Critical Analysis of Sous Les Arbres Essay Sample free essay sample

Sous Les Arbres is the seventeenth refrain structure in the second 50% of the book â€Å"L’ Ame en Fleur† . â€Å"L’ Ame en Fleur† is the second book of Victor Hugo’s â€Å"Les Contemplations† . Sous Les Abres is the rubric of the seventeenth refrain structure while the section structures which come straight before it and after aren’t titled. The stanza structure is 24 lines in length. staying of 6 refrains written in 4 line quatrains. It is written in Alexandrines masterminded in â€Å"rime croisees† all through the 6 quatrains. with an ABAB way of rime. Hugo’s utilization of the Caesura opposes the normal example of interfering with the Alexandrine line into two units of six syllables called a hemistich. on the other hand using the caesura at an a lot more noteworthy frequence all through the stanza structure to make the impacts of shakiness and dissymmetry while leting more noteworthy look and highlight. The hole quatr ain builds up the area of the refrain structure. The refrain structure takes topographic point in a wood. where a grown-up male and grown-up females significantly infatuated are strolling through turn upward toing the nature and universe around them. The season the refrain structure is set in is summer. a curiously sentimental and fit scene for the stanza structure due to it’s heat and the excellence of nature as the encompassing universe is in full sprout. The hole quatrain sets the central subjects of the stanza structure which are love and nature. In the same way as other of Hugo’s section structures. the hole refrains set the subject and area of the section structure while he builds up the activities of the stanza structure from third verse onwards. The third refrain further underlines the subject of nature in the start of the verse while the finishing up lines takes the section structure back to the subject of affection. In the fourth refrain. she lets him know of her affection for him. The fifth refrain joins the subjects of adoration and nature into one. During the s ixth refrain as dull falls she sets up her full certainty to him through her adoration using the analogy of a Canis familiaris. The section structure opens with a one sentence refrain ( lines 1-4 ) written in an Alexandrine with the caesura holding an unpredictable signifier. The caesurae look multiple times all through the refrain on the other hand of the ordinary four. The hole three lines all contain a sporadic game plan of the caesura. while the finishing up line is an old style Alexandrine. The second line finds the couple. in a tranquil wood being upset by the moves. In this line. the moves are an illustration for the air current instigating the in any case despite everything trees. The verse has a nearly positive tone. in spite of the fact that their activities, for example, strolling and discourse creation are hindered by stopping â€Å"S’arretaient† â€Å"S’interrompaient† this does non result their anxiety of one another. Hugo utilizes beginning rhyme to accentuation the four action words through the rehash of the â€Å"r† in either the first or second syllable of the action words. In the last line. their spirits stir is a similitude for the duo holding a profound fear of one another. indeed, even in minutes where they do non truly pass on. The second refrain opens with the use of metonymy and representation. The metonymy being the 2 Black Marias â€Å"ces deux coeurs† stand foring the pair while the representation happens in the signifier of the grinning imaginative action â€Å"la innovative action gold sourire innocent† . Hugo again utilizes the caesura in unpredictable courses of action all through the verse keeping up the meter the equivalent yet the beat differed. To put complement on the action words Hugo puts the caesura after the majority of the action words inside the refrain. In this refrain. the subject of adoration is coordinated to the subject of nature as the team go one with nature â€Å"Disaient a chaque fleur quelque chose† . This refrain displays an ambiguous tone as it highlights both positive and negative creative mind, for example, the positive grin imaginative movement and the globules into the shadows. a word interchangeable with negativeness. obscurity and the obscure. The third verse varies from the 2 old refrains in that there is no use of the caesura. On the other hand Hugo utilizes enjambment leting the main line run onto the second line without accentuation to isolate the two. Rime riche can be found in the third verse through the rhyming of the words â€Å"Corbeille† and â€Å"Abeille† in the first and third lines of the refrain. In the second line we consider the to be of summer as it