Unlike Norma Cole, Roberto Tejada's "word palate" is the use of abstract and sensory language to evoke meaning. The poet blends tactile, visual, and sensory experiences with more conceptual and philosophical ideas, creating a rich, layered texture of words that engage both the body and the mind.

Regarding the author's "word palate", Norma Cole uses a lot of juxtaposition and disjointed imagery to evoke a sense of fragmentation and surrealism. The poem’s language shifts rapidly between disparate scenes, ideas, and references, creating a collage-like effect.

The phrase “When the attentions change / the jungle leaps in” suggests that change is not just inevitable but violent. As focus shifts, the natural world (symbolized by the jungle) overpowers the human structures of culture and civilization. This line echoes the tension between the order of human society and the primal forces of nature.

Kingfishers, often associated with both beauty and sharp predation, may symbolize something fleeting and difficult to grasp. In the poem, the kingfishers seem to represent a lost ideal or past, especially in the context of their "feathers" being reduced to mere wealth, and their disappearance from a once-wealthy existence.

The line "and a NEW YORK POST with her face on it" refers to the moment when the speaker is directly confronted with the public reality of Billie Holiday’s death.

The final lines shift to a vivid memory of Billie Holiday performing. The image of her whispering a song to Mal Waldron (a jazz pianist) contrasts with the image of her death, evoking the lasting emotional impact of her artistry. The phrase "I stopped breathing" suggests that the speaker is overwhelmed by the significance of her passing, and the memory of her performance is deeply moving.

Eating could act as a Metaphor for Life. The act of eating described in detail might symbolize life itself. Nourishment, sustenance, and the transient nature of existence. The shift from "very little but very good" to "eating every day" suggests a focus on both quality and routine, reinforcing themes of desire, satisfaction, and continuity. Eating is living in this case, and they love living.

The Euphrates River is one of the oldest rivers in the world, central to the development of early civilizations such as Mesopotamia. This evokes the idea that the speaker’s connection to history is as ancient as human civilization itself.

The tone here, and throughout the rest of the poem is one of humility and gratitude. The speaker recognizes their own unworthiness, with the use of 'wretch', but celebrates the grace that saved them. This is something that has always been very prevalent within Christian religions. Constantly hammering into the minds of their believers that they're unworthy God's grace, but should be grateful that they are receiving it nonetheless.

The "hellhound" symbolizes a looming, almost supernatural threat, commonly associated with evil forces or bad luck in folklore. It could represent Johnson’s feelings of being pursued by troubles or by forces beyond his control. Which is interesting since there is a myth that Johnson sold his soul to the devil.

These final lines highlight the paradox of life and death, which raises questions about agency and mortality. The contrast between the speakers power to kill and inability to die creates a sense of existential tension.

The Owner reflects themes of control, purpose and existence, which along side the loaded gun, provides an idea of that their life may feel controlled, or incarcerated.

The frequent use of dashes creates a pause which provides a contemplative tone, which invites reflection, allowing the reader to absorb the weight of the ideas present.

The metaphor of a loaded gun symbolizes power, potentiality and danger and the juxtaposition of domesticity ("In Corners") with themes of violence and autonomy invites the reader to explore the deeper meanings hidden within the lines.

Dickinson's use of short contained lines creates a distinct rhythm which evokes a sense of precision and economy, which forces readers to consider each word carefully.

Whitman's free verse allows for a natural, flowing rhythm that mirrors his thoughts and emotions. His repetition of being "in love" with the freedom and being "mad" for it creates emphasis on the emotional intensity. Whitman also uses a lot of imagery to bring the reader a sensory experience. The informal tone fosters a sense of intimacy between the author and the reader as well. Desiring to be "undisguised and naked" symbolizes a desire for authenticity and connection.

A poem based on the negative effects of child labor during the 18th century, and how orphaned youth were exploited for work, especially for dangerous jobs such as a chimney-sweeper. This mistreatment of youths in this field, led to the Chimney Sweepers Act of 1788, one of the first attempts to regulate child labor.

Symbolism showcasing how religion was used as consolation from earthly suffering, but is it really enough?

Black coffins could symbolize the children's entrapment within a life of labor, and their impending death due to the poor working conditions which they faced.

Soot could symbolize the physical and spiritual corruption this young chimney-sweepers faced and experienced, while the white hair can symbolize innocence and purity.

Cry of a chimney-sweeper often mistaken for crying. Could be a childs mispronunciation of "sweep", reflecting their youth and innocence. This dual meaning could show connection between their suffering and labour.

In the 18th and 19th centuries it was common for impoverished children to be sold into labor. Mortality rate was also high, so it was common for children to be left parentless.

Another interesting formal element is the use of assonance, the repetition of 'o' sounds!

The poem is written in iambic tetrameter, so eight syllables, four unstressed and four stressed.

Rhyme scheme in both stanzas is AAB, which is interesting, I've really only seen ABAB or AABB, so maybe this irregular rhyme scheme may help its musical quality.

Structure of poem is comprised of two stanzas, each with three lines, creating a sense of balance, symmetry, and perhaps symbolizing perfection, maybe that of Julia.

