"I think continually of those who were truly great" is a profound exploration of greatness, spirituality, and the impermanence of worldly achievements. To accomplish this, Spender employs symbolism to convey the transient nature of life and achievements. From the outset, light plays a pivotal role. The "corridors of light" in which "hours are suns" paint a picture of people illuminated by knowledge, passion, and an almost spiritual awareness. This imagery contrasts with the "noise and fog" of daily life, which represent the distractions and apathy that threaten to smother one's inner spark.

Nature emerges as another powerful symbol. Mountains, snow, and the wind whispering names evoke a sense of permanence and connection to something larger than oneself. These elements act as witnesses to the legacies of "those who were truly great," suggesting that their impact transcends physical death.

However, the poem is not merely a celebration of abstract ideals; it examines the human experience through powerful literary devices. For instance, the repetition of "never to" in the second stanza emphasizes the importance of actively cherishing life's joys and resisting forces that stifle our spirit. The metaphor, "blood drawn from ageless springs," suggests seeking timeless fulfillment beyond fleeting pleasures.

The poem is in free verse and lacks a prescribed rhyme scheme or regular meter. This choice lends the poem an unconfined and spontaneous quality and allows the poet to navigate nuanced themes without the structural constraints of traditional forms. Instead of a strict rhyme scheme, Spender relies on the rhythmic cadence of language and thoughtfully arranged words to establish a melodic quality that befits the introspective nature of the work.

The poem also features diverse line lengths throughout its three stanzas. This deliberate departure from a fixed meter further contributes to the poem's conversational, contemplative tone. Spender also uses enjambment frequently, meaning lines run over without pause to create a sense of continuous thought and movement.

By embracing free verse, enjambment, and varying line lengths, Spender aligns his work with the modernist tendencies of the early twentieth century, affording him the creative freedom to experiment with language and form. This liberated structure enhances the poem's introspective and meditative quality while maintaining a sense of fluidity and spontaneity in expression.

Raised in a family that valued social justice and artistic expression, Spender became increasingly aware of societal inequalities and the importance of individual agency. His values align with the poem's subtle call for resisting "traffic" and fighting for life's "essential delight," which some might interpret as a veiled critique of the oppressive forces at play during his time. His experiences during this tumultuous pre-war era likely influenced the poem's contemplation of greatness and spirituality as a response to the uncertainties of the time.

While the speaker of "I think continually of those who were truly great" does not explicitly subscribe to any one religious doctrine, they do weave in elements of various spiritual traditions. The first stanza's "corridors of light" and "hours are suns" evoke a Judeo-Christian concept of heaven, suggesting an afterlife filled with divine illumination. However, the "ageless springs" drawing blood symbolize a more pagan-like or Eastern religious connection to a timeless and cyclical life force, transcending individual mortality.

Additionally, the emphasis on individual passion and "flowering of the spirit" resonates with Romantic ideals of inner exploration and personal truth. Ultimately, the poem embraces a broader, humanistic spirituality to celebrate living authentically, leaving a lasting impact, and connecting with something beyond the individual. This overarching sensibility reflects Spender's beliefs in individual expression and seeking meaning beyond the confines of a single philosophy.

However, the poem does not advocate for a...