T.S. Eliot was greatly influenced by many different writers, whose ideas are partly found, in his poem "The love song of J. Alfred Prufrock" "Prufrock." His passion for the French Symbolists, like Mallarme, Rimbaud, and Baudelaire was without a doubt pushing him to write the way he was. He uses a sensuous language and has an eye for unnerving detail that nevertheless contributes to the overall beauty of his writing style. The "yellow smoke" (24) and the "arms that are bracelet and white and bare (but in the lamplight, downed with light brown hair!)" (63-64) are perfect example of his tendency to stress on little details to make his readers even more into the scene.
The poem is an internal monologue where Prufrock reveals himself as lonely and timid. Prufrock is a man in conflict with his duality, the society he has to live in, and the long lost dreams of his youth. Hot and cold, fire and water; duality is part of nature. Prufrock is not in harmony with his two sides. On the surface Prufrock is like a field mouse, frozen by fear who asks, "Do I dare? And Do I dare?" (38) Inside is a tiger that knows there is time to "murder and create." (28) I feel like Prufrock is a tiger in the body of a mouse. Prufrock fears he is not able to meet society’s standard. He fears society will have him "pinned and wriggling on the wall." (58) J. Alfred Prufrock is afraid, not only of what they will say, but how society will look at him. He is extremely concerned with his self-image. Prufrock’s inner tiger wants to be "riding seaward on the waves" (125) and experience the passion of his young age. He is aroused by the perfume from a dress, but is held back by fear. Now, he only dreams of "one night cheap hotels," (6) because he knows those times are past. He has seen his life pass by, little by little, and knows death is awaiting him; laughing at a life half lived. You should not have any regrets or be scared of something you did not accomplish otherwise it leads to the well known "midlife crisis" that no one wishes to experience.
"Prufrock" ends with the hero assigning himself a role: While he claims not to want to be Hamlet, he may yet be useful and important as "an attendant lord, one that will do / To swell a progress, start a scene or two." (112-113)This implies that there is a "follow-through" between Shakespeare's world and ours, that Hamlet is still relevant to us and that we are still part of a world that could reproduce the intensity of Shakespeare's plays. Eliot implicitly suggests, however, that as an "attendant lord" maybe he can become another Hamlet. "Prufrock" ends with a devaluation of its hero. The last line of the poem suggests that when the world intrudes, when "human voices wake us," (131) the dream is shattered: "we drown." (131) With this single line, Eliot dismantles the romantic notion that poetic genius is all that is needed to triumph over the destructive, impersonal forces of the modern world. In reality, Eliot shows that he is a little better than his creation: He differs from Prufrock only by retaining a bit of hubris, which shows through from time to time. The poem, an internal monologue, reveals the timidity,loneliness, and sadness of J. Alfred Prufrock
Sunday, June 22, 2008
The Second Coming by William Butler Yeats... A better world...
Yeats' poem "The Second Coming" is one of his most famous poems; it is also for me one of most challenging one to fully grasp. However, I wanted to comment on it because of the beautiful imagery he used throughout the piece.The first stanza begins with the image of a falcon flying in circle in the sky, far away from the falconer who released it: "Turning and turning in the widening gyre, the falcon cannot hear the falconer" (1-2) The first paragraph talks about the bird that continues to "wheel" and "gyre" further and further away from the falconer. This metaphor could stand for the young people who have decided to go "away" from their parents and gain some independence. It is also a metaphor for a new beginning as far as art, litterature or music is concerned. Yeats believed he was in a time of transition.The poem was composed in 1920 (second paragraph on p.1115) The last two lines of the first stanza are just a comment on people's behavior during this time period. Yeats says "The best lack all conviction, while the worst are full of passionate intensity." (7-8) This also suggests a comparison between the best, whom Yeats identifies as head people, the intellectuals that are not necessarily making the right decision for the citizens by "lack of conviction," and the worst, whom Yeats associates with the mob who are those who tend to react with more passion rather than careful intellectual study and expression. In the two stanzas of the poem, two different kind of birsd are used as a metaphor. In the first stanza of the poem, Yeats gives us the first one: "the falcon." In the second part of the poem Yeats gives us the second bird metaphor in the form of "indignant desert birds." (17) There is a massive beast, described as a Sphinx who began to move its "slow thighs." (16) the birds became agitated and took off. The birds are flying around above the slowly moving Sphinx. At the start of the second stanza Yeats calls for a a big event to happen, saying "Surely some revelation is at hand." (9) Yeats is the revelator because he gives us a powerful vision of The Second Coming. This is the image of a "rough beast" (21) which has the intelligence of a man and the fierce emotions and body type of a lion. Furthermore, Yeats suggests that the body movement of the beast, the "slouching" (22) movement is what is moving the Christ closer and closer to "Bethlehem." (22). For Keats, Bethlehem is the symbol of a new age; the vision of the rising sphinx is his vision of the character of the new world. This illustrates Yeats as a modern prophet. It is of major importance that Yeats describes the Sphinx as "A gaze blank and pitiless as the sun," (15) because spiritual leaders are known to "gaze blankly" as they transmit "the Godly message" to their disciples. The "Second Coming" (10) is implying that Yeats is talking about Christ maing an appearance on Earth to give a lesson to men. After Yeats presents this brilliant visionary image, he says "The darkness drops again." (18) His "perfect" vision ends and he starts wondering again, by asking a question. I found that poem to be kind of a riddle for his readers. Throughout the poem, there are hints as to what the answer to the riddle could be. However, Yeats does not want to give away his full thought and makes his reader wonder. First Yeats presents the broken image of the falcon dissociating from its master. Then Yeats presents the broken image of many birds flying around the Sphinx. But the Sphinx itself is a single whole image. The Sphinx which could be described as a "big cat" for "reality example" purposes who would be able to eat the birds. The Sphinx is therefore thought of as mightier than the birds. The idea of being mighty is amplified by the very size of the Sphinx. However the image shown in the poem conflicts with the conventional Christian idea that Jesus Christ overcomes the "Beast of Revelation" as indicated by the scriptures. So Yeats is challenging certain images in conventional Christianity showing an advancement in people's mind at that time regarding every aspects of life, material as well as spiritual.
World War I... Rupert Brooke...Love of the Motherland
War poets were really enjoyable to read. I was impressed by how much intensity they could convey through a few lines. I noticed that they tend to be shorter than other poem as if they wanted to make their point coming across clearer. I decided to comment on a poem I really liked. Rupert Brooke’s poem ‘The Soldier’ is a traditional sonnet in which Brooke demonstrates his love for England and how he believes it is right to fight and die for his country. Patriotism and honor probably had a powerful impact on Brooke, a much stronger effect than it would have on any one nowadays. However, I feel like Brooke never really witnessed the true horror of World War I, as he “fortunately” (if we can say that…) died in 1915 before he actually got to fight in it. Therefore his poem is very idealistic and has a very traditional viewpoint. This poem deals mainly with the thoughts and feelings of a man who loves his country dearly. War seems to be something much deeper in "The Soldier" than it is usually thought of. "The Soldier" is a very short poem which consists of only two stanzas. It is a wartime poem which adroitly draws our attention to the morale of the soldiers during that particular period.
Also, another way to look at this poem is to understand his feelings on death and afterlife. Brooke shows genuine optimism about his perception of the afterlife, and he believes that there is a place where pain and suffering is void as shown on line 9-10: “And think, this heart, all evil shed away, a pulse in the Eternal mind…” Brooke tells of this imaginary place, “under an English heaven,” (14) that resembles to England but that is better in respects to possessing the power of creating a more perfect setting where evil is just an old nightmare. Memories are restored of laughter and old acquaintances where everyone is at peace, and dreams are lived out as mentioned: “And laughter, learnt of friends; and gentleness.” (13) This place that Brooke describes is a mixture of England at its top and his own understanding of heaven.
Also, another way to look at this poem is to understand his feelings on death and afterlife. Brooke shows genuine optimism about his perception of the afterlife, and he believes that there is a place where pain and suffering is void as shown on line 9-10: “And think, this heart, all evil shed away, a pulse in the Eternal mind…” Brooke tells of this imaginary place, “under an English heaven,” (14) that resembles to England but that is better in respects to possessing the power of creating a more perfect setting where evil is just an old nightmare. Memories are restored of laughter and old acquaintances where everyone is at peace, and dreams are lived out as mentioned: “And laughter, learnt of friends; and gentleness.” (13) This place that Brooke describes is a mixture of England at its top and his own understanding of heaven.
Channel Firing by Thomas Hardy... Judgment Day
Channel Firing by Thomas Hardy was written in the time frame when the English army was exercising at sea at the dawn of World War I. First person is used throughout the poem; we can assume it is one of the “dead person” buried (maybe an ex-serviceman, a hero) talking while the windows are being shattered by the blast and quivering of guns being fired for “practice” (10) in the English Channel. The fracas was so intense that all the “dead men” believed “Judgment Day” (4) has come. We can envision the frightening “comic” of the scene there when the skeletons are portrayed suddenly sitting up as if they were ready for the great day to finally arrive.
The humor takes an impudent turn as Hardy brings in God into actions, reassuring the corpses that it is not time for the Judgment Day but merely “gunnery practice” (10), adding that the world is as it was when the dead men “went below” (11) to their graves. That is a general statement saying that every country is trying to make its methods of destruction more efficient to “win over the world.” Unfortunately, the only way they can achieve that is by shedding more blood, making “red war yet redder.” (14) God sees the world as insane. There is no brightness in the future by going to war. The pride of a country should be watching its citizen grow old. The dead are obviously now “helpless in such matters”. In other words, the living does nothing “for Christes sake.” (15) Note how the old fashioned spelling, “Christes,” adds to the humor of the stanza. God carries on, observing that those to blame for the “gunnery practice” are lucky that it is not the Day of Judgment. Otherwise, their belligerent threats would be punished by their having “to scour Hell’s floor…” (19-20) While the suggested chastisement is somewhat absurd, and so comic, it is almost a fitting one. Certainly Hell, if there is such a place, seems the appropriate one for the war makers. With a hint of malevolence, God claims that He will guarantee that His Judgment Day will be far worse than they imagine stating with such condescension (laugh): “Ha, ha. It will be warmer when I blow the trumpet…” (21-24) He admits that He may not insist, though, as everlasting rest seems more suited to the human condition. The scriptural illustration of the blowing of the trumpet that warns for the end of the world seems rather ironic when God, Himself, plainly uses it.
After line 25, it seems like God stops talking as if he thought his intervention was explicit enough. Right then, the skeletons started to talk to each other about the gunnery practice wondering if men will ever realize that the world would be a better place without any wars. That clearly is a denunciation of armed conflict. Significantly, while many of the skeletons nod, “And many a skeleton shook his head,” (29) as if to imply that man will never acknowledge peace. The preacher, himself, lost hope in human nature and wished he had not lost his time giving sermons to people not willing to receive them. He mentions that “Instead of preaching forty years” (30) he would rather have “…stuck to pipes and beers.” (32). That shows great desperation on his part; he, who devoted so much of his life to others, is now contemplating men’s craziness.
The last stanza of the poem drops the somewhat “over-exaggerated” humor of the previous lines. Instead, Hardy writes of the threatening sound of the guns, ready “to avenge.” (34) What does he mean? Avenging what? Do men even know or realize why they do what they do? Perhaps he further suggests that civilizations are hopeless because man's nature never makes any moral progress whatever era we are in.
