The prospect of the poem reinforces the moxie of the character's bewilderment at the paradox of spirit and of nature. The setting itself is established through the use of symbols---the play false and the roses.
It is plain a period in which the seasons meet and intermingle, probably fall, when the blend of the roses are in bloom and an early snow surprises those whose spirit was fluid dwelling in an autumnal recount. The snow can be seen as a symbol of not nevertheless the season of winter, but also of the latter stages of life. Perhaps the talker before he began to write the poem was in a peaceful moment of un conscious(predicate)ness of his own maturement, and the sudden snow threw him into a state of acute awareness of not exactly the passing of time but the passing of his own life as well.
Still, the speaker is hardly in a posterior of grieving or depression at the prospect of aging or death. Instead, he is in an excited state, a state of suddenly heightened awareness of all the contradictory parts of life. his is show by the appearance of "suddenly" in the first line of the poem and "suddener" in the fourth line.
The speaker may be surprised by the sudden snow, may be aware of the craziness of life and his drunken-like state in response, but at the same time the setting includes a sens
Perhaps he has torn into the tangerine as a means of trying to come to grips with the contradictions around him. He has perhaps tried to take some active gradation in order to bring his body into the equation and parallelism off the frustrated needs of his reason to make sense of what he is seeing, feeling and experiencing.
He notes and appreciates the physical impact of the things he has been describing---the impact on his tongue, eye, ears and hands. This set of observations seems to ground him and bring him to the fall by the wayside and acceptance of the mystery of life which we see in the last line of the poem: "There is more than glass in the midst of the snow and the considerable roses" (line 12).
His sense of appreciation for all he has experienced and for what he has written is found in the choice of the word "huge" to describe the roses. The "huge" can be seen as a mate for the "rich" of the first line. For all his bewilderment, all his confusion, all his sense of feeling intoxicated, he ends with an image---of the "huge roses"---which shows the reader that he has come to a place where he both recognizes and accepts life's bounty. He has moved from an initial place of trying to understand and reason away life's wonders to a place where he both accepts those wonders, though he doesn't understand them, and celebrates them in their hugeness. much than the glass separates life's paradoxes, but the poet is finally content accepting that he cannot name what that "more" actually is.
Then, in the poem's final ternion lines, he seems to surrender to what is happening around him and what is happening inner(a) him. He begins to accept the fact that the world "Is more revengeful and gay than one supposes---/ On the tongue on the eyes on the ears in the palms of one's hands---/ There is more than glass between the snow and the huge roses" (lines 10-12).
His appreciation of the juxtaposition is expressed in the word "rich." He recognizes the bounty of life, but he is still trying to bring it tog
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