The Owl and the Pussy-Cat by Edward Lear | Analysis

The nozzle and the Pussy-Cat by Edward Lear AnalysisThe nozzle and the Pussy-CatIn this essay I will be analysing Edward Lears poem The Owl and the Pussy-Cat (App lay offix 1), first providing a technical stylistic analysis concentrating on sound patterning, secondly locating its graze in the hi invention of poetry for children, and thirdly how the poem envisages childhood. Written in December 1867 for the daughter of a close friend of Lear, it was first published in an anthology by Lear entitled Nonsense var.s, Stories, Botany, and Alphabets (1871). Since thence it has been published, illustrated, translated, and coiffe to music many times. In 2001 it was voted Britains favourite poem. Lear theatrical roles simple, but creative language to tell the enchanting story of the voyaging sweethearts the incongruous bird and cat.Comp travel three stanzas, each eleven tonal patterns dour, it consists of twin ballad quatrains and a three-line refrain, composed in a distinctive iambic metre. The hoar scheme is abcbdefe alternating between four and three dysphoric syllables per line, followed by the refrain eee consisting of two lines with sound bingle stressed syllable, and a final line with three. This furnish rhyme scheme not only gives the poem musical structure, but as well as coheres the very unalike founders of the story. The circleic parallelism of the refrains, in which all three lines end with the same stressed word, is a strict pattern in itself and foregrounds this part of the poem as it takes on an incantatory feel. Although the refrains argon not the predominate structure of the poem, they do add musical reinforcement. The regular metrical pattern is what gives the poem its rising measure (anapests) and sing nervous strain form and there is microscopical to disrupt the flow of the rhythm, or the story. The aim then is simplicity and repetition indeed the first instance of repetition occurs in the opening line, which blows the poems tit le talking to thereby reaffirming the focus of the poem. But in the first stanza, the most noticeable sound pattern is the compactness of /p/ sounds a phono logical parallelism that extends across the text with the words Pussy, pea, plenty and pound as well as occurring in wrapped and up. The recurrence of this plosive consonant emulates the plucking of guitar strings, which not only enhances the rhythm but also the visual effect of the serenading bird of night. trance the plosive /p/ in Pussy polar with the /b/ in beautiful is not quite alliterative, it is sonorous and seductive of music, reflecting the depth and passion of the owls endearments. Note, too, that Lear also uses punctuation to emphasize meaning the exclamation marks at the end of lines ten and eleven harbinger an expression of the owls feelings suggesting that the relationship is indeed more than just friendship.In addition to repetition and alliteration, Lear employs strong broad rhymes to reinforce sound, mea ning and rhythm, and they play an active part in the mood and purpose of this poem. Perfect end rhymes are the most noticeable, but there are also strong internal rhymes, namely occurring in every third line of each stanza, but also in the fifth line in the second and third ones. This mix of one and two syllable rhymes act as a sub-refrain bringing the song sound round and round again to our ears while the text becomes more and more whimsical. Sound and musicalness are further brought to our attention by the chiming end rhyme between sing and ring in lines thirteen and fifteen. The words are bright and short, as is the vowel sound, but followed by the consonant /ng/ the sound is extended, and the repetition of ring in the refrain helps to mimic the ringing of a bell where we whitethorn hear the onomatopoeic resonance of bong (from bong-tree). The third stanza culminates in a concentration of internal and same rhymes which conjure a visual and aural feast to match the wedding banque t itself, with the final lines evoking the who-o-o, who-o-o of an owl through the long vowel /oo/ in moon. All the qualities of song are present pleasure, ease of repetition, memorability, rhythm, rhyme and refrains. The apparent spontaneity of these elements emerge from very usanceal principles and Lears humourous organisation.Besides musicality, the other main feature of the poem is word-play with Lear incorporating occasional invented words bong-tree, Piggy-wig and the nonsense adjective runcible. As well as having a humorous effect, they introduce elements of spontaneous fantasy that punctuate the surreal journey of the anthropomorphised animals. Although these words appear made-up they solace remain, just, within our normal expectations of English. However, the fact that they do deviate from the poems surrounding simple language means they are foregrounded, thus, the reader/listener pays particularly attention to them because they are satisfying to say with bug out necessar ily having to sham sense. correct though runcible has no actual meaning (although it has since been popularly defined as a three-pronged fork curve like a spoon) it has a phonological playfulness with the rolling of the r in run followed by the two syllables in cible. The hyphenation of Piggy-wig actually incorporates the phonemes and meanings of two words, pig and wig, managng to succeed as an internal rhyme. While the inclusion of these words doesnt really add anything to the meaning of the phrase, they do at least sustain, and quite perchance strengthen the rhythm. It is not until the final stanza that the rhythm is disrupted slightly by the running over of line twenty-three into twenty-four without a pause. The effect of this enjambment is that we are hurried on to a pivotal stage in the story, the point at which a transaction occurs. The caesura at the word ring creates not just a pause, but also a brief tension as we await the pigs answer. Note, too, that the draw a bead on speech in these lines references traditional marriage vows reinforced by the stress on the words uncoerced and will. Furthermore, this transaction also brings the real world nearer to the pop. Without a ring the marriage cannot take place. all when the deal has been done can the tale, and thus the poem, continue as before. Once the regular rhythm resumes it drives the report onward, ending with feline and fowl dancing hand in hand, on the edge of the sandby the light of the moon. Imagery created by the