Even though the poem is meant to make his reader grin, it is written with a tad of dry wit; the humor is of a macabre kind, and “Channel Firing” is not a light-hearted piece. The humor is actually meant seriously to show the stupidity and ignorance of those who wish to make war and think they will profit from it. On the long-run, wars hurt every one of those participating in them.
The humor takes an impudent turn as Hardy brings in God into actions, reassuring the corpses that it is not time for the Judgment Day but merely “gunnery practice” (10), adding that the world is as it was when the dead men “went below” (11) to their graves. That is a general statement saying that every country is trying to make its methods of destruction more efficient to “win over the world.” Unfortunately, the only way they can achieve that is by shedding more blood, making “red war yet redder.” (14) God sees the world as insane. There is no brightness in the future by going to war. The pride of a country should be watching its citizen grow old. The dead are obviously now “helpless in such matters”. In other words, the living does nothing “for Christes sake.” (15) Note how the old fashioned spelling, “Christes,” adds to the humor of the stanza. God carries on, observing that those to blame for the “gunnery practice” are lucky that it is not the Day of Judgment. Otherwise, their belligerent threats would be punished by their having “to scour Hell’s floor…” (19-20) While the suggested chastisement is somewhat absurd, and so comic, it is almost a fitting one. Certainly Hell, if there is such a place, seems the appropriate one for the war makers. With a hint of malevolence, God claims that He will guarantee that His Judgment Day will be far worse than they imagine stating with such condescension (laugh): “Ha, ha. It will be warmer when I blow the trumpet…” (21-24) He admits that He may not insist, though, as everlasting rest seems more suited to the human condition. The scriptural illustration of the blowing of the trumpet that warns for the end of the world seems rather ironic when God, Himself, plainly uses it.
After line 25, it seems like God stops talking as if he thought his intervention was explicit enough. Right then, the skeletons started to talk to each other about the gunnery practice wondering if men will ever realize that the world would be a better place without any wars. That clearly is a denunciation of armed conflict. Significantly, while many of the skeletons nod, “And many a skeleton shook his head,” (29) as if to imply that man will never acknowledge peace. The preacher, himself, lost hope in human nature and wished he had not lost his time giving sermons to people not willing to receive them. He mentions that “Instead of preaching forty years” (30) he would rather have “…stuck to pipes and beers.” (32). That shows great desperation on his part; he, who devoted so much of his life to others, is now contemplating men’s craziness.
The last stanza of the poem drops the somewhat “over-exaggerated” humor of the previous lines. Instead, Hardy writes of the threatening sound of the guns, ready “to avenge.” (34) What does he mean? Avenging what? Do men even know or realize why they do what they do? Perhaps he further suggests that civilizations are hopeless because man's nature never makes any moral progress whatever era we are in.
Even though the poem is meant to make his reader grin, it is written with a tad of dry wit; the humor is of a macabre kind, and “Channel Firing” is not a light-hearted piece. The humor is actually meant seriously to show the stupidity and ignorance of those who wish to make war and think they will profit from it. On the long-run, wars hurt every one of those participating in them.
Saturday, June 21, 2008
Impression du Matin by Oscar Wilde... French roots in that poem...
Oscar Wilde was more famous (to me) for his oeuvre “Le portrait de Dorian Gray,” but, even though it was extremely short, “Impression du Matin” is an awesome lesson on life. The French title recalls the name of an Impressionist painting. In fact the poem is a description of London at sunrise and is based on colors and sounds. Wilde wants us to “dive ourselves” into the scene by making us feel the rising atmosphere. Blue, yellow and grey are the dominant colors. They are cold colors and they fit well to the fading of night. The magic atmosphere of blue and gold melts in grey and yellow nuances. Cold fog spreads all over the place. We feel the quiet power of silence. Suddenly an unreal sight: Saint Paul’s dome floats on the fog over the city.
This poem indeed seems like a romantic poem, using beautiful imagery to describe the Thames River. However, the simple fact that the nature being described is the Thames is a clue, a river stuck in the middle of London, a capital of business and chaos, which Wilde recognizes with the “barge with ochre-coloured hay.” (3) What message does he want to convey? Is it a critique of human evolution over such a beauty of nature like the Thames? The message Wilde is intending to transmit is unclear at this point.
In the second part of the poem sounds and motion dominate: the city is waking up: carts fill the streets, everyone starts work, as mentioned: “the streets were stirred with country wagons” (10-11). Also nature seems to wake up: a little bird sings on the wet roofs: “and a bird flew to the glistening roofs and sang.” But everything fades away when in the fore ground a lonely woman comes forward to symbolize human solitude. The fourth stanza really helped me understand the whole point of that poem. He is describing a prostitute as he writes: “the daylight kissing her wan hair, loitered beneath the gas lamps’ flare, with lips of flame and heart of tone.” (14-16) “Beneath the gas lamps’ flare” indicates a location that we often attribute to a place where prostitutes are when they “work.” Also, “lips of flame” portraits the physical cliché appearance of those “ladies of charms.” This is a confusing shift in subject matter, as at first Wilde describes a painting, but a prostitute, or any human figure, for that matter, is found in the painting. This assists the clarity of the poem, confirming the poem is indeed a commentary on society. Her description is a striking contrast to the colorful imagery of her surroundings. Her description is suddenly insipid as far as colors are concerned. No more of those colorful depictions just as if he wants his readers to observe the contrast: “But one pale woman all alone.” (13)
I looked up “wan” (14) in dictionary and found that in every definition, almost every usage, “wan” is used to describe skin, generally on the face. Because one does generally think of the face when “wan” is the adjective, the object "hair" allows for the imagery of a hair color not found in nature, almost transparent. Wilde uses this imagery effectively, conveying society’s view of prostitution as almost transparent, not seeing the poor, those who are forced to do what they would not otherwise do in order to survive. Also in the last stanza is the questionable use of “loitered” (15) as opposed to the grammatically correct “loitering,” possibly implying she is not lurking of her own accord, it is something society has forced upon her.
“Impression du Matin” is a misleading poem, sucking the reader in with a lovely description of a river, something that most of us are familiar with, and ending surprisingly with social commentary regarding prostitution, a sometimes taboo subject especially in the 19th century. I believe this adds to the success of the poem. Since the last stanza is so abrupt, it stands out, not only in the poem itself, but in some of the lasting thoughts of the readers.
This poem indeed seems like a romantic poem, using beautiful imagery to describe the Thames River. However, the simple fact that the nature being described is the Thames is a clue, a river stuck in the middle of London, a capital of business and chaos, which Wilde recognizes with the “barge with ochre-coloured hay.” (3) What message does he want to convey? Is it a critique of human evolution over such a beauty of nature like the Thames? The message Wilde is intending to transmit is unclear at this point.
In the second part of the poem sounds and motion dominate: the city is waking up: carts fill the streets, everyone starts work, as mentioned: “the streets were stirred with country wagons” (10-11). Also nature seems to wake up: a little bird sings on the wet roofs: “and a bird flew to the glistening roofs and sang.” But everything fades away when in the fore ground a lonely woman comes forward to symbolize human solitude. The fourth stanza really helped me understand the whole point of that poem. He is describing a prostitute as he writes: “the daylight kissing her wan hair, loitered beneath the gas lamps’ flare, with lips of flame and heart of tone.” (14-16) “Beneath the gas lamps’ flare” indicates a location that we often attribute to a place where prostitutes are when they “work.” Also, “lips of flame” portraits the physical cliché appearance of those “ladies of charms.” This is a confusing shift in subject matter, as at first Wilde describes a painting, but a prostitute, or any human figure, for that matter, is found in the painting. This assists the clarity of the poem, confirming the poem is indeed a commentary on society. Her description is a striking contrast to the colorful imagery of her surroundings. Her description is suddenly insipid as far as colors are concerned. No more of those colorful depictions just as if he wants his readers to observe the contrast: “But one pale woman all alone.” (13)
I looked up “wan” (14) in dictionary and found that in every definition, almost every usage, “wan” is used to describe skin, generally on the face. Because one does generally think of the face when “wan” is the adjective, the object "hair" allows for the imagery of a hair color not found in nature, almost transparent. Wilde uses this imagery effectively, conveying society’s view of prostitution as almost transparent, not seeing the poor, those who are forced to do what they would not otherwise do in order to survive. Also in the last stanza is the questionable use of “loitered” (15) as opposed to the grammatically correct “loitering,” possibly implying she is not lurking of her own accord, it is something society has forced upon her.
“Impression du Matin” is a misleading poem, sucking the reader in with a lovely description of a river, something that most of us are familiar with, and ending surprisingly with social commentary regarding prostitution, a sometimes taboo subject especially in the 19th century. I believe this adds to the success of the poem. Since the last stanza is so abrupt, it stands out, not only in the poem itself, but in some of the lasting thoughts of the readers.
Pied Beauty by Gerard Hopkins... Praise to God!
Hopkins was extremely hard to understand for me. That is weird since he is a “modern” writer or should I say a “late Victorian/early modern” writer as mentioned at the top of page 773. I felt as lost as I did on some of the hard Romantic poems. I would have assumed word choices for a modern writer would have been easier to comprehend. I decided to write on “Pied Beauty” which inspired me the most. This sonnet is a tune of praise to God the Creator. The sonnet begins by stating this clearly, “Glory be to God for…” (1) and has a nice straight-forward end by concluding with, “Praise him.” (11). Hopkins is concerned with reflecting the splendor and diversity of the created world. For example, we are asked to consider the beauty of the “skies of couple colors as a brinded cow” (2) and then shortly after, we are directed to the minute detail and beauty of “rose-moles” (3) on swimming trout. Moreover, on the following verse, the beauty of “finches’ wings” (4) is contrasted with that of an entire landscape. Hopkins uses a particularly effective metaphor to describe the beauty of cankers: “Fresh-firecoal chestnut-falls;” (4)
Here he is describing cankers that have just dropped from the tree. He is particularly trying to point out their shiny, red beauty when they first come out of the tree. He compares them to red hot coal burning in a fire. This effectively conveys both their brightness and their red color. However, we know that for Hopkins the presence of God is symbolized by light. So the presence of God in his creation is conveyed here in the fire metaphor and brings to mind the opening lines of the sonnet, “God’s Grandeur” (line 2-3 on page 774, other poem), for here the presence of God does “flame out” in the shiny, new cankers.
Moreover, this short poem keeps praising the infinite variety found in creation. However, the poet now gives emphasis to contrasting qualities rather than scale. We find opposing qualities put side by side for example, “swift, slow; sweet, sour; adazzle, dim” (9)
Finally, we notice that throughout this entire sonnet, the poet has chronic succession of two words starting with “f”: ‘Fresh firecoal (4)… falls, finches’ (4) … fold, fallow (5) … fickle, freckled (8)… fathers forth (10).” Is there any significance behind that? A subliminal message he wants to convey? Perhaps the answer lies in the final phrase. It seems that the ‘ff’ is a kind of symbolism for God the Father (starting with F) whose creative hand is to be found everywhere in this world down below.
Here he is describing cankers that have just dropped from the tree. He is particularly trying to point out their shiny, red beauty when they first come out of the tree. He compares them to red hot coal burning in a fire. This effectively conveys both their brightness and their red color. However, we know that for Hopkins the presence of God is symbolized by light. So the presence of God in his creation is conveyed here in the fire metaphor and brings to mind the opening lines of the sonnet, “God’s Grandeur” (line 2-3 on page 774, other poem), for here the presence of God does “flame out” in the shiny, new cankers.
