Empson said that: „The machinations of ambiguity are among the very roots of poetry”(Surdulescu, Stefanescu, 30). The ambiguous intellectual attitude deconstructs both the heroic commitement to a cause in tragedy and the didactic confinement to a class in comedy; its unstable allegiance permits Keats’s exemplary poet (the „camelion poet”, more of an ideal projection than a description of Keats actual practice) to derive equal delight conceiving a lago or an Imogen. This perplexing situation is achieved through a histrionic strategy of „showing how”, rather than „telling about it” (Stefanescu, 173 ). It is true that Keats wished to make progress in philosophy: one reason for this was that he believed that an epic poet must be a philosopher. Apart from the passages in his letters where he talks of his philosophical
Is it possible, however, that we would not be aware if the soul ever left the carcass? Could the soul leave us without any warning? What would happen then? Oscar Wilde, due to his quite insouciant character, was intrigued by the idea of disturbing the balance between these elements, wanting to see what exactly would happen if, let us say, one’s soul and one’s heart were to be separated. This is the theme that also serves at the core of Oscar Wilde’s most significant and most renowned work of prose, The Picture of Dorian Gray.
I highlighted specific words and look up the meaning behind each term. Certain words like “maidenhead”, “thou”, “cloistered’, and “jet” were all terms that I was not too familiar with. I underline certain lines and annotating them that stuck out to me like, “[i]t sucked me first, and now sucks thee.” My first interpretation of this line was that “the flea” was on you and now it is on someone else. After looking up the definition of “maidenhead”, which means hymen, I started to realize that this poem was about how the author may have taken away his beloved’s virginity. Another line I interpreted was, “[a]nd pampered swells with one blood made of two” could refer to the author’s beloved having a baby.
Introduction Sonnet 130 is considered to be in the group of poems addressing the so called ‘Dark Lady’, who the speaker hates, loves and lusts for simultaneously. In the Sonnet Shakespeare characterizes the Dark Lady’s appearance with metaphors, which are extraordinarily out of character for the Petrarchan traditions. Instead of lauding the unavailable mistress in the highest terms, as the Petrarchan tradition dictates, Sonnet 130 humorously mocks those traditions by ‘placing innovative pressure upon the limits of metaphoricity’ (Callaghan, 56). This paper briefly engages with Shakespeare’s witty criticism of the Petrarchan traditions and mainly focuses on the different notion of love that Shakespeare portrays in this Sonnet. In contrast to the clichéd way of declaring one’s love to the beloved, which mainly consisted of lauding the object of affection, Shakespeare compares the mistress to a number of beauties of nature - but always against her favour.
In literature, archetypes “evoke deep and perhaps unconscious responses in a reader” (2043). Similarly, Hawthorne uses various symbols in “The Minister’s Veil,” and “The Birthmark” to enhance, and clarify his stories’ themes. Hawthorne’s tenacity on his symbols leaves a huge burden on them. His stories become overly dependent, so much so if a symbol is too obscure the story becomes a riddle. Consequently, the birthmark fails to establish the story’s theme, and thus the story trembles.
Explication of William Shakespeare’s Sonnet 130 This sonnet dramatizes the conflict between appearance and reality, specifically drawing attention to the excessive use of romantic cliches in literature during the elizabethan era. William Shakespeare uses similes and metaphor to compare the speaker’s mistress to that of unpleasant and insulting attributes. In doing this, Shakespeare makes a joke out of the traditional conventions of love poetry at the time and their unrealistic nature when describing women. The nature of these comparisons give the reader a sense of discomfort and the volta within the concluding couplet cause the reader to reevaluate the sincerity of the falsehoods riddled in typical poetry regarding love. The sonnet begins by addressing the speaker 's mistress and how her plain attributes compare to stereotypical romantic bodies in literature.
