DDCPoetry

 Poem found here:   "Sea Rose" by H.D. Sea Rose .  This is the type of poem where I wonder how the genus name influences the poem.  Orphium .  A name derived from the tale of a musician/poet sent down to save his love Eurydice as long as he believed she was behind him, but he had to look back.   However, H.D. is an imagist, so I believe this poem is an ars poetica in a sense.  I think this poem is trying to go against the symbol of the sea rose just to focus on the image.  Actually, the poem is a comparison between both the image of the sea rose versus a spice-rose. Rose, harsh rose, marred and with stint of petals, meagre flower, thin, sparse of leaf. There's so much negative connotation here, "harsh," "marred," "meagre," "sparse," that the tone of the poem feels like it's condemning it's subject.  The visual sight of the sea rose is nothing much.  With so much negation, the stanza leads up to a comparison or a twist in the...

Poem found here:  "Helen" by H.D. There repetition in here drew me in.  There are two styles of repetition that interest me here.  The first having the perspective of  "Greece" start off the judgement in the beginning of the stanzas as though to set up the contrast to the description of Helen.  The second is the reoccurring image of "white" as though to set up Helen as the direct opposite. But first, "All Greece hates"  -- note that this line doesn't automatically go towards Helen, but the overall emotion and feeling lingers, and then the specific, "the still eyes in the white face."  This is the first instance of "white" in the poem as it encompasses the physical appearance of Helen along with rest of the lines, "the lustre as of olives / where she stands, / and the white hands."  Note the white face and hands indicate, to me, a certain innocence, but, more importantly, sets Helen as just a figure -- nothing els...

Original poem reprinted online here:   "Garden" by H.D. Originally read: September 10, 2013 More information about the Poet:   H.D. This poem is separated by two sections where the first is more of a dialogue, and the second mostly reminisces about a figment. "You are clear / O rose, cut in rock, / hard as the descent of hail."  Past me noted, "the image 'hard' goes against natural convention.  Maybe design."  But also note that the focus of the image is "rose," which causes the juxtaposition on tactile expectation. "I could scrape the colour / from the petals / like spilt dye from a rock."  this is the first mention of the "I" in the poem which desires to have a piece of the rose -- scrape indicates a harsh action, but also a last ditch effort action to keep something. "If I could break you / I could break a tree."  The first line ine the couplet has a tinge of sentimentality because of the conceptual nature...