The Bells

I Hear the sledges with the bellsSilver bells! What a world of merriment their melody foretells! How they tinkle, tinkle, tinkle, In the icy air of night! While the stars that oversprinkle All the heavens, seem to twinkle With a crystalline delight; Keeping time, time, time, In a sort of Runic rhyme, To the tintinnabulation that so musically wells From the bells, bells, bells, bells, Bells, bells, bellsFrom the jingling and the tinkling of the bells. II Hear the mellow wedding bells, Golden bells! What a world of happiness their harmony foretells! Through the balmy air of night How they ring out their delight! From the molten-golden notes, And an in tune, What a liquid ditty floats To the turtle-dove that listens, while she gloats On the moon! Oh, from out the sounding cells, What a gush of euphony voluminously wells! How it swells! How it dwells On the Future! how it tells Of the rapture that impels To the swinging and the ringing Of the bells, bells, bells, Of the bells, bells, bells,bells, Bells, bells, bellsTo the rhyming and the chiming of the bells!

By:Agus Riswanto/0911202352/4B

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III Hear the loud alarum bellsBrazen bells! What a tale of terror, now, their turbulency tells! In the startled ear of night How they scream out their affright! Too much horrified to speak, They can only shriek, shriek, Out of tune, In a clamorous appealing to the mercy of the fire, In a mad expostulation with the deaf and frantic fire, Leaping higher, higher, higher, With a desperate desire, And a resolute endeavor, Now- now to sit or never, By the side of the pale-faced moon. Oh, the bells, bells, bells! What a tale their terror tells Of Despair! How they clang, and clash, and roar! What a horror they outpour On the bosom of the palpitating air! Yet the ear it fully knows, By the twanging, And the clanging, How the danger ebbs and flows: Yet the ear distinctly tells, In the jangling, And the wrangling, How the danger sinks and swells, By the sinking or the swelling in the anger of the bellsOf the bellsOf the bells, bells, bells,bells, Bells, bells, bellsIn the clamor and the clangor of the bells! IV Hear the tolling of the bellsIron Bells! What a world of solemn thought their monody compels! In the silence of the night, How we shiver with affright
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At the melancholy menace of their tone! For every sound that floats From the rust within their throats Is a groan. And the people- ah, the peopleThey that dwell up in the steeple, All Alone And who, tolling, tolling, tolling, In that muffled monotone, Feel a glory in so rolling On the human heart a stoneThey are neither man nor womanThey are neither brute nor humanThey are Ghouls: And their king it is who tolls; And he rolls, rolls, rolls, Rolls A paean from the bells! And his merry bosom swells With the paean of the bells! And he dances, and he yells; Keeping time, time, time, In a sort of Runic rhyme, To the paean of the bellsOf the bells: Keeping time, time, time, In a sort of Runic rhyme, To the throbbing of the bellsOf the bells, bells, bellsTo the sobbing of the bells; Keeping time, time, time, As he knells, knells, knells, In a happy Runic rhyme, To the rolling of the bellsOf the bells, bells, bells: To the tolling of the bells, Of the bells, bells, bells, bellsBells, bells, bellsTo the moaning and the groaning of the bells.

By:Agus Riswanto/0911202352/4B

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An Analysis of Poe's "The Bells"

In "The Bells", a morbid poem by Edgar Allan Poe, the author masterfully captures the vicious cycle of humanity through expressive diction and sounds to appeal to the reader's schema throughout all four stanzas of the poem. Through careful use of diction, Poe is able to capture the cycle of human life. Throughout all of the stanzas, Poe places words that allow the reader to visualize that particular section of life. In the first stanza which represents childhood, words such as "oversprinkle," "twinkle," and "delight" can be found. They convey a sense of lightness and preciousness which activates the reader's schema towards childhood. Also in the first stanza, Poe highlights childhood and realizes, "What a world of merriment their melody foretells," as if implying that the person still has a whole life ahead of them as children do. Along with diction, there are also many sounds that Poe uses to represent childhood. The last line of the stanza summarizes the feeling and expression of the entire stanza. Childhood can be expressed, "From the jingling and the tinkling of the bells." The second stanza also contains diction and sounds but this time to represent the glory when a person is in prime condition both mentally and physically. Words that convey a feeling of happiness, wealth, and grandeur are used repeatedly in this stanza. Through "harmony," "molten - golden," and "voluminously," a sense of great enjoyment of life and where perfect is not too far away is painted into the reader's mind. Poe is able to capture the grandiose golden years of life by emphasizing on "the Future!" and "the rapture that [it] impels." By using "rapture," Poe brings forth the feeling of ecstatic joy towards this grand period of life. Poe also uses sounds such as "rhyming," and "chiming," in order to reveal to the reader that all aspects of this part of life fit together like a good rhyme. The chime exemplifies harmony which is appropriate in that this part of life runs like a well-oiled machine.