Moreover, this short poem keeps praising the infinite variety found in creation. However, the poet now gives emphasis to contrasting qualities rather than scale. We find opposing qualities put side by side for example, “swift, slow; sweet, sour; adazzle, dim” (9)
Finally, we notice that throughout this entire sonnet, the poet has chronic succession of two words starting with “f”: ‘Fresh firecoal (4)… falls, finches’ (4) … fold, fallow (5) … fickle, freckled (8)… fathers forth (10).” Is there any significance behind that? A subliminal message he wants to convey? Perhaps the answer lies in the final phrase. It seems that the ‘ff’ is a kind of symbolism for God the Father (starting with F) whose creative hand is to be found everywhere in this world down below.
Tuesday, June 17, 2008
Porphyria's Lover by Robert Browning... Destructive love...
The poem “Porphyria’s Lover” by Robert Browning is based on the concept of power and possession. It tells the story of passionate lovers. The effect of using dramatic monologue to convey this idea is very effective. “Porphyria’s Lover,” is the dramatic monologue seen from the perspective of the Lover. This could even be an internal monologue. The Lover is going through, in his head, the events of the previous day and night. The use of only one person speaking gives off the dominance which is important in the understanding of this poem.
The lover also shows his abnormal disposition: he is more than likely talking to himself as no one else is known to be present throughout his speech.
First of all, we are led to believe the “cottage” in which they meet is isolated and that it doesn't belong to either of them. This gives us the sense of secrecy and seclusion which is reflected in their love for each other. There also seems to be obstacles between where Porphyria has come from and the “cottage”, since Browning uses the “storm” as a metaphor to exemplify the intensity of their love by overcoming the barriers between them. Porphyria is seen as being graceful, as she “glided” (6) through the door and also as a very warm person, by the way she brings warmth into the cottage: “When she came in she shut the cold and the storm out” (7). It seems like right after the time she came into the room a moment of awkwardness and silence is created as shown in the sentence “When no voice replied…” (15). This lack of response leads Porphyria to be very seductive. She “put my arm about her waist and made her smooth white shoulder bare,” (16-17). She also tries to control the situation in a very loving way. She seems able to voice her feelings freely as well, “murmuring how she loved me” (21). All of these show her need for physical contact. She places her hair in a way that is appealing, etc... However, all this seduction does not satisfy the Lover. After this has happened, the Lover states his criticism of her, saying she is “too weak” (22). This however tells more about the character of the Lover than the one of Porphyria. It shows his very high expectations and his dissatisfaction. The Lover in this poem is very possessive of Porphyria. He believes that he is admirable enough to obtain Porphyria’s reverence “At last I knew Porphyria worshipped me” (32-33). We see his arrogance here, both in his expectation and in the way he feels worthy of this “worship”.
In the beginning of the poem, the Lover is regarded as being dissatisfied with Porphyria’s love for him. He is, around the end, seen as being very arrogant and vain. He believes he is a god-like figure worthy not only of Porphyria’s love but also of her worshipping him (which is extremely pretentious). He also thinks that he has the right to end her life which shows the mental issue the Lover had. He shows his insanity by his obsession with the idea of perfection of their love. He shows it in other ways, like his overpowering possessiveness, which leads him to kill Porphyria so that he can immortalize the moment of perfection. “Perfectly pure and good: I found a thing to do, and all her hair in one long yellow string I wound three times her little throat around, and strangled her.” (37-41) It also seems like right afterwards he might be regretting his action because he repeats to himself twice: “No pain felt she; I am quite sure she felt no pain” (41-42). He wants to reassure himself that he did not do anything wrong and that she did not suffer so, therefore, in his mind, it was the best thing to do. However, another way he demonstrates his insanity is the fact that he opens her eyes and kisses her when she is dead. After he has done this he believes she “blushed bright beneath my burning kiss” (48). This behavior is both neurotic and frightening.
At the end, the lover has managed to convince himself that what he has done is right as “God has not said a word” (60). This is a worrying thought, and it makes the reader ask what the Lover expected God to do to show his objection, or disapproval. We are left to wonder how long they laid in each other’s arms and what, if anything, happens to the Lover. Such action can not remain unpunished. Killing by passion is, unfortunately, not that unusual and Browning does a great job depicting how destructive love can be.
The lover also shows his abnormal disposition: he is more than likely talking to himself as no one else is known to be present throughout his speech.
First of all, we are led to believe the “cottage” in which they meet is isolated and that it doesn't belong to either of them. This gives us the sense of secrecy and seclusion which is reflected in their love for each other. There also seems to be obstacles between where Porphyria has come from and the “cottage”, since Browning uses the “storm” as a metaphor to exemplify the intensity of their love by overcoming the barriers between them. Porphyria is seen as being graceful, as she “glided” (6) through the door and also as a very warm person, by the way she brings warmth into the cottage: “When she came in she shut the cold and the storm out” (7). It seems like right after the time she came into the room a moment of awkwardness and silence is created as shown in the sentence “When no voice replied…” (15). This lack of response leads Porphyria to be very seductive. She “put my arm about her waist and made her smooth white shoulder bare,” (16-17). She also tries to control the situation in a very loving way. She seems able to voice her feelings freely as well, “murmuring how she loved me” (21). All of these show her need for physical contact. She places her hair in a way that is appealing, etc... However, all this seduction does not satisfy the Lover. After this has happened, the Lover states his criticism of her, saying she is “too weak” (22). This however tells more about the character of the Lover than the one of Porphyria. It shows his very high expectations and his dissatisfaction. The Lover in this poem is very possessive of Porphyria. He believes that he is admirable enough to obtain Porphyria’s reverence “At last I knew Porphyria worshipped me” (32-33). We see his arrogance here, both in his expectation and in the way he feels worthy of this “worship”.
In the beginning of the poem, the Lover is regarded as being dissatisfied with Porphyria’s love for him. He is, around the end, seen as being very arrogant and vain. He believes he is a god-like figure worthy not only of Porphyria’s love but also of her worshipping him (which is extremely pretentious). He also thinks that he has the right to end her life which shows the mental issue the Lover had. He shows his insanity by his obsession with the idea of perfection of their love. He shows it in other ways, like his overpowering possessiveness, which leads him to kill Porphyria so that he can immortalize the moment of perfection. “Perfectly pure and good: I found a thing to do, and all her hair in one long yellow string I wound three times her little throat around, and strangled her.” (37-41) It also seems like right afterwards he might be regretting his action because he repeats to himself twice: “No pain felt she; I am quite sure she felt no pain” (41-42). He wants to reassure himself that he did not do anything wrong and that she did not suffer so, therefore, in his mind, it was the best thing to do. However, another way he demonstrates his insanity is the fact that he opens her eyes and kisses her when she is dead. After he has done this he believes she “blushed bright beneath my burning kiss” (48). This behavior is both neurotic and frightening.
At the end, the lover has managed to convince himself that what he has done is right as “God has not said a word” (60). This is a worrying thought, and it makes the reader ask what the Lover expected God to do to show his objection, or disapproval. We are left to wonder how long they laid in each other’s arms and what, if anything, happens to the Lover. Such action can not remain unpunished. Killing by passion is, unfortunately, not that unusual and Browning does a great job depicting how destructive love can be.
The Lady of Shalott by Alfred Lord Tennyson... An imaginery world...
“The Lady of Shalott” begins with Tennyson providing his reader with a visual overview of the situation. The reader is shown the river and the road, and, far in the distance, the towers of Camelot. The people cited in this part are not given particular identities rather; they are common people going about their daily business. It is from their perspective that the poem first shows Shalott, an island in the river. The imagery here is of nature, freedom, and movement. This is contrasted with the inflexible, colorless walls and towers of Camelot in line 15 stating “four gray walls and four grey towers.” The flowers in the next line are not described by their colors or even by their motion in the breeze, but are “overlooked” by the grey walls as if they are held prisoner. This tone of severity in the middle of nature’s healthy activity prepares the reader for the introduction of “The Lady of Shalott” in line 18. The poem tells us that the lady who lives in the tower has not been seen, and is known only to the farmers who hear her singing while they work in their fields so early in the morning. Because they never see her but only hear her singing, “the reaper” (line 24) thinks of the Lady of Shalott as a spirit, a “fairy” (line 25). Up to this point, the reader has not been introduced to her either and knows only as much about her as those outside of the tower.
Later in the poem, during the fourth part, the season has changed. The author, now, describes an autumn scene as supported by the sentence: “In the stormy eastwind straining/ The pale-yellow woods were waning” (lines 1-2 in the fourth part). Although the time described does not seem to allow for a change of seasons, the magic creates an atmosphere where this compression of time is not unreasonable. It is significant that the Lady takes the time to write her name on the side of the boat “below the carven stern she wrote, THE LADY OF SHALOTT” (uppercase letters to give more intensity to this particular instance) (line 8-9 in the fourth part). She has no name to sign, just a title (“Lady”) and a location (“Shalott”).
“Mischance” (line 21, fourth part) means bad luck. The Lady understands that she is doomed as she looks toward Camelot, which had been responsible for sealing her fate. “Mute, with a glassy countenance” shows how desperate she is as life slips away from her. The death of the Lady of Shalott is surrounded with standard death images: cold, darkness, and mournful singing, among others. We notice that the author is trying to connect the dying woman’s departure with the dead woman’s arrival at Camelot. The Lady’s corpse is described as “pale” and “deadcold,” providing a stark visual contrast to the night as she floats past Camelot. Tennyson lists the occupants of the castle, as they are probably becoming aware of the Lady’s existence for the first time, although she was very aware of their existence. They are described as curious, as they walk around to read the front of the boat. What effect will this sight have on the people of Camelot? In the last stanza of the poem, the initial curiosity of the people of Camelot turns to fear, the primitive fear of seeing a dead person, and the way these Christian people respond in order to protect themselves is to make the sign of the cross. Tennyson brings this entire poem to a climax at this point. The Lady of Shalott was so enchanted with the idea of Camelot that she eventually was forced to look out of the window to see it herself and made the “extra step” that led her right to her death. This poem deals with the Lady of Shalott as she appears to the outside world.
Later in the poem, during the fourth part, the season has changed. The author, now, describes an autumn scene as supported by the sentence: “In the stormy eastwind straining/ The pale-yellow woods were waning” (lines 1-2 in the fourth part). Although the time described does not seem to allow for a change of seasons, the magic creates an atmosphere where this compression of time is not unreasonable. It is significant that the Lady takes the time to write her name on the side of the boat “below the carven stern she wrote, THE LADY OF SHALOTT” (uppercase letters to give more intensity to this particular instance) (line 8-9 in the fourth part). She has no name to sign, just a title (“Lady”) and a location (“Shalott”).
“Mischance” (line 21, fourth part) means bad luck. The Lady understands that she is doomed as she looks toward Camelot, which had been responsible for sealing her fate. “Mute, with a glassy countenance” shows how desperate she is as life slips away from her. The death of the Lady of Shalott is surrounded with standard death images: cold, darkness, and mournful singing, among others. We notice that the author is trying to connect the dying woman’s departure with the dead woman’s arrival at Camelot. The Lady’s corpse is described as “pale” and “deadcold,” providing a stark visual contrast to the night as she floats past Camelot. Tennyson lists the occupants of the castle, as they are probably becoming aware of the Lady’s existence for the first time, although she was very aware of their existence. They are described as curious, as they walk around to read the front of the boat. What effect will this sight have on the people of Camelot? In the last stanza of the poem, the initial curiosity of the people of Camelot turns to fear, the primitive fear of seeing a dead person, and the way these Christian people respond in order to protect themselves is to make the sign of the cross. Tennyson brings this entire poem to a climax at this point. The Lady of Shalott was so enchanted with the idea of Camelot that she eventually was forced to look out of the window to see it herself and made the “extra step” that led her right to her death. This poem deals with the Lady of Shalott as she appears to the outside world.
