Martin Johnson Heade’s oil painting from 1863 entitled Singing Beach, Manchester, located in the De Young Museum’s landscape gallery (room 26), depicts a gleaming sunrise on an Atlantic seashore. In this work, Heade captures the dramatic moment of transition from opaque night to daylight with turbulent beauty, inspiring a feeling of awe and submission toward nature’s ceaseless, cyclical forces. The darkened sky yields reluctantly to the morning sun emerging from below the horizon, as the agitated seascape reflects the unfolding drama above through light and shadow. The unseen presence of the rising sun is suggested by an intense band of radiant pink hues forming on the right side of the horizon, which bleed into the sky through moody tonal gradations, casting an orange haziness below the murky grey and green layers that once colored the expiring night. In accordance with the American Luminist tradition, Heade places the horizon in a rather low position, accentuating the vast expanse of the sky.
He has written all stanzas, except the last (written in A B C D), in the form of A B A C. The theme of this poem, which is repeated on the last line of each stanza, is ‘You find this ugly, I find it lovely’. This is repeated to help point out the beauty in each stanza. The first stanza is giving a visual image of the street. ‘the red globes of light, the liquor green.’ sets the scene of beer bottles and the drinking culture. ‘The pulsing arrows, the running fire Spilt on the stones, go deeper than the stream’ The rain falling onto the cobbles.
Clampitt uses the phoenix myth in comparison to the aftermath of the Holocaust and the Auschwitz death camps. In lines 10-12 Clampitt says, “Decay will undo what it can, the rotten fabric of our repose connives with doomsday.” After this she ends the poem in lines 13-15 by saying, “Sleep on, scathed felicity. Sleep, rare and perishable relic. Imagining’s no shutter against the absolute, incorrigible sunrise.” Clampitt is saying that we should not bring anew the daily memory of what happened at Auschwitz. She is also saying that history will repeat itself.
The Format of this poem falls in the ode format. The poem is iambic tetrameter meaning that the lines consist of an unstressed syllable and a stressed syllable. For example in lines one and two. “The time | you won | your town | the race” “ we chaired | you through | the mar | ket-place”. The rhyme scheme of the poem is AA BB, as seen at the end of lines one, two, three, and four.
Suddenly she appears and her appearance causes an emotional response of sorrowful loneliness. The 4th movement: March To the Scaffold. He dreams that he has killed his beloved, he is condemned to die and is being lead to the scaffold. At the end of this movement the Idee fixe reappears for a short instance and the reappearance becomes symbolic of the last thought of love that is interrupted by the axe. The 5th movement: Dream of a Witch’s Sabbath.
Lines that predict Romeo's death is when Juliet says, "O God, I have an ill-divining soul. /Methinks I see thee now, thou art so low/As one dead in the bottom of a tomb." (Shakespear, 3, v, 54) 4. The metaphors Capulet uses to describe Juliet's sobbing are: "Thou counterfeit’st a bark, a sea, a wind, /For still thy eyes, which I may call the sea, /Do ebb and flow with tears. The bark thy body is, /Sailing in this salt flood.
Victor is “disturbed by the wildest dreams” and sights Elizabeth. “as I imprinted the first kiss on her lips, they became livid with the hue if death”. This builds the atmosphere and develops the contrast between life and death. It also gives a sense of imagery. This shows that from the moment he had tried to bestow life into the dead, he accomplished the total opposite; he causes the living to die.
My childhood eyes see in the darkness the “painted devils.” (Act 1 Scene 2) My ears hear the “owl scream” and the “crying crickets” and the “croaking raven” (Act 2 Scene 5) - all rob my sleep. My nose smells the innocent blood of those victims to our ambition, our king so much like my sleeping father, the “Great Bond” himself, Banquo, and the mistress and hildren of our Thane of Fife. Oh my dear one, you thought that you had “murdered sleep” (Act 2 Scene 2) but I have murdered more than that – I have murdered our very
Which I could see the song playing in the background while Laertes returns from France to discover his fathers death and his sisters ill madness. Ophelia supposively thinks she gives him herbs and flowers when they’re actually weeds. Then shortly after Claudius appears and convinces Laertes that Hamlet is solely the one for the kings death and later on finds out that Hamlet is still alive. When I think of death I think of creepy and eerie music which also resonates or resounds the song of Hamlet. The word had gotten back to England that pirates had raided the ship and that he was returned to Denmark.
“Photographic Equality: Dorothea Lange, Her Migrant Mother, and the Nisei Internees” – Researched and Written by David Joseph Marcou, and Originally Published in 2009 on the Quazen Website, Then on the La Crosse History Unbound Website, Now Apparently on the Antiessays Website, Too. Credit Should Always Go to Me as the Author and Copyright-Holder. “The cars of the migrant people crawled out of the side roads onto the great cross-country highway, and they took the migrant way to the West. In the daylight they scuttled like bugs to the westward; and as the dark caught them, they clustered like bugs near to shelter and to water. And because they were lonely and perplexed, because they had all come from a place of sadness and worry and defeat, and because they were all going to a mysterious place, they huddled together; they talked together, they shared their