The driver of the taxi, who remains silent throughout the poem, is also a powerful presence, representing both the anonymity and the reliability of the city.

The poem is structured around a series of vivid images and impressions, rather than a traditional narrative or plot. Each stanza presents a different aspect of the city, from the “white electric light” of the street lamps to the “rustling, whispering, hushing” sound of the trees in the park. The language is sensual and rhythmic, creating a sense of movement and urgency.

At its core, “The Taxi” is a poem about the experience of modern urban life. Lowell captures the energy and intensity of the city, while also highlighting the need for moments of escape and solitude. The taxi ride becomes a metaphor for the larger journey through life, with its twists and turns, its moments of excitement and danger, and its ultimate destination unknown.

Overall, “The Taxi” is a powerful and haunting poem that captures the essence of the modern city. Lowell’s use of vivid imagery and sensual language creates a vivid and memorable portrait of urban life, while also exploring deeper themes of isolation, connection, and human experience.

“The Starling” is a beautiful and evocative poem by American poet Amy Lowell, published in her 1915 collection “Sword Blades and Poppy Seed.” The poem captures the fleeting moment of a starling’s flight, describing its graceful movements and the sensations it evokes in the speaker.

The poem begins with the speaker noticing the starling’s flight, as it “dips and starts, and stops and springs.” The starling’s movements are compared to a “twisted skein” of wool, which suggests both the intricacy and the seemingly chaotic nature of the bird’s flight. The speaker is clearly captivated by the starling’s movements, and watches as it “flies straight up, and leans / And turns, and catches at the wind, / And beats its wings, and spreads its tail.”

As the starling continues to fly, the speaker begins to experience a range of emotions. At first, there is a sense of joy and wonder, as the starling “trails its yellow feet / Over the sun-baked roofs.” The speaker is clearly caught up in the beauty of the moment, and marvels at the starling’s ability to defy gravity and soar through the air.

However, this sense of wonder is quickly tempered by a feeling of sadness and longing. The speaker notes that the starling’s flight is “a living gush of light,” and wishes that she too could “catch the bird’s flight in a thought, / And keep it fixed and brimming bright.” There is a sense that the speaker is yearning for something that is just out of reach, something that she can see but not quite grasp.

The poem ends with the speaker acknowledging the transience of the moment, and the fleeting nature of all things. She notes that “The starling is gone; the heavens turn / A moment’s ceaseless seam.” Despite this, however, there is a sense that the memory of the starling’s flight will stay with her forever, and that it has left an indelible mark on her soul.

Overall, “The Starling” is a powerful and poignant poem that captures the beauty and fragility of life. Through the simple act of watching a bird in flight, Lowell is able to evoke a range of emotions and explore complex themes such as longing, transience, and the search for meaning in a world that is constantly changing. It is a testament to Lowell’s skill as a poet, and a reminder of the power of language to capture the fleeting moments of our lives.

“The Road to Avignon” is a beautiful poem by Amy Lowell, an American poet of the early 20th century. The poem is a vivid description of the French countryside, as seen through the eyes of the speaker as she travels on the road to Avignon.

The poem begins with a description of the landscape. The speaker tells us that the road to Avignon is “a ribbon of moonlight on the purple moor,” conjuring up a serene and mystical image. As she travels, she sees fields of lavender and olive trees, and the scent of wild herbs fills the air. The beauty of the landscape is overwhelming, and the speaker is struck by the way in which the colors and scents blend together.

As the speaker travels on, she encounters people on the road. She describes the peasant women who walk with baskets on their heads, and the children who play in the fields. She tells us that the people seem to be a part of the landscape, as though they have grown out of the earth itself.

The poem takes a turn in the final stanza, as the speaker describes her own thoughts and feelings. She tells us that the beauty of the landscape and the people she has encountered have left a deep impression on her. She feels as though she has been transformed by the journey, and that she has gained a new understanding of the world and of herself.

Overall, “The Road to Avignon” is a powerful poem that captures the beauty and mystery of the French countryside. Through vivid imagery and poignant language, Amy Lowell transports the reader to another time and place, and leaves us with a sense of awe and wonder.

The Road to Avignon

A Minstrel stands on a marble stair,
Blown by the bright wind, debonair;
Below lies the sea, a sapphire floor,
Above on the terrace a turret door
Frames a lady, listless and wan,
But fair for the eye to rest upon.
The minstrel plucks at his silver strings,
And looking up to the lady, sings: —
Down the road to Avignon,
The long, long road to Avignon,
Across the bridge to Avignon,
One morning in the spring.

The octagon tower casts a shade
Cool and gray like a cutlass blade;
In sun-baked vines the cicalas spin,
The little green lizards run out and in.
A sail dips over the ocean’s rim,
And bubbles rise to the fountain’s brim.
The minstrel touches his silver strings,
And gazing up to the lady, sings: —
Down the road to Avignon,
The long, long road to Avignon,
Across the bridge to Avignon,
One morning in the spring.

Slowly she walks to the balustrade,
Idly notes how the blossoms fade
In the sun’s caress; then crosses where
The shadow shelters a carven chair.
Within its curve, supine she lies,
And wearily closes her tired eyes.
The minstrel beseeches his silver strings,
And holding the lady spellbound, sings: —
Down the road to Avignon,
The long, long road to Avignon,
Across the bridge to Avignon,
One morning in the spring.

Clouds sail over the distant trees,
Petals are shaken down by the breeze,
They fall on the terrace tiles like snow;
The sighing of waves sounds, far below.
A humming-bird kisses the lips of a rose
Then laden with honey and love he goes.
The minstrel woos with his silver strings,
And climbing up to the lady, sings: —
Down the road to Avignon,
The long, long road to Avignon,
Across the bridge to Avignon,
One morning in the spring.

Step by step, and he comes to her,
Fearful lest she suddenly stir.
Sunshine and silence, and each to each,
The lute and his singing their only speech;
He leans above her, her eyes unclose,
The humming-bird enters another rose.
The minstrel hushes his silver strings.
Hark! The beating of humming-birds’ wings!
Down the road to Avignon,
The long, long road to Avignon,
Across the bridge to Avignon,
One morning in the spring.