A Visit to Newgate by Charles Dickens... Inside prison walls!!
“A Visit to Newgate” by Charles Dickens describes the winding and obscure twists of the prison and the multitude of guards responsible for its security. His writing just flows so well; he is, without the shadow of a doubt, the writer I enjoyed the most so far. This essay illustrates for the reader the way in which prisoners are estranged. Dickens advocates that the world is composed of good people and some, regrettably, inherently bad, from whom the good people should be sheltered against. He is trying, through thorough descriptions, to make his reader envision the scene when someone ever comes to visit the convicts. Around half way through the third page of the passage, Dickens is referring to a girl seen visiting her incarcerated mother. His analysis of that “meeting” or should we call it “re-encounter” is sumptuously described; there is no word to add to it.
First, the remarks show the author's strong concern for children who, because of unlucky situation, are found in such deplorable scenarios. Facing your mother throughout the “bars of evil,” as we call a prison back home, is not an easy state to comprehend and accept. Even though, a famous quote states: “God, grant me the serenity to accept the things I can not change, the courage to change the things I can, and the wisdom to know the difference.” The portrait of the girl coming in is striking, as we can notice in that sentence: “The girl belonged to a class -unhappily but too expensive- the very existence of which should make men's hearts bleed.” (second paragraph on the fourth page) Despite such compassion, Dickens acknowledges that at a certain point in time, those same people have “messed up” and “went over the line” to the point of losing themselves. These are the times when society should recognize these institutions are present and useful to “host” them. In a few words, supporting the hint that jails isolated their worst inmates in extremely inappropriate and horrible circumstances, Dickens indicates that in a “dismal passage,” one finds “three or four dark cells for the accommodation of refractory prisoners” (third paragraph on the fifth page). The use of the word “refractory” is significant to note, suggesting as it does one who is dead set against remedy or cure. He mentions an extraordinary example of the kind when he talks about fourteen young lads in the Newgate “School” of whom he puts pen to paper: "We never looked upon a more disagreeable sight, because we never saw fourteen such hopeless creatures of neglect before." (top of the sixth page). As if the point was not yet obvious enough, Dickens called the boys “a disagreeable sight,” “hopeless” and “creatures of neglect” in only one fairly short sentence.
Shortly thereafter, Dickens explains that “prisoners of the more respectable class are confined” (top of the sixth page) in an area distinct from their incurable brethren.
“A Visit to Newgate” includes an extensive concern of a condemned man's ultimate hours. For example, in the essay, Dickens writes that the prisoner has “neglected in his feverish restlessness the timely warnings of his spiritual counselor” (last paragraph on the ninth page).
Dickens, also, kindly but also with stunning emotions describes the diminishing number of hours remaining in the condemned man's life as shown in “The deep bell of St. Paul’s strikes--one!” That is intense!
Dickens is one of the first authors to describe the “inside” of a prison that thoroughly. Also, his journalism articulates a firm opinion on the on-going controversy of the penal theory. Dickens took sides in the heated debate over the “separate system” and the “silent system.” Some views of his supported the latter.
The separate system confined convicts in single cells for eighteen months, taught the prisoners trades and provided moral and religious guidance. The silent system got prisoners together and did not allow them to converse.
Dickens’ initial objection to the separate system was that under it, prisoners live better than low-class people outside of jail. He compares the diet of prisoners to the eating habits of individuals at a workhouse and finds the former better fed. The author also makes a really good point when he mentions that the time and financial resources spent tutoring and educating prisoners would be better off allotted to people that are “left aside” in the street, free of burden.
First, the remarks show the author's strong concern for children who, because of unlucky situation, are found in such deplorable scenarios. Facing your mother throughout the “bars of evil,” as we call a prison back home, is not an easy state to comprehend and accept. Even though, a famous quote states: “God, grant me the serenity to accept the things I can not change, the courage to change the things I can, and the wisdom to know the difference.” The portrait of the girl coming in is striking, as we can notice in that sentence: “The girl belonged to a class -unhappily but too expensive- the very existence of which should make men's hearts bleed.” (second paragraph on the fourth page) Despite such compassion, Dickens acknowledges that at a certain point in time, those same people have “messed up” and “went over the line” to the point of losing themselves. These are the times when society should recognize these institutions are present and useful to “host” them. In a few words, supporting the hint that jails isolated their worst inmates in extremely inappropriate and horrible circumstances, Dickens indicates that in a “dismal passage,” one finds “three or four dark cells for the accommodation of refractory prisoners” (third paragraph on the fifth page). The use of the word “refractory” is significant to note, suggesting as it does one who is dead set against remedy or cure. He mentions an extraordinary example of the kind when he talks about fourteen young lads in the Newgate “School” of whom he puts pen to paper: "We never looked upon a more disagreeable sight, because we never saw fourteen such hopeless creatures of neglect before." (top of the sixth page). As if the point was not yet obvious enough, Dickens called the boys “a disagreeable sight,” “hopeless” and “creatures of neglect” in only one fairly short sentence.
Shortly thereafter, Dickens explains that “prisoners of the more respectable class are confined” (top of the sixth page) in an area distinct from their incurable brethren.
“A Visit to Newgate” includes an extensive concern of a condemned man's ultimate hours. For example, in the essay, Dickens writes that the prisoner has “neglected in his feverish restlessness the timely warnings of his spiritual counselor” (last paragraph on the ninth page).
Dickens, also, kindly but also with stunning emotions describes the diminishing number of hours remaining in the condemned man's life as shown in “The deep bell of St. Paul’s strikes--one!” That is intense!
Dickens is one of the first authors to describe the “inside” of a prison that thoroughly. Also, his journalism articulates a firm opinion on the on-going controversy of the penal theory. Dickens took sides in the heated debate over the “separate system” and the “silent system.” Some views of his supported the latter.
The separate system confined convicts in single cells for eighteen months, taught the prisoners trades and provided moral and religious guidance. The silent system got prisoners together and did not allow them to converse.
Dickens’ initial objection to the separate system was that under it, prisoners live better than low-class people outside of jail. He compares the diet of prisoners to the eating habits of individuals at a workhouse and finds the former better fed. The author also makes a really good point when he mentions that the time and financial resources spent tutoring and educating prisoners would be better off allotted to people that are “left aside” in the street, free of burden.
Thomas Carlyle... A role model for the Victorian era
Thomas Carlyle was a role model for extremely talented writers such as “his fellow Victorians. Mill, Tennyson, Browning, Dickens, Ruskin, and many others” who “idolized him,” (top of p. 475) and still is a role model today. He was a man who envisioned great change for his country. What mattered the most to him was to make his country a better, stronger country with ideals and goals to reach, rather than concentrating on the people’s wealth. He had a strong sense of patriotism and wanted the people of Scotland to be proud. He was tired of seeing people giving up and urged them to take a stand and do “something” about their situation. “Crying” and “blaming” the situation you are in, will not help you be a stronger human being. Today, I actually read a quote from an “unknown author” that Carlyle would most likely agree with: "Smooth roads never make good drivers. Smooth seas never make good sailors. Clear skies never make good pilots. A problem free life never makes a strong and good person. Have a tough but winning day ahead! Be strong enough to accept the challenges of life. Do not ask life, “Why me?” instead say, “Try me”.” Through his words, Carlyle was able to motivate people to try to make a difference. I appreciated the fact that he expressed his ideas and points of view to a certain category of people like the “captains of industry” (p.482), for example, instead of addressing his message to the masses.
In “Past and Present,” Carlyle portrays the wealth of Scotland:
“We have more riches than any Nation ever had before; we have less good of them than any Nation ever had before. Our successful industry is hitherto unsuccessful; a strange success, if we stop here! In the midst of plethoric plenty, the people perish; with gold walls, and full barns, no man feels himself safe or satisfied” (p. 480, 2nd paragraph). Carlyle insinuates that Scotland should not try to get wealthier if that hurts the society overall. This is more than likely to be detrimental and doomed for failure in the future. Someone would need to take a stand and change the way society functions in order to keep up with the overwhelming growing industrialism. It is a burden on the people but FOR the well-being of the people and the development of the entire country.
In the “Gospel of Mammonism,” the poor Irish Widow is a great example of how poorly lower level class people were acknowledged at that time period. “At this Charitable Establishment and then at that she was refused; referred from one to the other, helped by none; ---till she had exhausted them all; till her strength and heart failed her: she sank down in typhus-fever; died, and infected her Lane with fever, so that “seventeen other persons” died of fever there in consequence” (bottom paragraph p. 480). This wonderfully written sentence, in which I admire the use of its complex sentence structure, is a perfect summary of the situation. When she cried out for help, everyone seemed to avoid her or to look at her in a pitiful way. However, once she “killed” dozens of people by spreading typhoid fever, she was seen as a problem and someone we should pay attention to. Her poverty did not catch anyone’s attention… But her death did? Why would society wait for her to be of any “harm” before acting appropriately? Was it so hard to just lend a helping hand to that lady? Selfishness and poverty were the main issues shown there. People lived only to solve problems concerning themselves and did not realize helping someone else might end up helping oneself on the long run. Remember the sayings: “treat others the way you would want to be treated” or again “care is the only thing you get more of by giving it away.” People did not understand those two concepts because they were scared and short-sighted. I would like to mention that in the 21st century, we tend to resemble to those who let that “poor Irish widow” down more and more. Honor and a sense of an accomplished duty does not matter that much anymore. Helping others has become of less importance. We take that for granted now and believe we can “get around” that and enjoy our own little fortune without worrying about others. Another factor causing that general animosity is the lack of trust due. Thieves use “imaginary poverty” to fool an individual.
I digressed a bit here but le us come back to the topic. This woman did not belong to those “new generation of crooks,” but was only reaching for people’s kindness and leniency at a charity place, a place you could believe her suffering sigh would be heard and taken care of. Nevertheless, she has been ignored and “forgotten on the side of the road” as so many like her did. If you preach to be a “charitable establishment” (p. 480) have the decency to follow through with it. You have for mission to provide care to everyone getting through your door. Vice had completely taken over Edinburgh, and Carlyle demonstrates a great lesson through that story whispering to human beings not to take on heartless actions because they will not go unpunished.
Every man does have some liability to the well-being of his neighbors, even if those less fortunate do not affect us directly.
In “Past and Present,” Carlyle portrays the wealth of Scotland:
“We have more riches than any Nation ever had before; we have less good of them than any Nation ever had before. Our successful industry is hitherto unsuccessful; a strange success, if we stop here! In the midst of plethoric plenty, the people perish; with gold walls, and full barns, no man feels himself safe or satisfied” (p. 480, 2nd paragraph). Carlyle insinuates that Scotland should not try to get wealthier if that hurts the society overall. This is more than likely to be detrimental and doomed for failure in the future. Someone would need to take a stand and change the way society functions in order to keep up with the overwhelming growing industrialism. It is a burden on the people but FOR the well-being of the people and the development of the entire country.
