Analysis of Song

Walter J. Turner 1884 (South Melbourne) – 1946 (Hammersmith)



Gently, sorrowfully sang the maid
Sowing the ploughed field over,
And her song was only:
'Come, O my lover!'

Strangely, strangely shone the light,
Stilly wound the river:
'Thy love is a dead man,
He'll come back never.'

Sadly, sadly passed the maid
The fading dark hills over;
Still her song far, far away said:
'Come, O my lover!'


Scheme abxB xbxb abxB
Poetic Form Quatrain 
Metre 101101 1001110 001110 11110 1010101 11010 111011 11110 1010101 0101110 10111011 11110
Closest metre Iambic trimeter
Characters 326
Words 64
Sentences 4
Stanzas 3
Stanza Lengths 4, 4, 4
Lines Amount 12
Letters per line (avg) 21
Words per line (avg) 5
Letters per stanza (avg) 83
Words per stanza (avg) 20
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Submitted on August 03, 2020

Modified on March 05, 2023

18 sec read
5

Walter J. Turner

Walter James Redfern Turner was an Australian-born, English-domiciled writer and critic. Born in South Melbourne, the son of a church musician – organist at St Paul's Cathedral – and a warehouseman, Walter James Turner, and a woman of long golden hair, Alice May, he was educated at Carlton State School, Scotch College and the Working Men's College. In 1907 he left for England to pursue a career in writing. There he met and befriended a number of literary intellectual figures, including Siegfried Sassoon, Virginia Woolf, Vita Sackville-West, and Lady Ottoline Morrell. On 5 April 1918, in Chelsea, he married Delphine Marguerite Dubuis. During the period from the First World War until the mid-1930s, he was known primarily as a poet. His 1916 'Romance' is probably the best remembered of his poems. W. B. Yeats had the highest praise for Turner's poetry, saying that it left him "lost in admiration and astonishment", and included some of it in his Oxford Book of Modern Poetry. But today, although Turner produced several novels and plays, as well as books of poems, his reputation rests on his musical biographies of Mozart, Beethoven and Berlioz. He was musically untrained, and in the words of the music critic Charles Reid, "unhampered by any excess of technical knowledge" to restrain his "racy dogmatism." His Mozart in has been reprinted many times in the 70 years since it was first published. Some of his musical articles for the New Statesman and other journals were reprinted in Music and Life, Facing the Music, Musical Meanderings, and Variations on the theme of Music. more…

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