18 pages • 36 minutes read
William BlakeA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The apple in the poem serves as a metaphorical representation of the physical manifestation of the speaker’s wrath. The extended metaphor begins in the second stanza with references to the planted seed of anger being “watered” (Line 5) and “sunned” (Line 7). In the third stanza, the anger grows and blossoms into a deadly fruit. Not only does the extended metaphor serve as a symbol and biblical reference, but it helps to make the speaker’s anger more relatable and tangible for the reader. If Blake had not grounded the speaker’s anger in a physical, solid object and in the metaphor of gardening/growing, the feeling of anger may have remained too abstract or incomprehensible for the audience. However, by grounding this intangible emotion into a physical vessel, readers are able to more aptly “see” it and its effects.
“A Poison Tree” consists of four stanzas of four lines each. This neat, simplistic construction is further broken down into two couplets in each stanza. These couplets all end with masculine rhyme meaning that the lines rhyme with either a similar single syllable or final stress. In the case of Blake’s poem, each line ends with a monosyllabic word connecting the couplets together, making the rhyme scheme AABB. Each line in the poem features a tetrameter structure—four beats, or four metrical units, per line. The metrical units of each line vacillate between trochaic tetrameter and iambic tetrameter. With trochees, the syllables shift between an initial stressed syllable and a subsequent unstressed syllable: “I was ang-ry with my foe” (Line 1). In iambic meter, the syllables alternate between an unstressed syllable and a stressed syllable: “I told my wrath, my wrath did end” (Line 2).
All these various formulaic and metrical elements work together to enhance and convey the ultimate meaning of the poem. The simplistic stanzaic structure and predictable rhyme scheme have somewhat of a “nursery rhyme” feel to them, lulling readers into a false sense of security with its rhythmic, singsong tone, much as the speaker’s innocent facade tricks their foe into complacency. The metrical units of the poem alternate between the harsher and more sinister sounding trochaic beats, mimicking the violence of the speaker, and the familiar, non-threatening cadence of the iambs. Just as the poem’s message hints, the form and meter help to hide the more ominous effects of the text’s mechanical compositions.
Blake duplicates a number of phrases and single terms throughout his poem. The first instance of repetition in the opening stanza occurs with the repeating of “I was angry…” in Lines 1 and 3. The repetition helps to set up the parallel situations the speaker presents regarding their feeling of anger, highlighting this particular emotion. Emotional significance is likewise built with the repetition of “my wrath” in Lines 2 and 4 of the first stanza. This utilization of repetition helps the reader know what will become significant in the poem and what should be focused on as the text progresses.
Throughout the remaining stanzas, the main phrases/words repeated are “And I…” (Lines 5 & 7) and “And…” at the very beginning of a number of lines (Lines 8, 9, 11, 12, & 13). Rather than assisting readers in focusing on a particular concept, these instances of repetition serve a different purpose. They assist with the forward movement of the poem, guiding readers through the actions of the speaker and foe to witness the effects of their hatred and jealousy at the poem’s conclusion. The repetition also coincides with the meter and form of the poem, aiding the singsong and nursery rhyme sound and innocent quality the poem holds up as a veneer to cover its darker themes.
By William Blake