In the “Gospel of Mammonism,” the poor Irish Widow is a great example of how poorly lower level class people were acknowledged at that time period. “At this Charitable Establishment and then at that she was refused; referred from one to the other, helped by none; ---till she had exhausted them all; till her strength and heart failed her: she sank down in typhus-fever; died, and infected her Lane with fever, so that “seventeen other persons” died of fever there in consequence” (bottom paragraph p. 480). This wonderfully written sentence, in which I admire the use of its complex sentence structure, is a perfect summary of the situation. When she cried out for help, everyone seemed to avoid her or to look at her in a pitiful way. However, once she “killed” dozens of people by spreading typhoid fever, she was seen as a problem and someone we should pay attention to. Her poverty did not catch anyone’s attention… But her death did? Why would society wait for her to be of any “harm” before acting appropriately? Was it so hard to just lend a helping hand to that lady? Selfishness and poverty were the main issues shown there. People lived only to solve problems concerning themselves and did not realize helping someone else might end up helping oneself on the long run. Remember the sayings: “treat others the way you would want to be treated” or again “care is the only thing you get more of by giving it away.” People did not understand those two concepts because they were scared and short-sighted. I would like to mention that in the 21st century, we tend to resemble to those who let that “poor Irish widow” down more and more. Honor and a sense of an accomplished duty does not matter that much anymore. Helping others has become of less importance. We take that for granted now and believe we can “get around” that and enjoy our own little fortune without worrying about others. Another factor causing that general animosity is the lack of trust due. Thieves use “imaginary poverty” to fool an individual.
I digressed a bit here but le us come back to the topic. This woman did not belong to those “new generation of crooks,” but was only reaching for people’s kindness and leniency at a charity place, a place you could believe her suffering sigh would be heard and taken care of. Nevertheless, she has been ignored and “forgotten on the side of the road” as so many like her did. If you preach to be a “charitable establishment” (p. 480) have the decency to follow through with it. You have for mission to provide care to everyone getting through your door. Vice had completely taken over Edinburgh, and Carlyle demonstrates a great lesson through that story whispering to human beings not to take on heartless actions because they will not go unpunished.
Every man does have some liability to the well-being of his neighbors, even if those less fortunate do not affect us directly.
Homes of England by Felecia Hemans... Patriotism!!
In “The Homes of England”, Hemans pays homage to her beloved country, England. She wants her reader to feel like every home in England contributes to the beauty of the nation. She observes different households as she describes the different levels of classes. At the beginning of the poem, she focuses on the homes of upper classes people, the nobility. We can affirm that by paying close attention to her word choice such as “how beautiful they stand” (2) and “tall ancestral trees” (3). It gives an impression of grandiosity if you try picturing such a surrounding.
The second stanza describes a somewhat “inferior” kind of home, probably belonging to well educated people for when she states: “childhood’s tale is told” (14); however it is not as prestigious as the homes described in the previous stanza. Also, Hemans tries to envision that a woman's function does not automatically vary through social classes. Even though these homes may not be like those of the aristocracy, the “woman’s voice flows forth in song” (13) still. The third stanza portrays “the blessed homes of England” (17) such as houses in which religion is all around. These buildings house the people that believe in God and the people that will do everything the way it should be done in order to get to “heaven”, including not showing a particular interest for the materialistic part of life (beautiful houses, cars, etc...). You can imagine those people rejoice in simplicity: “how softly on their bowers is laid the holy quietness” (18-19).
Finally, the fourth stanza describes the churls’ homes or the average man’s home. You can easily contrast the images of “all the pleasant land” (4) in which “the swan” that “glides past them with the sound of some rejoicing stream” that describes the “rich people” homes (7-8) and “by thousands on her plains, they are smiling o’er the silvery brooks” describing much more modest households (26-27). You will not see a swan on a “silvery brooks.” At that time period, most people were peasant living off of what their land had to offer them. They cultivated it with passion and love, as it was the most valuable thing they had. However, even though we can notice a difference in living standard, Hemans beautifully attempts to depict all the houses as a part of the charm of England. This is a hymn to patriotism. Women in all lifestyles still share the same domestic role, which Hemans is illustrating in this poem. She demonstrates everlasting love for her home country, England. She sets all levels of homes as equal because they are the starting points for English people to grow and love their country. Hemans says that English people can learn about loyalty to their motherland, starting at home. These homes are supposed to be the foundations for English lives as represented by the last verse of the poem: “Where first the child’s glad spirit loves/ Its country and its God!” (39-40).
Hemans gives a very loving feel (which definitely qualifies her as one of the best Romantic writers of her time) to this work as she depicts each set of houses with its surrounding elements of nature. Through her descriptions she wants to “loose” her reader into the English landscape that she values so intensely. She gives a vibrant picture of the land, making the houses sound enchanting, especially when she describes “the cottage homes of England” (25) with the houses being subject of the sentence: “They are smiling o'er the silvery brooks”.
The last point I wanted to stress was the fact that she used an uppercase letter for the “h” of “Homes” at the beginning of every stanza. That is not random; it gives her writing a more intense and powerful meaning. The word “Homes” is used this way to add more value to the English households in general.
The second stanza describes a somewhat “inferior” kind of home, probably belonging to well educated people for when she states: “childhood’s tale is told” (14); however it is not as prestigious as the homes described in the previous stanza. Also, Hemans tries to envision that a woman's function does not automatically vary through social classes. Even though these homes may not be like those of the aristocracy, the “woman’s voice flows forth in song” (13) still. The third stanza portrays “the blessed homes of England” (17) such as houses in which religion is all around. These buildings house the people that believe in God and the people that will do everything the way it should be done in order to get to “heaven”, including not showing a particular interest for the materialistic part of life (beautiful houses, cars, etc...). You can imagine those people rejoice in simplicity: “how softly on their bowers is laid the holy quietness” (18-19).
Finally, the fourth stanza describes the churls’ homes or the average man’s home. You can easily contrast the images of “all the pleasant land” (4) in which “the swan” that “glides past them with the sound of some rejoicing stream” that describes the “rich people” homes (7-8) and “by thousands on her plains, they are smiling o’er the silvery brooks” describing much more modest households (26-27). You will not see a swan on a “silvery brooks.” At that time period, most people were peasant living off of what their land had to offer them. They cultivated it with passion and love, as it was the most valuable thing they had. However, even though we can notice a difference in living standard, Hemans beautifully attempts to depict all the houses as a part of the charm of England. This is a hymn to patriotism. Women in all lifestyles still share the same domestic role, which Hemans is illustrating in this poem. She demonstrates everlasting love for her home country, England. She sets all levels of homes as equal because they are the starting points for English people to grow and love their country. Hemans says that English people can learn about loyalty to their motherland, starting at home. These homes are supposed to be the foundations for English lives as represented by the last verse of the poem: “Where first the child’s glad spirit loves/ Its country and its God!” (39-40).
Hemans gives a very loving feel (which definitely qualifies her as one of the best Romantic writers of her time) to this work as she depicts each set of houses with its surrounding elements of nature. Through her descriptions she wants to “loose” her reader into the English landscape that she values so intensely. She gives a vibrant picture of the land, making the houses sound enchanting, especially when she describes “the cottage homes of England” (25) with the houses being subject of the sentence: “They are smiling o'er the silvery brooks”.
The last point I wanted to stress was the fact that she used an uppercase letter for the “h” of “Homes” at the beginning of every stanza. That is not random; it gives her writing a more intense and powerful meaning. The word “Homes” is used this way to add more value to the English households in general.
To Autumn by John Keats... an inspiration for a lifestyle..
“To Autumn” is one of the most well-known and perfect odes written by John Keats. It is sad to notice that his greatest piece was the last one that he ever wrote before he passed away, as he was reaching the peak of his art just before his death. We will never really know how great of a writer he could have become. He has an impressive bibliography for someone who died at age 25. However, we can notice some major differences from this ode compared to the rest of them that he has written. For example, there is no “get-away” from reality, or deviation into imagination, in fact there is no narrative voice at all. Also, it has a unique emphasis on change and evolvement, not only through autumn, but through all mortal events in this life. The three-stanza poem seems to accentuate the fact that there are three distinct phases of autumn: growth, harvest, and death. In the first stanza, autumn is a season of fulfilling, yet the theme ending the final stanza is that autumn is a season of dying. However, by using the periods of that season as a metaphor for the course of death, Keats “explains” death in a different, more favorable way. If I were to remember one lesson from this poem, it would be the following: Life is a beautiful occurrence that should not be wasted. Life can be snatched away without warning; it is not to be taken for granted. Also, we will never fully understand the concept of life, not even centuries from now. Enjoy life, even as you get older and it begins to slip away from you. He spreads his message through a certain chronology, some splendid metaphors, and unforeseen elocution throughout the poem. The time frame of the stanzas progresses through autumn and a day as an individual’s life does. It shows that autumn and a day are parallel to a person’s life.
The first stanza takes place in early autumn or the morning (“day wise”). This is shown is passages from the poem. For example, “season of mists” (1) and “warm days will never cease” (10) show this time scenery. “Season of mists” demonstrates that he is referring to the morning because this is when mist appears. “Warm days will never cease” proves early autumn because this is the hottest and most humid time of the year. Actions taken place during the first stanza definitely occur during a morning in early autumn, and those are an analogy to childhood when compared to life.
The second stanza is set in mid-autumn or the afternoon. For example, “on a half-reaped furrow sound asleep” (16), “while thy hook” (17), and “gleaner” (19), indicate to the readers that we are in mid-autumn and afternoon. “While thy hook” and “gleaner” show mid-autumn because these events deal with the harvest, which starts in mid-autumn. “On a half-reaped furrow sound asleep” proves afternoon because the “furrow” is “half-reaped,” thus half way through the day, or the afternoon, and naps are usually taken during the afternoon to rest from a hard morning and get ready for the evening. Mid-autumn and afternoon, in that case, is another analogy to adulthood in life.
The third stanza happens in late autumn or the evening. For instance, “hedge crickets sing” (31) and “gathering swallows” (33) lets us know it is late autumn in the evening. “Hedge crickets sing” proves evening because crickets are known to generate their original sound in the evening hours. “Gathering swallows” proves late autumn because this is when birds get together to flee the region they are installed in to migrate to warmer climates. The elderly years of life are described throughout the passage as well. These facts show that the poem progresses through a single day and the entire season of autumn. This, of course, is not a proof to the entire theme itself, but it implies that life, just like autumn, is progressing.
The “speech” starts out very active in the first stanza, but switches to passive in the second. A logical following would be to have a third stanza explore the passive voice more intently, but instead Keats uses mixed diction. This symbolizes that life starts out in infancy, where you are very energetic and life is close. Then, time passes by and it shifts to adulthood, where life begins to “fly away” from you, and you become more passive. As you progress to the elderly years, life slips even further away, but instead of being even more passive, Keats wants his readers to be active even when they feel that death might be “around the corner.”
The main theme, once again, is to live your life actively until your last minute. I knew a man once who said, “Death smiles at us all. All a man can do is smile back.” That is a powerful quote I will remember my whole life. Keats’ poem “To Autumn” was just a remainder for me. I would like to mention another quote that I think would match greatly to the context: “In the end, we're all dead men. Sadly, we cannot choose how, or when. But what we can choose is how we decide to meet that end, so we are remembered forever as men.” I believe that is such a true statement and Keats wants us to understand that. This poem was extremely well written, and it gives a tremendous message that everyone should be aware of and that each of us should try to live by.
