Analysis Of Juggler By Richard Wilbur

Richard Wilbur, a legendary figure and the poet of "The Juggler", withholds great historical background unknown to many individuals. Despite of young age, Wilbur composed numerous short-stories, poems and editorials for college newspaper. In consideration with a majority of the masterpieces, a prominent theme exhibited throughout each is based upon the observations of surroundings and the natural world. Historically, Wilbur's involvement within World War II contributed significant influence in various poems. Similarly, "The Juggler" primarily emphasizes the notion of fluctuations involved within juggling, comparing such to harsh realities of daily routines.

In “The Juggler” Richard Wilbur writes about the happiness a juggler brings to an audience when he performs. Although the crowd is happy we must wonder if the juggler is actually happy. Wilbur uses many different devices to show the way the juggler excites the crowd and how their happiness brings him happiness as well. Wilbur describes the juggler as happy in the moment through imagery and diction which reveals that the speaker may be going through a rough patch in his life but finds moments where he is content just like the juggler

In Richard Wilbur’s Juggler, the speaker depicts a juggler who is entertaining both men and women with his elegant prowess and practice of juggling balls and other various objects. The speaker describes the juggler as nothing more than a simpleton, entertaining those who watch his display and retreating when he is tired or done. This simple but deft actions of the juggler reveals the simplicity of the speaker, who like the others, is amazed. The juggler’s delicate and precise gestures and movements highlight the smooth and soft aspects of a calm life. The speaker uses elements such as imagery and figurative language to reveal the complex but simple display of the juggler’s practice and the ease that it releases as it gives us a respite from our stressful, daily lives.

Have you ever seen a juggler? Jugglers can be found at carnivals and circuses and it is their job to entertain and impress people with their balancing skills. Many people enjoy watching going to these events and witnessing the phenomenal gift, including the juggler. In Richard Wilbur’s poem “Juggler” literary devices such as figurative language, vivid imagery and diction are used to depict the speaker’s amazement and admiration towards the juggler and the juggler and his remarkable expertise as someone who brings joy to people.

Certain things some people do can seem beyond human powers, even defying gravity. In “The Juggler,” the poet Richard Wilbur describes the awe and wonder felt by the speaker watching the juggler; the speaker is amazed by the gracefulness of the balls flying in the air and even portrays the juggler as reeling in heaven itself. Through the use of imagery portraying the juggler’s magical performance, specific structure and syntax of the poem, and diction that elicits the godly powers of the juggler, the speaker describes the juggler as a superhuman who defies gravity while expressing the speaker’s own inability to overcome the challenges in his daily life and thus his negative view of the world.

The poem “ Juggler” describes how the tricks the juggler acts out for the crowd amaze and intrigue them. In the poem “Juggler” by Richard Wilbur, the author uses imagery, figurative language and tone to describe the juggler as someone who brings happiness and fun to others.

The poem “Juggler” by Richard Wilbur uses poetic devices such as alliteration, imagery, descriptive language, and figurative language. Through these devices, the speaker’s great respect and admiration for the juggler described is revealed.

In the poem “Juggler” by Richard Wilbur poetic elements such as a tone shift and figurative language reveal the virtuosity of the juggler and the appreciation of the speaker. The tone shift from gloomy to enthusiastic shows us the impact of the juggler when he performs and how the world transforms when he is showing off his talent. The description of the juggler reveals his dexterity and his his ability to entertain a crowd. Through the speakers description, it is exhibited that the speaker believes that the juggler is very good at what they do and is blown away by his mastery of the act of juggling and entertainment.

In the poem, “Juggler,” Richard Wilbur incorporates the use of poetic devices such as imagery and diction to allow the poem’s speaker to describe the actions of a juggler that enlightens the moods of the audience watching him, which the speaker is a part of. Through this analysis of the juggler it is revealed that the speaker lives a mundane life.

In Richard Wilbur’s ‘The Juggler,’ the speaker describes the juggler as someone who is striving to lift the spirits of his audience with his talent to distract them from their tedious and arduous daily lives. Through this description, the speaker reveals about themselves that they too are suffering from a tedious and arduous daily life. The description of the juggler and what it reveals about the speaker are expressed in each stanza through the use of diction, figurative language and tone.

Early in the poem, Jarman points out the “sermon’s trenchant commentary on the world’s ills” (2-3), illustrating a mutilation of the connectedness of the congregation focusing instead on the very real but nonetheless generic ills of the world. Furthermore, the phrase “hand-wringing” (4) seems to describe the shaking of hands as the congregation members greet each other with the peace of Christ, again listing the routine of the congregation. Although, it appears to be more inclined towards a description of a helpless, passive anxiety that corresponds well with a sermon designed to impose guilt without inspiring action. Jarman goes on to compare the persistent nature of sin even in moments of peace with “motes of dust ride, clinging” (8). In this line, Jarman suggests that the congregation is sinful even after all the doctrinal procedure done to become clean from sin. Even the structure of the octave suggests a conventional and never changing sonnet form with 14 lines, a perfect Italian rhyming scheme, and a fascinating iambic pentameter alone, that inspires nothing more than an

In his book, The Presentation of Self in Everyday Life, Goffman (1959) focuses on the self as a staged production in which people actively present themselves to different audiences one encounters. To bolster his conceptualization, Goffman used an interesting metaphor of “all the world’s a stage” (1959, 254). This, he terms as a “dramaturgical approach” (Goffman 1959, 240) in which an actor puts on a show for others; drawing analogies between human behaviors and the theater. Goffman (1959) likens the individual to an actor on stage performing for and with other individuals involved in the situation. Three types of space exist for the actor to perform on, to enact the self, and to interact with others: the front stage, the backstage, the outer region. Goffman (1959) utilizes specific dramaturgical terms such as performance, teams, front and back regions, sign-vehicles, and highlights the process of dramatic realization. These terms will be discussed in the following sections.

• A change of pace in the chorus’s speech signals that the chorus have become narrators outside the action of the play and are given divine wisdom and knowledge “The gods breathe power through my song”

Even in the second half of the poem, Marvell constructs every description of the soul to correspond with images of the dewdrop, thus rooting his story in the concrete and avoiding the overuse of abstract, sermon-like diction. In writing that the soul “[d]oes, in its pure and circling thoughts, express/The greater heaven in an heaven less” (25 – 26), Marvell plays on the word “circling” to recall his earlier description of the way the drop contains a piece of the sky in its round bead. This clever manipulation of words and images reinforces the concept of the soul’s retreat from the body as it attempts to avoid the corrupting influences of the flesh and to reestablish communion with the heavens. Further observations about the soul in the second half continually hearken back to parallel observations about the dewdrop. Declaring the soul “[d]ark beneath, but bright above:/Here disdaining, there in love,” Marvell connects the dark urges of the sinful body with the darkness of the flower petal beneath the dewdrop, the glories of heaven with the brightness of refracted sky-light (31 – 32). By anchoring every description in the concrete, Marvell removes much of the mystery surrounding the concept of the soul and replaces it with a graceful portrayal of yearning.

In “The Ball Poem”, the narrator tells the story of a boy who loses his ball then goes on to contemplate on it. He uses a kind of unhappy tone that portrays the ideas he gets from the boy losing this ball. The ball represents a life, and when the boy loses it the narrator remarks on how there is no way a life can be replaced once it is lost. Towards the end of the poem he says, “Soon part of me will explore the deep and dark floor of the harbour..” which alludes to depression