moonlight (traditionally invoked as being romantic) means the enchantment of the scene dances on with the fantasy sweethearts and is where the reader/listener has to leave them.In spite of the whimsical narrative and word-play the poem is solidly anchored by the strong iambic gait woven through the traditional ballad form of tetrameter and trimeter. The rising rhythms move the poem along whilst being controlled by the full and stable rhymes, making it very satisfying. Lears e ndowment fund first saw the light of day in A Book of Nonsense (1846) containing a assemblage of his limericks and amusing illustrations which proved an immediate success with readers and critics. Lears work, along with that of Lewis Carroll, developed and popularised nonsense literature, especially with regard to their use of nonsense words, thus, it is often seen as a distinctively Victorian genre. But literary nonsense existed long before this and, as Styles points out in her essay about the history of poetry for children, can be traced back to the wildness of the nursery rhyme (Styles, p. 211). These ancient and traditional rhymes from the oral tradition, well-known(prenominal)ly known as Mother Goose rhymes, are a collection of measures, lullabies, rhymes and tunes offering humour, repetition and storytelling, although few were originally created or intended for children. Eighteenth century poetry considered suitable for children was mostly didactic or moralistic, and often mean-spirited. Its mind aims were concerned with saving the soul and creating good character and, like other childrens literature, mostly reflected the ideas that adults held about what children should be interested in. But as Puritanism waned and new ideas about childhood emerged, poetic collections written specifically for children began to appear. Tommy Thumbs Song Book (1744) was the first attempt to put nursery rhymes from the oral tradition into print, and two collections from William Blake in 1789 and 1794, although not specifically written for children, did capture the essence of childhood. Other volumes of child-centered poetry appeared in the early part of the 19th century, and even though poets at this time continued to follow in the same moralistic tradition there was a growing interest in childrens emotions and experiences. The mid and late nineteenth century producedStanzaan teemingness of poetry for children, including that of Lear, which coincided with the changing views on childhood. Although the roots of nonsense verse are earlier than the nineteenth century, this is the peak the most celebrated and notable examples appear. Lears limericks and nonsense rhymes were not just enjoyed by children, but also by adults, who found them a welcome relief from the restrictive teachings of the Church and Victorian society in general. These witty and humorous rhymes were fun to read aloud and easy to remember.But Lears work is not just high-and-mighty by his linguistic play it also included eccentric and comical drawings. Although his illustrations for The Owl and the Pussy-Cat are slimly conservative in that the animals are depicted quite realistically and appear expressionless, they do offer an instructive effect and would have greatly enhanced the impression of the poem at the time of publication. By contrast, the case-by-case illustration in 100 Best Poems for Children (Puffin, 2002) is unsophisticated and childlike. While the small brightly co loured painting does offer a modicum of interpretation, in the context of the anthology its purpose is more generic and there is very little for a child to linger over. The lack of illustrations implies that the value of the text is greater than the visual component, and that the anthology is aimed at the aged child who can read independently. Indeed, the publishers own website advertises it for an age group of eight to twelve years. Interestingly, Montgomery points out that the book includes rhymes for the (just) pre-schooler (Montgomery, p. 137) which suggests that the purpose of this anthology is not just for children to read alone, but also by parents, or in the classroom. Certainly part of the appeal and enduring popularity of The Owl and the Pussy-Cat is that it lends itself to group choral reading. The poems jaunty rhythm, playful rhymes, farcical words, and the enchanting tale it tells all conspire to grab a childs attention. Creative words and light hearted verse mean chil dren can explore language and enjoy words for their sound and the images they conjure without it necessarily having to suck sense. Although the story is reminiscent of fairytales, it is the nonsense words that distinguish the real world from make-believe. Whether the child believes that owls and pussycats really do sail away and get married in the moonlight is irrelevant a story, especially one told in the form of a poem or song, is understood by the child to be part of play and the imaginative world, not the real one. The rhythm and sound-patterns of the poem are more important than the potentiality reality or credibility of the tale being told. However, the prioritising of sound and rhythm over sense and realness does not mean that this nonsense poem is meaningless. Lear plays on the sound of words, but with or without the incorrect elements logic still exists and it is a perfectly coherent tale of romantic admire. Yet themes emerge in legal injury of different depths as wel l as in terms of being central or peripheral. The surface topic, the one most appealing to children, is a jolly tune about animal adventures hinting at love and a comedy of marriage. On another level it is a strange pairing of species and events set to a rather hypnotic rhythm. Deeper down still, both protagonists are carnivores and night hunters. The poem then is not just about innocent nonsense, but also something uncanny. Lear manages to achieve a balance between elements that seem to make sense and elements that do not a fanciful tale set against the solid foundations of traditional song, familiar everyday language and image unfamiliarly juxtaposed, conventional but also childish. It gratifies the childs appetite for the musical and for the strange. The organisation of the rhythms, rhymes, and nonsensical words gives the poem a whimsical, and yet compelling narrative than lodges in the mind of the adult as well as the child. All these elements contribute to making it entertainin g and memorable nonsense that delights the ear and the imagination.