The first stanza takes place in early autumn or the morning (“day wise”). This is shown is passages from the poem. For example, “season of mists” (1) and “warm days will never cease” (10) show this time scenery. “Season of mists” demonstrates that he is referring to the morning because this is when mist appears. “Warm days will never cease” proves early autumn because this is the hottest and most humid time of the year. Actions taken place during the first stanza definitely occur during a morning in early autumn, and those are an analogy to childhood when compared to life.
The second stanza is set in mid-autumn or the afternoon. For example, “on a half-reaped furrow sound asleep” (16), “while thy hook” (17), and “gleaner” (19), indicate to the readers that we are in mid-autumn and afternoon. “While thy hook” and “gleaner” show mid-autumn because these events deal with the harvest, which starts in mid-autumn. “On a half-reaped furrow sound asleep” proves afternoon because the “furrow” is “half-reaped,” thus half way through the day, or the afternoon, and naps are usually taken during the afternoon to rest from a hard morning and get ready for the evening. Mid-autumn and afternoon, in that case, is another analogy to adulthood in life.
The third stanza happens in late autumn or the evening. For instance, “hedge crickets sing” (31) and “gathering swallows” (33) lets us know it is late autumn in the evening. “Hedge crickets sing” proves evening because crickets are known to generate their original sound in the evening hours. “Gathering swallows” proves late autumn because this is when birds get together to flee the region they are installed in to migrate to warmer climates. The elderly years of life are described throughout the passage as well. These facts show that the poem progresses through a single day and the entire season of autumn. This, of course, is not a proof to the entire theme itself, but it implies that life, just like autumn, is progressing.
The “speech” starts out very active in the first stanza, but switches to passive in the second. A logical following would be to have a third stanza explore the passive voice more intently, but instead Keats uses mixed diction. This symbolizes that life starts out in infancy, where you are very energetic and life is close. Then, time passes by and it shifts to adulthood, where life begins to “fly away” from you, and you become more passive. As you progress to the elderly years, life slips even further away, but instead of being even more passive, Keats wants his readers to be active even when they feel that death might be “around the corner.”
The main theme, once again, is to live your life actively until your last minute. I knew a man once who said, “Death smiles at us all. All a man can do is smile back.” That is a powerful quote I will remember my whole life. Keats’ poem “To Autumn” was just a remainder for me. I would like to mention another quote that I think would match greatly to the context: “In the end, we're all dead men. Sadly, we cannot choose how, or when. But what we can choose is how we decide to meet that end, so we are remembered forever as men.” I believe that is such a true statement and Keats wants us to understand that. This poem was extremely well written, and it gives a tremendous message that everyone should be aware of and that each of us should try to live by.
Saturday, June 7, 2008
Ozymandias- Man vs. Nature... by Shelley
I have very mixed feelings about the poem called Ozymandias by Shelley. Usually a poem brings one main idea to my attention but in this poem I can not really figure out one topic to choose over another. Nature, immortality and personal despair are the three main themes that come to my mind when I think of Ozymandias. It is extremely hard to narrow the author’s thought to only one. He, more than likely did not have only one himself. The poem starts with a mysterious “traveler from an antique land” (1) describing the demolished statue of Ozymandias (more known as Ramses II). The traveler serves as the human awareness needed to give a certain vigor to the thought of the destructiveness of nature. We can only assume nature was responsible for its demolition since Shelley does not mention how the statue got ruined. Also, it was sited in an isolated location that makes the act of a human power more improbable. However, Shelley wants his readers to imagine that statue of the great King Ozymandias. On his pedestal: “My name is Ozymandias, King of Kings, Look on my Works, ye Mighty and despair!” (10-11) has been carved in. That is a proof that this king was very insolent and overconfident. The word “Works” being capitalized is not random. It is this way as if it deserved veneration and awe. Shelley also wants us to notice that however great of a statue it was, it still has been smashed to the ground: “Two vast and trunkless legs of stone stand in the desart…. Near them on the sand, Half sunk a shattered visage lies,” (2-4) so we can have a better mental picture of what is left. This pair of legs was standing on a plinth, alone, in the middle of a desert and was looking to the ground to find the rest of the sculpture crushed into pieces. We look around to see his works so that we can “despair” (11) and we find that "Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare, The lone and level sands stretch far away." (12-14) I find that amusing as a situation overall. Nature has infatuated man. Nature always wins at the end. He tried to build a huge empire and then teased all of nature’s labor to the point of wondering “who could beat him?” He did not realize who he was “facing” when he decided to “challenge” nature. Nature has once again proved the far-reaching strength of its power. To an extent, nature’s haughtiness is also evident too though. Nature destroyed man’s “Work” and leaves us the pedestal to read. Is that a provocation? A proof? A sign? Shelley wants his readers to believe the pedestal was left for the only purpose of giving a lesson to men. Nothing that Ozymandias accomplished remained in existence. Nature, on the other end, survived and shattered all that he had done.
Another version for the meaning of that poem that I thought could be interested to dig in was to note that this poem was written during a time of great desolation in his life. Shelley's first wife had just committed suicide. He could not obtain custody of his children, his baby daughter had just passed away; and Shelley himself was weighed down by illness, pain, and financial worries. A sort of midlife crisis seemed to have seized him to the most profound of his soul. This poem could be related to his sudden difficult situation. Shelley just like Ozymandias, who was a gifted man and had accomplished most of what he wanted in life was now sitting broken down by what just took place. He could not just get up and start a new life. He was very ill, depressed and broken. This is a message Shelley sent through his poem, a howl of his heart facing a situation no man would want to experience.
The last analysis I came up with is that this poem is used to convey the feeling that immortality does not walk hand in hand with wealth. Through the use of dramatic imagery and irony, the poet attempts to clarify that no one lives forever like the belongings they assemble and possess. For example, he refers to the wrecked crumbles of the statue with only legs and head remaining, lying inert in the desert as “Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read.” (4-6) Long ago, a statue of a great man stood there, but years after years, the glorious statue has been reduced to debris and not long after was forgotten. Immortality is not a luxury you can buy. Shelley illustrated to his readers that properties do not last forever by comparing them to the king. The king assumed that his kingdom and his heritage would last forever under his statue’s “watchful eye,” however, the statue just worn out in the middle of the desert (also synonymous of immensity) meaning one individual is nothing compared to the world. When the narrator says: “Look on my works, ye Mighty, and despair!” (11) he means that in spite of all the power one may obtain over their magnificent lifetime, materialistic goods do not last forever. In the end, the king’s works can not be used as a bargain for everlasting life, and the couple of lines graved upon his statue are a sermon for those who read the exergue.
Another version for the meaning of that poem that I thought could be interested to dig in was to note that this poem was written during a time of great desolation in his life. Shelley's first wife had just committed suicide. He could not obtain custody of his children, his baby daughter had just passed away; and Shelley himself was weighed down by illness, pain, and financial worries. A sort of midlife crisis seemed to have seized him to the most profound of his soul. This poem could be related to his sudden difficult situation. Shelley just like Ozymandias, who was a gifted man and had accomplished most of what he wanted in life was now sitting broken down by what just took place. He could not just get up and start a new life. He was very ill, depressed and broken. This is a message Shelley sent through his poem, a howl of his heart facing a situation no man would want to experience.
The last analysis I came up with is that this poem is used to convey the feeling that immortality does not walk hand in hand with wealth. Through the use of dramatic imagery and irony, the poet attempts to clarify that no one lives forever like the belongings they assemble and possess. For example, he refers to the wrecked crumbles of the statue with only legs and head remaining, lying inert in the desert as “Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read.” (4-6) Long ago, a statue of a great man stood there, but years after years, the glorious statue has been reduced to debris and not long after was forgotten. Immortality is not a luxury you can buy. Shelley illustrated to his readers that properties do not last forever by comparing them to the king. The king assumed that his kingdom and his heritage would last forever under his statue’s “watchful eye,” however, the statue just worn out in the middle of the desert (also synonymous of immensity) meaning one individual is nothing compared to the world. When the narrator says: “Look on my works, ye Mighty, and despair!” (11) he means that in spite of all the power one may obtain over their magnificent lifetime, materialistic goods do not last forever. In the end, the king’s works can not be used as a bargain for everlasting life, and the couple of lines graved upon his statue are a sermon for those who read the exergue.
Thursday, June 5, 2008
"Don Juan" Fulfilled Man or Heartless Player? by Byron
“Don Juan” is Byron’s most famous piece, his uncontested chef-d’œuvre! I have taken the time in the past to read this poem, therefore most of what I would like to describe in this blog will not necessarily “ring a bell” to anyone in the class, if we consider the reading from the passage we had in the book. I did not really enjoy the part that was in the book. This poem is worth reading in its entirety. This is actually one of the stories we hear at a very young age back home. It is like a traditional story we like to recount. So, the following will most likely be my humble opinion on (what I know of) how terrific of a writer Byron was! It took him about five years (1819 to 1824) to publish it all, which is impressively long. It is a poem that he calls himself the “northern lights”, in which the main underlying theme is not so much the traditional hero but more the poet himself and all that consists of the “weft of his soul”: his experiences, his works, his thoughts, his desires, or again his internal conflicts. Under a fictional storytelling, Byron never ceases to set himself out on the “frontline” and work on subtle variations regarding two major recurring topics: the love of liberty and the loathing of hypocrisy. In this poem, he subtly handles ambiguity, maybe to fool the reader by inversing on purpose the tone he adapts when he narrates tragic events or when he uses humorous comments. Throughout the poem, Juan’s face fades away to leave its place to that of the author. The confessions seem to be more and more personal, to the point of thinking that Byron might have placed himself in a situation facing a “psychoanalyst” just as if he wanted to judge himself before “his time.” His sincerity, his phenomenal writing skills and his abrasive irony can only conquer his contemporary readers’ hearts. Some critics at the time, troubled by such a new creative style, chocked by some of his outrageousness, did not hesitate to violently condemn his works. Some, however, more advanced in their time, certainly appreciated the originality of “Don Juan” and the ingenuity displayed by such a talented writer. Don Juan, a young aristocrat from Sevilla, was sent overseas by his mother when he was sixteen years old because of an affair he had with a married woman. His ship wrecked and the survivors became familiar with the torments of hunger and thirst. Don Juan’s dog and adviser were the targets of pure human savagery. They both got eaten, evidence of an act of cannibalism not that rare in times of complete despair. Juan is thrown overboard on one of the Greek Island cost! He was finally discovered a few hours later and brought back to life by the gorgeous and beautiful Haidee, a pirate’s daughter. They both instantly fell in love with each other and lived some idyllic times together. Unfortunately, Haidee’s father, Lambro, who had been gone for a long time and considered dead, came back. He, by mistake, discovered the “game” the two lovebirds were playing. He decided to challenge Juan in a duel. During that fight, he wounded him and captured him to take him away from his daughter. Act of over-protection? Jealousy ? A bit of both? No one will really be able to tell. The next thing we know, Juan has been sent to Constantinople to be sold as a slave on the public market. At that point, it is evident that a terrible end is in store for Juan, but do not kid yourself, this is not knowing Juan well. After being put on the slave market as meat, he is bought by a sultana who, day after day, became passionate about him. But by the little attention he was showing the young Dudu, Juan sparked off jealousy from Gulbeyraz who threatened him to death. He, therefore, fled from that place and joined the Russian army who was besieging the city of Ismail. His heroic behavior during the fights allowed him the honor of being send to St. Petersburg to bring the news of victory to the empress Catherine. The empress, as it’s like everyone who meets Juan has drank an aphrodisiac cocktail, was filled with enthusiasm toward the handsome Juan. After a while, however, she became bored with his company and decided to get rid of him by sending him on a mission in England. The hero had many affairs in this country, evolving in the society and entering various social circles. His relationships with women did not prevent him from pondering over human beings and life in general. He enjoyed recounting the tokens of his past. The highlight of the overall burlesque situation would have to be when the aging duchess of Fitz-Fulke, drawn toward the always-attractive Juan, decided to disguise herself as a ghost to be able to “sneak into” his room while he was sleeping to “fall in his arm.” Back in France, “Being a Don Juan” is now used as an expression for a man having a definite ability to attract plenty of women but who can not settle for one. Byron makes a good point about life in general and relationships in particular throughout that poem. He tells us that it is hard to live your whole life with only one person but the reward for finding the right person will be worth the “soul search.” He does not believe Juan is fully happy and fulfilled with his lifestyle. However, is it not a matter of taste in relationships…?
