Analysis of Siste Viator



WHAT is it that is dead?
Somewhere there is a grave, and something lies
Cold in the ground, and stirs not for my sighs,
Nor songs that I can make, nor smiles from me,
Nor tenderest foolish words that I have said;
Something that was has hushed, and will not be.

Did it go yesterday?
Or did it wane away with the old years?
There hath not been farewell, nor watchers' tears,
Nor hopes, nor vain reprieves, nor strife with death,
Nor lingering in a meted out delay;
None closed the eyes nor felt the latest breath.

But, be there joyous skies,
It is not in their sunshine; in the night
It is not in the silence, and the light
Of all the silver stars; the flowers asleep
Dream no more of it, nor their morning eyes
Betray the secrets it has bidden them keep.

Birds that go singing now
Forget it and leave sweetness meaningless;
The fitful nightingale, that feigns distress
To sing it all away, flows on by rote;
The seeking lark, in very heaven, I trow,
Shall find no memory to inform her note.

The voices of the shore
Chime not with it for burden; in the wood,
Where it has soul of the vast solitude,
It hath forsook the stillness; dawn and day
And the deep-thoughted dusk know it no more;
It is no more the freshness of the May.

Joy hath it not for heart;
Nor music for its second, subtler, tongue,
Sounding what music's self hath never sung;
Nor very Sorrow needs it help her weep.
Vanished from everywhere! what was a part
Of all and everywhere; lost into sleep!

What was it ere it went?
Whence had it birth? What is its name to call,
That gone unmissed has left a want in all?
Or shall I cry on Youth, in June-time still?
Or cry on Hope, who long since am content?
Or Love, who hold him ready at my will?

What is it that is dead?
Breath of a flower? sea-freshness on a wind?
Oh, dearest, what is that that we should find,
If you and I at length could win it back?
What have we lost and know not it hath fled?
Heart of my heart, could it be love we lack?


Scheme Abbcac dxxede bffgbg xxxhxh ixxdid jkkgjg lmmnln Aoopap
Poetic Form
Metre 111111 111010101 1001011111 1111111111 111011111 1011110111 11110 1111011011 111111101 111111111 11000010101 1101110101 111101 111011001 1110010001 11010101001 1111111101 01010111011 111101 0110110100 0101001101 1111011111 01010101011 11110010101 010101 1111110001 111110110 1101010101 001111111 1111010101 111111 11011101001 1011011101 1101011101 101101101 110101011 111111 1111111111 111110101 1111110111 1111111110 1111110111 111111 11010110101 1101111111 1101111111 1111011111 1111111111
Closest metre Iambic pentameter
Characters 1,914
Words 383
Sentences 24
Stanzas 8
Stanza Lengths 6, 6, 6, 6, 6, 6, 6, 6
Lines Amount 48
Letters per line (avg) 31
Words per line (avg) 8
Letters per stanza (avg) 188
Words per stanza (avg) 48
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Submitted on May 13, 2011

Modified on March 05, 2023

1:55 min read
136

Augusta Davies Webster

Augusta Webster born in Poole, Dorset as Julia Augusta Davies, was an English poet, dramatist, essayist, and translator. The daughter of Vice-admiral George Davies and Julia Hume, she spent her younger years on board the ship he was stationed, the Griper. She studied Greek at home, taking a particular interest in Greek drama, and went on to study at the Cambridge School of Art. She published her first volume of poetry in 1860 under the pen name Cecil Homes. In 1863, she married Thomas Webster, a fellow at Trinity College, Cambridge. They had a daughter, Augusta Georgiana, who married Reverend George Theobald Bourke, a younger son of the Joseph Bourke, 3rd Earl of Mayo. Much of Webster's writing explored the condition of women, and she was a strong advocate of women's right to vote, working for the London branch of the National Committee for Women's Suffrage. She was the first female writer to hold elective office, having been elected to the London School Board in 1879 and 1885. In 1885 she travelled to Italy in an attempt to improve her failing health. She died on 5 September 1894, aged 57. During her lifetime her writing was acclaimed and she was considered by some the successor to Elizabeth Barrett Browning. After her death, however, her reputation quickly declined. Since the mid-1990s she has gained increasing critical attention from scholars such as Isobel Armstrong, Angela Leighton, and Christine Sutphin. Her best-known poems include three long dramatic monologues spoken by women: A Castaway, Circe, and The Happiest Girl In The World, as well as a posthumously published sonnet-sequence, "Mother and Daughter". more…

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