Sara Teasdale

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What is the rhyme scheme in the first stanza of "The Song Maker"? What is the figurative device used in the second stanza?

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The first stanza of Sara Teasdale's The Song Maker follows an ABCB rhyme pattern, with "love" and "thereof" sharing the only rhyme in the stanza. This sound is not replicated in any ending line for the remainder of the poem, so no other lines would be labeled with a B.

The speaker presents a metaphor in the first line of the second stanza: "I was a weaver deaf and blind." In this comparison, we see the dual nature of what she has created. First, weavers possess talent to create beautiful objects from raw materials. Her own raw materials are her words, and she has acted as a weaver in creating poetry from her words, carefully binding her words together to create new meaning. However, she is realizes that she has acted "deaf and blind" in the weaving process. Going back to the first stanza, the reader sees that she has previously written songs about love, including all the joys and pains of those experiences, but that she had no actual experience on which to base her weaving of those emotions. In retrospect and after experiencing a true love, she understands that words cannot be so easily woven together to convey such a powerful emotion and that any efforts on her part to do so fall short, leaving her "silent now."

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The rhyme scheme of the first stanza is ABCB - that is to say, the first and third lines rhyme while the second and fourth lines do not. This is sometimes called simple 4-line rhyme, and continues throughout the poem. 

The figurative device used in the second stanza is a metaphor. The speaker presents an image of herself as a weaver, just as in the first stanza she refers to herself as a song-maker. The central idea in both stanzas is the same: the sense that the speaker is a crafter of beautiful things, of romantic songs and pretty designs, inspired by the notion of love. However, there is also the sense that something vital was lacking in her work then, as the actual experience of love, which she sang about so blithely, she knew nothing about in reality. When she does experience love for the first time, she no longer needs to sing about it: 

And I who made so many songs

Am silent now.

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