Both “The Prelude” by William Wordsworth and “London” By William Blake” convey strong ideas and feelings about a place. Blake’s poem is most subjective about the city, contrary to the title. The reader would think that the title “London” is objective and unbiased; however Blake’s condemnation of the city is apparent from the start of the poem. On a simple level, the poem is a description of the misery Blake sees as he “wanders” around London. On a deeper level however, he is criticizing not only the condition of the city itself, but the monarchy and government who oppress it.
However this soon breaks up as we see the form of the poem reflect its meaning. Edward Thomas uses the breaking up of the rhyme scheme to symbolize his own damaged state of mind and sense of dissatisfaction. Edward Thomas makes contrasts between the simplistic beauty of nature and the impossible difficulty of expressing this beauty in words. “Sublime vacancy” symbolises the immense emptiness he feels but also suggests that he is so overwhelmed by the beauty of the morning that he struggles to describe it as sometimes you have to be there to appreciate the actual moment of beauty or else it’s gone forever. The simplicity of the “sky and meadow and forest” and the purity of the “untouched due” in comparison to himself leaves Edward Thomas “scorning” and feeling insignificant as he can’t match his emotions to the glory of the scenery.
Upon Malvolio’s entrance in Act II Scene V, Sir Toby states “here’s an overweening rogue!” (Act 2, scene 5, line 27) after plotting with Fabian and Maria to punish Malvolio, referring to him as a “little villain” (Act 2, scene 5, line 12). Upon his entrance in the scene, Malvolio states his ambitions for nobility, “To be Count Malvolio!’ (Act 2, scene 5, line 32) to the group. The disdain the other characters have for Malvolio throughout the play is only met with vanity, hubris and patronizing comments on Malvolio’s part, doing very little to conjure any remorse for the character following his downfall later in the play. Malvolio opposes the fun and festivities of the “Twelfth Night” and chastises the characters in the play several times for their celebrations. Malvolio questions their actions in the form of patronizing dialogue by asking “My masters,
The revolution forced by the Bourgeoisie was for the third estate as well the first two estates to be treated equally. The causes of the two revolutions were very different. The Americans wanted to be out from under the British control. The reason for this is because ever though the Americans and still be considered British colonist, through passing generation the emotional connection to the mother land has been lost. The colonist of America to their self no bigger believed they were or wanted to be British citizens so the Americans dragged Britain in 1775 by starting the revolution and the creating their own government in 1776.
He wonders why he is so mean with Hassan and although he regrets, he cannot stop being like that, and in some instances he even justifies himself. The phrase “He’s only a Hazara” said by Amir after not helping Hassan when he is sexually attacked, is an evidence of that. As stated at the beginnig, betrayal is also the main theme in the poem of the same name written by Frank P. Whyte. This theme is developed through it as it occurs
Under the control of England, the colonists experienced their fair share of ups and downs from the year 1750 until 1776. Oppression from the British was an important issue that the colonists felt needed to be addressed with action. By the eve of the Revolution, the colonists had established their own identity which led to them uniting in opposition to the British. It was important that the colonists established an identity for themselves because it set them apart from the controlling Britons. In his notes for speech in parliament on February 3, 1766, Edmund Burke elaborated on how the colonies were too different from the country of Great Britain and that they could not blend in with the mass.
“In Nineteen Eighty Four, society is controlled by inflicting pain. In Brave New World, they are controlled by inflicting pleasure.” To what extent do Brave New World and Nineteen Eighty Four reflect the suppression of an individuals’ freedom through manipulation of external and internal elements? According to Margaret Atwood “In the latter half of the twentieth century, two visionary books cast their shadows over our futures”: the two novels to which she was referring? Brave New World and 1984. At the end of WW2, both Huxley and Orwell, disillusioned and alarmed by what they saw within their own society, produced dark satires describing a dystopian vision of future possibilities.
Sir Phillip Sidney exaggerates this expression to construct a drag of hate over time. Desire is depreciated by the speaker throughout the poem, yet not upon its enlightenment but for its golden coating. Sidney provoked pessimistic diction when calling desire just as bad as, “scums and dregs”. By this implication of downgrading “desire” to the lowest of the low, the reader feels the negativity received by the writer though the speaker. Sidney continues the cynical thought by quoting, “band of all evils”.
* Joseph Marie Eugene Sue (1804-1857) * French novelist at the time of Romantic Movement * His sympathy for the poor. * Victor Hugo (1802-1885) * Poet, novelist, * Les miserables (1862) offer another indictment of the conditions of the poor through the injustice of the era * From the roots of these works, we see a canon of characters, situations and tropes, which explore stories in VULGAR fashion. * That is, though their emphasis on our emotional connection to the events portrayed. * Arising between the Romantic period and the industrial revolution, melodrama as a genre appears to have been well suited to express the crisis of its time. * The persistence of melodrama in popular culture suggests a fascination the evolving nature of the social, political and ideological crisis of the day.
Effectively, Dorian Gray’s separation between his good looks and evil conscience congealed within his portrait demonstrates the battle of good and evil within himself. Basils painting symbolises Dorian’ s narcissistic conscience, which ages becoming more displeasing with “loathsome red dew that gleamed, wet and glistening…the canvas had sweated blood”. Wilde’s use of personification on blood sweating in this quotation highlights the portrait having its own emotion and also the guilt in which Dorian feels as he spirals further and further into the world of corruption. Although Dorian embraces his immutable youth and charm while the portrait becomes more ugly, Wilde shows duality by showing the effect Dorian’s corrupted soul in the portrait has on him physically presenting the ideology that both the painting and his physical attributes are still at one rather than individual characters. Dorian’s deceptive nature as he tries to hide the portrait shows the double life most typical Victorians possessed, appearing good and proper among others while keeping their sinful nature kept behind closed doors.