By:Agus Riswanto/0911202352/4B

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In the third stanza, the circumstances and quality of life start to decline. The mind begins to dull and the power and might of the body starts to fade. The words that Poe uses are "terror," "despair," and "turbulency." Calamity and turbulence fills the air as the golden years begin to fade and the fear of the inevitable bring frustration and sadness. The inner conflict that is experienced is exposed through the sounds of "clamor," "clanging," "roar." It seems that this part of life leads man into denial against the fallen status of both his mental and physical capabilities. In the fourth and final stanza, man has resigned against fate and has accepted what is to be the inevitable as all power dissolve from the once mighty body and activity in the mind slows down to a minimum. Man becomes "solemn," "melancholy," and develops "rust within their throats." It's obvious to the reader that man is expiring and perhaps even rusty from inactivity. In the last few lines of this final stanza, the poem is digressing and droning on and on much like old age brings. All of the activity is winding down and life seems to finally be ending. No one is exempt from participating in this cycle of being born, living, and eventually dying. All life is subject to this rule set in stone in eternity past from whence life appeared and unto eternity future. As Anais Nin once said, "Life is a process of becoming, a combination of states we have to go through."

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Sebuah Analisis Poe's "The Bells" Dalam "The Bells", sebuah puisi mengerikan oleh Edgar Allan Poe, penulis mahir menangkap lingkaran setan kemanusiaan melalui diksi ekspresif dan suara untuk mengajukan banding ke skema pembaca seluruh empat bait dari puisi. Melalui penggunaan diksi hati-hati, Poe mampu menangkap siklus kehidupan manusia. Sepanjang semua bait, Poe tempat kata-kata yang memungkinkan pembaca untuk memvisualisasikan bahwa bagian tertentu dari kehidupan.

Dalam bait pertama yang merupakan masa kanak-kanak, kata-kata seperti "oversprinkle," "binar," dan "menyenangkan" dapat ditemukan. Mereka

menyampaikan rasa ringan dan berharganya yang mengaktifkan skema pembaca terhadap anak-anak. Juga di bait pertama, Poe menyoroti masa kanak-kanak dan menyadari, "Apa sebuah dunia kegembiraan melodi mereka meramalkan," seolah olah menyiratkan bahwa orang tersebut masih memiliki seluruh kehidupan di depan mereka sebagai anak-anak lakukan. Seiring dengan diksi, ada juga suara-suara banyak yang Poe digunakan untuk mewakili anak-anak. Baris terakhir bait yang merangkum perasaan dan ekspresi dari seluruh bait. Anak dapat dinyatakan, "Dari gemerincing dan gemerincing lonceng."

Bait kedua juga berisi diksi dan suara tapi kali ini untuk mewakili kemuliaan ketika seseorang dalam kondisi prima baik secara mental dan fisik. Kata-kata yang menyampaikan rasa kebahagiaan, kekayaan, dan kemegahan digunakan berulang kali dalam bait ini. Melalui "harmoni," "cair - emas," dan "voluminously," adalah rasa kenikmatan besar kehidupan dan mana yang sempurna tidak terlalu jauh adalah dicat ke dalam pikiran pembaca. Poe mampu menangkap tahun emas megah hidup dengan menekankan pada "Masa Depan!" dan "pengangkatan yang [itu] impels." Dengan menggunakan "pengangkatan," Poe sebagainya membawa rasa sukacita ekstatis terhadap masa besar kehidupan. Poe juga menggunakan suara seperti "berima," dan "berdentang," untuk mengungkapkan kepada para pembaca bahwa semua aspek bagian dari kehidupan ini cocok sama seperti sajak yang bai . berpadu ini k mencontohkan harmoni yang sesuai di bagian ini kehidupan berjalan seperti mesin diminyaki.

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Pada bait ketiga, keadaan dan kualitas hidup mulai menurun. Pikiran mulai membosankan dan kekuatan dan mungkin tubuh mulai memudar. Kata-kata yang menggunakan Poe adalah "teror", "putus asa," dan "turbulency." Bencana dan turbulensi udara mengisi sebagai tahun emas mulai memudar dan takut akan tak terelakkan membawa frustrasi dan kesedihan. Konflik batin yang dialami terkena melalui suara "teriak," "berdentang," "raungan." Tampaknya ini bagian dari kehidupan manusia mengarah ke penyangkalan terhadap status jatuh dari kedua kemampuan mental dan fisik.

Dalam bait keempat dan terakhir, manusia telah mengundurkan diri terhadap nasib dan telah menerima apa yang menjadi tak terelakkan sebagai kekuatan semua larut dari tubuh sekali perkasa dan aktivitas dalam pikiran melambat ke minimum. Manusia menjadi "kudus," "melankolis," dan mengembangkan "karat dalam tenggorokan mereka." Ini jelas bagi pembaca bahwa manusia akan berakhir dan bahkan mungkin berkarat dari aktif. Dalam beberapa baris terakhir bait akhir ini, puisi itu menyimpang dan mengoceh terus dan terus seperti usia tua membawa. Semua aktivitas tersebut mereda dan kehidupan tampaknya akhirnya akan berakhir. Tidak seorangpun bebas dari berpartisipasi dalam siklus lahir, hidup, dan akhirnya mati. Semua kehidupan tunduk pada aturan ini diatur dalam batu di kekekalan dari kehidupan mana muncul dan masa depan kepada keabadian. Sebagai Anais Nin pernah berkata, "Hidup adalah proses menjadi, kombinasi dari negara kita harus melalui."

By:Agus Riswanto/0911202352/4B

gunkid85@yahoo.com