Twinkle, Little Star

Twinkle, Little Star

Entwined within two poems, one titled "Bright Star" and authored by John Keats, the other called "Choose Something Like a Star" penned by Mr. Robert Frost, emerges the similar theme of the human need for stability and sense of permanence. Although varied in literary devices, sub themes, and structure the like poems strongly convey this common ideal and do so with the powerful icon of the star, or the heavens. The star historically represents the eternalness of the heavens and the unattainable by human beings.

Initially, Keats establishes the immediacy of his words in speaking directly to the star in question. The use of apostrophe in the very opening line, as Mr. Keats addresses the star, "...would I were steadfast as thou art -" is again reiterated in the third line as the star is described as "watching, with eternal lids apart" (Keats 1-3). Likewise, Robert Frost includes opening apostrophe as well when he says, "O Star...say something to us we can learn" (Choose something Like a Star 1). Both examples implore a sense of propinquity as two people would share in an intimate conversation. Directly in line with this device follows the use of personification. Highlighted through the star being asked to "say something" as it "asks little of us here" (Choose Something Like a Star 9). Thus, emphasizing the directness in which the speaker of the poem expresses to the star itself.

Similar through both poems is also the use of run on lines, or enjambment. Broken up with commas as well as hyphens, the rushed verse creates a subtle panic in the speaker's voice. Not to say the speaker is indeed in a panic, rather the lack of pause simply erects thoughts of pressing forth the need for information from the stars. In "Bright Star," the speaker addresses the star "Pillow'd upon [his] fair love's ripening breast, /To feel for ever its soft fall and swell,/ Awake for ever in a sweet unrest" (Bright Star 10-2). Similarly, Frost hurries his verse to the star saying, "We grant your loftiness the right/To some obscurity of cloud --/ It will not do to say of night,/ Since dark is what brings out your light" (Choose Something Like a Star 2-5). The true lack of pause in these lines reiterates the urgency the speakers feel to gain answers from the stars.

Word choice and placement are usually the strongest method in conveying one's message through literature. Frost and Keats are no exceptions to this claim. They do differ from each other, however, in the ways in which diction is manipulated. Mr. John Keats threads his romantic piece using sad and lonely tones such as "lone splendour," "task," "ablution," and "mask" (Bright Star 4-9). His work instantly becomes romantic simply because it appeals and awakens the senses. Without knowing the context of the words, solitude is an emotion instantly evoked. However, including the fact that to the speaker, the star is in "lone splendour" and cascades its "ablution" over the beaches of the Earth not only sets star physically out of reach, its "splendour" is lonely and it is literally in solitude as a priest may be for his or her religious beliefs. (Bright Star 2). The steadfast of the star the speaker admires so is simply unattainable. Man cannot be eternal as a star in the heavens appears. Thematically, Frost alludes to this solitude specifically when he states, "And steadfast as Keats' Eremite,/ Not even stooping from its sphere" (Choose Something Like a Star 18-9). A hermit, as characterized here, is by definition in constant solitude.

Robert Frost employs fantastic diction as well to root the scientific style of his piece. Exemplified in the account, "Since dark is what brings out your light" Frost uses simple, straight forward wordage to make his statement (Choose Something Like a Star 5). Again his emotionless word choice surfaces when he speaks in direct scientific terms saying, "Talk Fahrenheit, talk Centigrade/ Use language we can comprehend" (Choose Something Like a Star 14). Other words he includes are "reserve," "elements," "blend," and "aid" (Choose Something Like a Star 8, 15, 16). All of the above mentioned words are instructive and bland in reference to human emotion. Rather than wanting the unrealistic fortune of being the eternal star itself, Frost suggests knowing the secrets of it's longevity is of a more comprehendible nature.

Accessing word choice and tones are not the only methods Frost and Keats use to align meaning in their work. Structure and movement are also woven masterfully in to guide a path from entertaining prose, to ultimate meaning. Easily the most obvious difference in style is that "Bright Star" is a Shakespearean sonnet. Fourteen lines in all and constructed with an (ABAB CDCD EFEF GG) rhyme scheme, the piece is armed with words and ideas of dream-like wishes and unreachable odds. Comparatively, "Choose Something Like a Star" follows a disjointed rhyme scheme and is categorized into no particular style of poem, equipped with 25 lines. Generally, the piece follows a mimicked system to that of Keats' modeled by an (AABA AA CBCB) rhyme scheme; however it does include several couplets lodged about (hence, the AA). While a rhyme scheme incorporated at all always implicates a natural movement, it can also work reversely to create a more matter-of-fact approach to prose. Specifically, Robert Frost's disorderly schemes remove the romantic effect of