This is a warning, a piece of advice, perhaps from someone who has lived and regretted. The speaker wants the youth to know that if we miss out on the opportunities to live out our youth, we will wither away miserably in regret.

Time is fortified as an inescapable force that keeps pushing. Time always succeeds youth. Poem is also 4 quatrains, forgot to mention above.

Poem has a ABAB rhyming scheme. The poem, from the first two stanzas can be perceived as one of life and death, of fertility, or to not waste ones youth.

In her face he sees a wealth of positive emotions that have no longer been present within his life due to her passing.

He imagines her, coming down to him from the heavens, but who knows, is she really there?

Wife is referred to as a Saint, maybe she was pure of heart and did not deserve to die?

Although waking to sunlight, his "night" is brought back because he can no longer see his wife, even if it was during a dream. The "night" can be the misery he feels when he is awake and reminded she is no longer around.

Reference to Alcestis from Greek mythology, who was known for her love of her husband.

The speaker dreams of his deceased wife and the joy it brings him to see her once more.

Can this be sung? Who knows, maybe it can be sung like a shanty!

This line potentially mentions the only two options the sailors of the ship have, they must choose a lesser of two evils, either drown or burn.

John Donne has sailed before, and maybe this poem is a recounting of the most marking experience he had on the sea. The moment when the sea consumes the lives of other men.

It vividly (and with plenty of imagery) explains the moments during which a (an enemy ship perhaps) ship is being sunk, after being fired at with cannons, which have led to the flame aboard.

I believe "We" is inserted here because the translation above doesn't directly translate to "Now we" but does translate that she song speaks of a collecting of people, those being christians I suppose.

This for some reason seems to be similar to latin, whole the poem itself seems more germanic in language origin.

The translation for this might have been fairly complicated to attain I can imagine. Since so much was taken from the meaning of such little amount of words within the same lines.

Although this is still Old English, it is much harder to read than the old english from Svmer is icumen in. That may be due to the distinct time frames in which these poems were written, however, it goes to show the evolution of English from a mixture of different languages, and the process it underwent into becoming what we now know as modern english.

After reading Svmer is icumen in, it is almost tempting to attempt and read Caedmons Hymn in the same tempo and rhythm.

Dryctin and Frea refer to the same thing, lord. Once again, there may be so many different ways to say God within the poem because Christians at the time had to maintain their reference to God almost secret, and keeping a variety of names to refer to God may have helped.

Speaker refers to God in many different names, father of glory, eternal father, eternal lord, guardian of mankind, creator. Which can be easily identified in the Old English poem, as they are all capitalized.

Poem possesses many commas throughout the middle of lines, which is called caesurae, a pause in the middle of lines, which is also a prominent feature of Old English poetry.

The poem may mean to refer to how Christianity at the time was amongst the middle earth, hidden among men that were persecuted for their faith. Architecture of churches around the time of this poem also symbolize this kind of hiding, as most churches remained very modest and humble. Almost indistinguishable from other homes.

The modern translation completely removes the lyrical aspect to it, as some words don't seem to lyrically make sense. Words like purpose seem to cut the harmony short.

The old english poem, looks like something that can be sung, the use of many vowels makes it seem like there is a loose and off the tongue pronunciation for the words.

Although nothing could be found online, Scepen could be referring to creator, hence why it is capitalized.

Interestingly enough, a very old word that has limited use throughout this way in history. Once of its few appearances is within this poem, and its rough translation is to that of "Allfather".

"ing" is a word here instead of a suffix, although I think it may simple just be a shorter version of sing.

The ending here is entirely different from the ending of the modern English one. I wonder where they obtained that translation from.

Apparently the oldest musical composition ever known, preserved and copied between 1261 and 1264.

No room below for annotation, but I wanted to mention the use of onomatopoeia.

Poem is actually called a rota, in which each voice starts to sing at a different time, and it seems the word choice was deliberate for that very reason. The phonetics makes the lines seem very rhythmical and melodic.

A lot of the words in Old English very much closely resemble the words within modern english. The major difference is the amount of vowels in Old English.

May be the old english for cow, could not find on etymoline.

Old english for bull.

Lots of verbs for sound or movement, signifying that the joy felt by the arrival of summer is escaping everyone's body through action and voice.

The ending of the english poem seems ironic. The song has no period in the old english translation which allows you to continue singing and loop back to the start. However, despite the final line quite literally saying "Nor will you ever stop now", there is a period that stops the song.

The words used here seem very deliberate, there seems to be alliteration, making the longest line within the poem flow naturally.

Referring to the sounds of birds within warmer weather, signifying the departure of the winter.

There is an obvious joy identified within the song, it seems this may be a poem sung by farmers who are awaiting the hottest portion of the year to produce food for them and their families after a cold winter.

Another translation for referring to the hottest part of the year. Although this translation can not be found in many dictionaries, its very similar to older Dutch (zomer) and Middle Dutch (somer) translations for what was referred to as summer.

Ending of the poem allows for looping, which helps when singing this as an acapella. The use of a lot of vowels may also help the poem sound harmonically better, allowing for different singers to melt together their portions of the poem, even thought they will all be singing different lines.