William Shakespeare writes Sonnet 138 in 1st person point of view using iambic pentameter the setting is undisclosed. This sonnet uses the English sonnet rhyme scheme which is: ABABCDCDEFEFGG. Most of his sonnets are written towards two people: the Dark Lady and a young man. This sonnet is probably directed towards the Dark Lady. Sonnet 138 gives examples of several literary elements.
In the novel Triage written by Scott Anderson, both Ahmet Talzani and Joaquin Morales seem to embody a fatalistic view of life, one in which reasons have to be created. Triage is ultimately a novel where there is a lack of hope. After Marks incident in Kurdistan we are instantly made to feel like the worst is yet to come with the use of strong and colourful language. Hope is distinguished when the whereabouts of Colin is unknown, and throughout Marks recovery there are constantly reminders that Mark will most likely never recover. Anderson shows that war has a damning effect on war journalists as well as soldiers, and that their loved ones and families are also heavily affected.
All of these various styles responded to the industrialization of Europe in their own unique fashions, and resulted in a strange conglomeration of art, ideals, and themes. The earliest and perhaps greatest response to industrialization was the era or Romanticism. Disgusted by the squalor and pollution produced by industry, many artists and writers turned to Romanticism, glorifying nature over civilized society and emotion over reason. Romanticism prized natural beauty and despised the materialistic ideals of the Enlightenment and Industrial Revolution. Romantic art tended to revolve around nature or some heroic deed, ignoring or tuning away from industry and logic, and when it did not, it reviled it.
Revenge is “a pagan concept deeply embedded in most societies but at odds with Christian teaching” (Bevington 550). Pagan is “pertaining to the worship or worshipers of any religion that is neither Christian, Jewish, nor Muslim” (The American Heritage® New Dictionary of Cultural Literacy). Christianity is “the religion based on the life and teachings of Jesus Christ” (According to The American Heritage® New Dictionary of Cultural Literacy). The words of the characters show they consider themselves christian. The first glimpse of Christian elements in Hamlet is when Horatio is praying, “Heavens secure him!” (1.5.116).
Howl Key Passage – Allen Ginsberg Nicole Morin “Howl”, by Allen Ginsberg, is an extended poem that, although dedicated to Carl Solomon, is reflective of the nature of many underdogs in society, and how the potential to be the best minds is wasted in 1950's USA. "Howl" can only be described as a rant, emphasizing Ginsberg's personal involvement at the time, and yet it covers a range of issues that plagued America's underworld. Thus, the poem is a poem of the forgotten, and their longing to break free from the culture that led them into their despair. Immediately, a sense of a search for spirituality is introduced into the lives of those referred to in this poem, in an effort to free themselves from the chains of everyday life. In a contrast to the limitations they faced, religion seemed to prove a connection that rose above everyday relationships.
Elizabeth Barrett Browning, a female composer in a patriarchal society that is hi ghly religious and traditional, wrote reluctantly about her love for Robert Barrett Browning throughout her poems. Sonnet XIII specifically reflects on parochial Victorian age values and shows how Barrett Browning does not conform to female expectations as she wrote spontaneously about her obsession with love. Similarly, F. Scott Fitzgerald reveals the consequences of obsession with love and the impact of non-conformity in social and historical contexts through the characterisation of Gatsby, who refuses to conform to expectations of immorality and develops an obsession with this. Thus, the issue of different context and forms is significantly ineffective as the consequences of obsession relatively have the same effect even if the influence was different. Barrett Browning presents positive consequences of obsession as her sonnets, whilst being heavily influenced by religion and spirituality, also
In the very beginning of the soliloquy Wolsey is depicted with a bitter tone speaking of how “little good” the court had done for him. He goes on to describe the stages of one’s downfall; which in this case is symbolic to the changes of seasons and the sequence in which they take place and then proceeds to elaborate his dreary tone by speaking of his lack of depth and high blown pride that now must be hidden. The shift in Wolsey’s tone happens dramatically when he claims the world to be something in which contains glory and vanity and states that he “[hates] ye!” This phrase alone depicts Wolsey’s hostility and complex feelings. He later quickly shifts to a tone which contains one of self pity by calling himself a “wretched” man that does by the monarchy. The use of shifts in tones varying throughout the soliloquy reflects Cardinal Wolsey’s struggle to cope with such shocking news.
Larkin`s pessimistic view of the world is so deep, that it is almost impossible to find a single positive line in his dreary poems. Pessimistic poems usually have a ray of hope in the end. This is clearly not the case when it comes to Philip Larkin. In his poem, “This be the Verse”, he starts with one of the most depressing lines I have ever read: “They fuck you up, your mum and dad. “ He generalizes his own view of bad parenting and wants to convince you that this happens with every child.
This is where Gardner uses the epic poem Beowulf to disparage the belief that life has no purpose. He does this by making Grendel into a tragedy as a way to place emphasis on the fact that if you have no purpose in life, you are basically a failure. Gardner shows us the differences between two contrasting sides as the novel brings closure with a battle of human meaning verses having no purpose in
296) mentions Finnegans Wake as a “limit case” when commenting on the superimposition of languages that characterises every novelistic work. Berman says that translation threatens this superimposition, because “The relation of tension and integration that exists in the original between the vernacular language and the koine, between the underlying language and the surface language, etc. tends to be effaced”. Berman’s reflections on the “deformations” of translations and his defence of the “translation of the letter” may be helpful in our quest for a translation strategy. For Berman (1985, p. 36), the “work on the letter” is “neither a calque nor a (problematic) reproduction, but rather paying attention to the play of