Coleridge's complex mind... Kubla Khan and The Rime of the Ancient Mariner
Coleridge was, so far, the most challenging poet to understand. His use of complex words exploring the nook of the English language tends to “throw me off” a bit. However, I found a couple of his poems that I thought were interesting. My analysis might be a little off on those but bear with me…
“Kubla Khan” by Samuel Taylor Coleridge is a poem that wants and requires you to have a very large imagination, and one that is wrapped around a poetry rarely found before. Coleridge throws his reader into a scenario worthy of paradise through the use of magical descriptions. While reading this poem, one can imagine a gorgeous world that only the creative power of mind can invent. Also, the poem strangely looks like a passage of the biblical stories of the creation of the Garden of Eden. God created Eden, as Kubla Khan created the “pleasure dome.” (2) The word “decree” (2) implies that it was Khan’s will which created the “pleasure dome”, once again just like it was God’s will to create Eden. However, Coleridge suddenly switches tone around the end of the poem to make the reader realize that unfortunately, such a heavenly world will never be seen on Earth because it is not sustainable. The mind has the ability to create an imaginary world that will never get close to being reproduced. Coleridge, through the power of words, makes us evade the real world to “float” around a world only poetry can describe. It is an ode to happiness and dreams.
In Samuel Taylor Coleridge's poem, “The Rime of the Ancient Mariner”, the author recounts the story of a sailor and his crew to divulge many different facets of life. The Mariner's tale begins with him and his crew embarking on a journey. Despite their initial good fortune, the ship is driven off course by a storm. In the poem, the ship is a metaphor for a man. The ship encounters troubles and incidents just as an individual does. This symbol of a boat is an especially powerful one, because even though men are holding the steering wheel, its fate lies in the hands of the winds and currents. Coleridge, just like William Wordsworth, wants to demonstrate that we (humans) are no match for nature. We should not take it for granted, as we might be punished for such behavior. The mariner commits his sins at the beginning of his voyage and has no respect for nature. He does not realize that it is nature which provides him with his business and livelihood; he does not respect the one thing that he depends on most. He shows no gratitude towards nature and even uses harsh words to describe it: "Yea, slimy things did crawl with legs upon the slimy sea." (125-126) Also, the albatross is very meaningful in the poem. It symbolizes a powerful force, maybe even Christ, as Coleridge seems to be very religious. Just as the Mariner slays the bird for no valid reason, men crucified Christ. From what the Bible says, Christ represents mankind's one chance for getting into Heaven; however, men continue to persecute Him. In the same way, the albatross stands for the sailors' one chance at deliverance from an “icy death”, but the Mariner shoots him regardless, meaning the Mariner thinks he is stronger and does not need what actually is his most important “ally.” Finally, the South Pole is a symbol of Hell. No discernible wind pushes the ill-fated crew toward the South Pole. Rather it is described more as an unseen force which attracts them like a magnet. In reference to life’s circumstances so is the case when the world's enticements beckon one to Hell.
“Kubla Khan” by Samuel Taylor Coleridge is a poem that wants and requires you to have a very large imagination, and one that is wrapped around a poetry rarely found before. Coleridge throws his reader into a scenario worthy of paradise through the use of magical descriptions. While reading this poem, one can imagine a gorgeous world that only the creative power of mind can invent. Also, the poem strangely looks like a passage of the biblical stories of the creation of the Garden of Eden. God created Eden, as Kubla Khan created the “pleasure dome.” (2) The word “decree” (2) implies that it was Khan’s will which created the “pleasure dome”, once again just like it was God’s will to create Eden. However, Coleridge suddenly switches tone around the end of the poem to make the reader realize that unfortunately, such a heavenly world will never be seen on Earth because it is not sustainable. The mind has the ability to create an imaginary world that will never get close to being reproduced. Coleridge, through the power of words, makes us evade the real world to “float” around a world only poetry can describe. It is an ode to happiness and dreams.
In Samuel Taylor Coleridge's poem, “The Rime of the Ancient Mariner”, the author recounts the story of a sailor and his crew to divulge many different facets of life. The Mariner's tale begins with him and his crew embarking on a journey. Despite their initial good fortune, the ship is driven off course by a storm. In the poem, the ship is a metaphor for a man. The ship encounters troubles and incidents just as an individual does. This symbol of a boat is an especially powerful one, because even though men are holding the steering wheel, its fate lies in the hands of the winds and currents. Coleridge, just like William Wordsworth, wants to demonstrate that we (humans) are no match for nature. We should not take it for granted, as we might be punished for such behavior. The mariner commits his sins at the beginning of his voyage and has no respect for nature. He does not realize that it is nature which provides him with his business and livelihood; he does not respect the one thing that he depends on most. He shows no gratitude towards nature and even uses harsh words to describe it: "Yea, slimy things did crawl with legs upon the slimy sea." (125-126) Also, the albatross is very meaningful in the poem. It symbolizes a powerful force, maybe even Christ, as Coleridge seems to be very religious. Just as the Mariner slays the bird for no valid reason, men crucified Christ. From what the Bible says, Christ represents mankind's one chance for getting into Heaven; however, men continue to persecute Him. In the same way, the albatross stands for the sailors' one chance at deliverance from an “icy death”, but the Mariner shoots him regardless, meaning the Mariner thinks he is stronger and does not need what actually is his most important “ally.” Finally, the South Pole is a symbol of Hell. No discernible wind pushes the ill-fated crew toward the South Pole. Rather it is described more as an unseen force which attracts them like a magnet. In reference to life’s circumstances so is the case when the world's enticements beckon one to Hell.
The World Is Too Much With Us- Ode to Nature- W. Wordsworth
William Wordsworth’s poem is a proclamation about conflict between mankind and nature. Through symbolism, Wordsworth describes his own conviction and deep feelings. Wordsworth desires to experience a simpler time, a time when the evolution of men was restricted by nature. Therefore, Wordsworth gives a defeatist view of the world, whether now or centuries removed. The words “late and soon” in the first sentence of the poem demonstrates that he sees the world the same way throughout time. He may doubt that men are evolving looking at how the past and the future are included in his depiction of mankind. Even though he realizes there is potential for humanity, the mentality of “getting and spending” (line 2) shadows that perception. Wordsworth does not, however, think of us as helpless since he describes our abilities as “powers”. Men seem to confuse speed and progress when it comes to evolution. The appetite mankind has for devouring all that is around clouds our perspective to what is being sacrificed for progress. He says that we are too focused on the material part of life. Humanity has become narcissistic and has forgotten the important “small things” in life.
The negative effect society has on the environment will proceed unchecked and relentless like the “winds that will be howling at all hours.” (6) Wordsworth does not consider nature as a “given.” The verse “Little we see in nature that is ours,” (3) shows how respectful he is toward nature. He realizes that we, humans, are nothing in this world compared to our powerful surroundings. This idea is evident when we observe how lost and helpless we are versus an earthquake, a tsunami, or any event of that sort. The expression “sleeping flowers” (7) might also describe how nature is being unwittingly infested. Wordsworth wants to send us a message about what he thinks is to happen. It will not be possible to avoid the unpredictable rage viewed as an “answer” nature will give us for not taking care of it. The verse “I, standing on this pleasant lea, have glimpses that would make me less forlorn,” (11-12) shows Wordsworth describing himself as a farsighted person who would not take the blame for the slow demolition of nature. This destruction will not cease as a result of any act by mankind.
He concludes the poem by suggesting that ancient Greek Gods are a possible answer for the revolt of nature, representing nature and strength making the change. In the line, “Proteus is seen rising from the sea,” (13) we notice an image of wrath facing the injustices wreaked upon nature. The god Triton was also cited in ancient Greek history as a rescuer of nature. Triton was the most “feared” of the gods (except for Zeus) because he was master of the seas. I do not think Wordsworth selected a sea god as nature’s savior randomly. Water has always been a symbol of new beginnings. Wordsworth wishes for a re-birth of nature to forget about the abuse from humanity. The main message he wants us to understand through that poem is that the “money-oriented” progress being made by mankind is not without consequence. The destruction of the environment by man’s narrow view and the drive for money will persist if no contrary actions are taken. The change expected by the author will not come as a result of an initiative by people (he lost hope in that) but as a massive blast by Mother Nature in the form of a clash. The Earth coming out on top will inspire the “re-birth” for which he so strongly yearns.
The negative effect society has on the environment will proceed unchecked and relentless like the “winds that will be howling at all hours.” (6) Wordsworth does not consider nature as a “given.” The verse “Little we see in nature that is ours,” (3) shows how respectful he is toward nature. He realizes that we, humans, are nothing in this world compared to our powerful surroundings. This idea is evident when we observe how lost and helpless we are versus an earthquake, a tsunami, or any event of that sort. The expression “sleeping flowers” (7) might also describe how nature is being unwittingly infested. Wordsworth wants to send us a message about what he thinks is to happen. It will not be possible to avoid the unpredictable rage viewed as an “answer” nature will give us for not taking care of it. The verse “I, standing on this pleasant lea, have glimpses that would make me less forlorn,” (11-12) shows Wordsworth describing himself as a farsighted person who would not take the blame for the slow demolition of nature. This destruction will not cease as a result of any act by mankind.
He concludes the poem by suggesting that ancient Greek Gods are a possible answer for the revolt of nature, representing nature and strength making the change. In the line, “Proteus is seen rising from the sea,” (13) we notice an image of wrath facing the injustices wreaked upon nature. The god Triton was also cited in ancient Greek history as a rescuer of nature. Triton was the most “feared” of the gods (except for Zeus) because he was master of the seas. I do not think Wordsworth selected a sea god as nature’s savior randomly. Water has always been a symbol of new beginnings. Wordsworth wishes for a re-birth of nature to forget about the abuse from humanity. The main message he wants us to understand through that poem is that the “money-oriented” progress being made by mankind is not without consequence. The destruction of the environment by man’s narrow view and the drive for money will persist if no contrary actions are taken. The change expected by the author will not come as a result of an initiative by people (he lost hope in that) but as a massive blast by Mother Nature in the form of a clash. The Earth coming out on top will inspire the “re-birth” for which he so strongly yearns.
Wednesday, May 28, 2008
William Blake's oeuvre/chef-d'oeuvre
The Lamb by William Blake
I would like to focus on one of the romantic theme in this poem. I would call it the “research toward spiritual truth.” No later than in the introductory passage, we can notice a serious relationship between this poem and some of the scriptures in the Bible:
“Little Lamb, who made thee?
