The nature of science and intuition would hold that everything visible to the eye must cease to exist. No life form, no cause, nor even the movements of a generation can surpass the limits of its finite existence. Yet this same consciousness insists that there must be a transcendental seal from one creation to another. This naked link also connects past literature to that which belongs to the next generation, otherwise accepted as love. In his "A Red, Red Rose," Roberts Burns introduces an interminable love story that lasts through every temper and cessation. To develop this feeling, the author presents a series of finished models and makes it clear that, regardless of the prototype, his intimate affection will persist. Burns implicitly grants the reader these ideals through the use of assorted repetition to stimulate thoughts of constancy, metaphorical imagery to highlight the seasons of the relationship, and strategic positioning and word construction to embody the contractions to come and overcome. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The enunciated and perspicuous repetition erects the permanence of Burns' love for the one he speaks of in his poem. To inaugurate this intention, Burns calls his writing “A Red, Rose Rose”. The epizeuxis applied in the title prompts the reader to note that repetition and constancy will be prevalent in the words to come. The first stanza, while still using “a red, red rose” (1) from the title, approaches permanence by using anaphora. The odd lines of this verse begin with "O my amore's like" and the even lines with "That's". Burns exploits this repetitive mechanism in every line of the first stanza, the only stanza to do so in every line, to prepare the reader's mind for the immutability that prevails in the poem. The next marked repetition appears in stanzas two and three as Burns overcomes the anaphora. For three consecutive odd lines it ends with “my dear”. (7) By echoing this term of endearment to which he is writing, he not only puts his affection on display, but the epistrophe he uses reveals that his affection is regular and perpetual. At the same time, Burns closes the second stanza and opens the third with "Till a 'the seas run dry. (8)The repetitions in these stanzas are paired so that they can be considered incessant. Although the stanza may end, its lovely words no. The reiteration of this device finally exists in the fourth stanza, opening the first two lines with "And farewell." (13) Burns closes his poem with this stanza which opens to demonstrate that the his unceasing love is not deterred by these parting words to his companion, accentuating the motif that while his words and his life may be fleeting, love is not lines thirteen and fifteen since they both begin with "E" and end with "luve" (13) The varied number of repetitions that Burns indicates in this work makes the reader know in the most sincere way his proclamation of a love. immeasurable. The sensation-provoking illustrations in "A Red, Red, Rose" constitute the attachment of Burns' ideas to the reader's understanding, the birth of a palpable emotional contact. He begins his writing with the likeness of his beloved with humble familiarities. Just as the pregnant earth that blooms flowers, having “newly budded in June” (2) brings images of youth and joy which he attributes to his lover. After conceiving this youthful romance, Burns offers it as a "tune / [t]hat's sweetly played in June," (3-4) imploring the reader to dwell on his own reminiscence of memoriessummers and to assign those emotions to the reader. and his better half. The cultural references evoke the established connotation, which Burns considers when he calls her his "bonnie lass", (5) referring to the Scottish folk song of a distant romance. This tender mention makes the reader wander towards feelings of almost fantastic, extravagant, romantic and transforms the relationship from a newly blossoming connection to a flattering, flirty alliance. Burns presses on with life scenes that culminate with “the seas dry up” (8) and “the rocks melt with the sun” (10) to consummate the cycle of seasonal relationships they face. He proposes that life itself is coming to a halt, yet “it will still love you,” (11) enduring the inevitable cessation of everything surrounding the couple. This sampling of patterns through which Burns and his beloved endure conveys reflections of destruction and ensures the reader observes surviving love in the midst of death. Burns's final effigy of this couple is the parting of himself and his partner saying "goodbye, my only love," (13) drawing mental figures of devotion and farewell for the reader. This devotion continues when he returns to her “though it were ten thousand miles,” (16) arguing that love has aged from budding romance to a mutual dependence of companions. Burns uses his imagery to stimulate the reader's thoughts, inducing awareness of the development of his relationship with his love as it grows and persists. The placement of vowels and words serve as Burn's tools in "A Red, Red Rose" to generate the light air of the poem by accentuating the variability of his and his lover's surroundings. Burns immediately introduces "O my amore's like a red, red rose" (1) to set a precedent of assonance for the rest of his poem, largely emphasizing the role of vowels. Regardless of the rhyme scheme in place, every even line in a stanza rhymes, Burns forms rhyme elsewhere such as “tunes” (3) and “sweetly.” (4) This euphony makes the words flow and engages the reader to read quickly and lightly. Burns says "goodbye" (13) in place of goodbye for this very purpose, pairing the double "e" in both words. However, the crux of his use of vowels can be seen in his spelling of “love.” (1) Burns writes “luve” twice in each of his first two stanzas; however, in the third stanza, Burns writes “love.” (11) The "o" can be in agreement with the other "o" that he writes in the line "OI will love", to favor the fluidity of the vowels, but it can also represent the growth of his love from his youthful phase to the mature commitment they make: from love to love. This change is not only shown in the vowels, but also in the position of his words in the odd-numbered lines. He varies the meter in each stanza, comparable to his intentions in the repetition. The first stanza is written in trochaic tetrameter with an anapest in every odd-numbered line, having "O my love like a red, red rose" (1) containing the unstressed "as a" in the middle. The second stanza, however, takes the form of an iambic tetrameter without interruption. Burns sets the meter in odd lines in the likeness of the second stanza, but launches the even lines with an anapest opening such as "And the rocks melt with the sun." (10) “And farewell, my only love” (13) gives the last stanza another odd-line iambic tetrameter, but Burns chooses to close with a suspension to this meter. A final anapest concludes his work in “Though it were ten thousand miles” (16) that does not exist in the even partnering line in that stanza. Burns' purpose in varying the meter as he does is to demonstrate that love will never end, even if there are indeed inconstancies surrounding the couple. Please note: this is just an example. Get.