One such dream occurred whilst he was at Cambridge University, studying English. But, as I have tried to show, the conflict may still be discerned. The first stanza immediately introduces us to the setting of the poem and to the poet himself. The very accuracy of the evocation of the fox seems at times almost fussily obsessive. Conclusion This is to illustrate how once the fox, or ideas, start coming they do not stop until they have fully entered the head. This process beautifully connotes the forming of the thought more clear and concrete.
The same critic goes on to say that, although The Thought-Fox is a fox of the imagination, it has been presented in the poem with a beautifully solid foxy reality. He focuses on the eyes and after a while, it seems to him a fox. Its business is that of its own, not one of after-thought, but that of impulse. Something is moving in the darkness is actually the idea, which suddenly comes in the mind of poet. In between, the speaker describes the creative process. There is another thing worth noticing about the metaphor.
The window is starless still; the clock ticks, The page is printed. I have it with me wherever I go. In this case, instinct replaces intellect. The fox is a metaphor for the idea of a poem. For the most part these poems are unrevised. Complement this pick of the greatest Ted Hughes poems with our and our. In this particular instance it seems to me that the simile Sagar uses betrays him into an inappropriate critical response His comparison may be apt in one respect, for it is certainly true that there is a powerful element of magic in the poem.
Suttie, The Origins of Love and Hate Penguin, 1960 , esp. When you do this, the words look after themselves, like magic. Still, I find it hard to justify a boring poem. Let me make things easy for you. Ted Hughes 'captured' his fox at the same time as he completed the poem. To the popular mind, a fox represents cunning. The window is starless still; the clock ticks, The page is printed.
The final stanza celebrates the pleasure of poetic creation. The Thought Fox is a six stanza poem, all quatrains, with one or two full end rhymes and hints of slant rhyme here and there. First formless and indistinct it needs to be gently charmed out of the darkness and into light until its form takes shape. Though simple and eloquent, the language could have benefitted from a bit more daring word choice here and there. The window is starless still; the clock ticks, The page is printed. The shadow of the fox is becoming more clear and clear and its advancement through the snowy woods, leaving the foot print beautifully and artistically states that the dim thought is now clear and it is being printed in white paper.
Its external action takes place in a room late at night where the poet is sitting alone at his desk. The poem begins by evoking, from the still and tiny perspective of the hibernating mouse, a vast intimacy with the tightening body of the earth. Alliteration is utilized to mime coherence. The reader knows something is about to appear but is uncertain until line 2 when the fox's nose manifests, smelling a twig, a leaf in the imaginary forest. The nose feels its way through the darkness.
Stanza four begins with a run on line from stanza three. The dark snow is the blank page; the poetic energy is about to be released, is being released. But if we can withdraw ourselves from the influence of the spell which the poem undoubtedly casts, the vision of the snowdrop cannot but seem an alien one. Then a lame, cautious body in the form of an eye comes brilliantly and concentratedly toward the room. Gradually our mind revisits the subject of our thinking and develops command over that subject.
What a poet needs to write a poem is inspiration. Note that the poet cannot observe any star but can comprehend something that holds more promise for him. The fox is a thought, which suddenly comes in the mind of a poet and leaves its footprints in form of words. This poem is his breakthrough which indicates his turn from metaphysical poetry towards mythmaking. The procedure of writing poetry and the things which are required for it have been beautifully discussed in this poem. We have here a series of images in the poem, from the first line to the last; and every image is a vivid one. Suddenly, the persona feels something in the darkness; two eyes are moving; possibly it is a fox, who is wandering; the fox smells the twig but leaves it.
The fox enters the lair of the head as it would enter its own lair, bringing with it the hot, sensual, animal reek of its body and all the excitement and power of the achieved vision. Finally, nothing much really happens in this poem. But the annual image in the title as well as the movement of the symbolic animal in the poem is not only appropriate in its own context but also consistent with Ted Hughes concept of poetic composition which he compared with the capturing of animals: The special kind of excitement, the slightly mesmerized and quite involuntary concentration with which you make out the stirrings of a new poem in your mind, then the outline, the mass and colour and clear final form of it, the unique living reality of it in the midst of the general lifelessness, all that is too familiar to mistake. The fox in the poem is the poetic energy or inspiration that comes out of darkness the unconscious and leaves its footprints on snow, the blank white page. The poet has created a noiseless scene, which is symbol of peace.
In the poem, he shows that inspiration can come from anything because he drifts away into a dream. We have here the swift, sudden little trot, then the cautious careful tread, then the confident measured pace. On the other hand his poetry — and above all his poetry in Crow — is notorious for the raging intensity of its violence, a violence which, by some critics at least, has been seen as destructive of all artistic and human values. The fox is no longer a formless stirring somewhere in the dark depths of the bodily imagination; it has been coaxed out of the darkness and into full consciousness. Nor can we affirm that this poem is remarkable because of its felicity of word and phrase. In his mind there are stirrings, something else is alive and very close but it is deep within the interior, perhaps in the subconscious, almost an abstract entity. After the war, Britain was an economic and cultural mess.