What is whitman saying about war in these two poems? cite lines in each poem that say those things, and support your interpretation of them. come up from the fields father
from drum-taps
walt whitman
come up from the fields father, here’s a letter from our pete,
and come to the front door mother, here’s a letter from thy
dear son.
lo, ’tis autumn,
lo, where the trees, deeper green, yellower and redder,
cool and sweeten ohio’s villages, with leaves fluttering in the
moderate wind,
where apples ripe in the orchards hang and grapes on the
trellis’d vines,
(smell you the smell of the grapes on the vines?
smell you the buckwheat where the bees were lately buzzing? )
above all, lo, the sky so calm, so transparent after the rain, and with
wondrous clouds,
below too, all calm, all vital and beautiful, and the farm
prospers well.
down in the fields all prospers well,
but now from the fields come father, come at the daughter’s call,
and come to the entry mother, to the front door come right away.
fast as she can she hurries, something ominous, her steps trembling,
she does not tarry to smooth her hair nor adjust her cap.
open the envelope quickly,
o this is not our son’s writing, yet his name is sign’d,
o a strange hand writes for our dear son, o stricken
mother’s soul!

beat! beat! drums!
from drum-taps
walt whitman
beat! beat! drums! —blow! bugles! blow!
through the windows—through doors—burst like a ruthless force,
into the solemn church, and scatter the congregation,
into the school where the scholar is studying;
leave not the bridegroom quiet—no happiness must he have now
with his bride,
nor the peaceful farmer any peace, ploughing his field or gathering
his grain,
so fierce you whirr and pound you drums—so shrill you bugles blow.
beat! beat! drums! —blow! bugles! blow!
over the traffic of cities—over the rumble of wheels in the streets;
are beds prepared for sleepers at night in the houses? no sleepers
must sleep in those beds,
no bargainers’ bargains by day—no brokers or speculators—would
they continue?
would the talkers be talking? would the singer attempt to sing?
would the lawyer rise in the court to state his case before the judge?
then rattle quicker, heavier drums—you bugles wilder blow.
beat! beat! drums! —blow! bugles! blow!
make no parley—stop for no expostulation,
mind not the timid—mind not the weeper or prayer,
mind not the old man beseeching the young man,
let not the child’s voice be heard, nor the mother’s entreaties,
make even the trestles to shake the dead where they lie awaiting
the hearses,
so strong you thump o terrible drums—so loud you bugles blow.

Modernist poetry broke traditions in works that did all of the following except: question 1 options: a) experimented with language, symbolism, and imagery b) challenged rules about point of view, rhyme scheme, meter, and capitalization c) focused on the poem’s appearance on the page as a form of self-expression d) addressed subjects and ideas that had been explored in poetry for centuries. while mr. flood is not heroic in the typical sense and does nothing admirable during the poem’s action, robinson’s description of mr. flood is nevertheless filled with pathos, which a) the poem is filled with language and descriptions which arouse emotion, usually pity and sympathy, from the reader. b) the poem is filled with nonsensical events that make the reader laugh at mr. flood’s expense. c) the poem gives vivid sensory details that make the reader feel like they are a part of the story. d) the poem is tedious and drawn out with details that don’t influence the reader at all. refer to the william carlos williams poem "spring and all" (on pages 306-7 in your textbook), to answer the prompt below. your response should be 1-2 well-developed paragraphs and should include specific details (quotes) from the poem that support your analysis. cite your textual evidence as well. you should use your journeys book. because “spring and all” ends with language and imagery that suggest birth and growth, many readers consider it a hopeful poem that celebrates the first steps toward new life and away from a wintry world characterized by death and decay. consider the poem’s date of publication—1923—and the historical events that influenced many modern writers, specifically, world war i. poem below: by the road to the contagious hospital under the surge of the blue mottled clouds driven from the northeast-a cold wind. beyond, the waste of broad, muddy fields brown with dried weeds, standing and fallen patches of standing water the scattering of tall trees all along the road the reddish purplish, forked, upstanding, twiggy stuff of bushes and small trees with dead, brown leaves under them leafless vines- lifeless in appearance, sluggish dazed spring approaches- they enter the new world naked, cold, uncertain of all save that they enter. all about them the cold, familiar wind- now the grass, tomorrow the stiff curl of wildcarrot leaf one by one objects are defined- it quickens: clarity, outline of leaf but now the stark dignity of entrance-still, the profound change has come upon them: rooted, they grip down and begin to awaken how might “spring and all” be interpreted as a reaction to the violence of world war 1? be sure to cite examples from the poem to support your analysis.

Which of the following is not a common response to feeling stressed on the road? a.crippling indecision b.enhanced reflexes c.lethargic reactions

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