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Francis’s “Catch” and Herbert’s “Easter Wings” Comparison


This paper analyses the comparison between “Catch Poem” of Francis Robert and “Easter Wings Poem” of Herbert George. Indeed, the two poems are significant, although they express concealed implications to readers. Though each poem presented dissimilar information, such ideas are related, imperative, and vital to readers in general.

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According to Roberts, the key thing of Herbert George’s poem captured learners’ interest in the purpose of wings (554). Actually, the title Easter wings” portray a visual impact of wings that reflect the theme of the poem and poems’ title. Indeed, Herbert George depicted various stages of the poem’s episode through associating the dependence of mankind to God (Roberts, 556). “Lord, who created man…” (1). Moreover, the considerable key notion of Herbert’s poem was “flight “(10, 20) and “fall” (10) that demonstrated how humankind has decayed due to sin; however, it needs God’s reverence (Roberts, 564). “Though foolishly he lost the same / decaying more and more / till he became, most poor” (2-3). Furthermore, Herbert presents his mental picture of the path toward Supreme Divinity in his poem, “If I imp my wing on Thine / Affliction shall advance the flight in me” (19-20). In fact, “Affliction “ (20) was regarded as the likelihood for the human heart to wing “flight” (10) rather than to descend “fall” (10). “My tender age in sorrow did beginner / and still with sicknesses and shame, thou didst so punish sinne” (11-12).

Francis Roberts prepared the poem “catch” as a course of conveying information through narrative writing (Roberts, 561), “…uncoached are tossing a poem together” (1). Indeed, Francis Robert depicted the course of his poem by illustrating how young people catch and tossed a ball. In fact, whereas writing a poem, the young persons represented in the initial stanza, amused themselves in grasping implication of the poem just like playing with a ball. In addition, Roberts expressed that Francis Robert employed Irony that was conspicuous in the representation of the boys as it was illustrated in the line (Roberts, 564); “Anything under the sun to outwit the prosy” (8). Playing with a ball was analogous to play with ideas (words) to build vivid knowledge (Roberts, 563). Actually, catching and tossing ideas was intended to derive significant meanings. Indeed, the illustration of “Catch” was described in the poem’s title that explained how the poet tossed the implication of words, and thus it was the duty of learners to catch such implications.

Roberts viewed that the two poems were analogous of their relation regarding vast imagery, visual outcome, and atypical rhythmic construction that presented special consequence (578). Moreover, the rhythmic construction of the poems was built using effectual words’ selection and uniqueness of the poet’s technique. For example, Herbert described wings “flight” was a path for humanity to get in touch with God. “That I became / Most thinee / with thee” (14-16). Indeed, the picture of the poem was built with the significance of the wings. On the other hand, Francis Robert employed the picture of the match with a ball to portray the uniqueness in the writing course (Roberts, 567).In addition, “Over his head, make him scramble to pick up the meaning” (10). In fact, the poet played with ideas, just like the two children who catch and tossed a ball. “High, make him fly off the ground for it, low, make him stoop, / Make him scoop it up, make him as-almost-as possible miss it” (4-5).

Roberts explained that the visual impacts presented in the two poems had been illustrated as an outcome of classifying the imageries of the poems’ events (589). For example, Herbert prepared his poem with the aim of building the theme of wings as his main idea. On the other hand, Francis Robert uses a brief stanza to build a unique effect on creativity (Roberts, 596). “Teasing with attitudes, latitudes, interludes, altitudes /Anything, everything tricky, risky, nonchalant” (3-7). Moreover, Herbert employed alliteration in his poem illustrating the theme of the poem “And sing this day Thy victories / Then shall the fall further the flight in me” (9-10) and “For, if I imp my wing on Thine, / Affliction shall advance the flight in me” (19-20). Indeed, the use of alliteration showed the effects of wings “flight” (20). “Till he became / Most poore / With Thee / O let me rise” (4-7). The rhythmic set-up in the “Catch” poem was founded on alliteration (Roberts, 599). “Overhand, underhand, backhand, sleight of hand, every hand, / Teasing with attitudes, latitudes, interludes, altitudes” (2-3).


Briefly, poets normally never intend to make their poems intricate to readers. In fact, readers should not be discouraged when analyzing poems. Actually, poems are normally composed of an indirect and tricky manner in order for readers to think deeply for implied meanings. In fact, the Catch and Easter Wing’s poems presented amusing experiences since poets built fun to populace who always indict poets of attempting to mislead readers. In fact, Robert Francis presented how the two boys worked hard to seize the ball. In fact, this applied how poetry uses indirect implications to pass on information. Indeed, presenting an indirect information manner seems tiresome and boring. Actually, changing information and making such ideas indefinite and ambiguous enables readers to catch implications. Furthermore, there is a necessity for two people to work together; one individual to draft a poem and another person to figure out its content. While another person tosses a ball, another individual seizes the ball. Indeed, it is cumbersome for an individual person to toss decent common information and, at the same time, to catch the implication. Besides that, Herbert George presented a view that Divine Providence was a requisite need for human life. Actually, mankind needs power to fly (wings) in order to seek God’s salvation.

Works Cited

Robert, Edgar, & Zweig Robert. Literature: An Introduction to Reading and Writing. 5th ed. New York: Prentice Hall PTR, 2011. Print.

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