Dost thou know who made thee?”
This poem begins with a child asking a “little lamb,” “who made thee?” I did not just mention a “person” as if it could have been an adult or a kid. You might have noticed that this question is filled with child-like amazement. That same sentiment can be felt further in the poem (line 11-12). Blake starts off with a question that could seem commonplace or even trivial but “Who made thee?” is a question that all of us have asked ourselves at some point in our life. The question, of course, has taken different forms and has been in philosophers’ writings for decades. Blake would answer that a human being could only exist because “The architect” has made him or her. In this poem, Blake leaves no doubt in his reader’s mind that somebody made everything. It is a delicate question, “who made thee?” Who is “the who?” It must be some sort of higher power. It can neither be a random event nor an impersonal individual. Blake is convinced that someone created the lamb and the child as he mentions:
“Little Lamb I'll tell thee! He is called by thy name, For he calls himself a Lamb; He is meek & he is mild, He became a little child:”
This small poem demonstrates how well Blake knew the scriptures. I find it very reassuring for Christians because it points all of them to Jesus Christ, who has given them everything. Blake shows great respect and more importantly, thankfulness to God in this poem. We can imagine he was very much into both religion and the importance of God in human’s life.
Also, I wanted to compare “The Lamb” to one of Blake’s other poems, “The Tyger.” Those poems show two opposite ends: the ultimate good and the contrasting evil facet of human existence. It could also, in a more specific way, respectively compare the naive childhood to the corrupted adult world. Blake became attached to the idea that true innocence does not exist without experience, this last one being itself transformed by the creative intensity of one’s imagination. These differences can be seen through not only the meaning of the poem, but also through word choice and imagery. The first metaphor that appears to the reader comes right from reading the title. Most people perceive a lamb as being a sweet animal above suspicion. The poem describes the lamb as having “a tender voice”(7) and being “meek and mild” (15). The lamb can not possibly hurt someone. However, the “tyger” is a fierce and cruel creature. Its “fearful symmetry” (4) makes the animal seem so striking. These two contrasting animals first set the mood for the poems. When reading these two poems more carefully, I noticed a difference in them just by their sound. In “The Lamb,” the lines flow together very smoothly and peacefully. An air of purity “floats around” this poem. However, even though both poems use couplets to create that logic of rhythm and continuity, the more frequent questions that are asked in “The Tyger” makes it seem more demanding. This leads into a more energetic word use.
William Blake's “The Chimney Sweeper,” written at the start of the French Revolution, describes the deplorable condition of life of young boys during this time period. Parents, often, sold their boys who were five or six years for the only purpose of cleaning chimneys because of their petite size. These children were, of course, exploited and lived a miserable existence that was, however, socially tolerable at the time. Blake shows the wrongness of this acceptance through poetic devices such as point of view, symbolism and a surprising irony that he seems to perfectly control. Blake expresses his poem in first person, as a young chimney sweeper. This gives his piece a more profound sincerity because he wants to make himself and the reader feel like chimney sweepers for the length of the poem. In addition, using first person creates a deeper sense of compassion in the reader. “When my mother died I was very young and my father sold me while yet my tongue could scarcely cry…” This sympathy allows the reader to realize not only how these children lived, but also how they felt and how they got their childhood “taken away” from them.
Blake also uses symbolism to convey a clear message of how immoral the situation was for these young boys. Most of this symbolism appears to be about death. That definitely adds a dark frame of mind to his oeuvre. For example, Blake writes “So your chimneys I sweep, and in soot I sleep.” Those boys were exposed to the harmful side effect of “soot.” Its inhalation made them ill and, in most cases, damaged their lungs. Starting in line 10, the poem switches around to flirt with a beam of hope. For when Blake writes “As Tom was a-sleeping, he had such a sight! That thousands of sweepers, Dick, Joe, Ned, & Jack, Were all of them lock’d up in coffins of black, And by came an Angel who had a bright key, And he opened the coffins and set them all free;” Blake’s words show dreams and hopes for the sweepers.
I would like to focus on one of the romantic theme in this poem. I would call it the “research toward spiritual truth.” No later than in the introductory passage, we can notice a serious relationship between this poem and some of the scriptures in the Bible:
“Little Lamb, who made thee?
Dost thou know who made thee?”
This poem begins with a child asking a “little lamb,” “who made thee?” I did not just mention a “person” as if it could have been an adult or a kid. You might have noticed that this question is filled with child-like amazement. That same sentiment can be felt further in the poem (line 11-12). Blake starts off with a question that could seem commonplace or even trivial but “Who made thee?” is a question that all of us have asked ourselves at some point in our life. The question, of course, has taken different forms and has been in philosophers’ writings for decades. Blake would answer that a human being could only exist because “The architect” has made him or her. In this poem, Blake leaves no doubt in his reader’s mind that somebody made everything. It is a delicate question, “who made thee?” Who is “the who?” It must be some sort of higher power. It can neither be a random event nor an impersonal individual. Blake is convinced that someone created the lamb and the child as he mentions:
“Little Lamb I'll tell thee! He is called by thy name, For he calls himself a Lamb; He is meek & he is mild, He became a little child:”
This small poem demonstrates how well Blake knew the scriptures. I find it very reassuring for Christians because it points all of them to Jesus Christ, who has given them everything. Blake shows great respect and more importantly, thankfulness to God in this poem. We can imagine he was very much into both religion and the importance of God in human’s life.
Also, I wanted to compare “The Lamb” to one of Blake’s other poems, “The Tyger.” Those poems show two opposite ends: the ultimate good and the contrasting evil facet of human existence. It could also, in a more specific way, respectively compare the naive childhood to the corrupted adult world. Blake became attached to the idea that true innocence does not exist without experience, this last one being itself transformed by the creative intensity of one’s imagination. These differences can be seen through not only the meaning of the poem, but also through word choice and imagery. The first metaphor that appears to the reader comes right from reading the title. Most people perceive a lamb as being a sweet animal above suspicion. The poem describes the lamb as having “a tender voice”(7) and being “meek and mild” (15). The lamb can not possibly hurt someone. However, the “tyger” is a fierce and cruel creature. Its “fearful symmetry” (4) makes the animal seem so striking. These two contrasting animals first set the mood for the poems. When reading these two poems more carefully, I noticed a difference in them just by their sound. In “The Lamb,” the lines flow together very smoothly and peacefully. An air of purity “floats around” this poem. However, even though both poems use couplets to create that logic of rhythm and continuity, the more frequent questions that are asked in “The Tyger” makes it seem more demanding. This leads into a more energetic word use.
William Blake's “The Chimney Sweeper,” written at the start of the French Revolution, describes the deplorable condition of life of young boys during this time period. Parents, often, sold their boys who were five or six years for the only purpose of cleaning chimneys because of their petite size. These children were, of course, exploited and lived a miserable existence that was, however, socially tolerable at the time. Blake shows the wrongness of this acceptance through poetic devices such as point of view, symbolism and a surprising irony that he seems to perfectly control. Blake expresses his poem in first person, as a young chimney sweeper. This gives his piece a more profound sincerity because he wants to make himself and the reader feel like chimney sweepers for the length of the poem. In addition, using first person creates a deeper sense of compassion in the reader. “When my mother died I was very young and my father sold me while yet my tongue could scarcely cry…” This sympathy allows the reader to realize not only how these children lived, but also how they felt and how they got their childhood “taken away” from them.
Blake also uses symbolism to convey a clear message of how immoral the situation was for these young boys. Most of this symbolism appears to be about death. That definitely adds a dark frame of mind to his oeuvre. For example, Blake writes “So your chimneys I sweep, and in soot I sleep.” Those boys were exposed to the harmful side effect of “soot.” Its inhalation made them ill and, in most cases, damaged their lungs. Starting in line 10, the poem switches around to flirt with a beam of hope. For when Blake writes “As Tom was a-sleeping, he had such a sight! That thousands of sweepers, Dick, Joe, Ned, & Jack, Were all of them lock’d up in coffins of black, And by came an Angel who had a bright key, And he opened the coffins and set them all free;” Blake’s words show dreams and hopes for the sweepers.
Liberty, Equality, Fraternity
I was really happy to actually read about a topic that has been for us, French citizens, a tremendous source of hope and talent (political talent, writing talent) even though the best writers (Philosophe du siecles des lumieres, Age of Enlightenment, such as Voltaire, Diderot, Montesquieu, or again Rousseau) of the time flourished beforehand coming up with the same ideas that have been “yelled” during the French Revolution (Liberte, Egalite Fraternite meaning liberty, equality, brotherhood). Because the French Revolution illuminates the biggest contrast our country has ever witnessed, it is a part of our history that can not be forgotten or overlooked. Philosophical evolution, or upgraded cultural living, along with social disparities or tyrannical monarchy created a strange spectacle to be a part of. However writers at that time could not have hindsight enough about the French Revolution yet, as Samuel Taylor Coleridge mentions (last line of the introductory paragraph p.36). Historians, later on, will be much more logical and dispassionate about that period. For my first entry regarding the thoughts and problems encountered during the French Revolution, I wanted to talk to you more about Helen Maria Williams as I thought she had a very interesting point of view on that period of French history. She was in the heart of what has been known as some of the most agitated and “terrifying” years of France. In her “Letters Written in France, in the Summer of 1790,” she describes how complicated it was to judge the Federation at the time. By stating, “How am I to give you an adequate idea of the behaviour of the spectators? How am I to paint the impetuous feelings of that immense, that exulting multitude?” Williams was attempting to transmit to her friend back in England a thought of how connected together by such an important cause people in the Federation were. She writes a description of the procession she witnessed in the most precise manner I have ever seen but what shocked me the most was how she depicted the scene at the Bastille Prison as it was a place you could only have nightmares of. She sees prisoners as people being kept captive, hostage of such a repressive system. You can feel a bit of regret, remorse, and compassion in her text especially when she mentions: “and to these regions of horror were human creatures dragged at the caprice of despotic power.” I find that sentence very intense, even to the point of giving me goose bumps!!
The second passage I wanted to focus on was the very thoughtful and complicated definition of liberty, that principle that is so important to human nature, given by Mary Wollstonecraft (bottom of page 57). She is aware that liberty was just a concept that has not been really understood nor fully grasped by anyone in France at the time. One of her main questions would resume to: How can leaders, heirs to a throne rather than chosen by the people, not respect who they are in charge of to the point of betraying their rights? Thirst for unconditional power might be the answer to that question…
The second passage I wanted to focus on was the very thoughtful and complicated definition of liberty, that principle that is so important to human nature, given by Mary Wollstonecraft (bottom of page 57). She is aware that liberty was just a concept that has not been really understood nor fully grasped by anyone in France at the time. One of her main questions would resume to: How can leaders, heirs to a throne rather than chosen by the people, not respect who they are in charge of to the point of betraying their rights? Thirst for unconditional power might be the answer to that question…
Monday, May 19, 2008
Honest to Blog
I am Ivan Besancon. I am graduating in the summer with a Finance and Management degree. I came to Mercer University from France to play for the tennis team. Because I had to take an English class to complete my core, I chose this course since I believe it will give me a broader understanding of English literature and to some extent the English language itself. I am a little anxious about the fact that English is not my first language; therefore, I will probably struggle. However, I am definitely up for the challenge and have a thirst for knowledge.
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