Analysis of White Magic



Is it not a wonderful thing to be able to force an astonished plant to bear rare flowers which are foreign to it. . . and to obtain a marvelous result from sap which, left to itself, would have produced corollas without beauty? -VIRGIL.

I stood forlorn and pale,
Pressed by the cold sand, pinched by the thin grass,
Last of my race and frail
Who reigned in beauty once, when beauty was,
Before the rich earth beckoned to the sea,
Took his salt lips to taste,
And spread this gradual waste-
This ruin of lower, this doom of grass and tree.
Each Spring could scarcely lift
My brows from the sand drift
To fill my lips with April as she went,
Or force my weariness
To its sad, summer dress:
On the harsh beach, I heard the grey sea rise,
The ragged grass made ceaseless, dim lament,
And day and night scarce changed the mournful skies.

Foot on the sand, a shadow on the sea!
A face leaned over me.
Across each wasted limb
Passed healingly a warm, great, god-like hand.
I was drawn up to him,
From my frail feet fell the last grains of sand.
Then haste and darkness stooped and made me theirs;
Deep handed me to deep; . . .
I faded then as names fade from men's prayers,--
As a sigh at last made friends with sleep.

But the same hand that bore me from the sea,
Waking me tenderly,
Bound me to a rough stranger of my race,--
Me weary and pale to him, and him to me.
I turned my piteous face
Aside ashamed; I struggled to be free.
I slept, I dreamed, I woke to that embrace! . . .

Sweet tides stole through my veins,
Strange fires and thrills and pains;
To my cold lips the bloom crept back once more
I glowed as a bride glows;
I watched the day with delicate hands restore
My kinship with the rose.
About my throat my hair went like a flame,
My brows were wreathed, in purple I was dressed,
I bore my bride's name,
A great star burned my breast.
No longer bound, I leaned the same sweet way
Towards her lover. Now astonished I
Who was a beggar stand obediently
Beside Cophetua.


Scheme X AXAXBCCBDDEXXFEF BBGHGHIJIJ BBKBKBK LLMNMNOPOPXXBC
Poetic Form
Metre 1110100111101110101111101110110101010001111110111011011010 110101 1101111011 111101 1101011101 0101110101 111111 0111001 110110111101 111101 111011 1111110111 111100 111101 1011110111 0101110101 0101110101 110101101 011101 011101 11011111 111111 1111101111 1101010111 110111 1101111111 101111111 1011111101 101100 1110110111 11001110111 11111 0101110111 1111111101 111111 1100101 1111011111 111011 11011100101 11101 0111111101 1101010111 11111 011111 1101110111 0101010101 11010101000 011
Closest metre Iambic pentameter
Characters 1,933
Words 378
Sentences 26
Stanzas 5
Stanza Lengths 1, 16, 10, 7, 14
Lines Amount 48
Letters per line (avg) 32
Words per line (avg) 8
Letters per stanza (avg) 304
Words per stanza (avg) 76
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Submitted on May 13, 2011

Modified on March 05, 2023

1:54 min read
62

Muriel Stuart

Muriel Stuart was The daughter of a Scottish barrister was a poet particularly concerned with the topic of sexual politics though she first wrote poems about World War I She later gave up poetry writing her last work was published in the 1930s She was born Muriel Stuart Irwin She was hailed by Hugh MacDiarmid as the best woman poet of the Scottish Renaissance although she was not Scottish but English Despite this his comment led to her inclusion in many Scottish anthologies Thomas Hardy described her poetry as Superlatively good Her most famous poem In the Orchard is entirely dialogs and in no kind of verse form which makes it innovative for its time She does use rhyme a mixture of half-rhyme and rhyming couplets abab form Other famous poems of hers are The Seed Shop The Fools and Man and his Makers Muriel also wrote a gardening book called Gardeners Nightcap 1938 which was later reprinted by Persephone Books more…

All Muriel Stuart poems | Muriel Stuart Books

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