brings her blossoms. felicity and delightful yearss. This ties in the subjects of nature and felicity. Hugo utilizes the analogy of a honey bee to delineate her adoration for the blossoms and her naming of the blossoms. As a honey bee would intently cognize the environing blossoms due to it’s need for nutriment. she realizes the environing blossoms because of her interest of nature. Hugo intrudes on this word image of the environing nature by her appeal to discuss their affection in the closing line. The hole line of the fourth refrain is per normal an Alexandrine however the reference marks break the line into three developments of four syllables with the caesura puting accent on the terminal of every four syllable period. Hugo utilizes the caesura here to underscore her affection for him â€Å"Je suis nut haut. je suis en bas† . Her perception over him from both above and beneath him is a picture for her adoration resembling a defensive soul, for example, a watchman holy messenger pardon the prosaism . The male’s reaction is frail in looking at. asking the names of the encompassing workss after such a significant spring by his darling. Hugo utilizes Rime Faible in this refrain as a fit strategy for rime for the guys dissatisfactory and slight reaction. In contrasting with his dissatisfactory reaction in the fourth verse the initial two lines of the fifth refrain are completely unique. Again the subjects of nature and love consolidate â€Å"il savourait Ces fleurs et cette femme. † In the initial two lines we see the vowel rhyme of the â€Å"o† sound â€Å"O title-holder! † â€Å"O bois! † â€Å"o pres! † what's more the ou sound â€Å"il savourait† â€Å"ou tout† . The â€Å"o† vowel rhyme here underscoring areas inside nature while the â€Å"ou† vowel rhyme underscoring the more human feature of the verse. his tasting of nature piecing into one. Hugo upsets the closing two lines to underscore the centrality of the grown-up female to the grown-up male. Utilizing the smell of the blossoms as a word image of his mind. while the woman’s mind is his ain incredible fragrance. As they are infatuated and the grown-up male has part of the woman’s mind. the incredi ble fragrance is a similitude for the grown-up female being an extraordinary extra to his being. The finishing up refrain shuts the stanza structure as dim is falling around the couple. In the primary line there is the underlying rhyme of the â€Å"n† sound â€Å"nuit† â€Å"tronc† â€Å"chene† â€Å"noir† . The vowel rhyme of the â€Å"n† sound consolidates the obscurity of sundown and that of the dark oak tree they are lean sponsorship on. Hugo utilizes two analogies in the closing verse. the star and the Canis familiaris. She says to her sweetheart that her petition is ever in the sky like a star â€Å"Ma priere toujours dans vos ciuex comme un astre† and that her adoration like a Canis familiaris will ever be at his pess â€Å"Et mon undertaking toujours comme un chien a tes pieds† . The star and the Canis familiaris can other than be viewed as images. The star being an image for counsel. stars being utilized for pilotage during haziness. While the Canis familiaris is an image for genuineness. an unoriginal term however obvious being that â€Å"dog is man’s best friend† . persistently faithful to their owner. Hugo utilizes rime riche in the closing refrain as the terminal of the section structure surpasses the reader’s starting standpoints of such a spring of feeling. As exhibited it is clear the refrain structure is focused regarding the matter of adoration with the subject of nature used, all things considered, to praise this subject. The main activity taking topographic point in the stanza structure is the couples’ stroll through the wood as they respect the incorporating universe while other than talking their affections for one another. As Hugo didn’t day of the month the section structure other than it being written in June some twelvemonth during the nineteenth century it can’t be obviously connected with a specific occurring in his life yet as the book â€Å"L’Ame nut fluer† depends on his relationship with his kept lady Juliette Drouet so it tends to be accepted the refrain structure is live overing a walk they shared. the refrain structure consequently being a hapless deception. â€Å"Sous Les Arbres† fits in great with the rest of â€Å"L’Ame en fluer† due to it’s subjects o f Love and Nature. Like a lot of his work Hugo utilizes sporadic beat all through the section structure because of the uprooted caesura. The strategies Hugo uses joined with the subjects of affection and nature make this refrain structure a great outline of Hugo’s sentimental poetics by and large as it is average to a lot of his work inside â€Å"Les contemplations† .