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Out of an unseen quarry Furnished with tile, the fierce artificer Curves his white bastions with projected roof Round every windward stake, or tree, or door.

Snow Storm 2015 Tehya's in Heaven

Speeding, the myriad-handed, his wild work So fanciful, so savage, nought cares he For number or proportion. Mockingly, On coop or kennel he hangs Parian wreaths; A swan-like form invests the hidden thorn; Fills up the farmer's lane from wall to wall, Maugre the farmer's sighs; and at the gate A tapering turret overtops the work. And when his hours are numbered, and the world Is all his own, retiring, as he were not, Leaves, when the sun appears, astonished Art To mimic in slow structures, stone by stone, Built in an age, the mad wind's night-work, The frolic architecture of the snow.

Haulapai mountain feels the chill of late April snow storm | HEAVEN SENT PHOTOS

We'll have things fixed soon. Facebook Twitter Instagram Youtube. The Snow-Storm Lyrics Announced by all the trumpets of the sky, Arrives the snow, and, driving o'er the fields, Seems nowhere to alight: Poems Ralph Waldo Emerson.

Thursday, March 1

Give All To Love. The shortened opening line of the second stanza increases the dramatic effect, the immediacy, of the summons, "Come see …" And the subsequent description convinces us there is something worth seeing.

The "fierce artificer", the snow-storm, has carried out an entire building-project, from the quarrying of the tiles to the decorative marble drapes of the "Parian wreaths". It's only when he comes to the end of this extended conceit that Emerson seems to struggle. The qualification, "as he were not", is confusing, to say the least.

Clearly, the poet is still talking about the snow-storm. Perhaps he wants to convey that winter is far from over, and the snow's retirement merely apparent, and temporary. But I still like the poem, and have no objection to a little puzzlement.


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Emerson's philosophy of self-reliance is partially carried over into his poetic technique. His diction here is mainly down-to-earth, with a dash of medieval "steed", "maugre". The syntax, like his treatment of conventional forms and meters, dimly aspires to a more organic shape, although he stops short of real innovation. He recognised it when he saw it, though, and when Walt Whitman sent him a copy of Leaves of Grass in , Emerson wrote back an exalted fan-letter: Emerson and Thoreau, though important thinkers and writers, were not great poets, but it's a pity that their work is not better known in Britain.

They have as much claim as the Romantics to be the ancestors of today's eco-poets and nature writers.

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The current obsession with rivers, rain and water among British poets, for instance, surely has a source in Emersonian metaphor. And it's not only the poets who echo the Transcendentalists. For many people, the natural world has become the focus of morality. We sense our obligation to nature also in terms of an obligation to ourselves to become more "natural".

Emerson was prophetic when he said, "Civilised man has invented the coach, but lost the use of his feet" and, less cheerily, "The end of the human race will be that it will eventually die of civilisation. Announced by all the trumpets of the sky, Arrives the snow, and, driving o'er the fields, Seems nowhere to alight: