'“August Houseplant”: A Commentary Essay\r'

'‘August House position’ details the encounter of a beautiful and grand philodendron by the relay station in his backyard. Astounded by the workings’s witness and wilderness, the promoter establishes an emotional connection with the correct and contemplates livery it into his home to protect it from the autumn cold. The narrative berth and concrete language of the August House install serves to present his themes as experiences associated with society, resulting in highly original and symbolic soundbox of work charged with semantic associations that must be intuitively comprehended by the reader.\r\nThe first looking at a reader notices about â€Å"August House appoint” is its instant bodily structure. August Houseplant is a ‘concrete poem’, in which its poetic structure is used to represent the geomorphologic pattern of a philodendron plant. To achieve this ir fixedness structure Levertov generously uses enjambment and caesuras. T he purpose of a confused structure could also be argued to be a rebellion against the neat structure of a regular poem, then making irregularity an equivalent to the plant’s wilderness.\r\nThrough the poet’s diction, use of rhetorical devices such as personification, enjambment, structure, and the use of vivid sensational go forry, the poet beautifully depicts the wilderness of the philodendron plant and suggests that the intention of forcefully domesticating the wild would only when prove to be na�ve and futile, (even if the intention were good), as it is unnatural to displace the wild of its natural environment. We are first exposed to the plant’s beauty and wilderness in the hypothesis stanza in which the author anxiously questions what may be lurking in his backyard, â€Å"Is there someone, an intruder, in my backyard?”\r\nWe later discern that the intruder is a wild philodendron plant, and this immediate image brings an aura of â⠂¬Å"wilderness”; of something that is â€Å"untamed”, uncultivated, undisciplined and irrepressible: it summers on the deck, touches the floor, feels the chair and explores new ground, as if it were a wild animal craving for more(prenominal) post to reside in. The wilderness of the plant is a bully contrast to the impression of the supporter’s backyard in which the plant enters. The protagonist’s backyard is a unavowed and domesticated sanctuary, complete with a â€Å"deck, a floor, a chair”- either elements pointing to cultivation and civilization, and immediately we sense that the plant has been displaced out of its natural habitat.\r\nWe are also worn-out by the sheer size of the plant; as the first piece of music of the plant that is seen by the protagonist is its leaves, (â€Å"Ah! It’s you, dear leaves”). With this, Levertov has now established the main features of the plant, that it is wild, displaced and large, which leads us to empathize with it when the protagonist contemplates bringing it in for the winter-The fact that the narrator wants to believe that the mouse has very function his pet, and wants to imagine that it no longer fears him, says more about the narrator than the mouse. He wants the mouse to deposit him, and to feel like he is a care-taking exercise to it, when perhaps he realizes that it can not embrace him as such.\r\nThe narrator states: â€Å"And when you’re maneuvered in, how down in the mouth the direction leave behind become; how can I get up you where your green questions won’t lean over human shoulders…to enquire, mutely patient, about the walls?” In opposite words, â€Å"Is my plant more comfortable with me now than before?” Here Levertov suggests that the plant might accept captivity, plainly it is not certain. When the mouse disappears, the narrator is troubled because he feels protective of the mouse, fears for its safet y from hawks, owls, snakes and cats. He sees these threats as prohibit influences, which demonstrates his naivet� and simplicity, for the fear of them teaches the mouse how to survive. The â€Å"hawks” are an essential part of life; even humans cannot live without the world of threats.\r\nThroughout the poem the protagonist has a intuitive feeling of awe and anxiety. He is fascinated at the order of battle of the beautiful plant: (â€Å"Ah! It’s you, dear leaves,” / â€Å"As if you knew fall is coming, you seem to desire everything that surrounds you, all of air, all of light, all of shade.”) and his thought of bringing the plant in also suggests to the fact that he is fascinated by its beauty. This fascination for the plant establishes an emotional attachment of the protagonist for the plant; he begins to worry what will become of the plant when it gets cold.\r\nâ€Å"How am I going to communicate you in, when it gets cold?” This inflect of anxiety is parallel to the tone a protective parent would feel for his child, which ironically, we bend entirely: Levertov has established that the plant is wild, large and already displaced out of its home when in the protagonist’s backyard, yet if the protagonist brings the plant into his home, it is perhaps more likely to be because of his fascination for it, instead of his absent to protect it; domesticating something that is born wild would do more harm than good to it. Moreover, we realize that the protagonist is sensible that the plant is wild and would not adapt to his small home, he states, â€Å"It’s those long, ever-longer, reaching arms that endure’t fit through the door” This protective cover is both forceful and naive-the plant is wild and won’t â€Å"fit through the door”, thus the protagonist’s intention of domesticating the plant is a naive\r\nThe plant is personified; The plant is personified, By allo wing the philodendron to plant to have such This personification not only establishes a feeling a wilderness of the plant but also establishes the persona’s emotional attachment to the plant. Finding the plant so beautiful, the protagonist deliberates how he can bring the plant indoors, fearing that it will be cold once autumn arrives (-cold: â€Å"How am I going to carry you in, when it gets cold?”).\r\n folk 19, 2008 Angelica Tong, 12BJ\r\nâ€Å"August Houseplant” (Levertov) from A Door in the Hive (1989) English A1 HL (CYeo)\r\n'