Analysis of the Elm Tree Poem: Symbolism and Imagery
At the beginning of the poem, the protagonist, an old elm tree, is described, highlighting the dilemmas of existence, particularly in relation to the climate: “… by lightning and split in half rotten,” meaning it was struck by lightning, leaving it almost destroyed and rotten inside.
The verses heavily utilize the phonemes /o/, /i/, /e/, and /d/, creating an alliteration that evokes a feeling of pathos and despair. However, this initial sad depiction gives way to something important for the poetic: “With the rains of April and May sun, some green leaves have gone.”
The use of hyperbaton changes the normal order of the sentence, giving the ending a happy or hopeful element in contrast to the earlier desolation. The reference to the rains of April and the sun of May alludes to springtime.
The poet expresses great esteem for the highlands of Castilla, and the poem returns to the elm, referencing its age by calling it “centennial.”
The exclamation emphasizes the author’s connection to the land. There is a break in the narrative to provide a quick view of the landscape, one that the author has contemplated many times and has recorded in memory. The hill on which the elm stands is next to the Duero River (“… On the hill Duero licks! …”)
The poetic self, expressed through the verb “lick,” lends solemnity to the hill, personifying it as having language over the river. The proximity of the hill and elm to the river beautifies and enlivens the landscape, with the river symbolizing living water.
The following description of the elm appears in distinct parts. First, numerous adjectives help us visualize its unfortunate state: “… a yellowish moss will stain the white crust eaten and dusty trunk.” The rapid pace of this phrase, achieved through alliteration with the phonemes /a/, /e/, /i/, and /o/, creates an unpleasant feeling of decay, echoing the initial description.
Subsequently, the poem compares the elm unfavorably to other trees, specifically the tall álamos (poplar trees) found along rivers and roads. These trees seem to “keep, for protection,” but this is impossible because the elm is inanimate, creating personification. Moreover, the poem calls these trees “singers,” referring not to the trees themselves but to the birds that inhabit them. The birds’ music seems to emanate from the trees. However, the poem cites these trees only for comparison with the battered elm, envisioning a future where it stands alone, devoid of birds, where even nightingales, famous for their cheerful song, refuse to live, thus failing to give life and cheer with their music. Then, the poem returns to describing its elm.