The word “Apophenia” means, the spontaneous perception of connections and meaningfulness of unrelated phenomena. Quiñones reveals disturbing truths about intimate relationships through imagery, episodic line breaks, and emotional undercurrents. The result is an unsettling poem on the realities of a toxic intimate relationship. The use of first person in Apophenia gives an intimate perspective into the life of the main character. The speaker shares vulnerable revelations that reveal the disturbing nature of her relationship with men, “I was taught to never look a man in the mouth (4).” This line plays on the phrase “Don’t look a gift horse in the mouth”, which demonstrates the subservient nature she is taught where she is unable to question
Understanding both Poe and Wilde’s narrative styles is extremely important in fully understanding the texts and the authors behind those texts, for example on one hand Poe throws the reader into an already finished story in ‘William Wilson’, while in The Picture of Dorian and Gray Wilde’s use of aestheticism is undeniable. However unusually for Wilde The Picture of Dorian Gray is also Gothic, this interesting departure from Wilde’s usual aesthetic style has been the subject of much debate and discussion among scholars, nonetheless for Sucur in The Picture of Dorian and Gray “the Gothic is dealt with from an aesthetic perspective”, (Sucur 2007, n.p.) yet the question still remains why would Wilde chose to depart from his successful formula of
Carol Ann Howells speaks about Atwood’s technique as, Obviously revisionist perspectives have narrative consequences not only for narrators but also for readers, turning our attention towards process of deconstruction and reconstruction while emphasizing the provisionality of any narrative structure. Atwood’s novels are characterized by their refusals to invoke any final authority as their open endings resist conclusiveness, offering instead hesitation, absence or silence while hovering on the verge of new possibilities. Their indeterminacy is a challenge
The mysterious element ‘the Presence’ - ‘Thou’, has been left to be solved by the reader. In brief, this poem is the mystical narration of a mystical experience of the poet which encourages the reader to unravel the mystery of the further unfolding of the events on which the poet has intentionally chosen to remain mystically silent. Poems published in 1905 have a different tone. The problem of belief, and soliloquies and debates could be witnessed. The mood and manner of these writings explain why in certain minds Sri Aurobindo is equated with “The Philosopher as Poet”.
Analysis of Symbolism In Thomas C. Foster’s book, How to Read Literature Like a Professor, he argues that symbolism almost always represents multiple things. It is not concrete. It all depends on how one interprets it. Symbolism is not a concept of the black-and-white “What is this?” It is a mass of the collected gray areas of, “What could this be?” Foster asserts that it is impossible to pin down a single meaning for a given symbol; this is true even in clear-cut cases, though meaning can be very similar from case to case. Symbolism must not be confused with allegory.
Primarily, Finlay focuses on his criticism on Davis’s imagination of reconstructing of the Martin Guerre’s story in order to make a dramatized story. He thinks that Davis should use only full documentary evidence instead of using her imagination. For example, she relies on the Coras’s book, and at the same time; on her intuition and assumption due to the silence in Coras’s text. She responds back to Finlay in her article “On the Lame” in which she notes the “difficulty in the historian’s quest for truth…” The key point here is there is no one single narrative in history, but rather many stories to be told, representing various experiences in the past, is surely foundational to the historiographical school of new history. Also, she defenses her style of writing the book because she wants to make it accessible to the reader not only in the schools, but also to the average person.
The Erlking by Sarah Shun-Lien Bynum confused me, even though the interpretation sounded interesting and fantastical. At first, I wondered if my confusion dealt with me not reading or hearing about “Der Erlkönig” before. After thinking that, I read the poem online; I really liked the poem because of creepy it is. I saw some correlations with Bynum’s version, but confusion still lingered in my head. I’m thinking a combination of the story structure and the lore (the fairies and elves) didn’t mix well with me.
Jane Smiley in “Literature’s Dual Life in the Case of Huckleberry Finn” explains that “when a nation’s history is fraught with conflict” it is best to “talk it out” because these subjects are meant to be difficult and the only way to bring true understanding of it is to analyze it (Source K). The Adventures of Huckleberry Finn is an irreplaceable tool to help understand the true historical context of such difficult issues. David Matthews in “Dumbing and Numbing Down Jim” clarifies that even removing the offensive words in the novel takes away from the actual meaning and history behind the story (Source F). When you take out all of the offensive parts of Huckleberry Finn, you are left with a runny, watered down version of history. The reason why it is offensive is to make you angry and shocked and embarrassed about your