Millay's Relationships in Sonnet xxxi
In his 1967 book, Edna St. Vincent Millay, James Gray writes that "the theme of all her [Millay's] poetry is the search for the integrity of the individual spirit" (Gray 6). While searching for the uniqueness of the individual spirit, Millay's poetry, especially "Sonnet xxxi", becomes interested in how the individual works when it is involoved in a relationship and must content with the power struggles which occur within that relationship. Power struggles occur on many levels, but Millay works in "Sonnet xxxi" with the decision of a partner to deny her individuality in order to provide harmony within the couple. Ultimately, the poem demonstrates that happiness cannot be found when one partner chooses to deny themselves and their individuality.
In "Sonnet xxxi", Millay's woman mentally confronts her husband after he has insulted her intelligence by taking a book away from her and commenting, "What a big book for such a little head!" The woman complies with his insistance that she entertain him by primping and preening in fr...
The mechanical motions of the ossicles directly vibrate a small membrane that connects to the fluid filled inner ear. From this point, vibration of the connective membrane (oval window) transforms mechanical motion into a pressure wave in fluid. This pressure wave enters and hence passes vibrations into the fluid filled structure called the cochlea. The cochlea contains two membranes and between these two membranes, are specialized neurons or receptors called Hair cells. Once vibrations enter the cochlea, they cause the lower membrane (basilar membrane) to move in respect to the upper membrane (i.e. --the tectorial membrane in which the hair cells are embedded). This movement bends the hair cells to cause receptor potentials in these cells which in turn cause the release of transmitter onto the neurons of the auditory nerve. In this case, the hair cell receptors are very pressure sensitive. The greater the force of the vibrations on the membrane, the more the hair cells bend and hence the greater the receptor potential generated by these hair cells.
The conceit, characterization and tone of the one hundred and forty third sonnet make this particular sonnet interesting to analyze. The collection of sonnets was written by William Shakespeare around the mid-1590s and published by Thomas Thorpe in 1609. “Sonnet 143” describes a woman who "sets down her babe and makes all swift dispatch." Her attention has been restrained by the idea of taking possession of a feathered creature that has run away (line 3). In this sonnet, Shakespeare creates a rivalry of role-play between a man in pursuit of a woman, who is compared to a housewife and a mother, and the love interest the woman in pursuing. The speaker is in desperate pursuit of the housewife, like a child who wishes to be pacified and kissed
Love is the ubiquitous force that drives all people in life. If people did not want, give, or receive love, they would never experience life because it is the force that completes a person. Although it often seems absent, people constantly strive for this ever-present force as a means of acceptance. Elizabeth Barrett Browning is an influential poet who describes the necessity of love in her book of poems Sonnets from the Portuguese. In her poems, she writes about love based on her relationship with her husband – a relationship shared by a pure, passionate love. Browning centers her life and happiness around her husband and her love for him. This life and pure happiness is dependent on their love, and she expresses this outpouring and reliance of her love through her poetry. She uses imaginative literary devices to strengthen her argument for the necessity of love in one’s life. The necessity of love is a major theme in Elizabeth Barrett Browning’s “Sonnet 43” and “Sonnet 29.”
The Merriam-Webster dictionary gives us a simple definition of love as a feeling of strong or constant affection for a person (Merriam-Webster). We recognize that this could be romantic, filial (parent-child), or platonic love. Humans by nature have an almost innate desire to be loved but our ability to truly conceptualize it is based on personal life experience. Those experiences usually define or distort love in our eyes. Relationships, as most honest people would confess, are not easy. They are filled with good and bad times, periods of immense joy and of pain or testing. This is particularly found in romantic love, so much so that the theme, love, has been the driving force in countless movies, music, television, and literary works of art throughout all time periods, genres, and cultures. One of many famous poems that tackle this theme is Edna St. Vincent Millay’s 1931 published sonnet, “Love is not all.” In it the speaker expresses love in a negative but logical tone; nevertheless, concluding that although love is not all, it is
This is an enjoyable sonnet that uses nature imagery, found extensively in Petrarca, that Shakespeare uses to get his point across. Not much explication is needed, aside the sustained images of nature, to fully understand its intent, but I would like to point out a peculiar allusion. When reading line 3, "the violet past prime" has made me think of Venus and Adonis. In the end, Adonis melts into the earth and a violet sprouts where his body was, which Venus then places in her heart, signifying the love she has for him. Reading this into the poem makes the few following lines more significant. Having Adonis portrayed as the handsome youth, Shakespeare is alluding to the death of youth (in general and to the young man) through the sonnet. In the next line, it is not certain if "sable" is an adjective or a noun and if "curls" is a noun, referring to hair (which is plausible) or a verb modifying "sable." Invoking the allusion to Adonis here, Shakespeare portends that if Adonis did live longer, he too would have greying hair; thus, Shakespeare sees ["behold"] an Adonis figure, the young man, past his youth.
Many factors can be used to analyze “Sonnet 55'; by William Shakespear and “Licia'; by Giles Fletcher. “Sonnet 55'; and “Licia'; share the subject of eternal love. In “Sonnet 55,'; the narrator says that the memory of his love will last through “wasteful wars'; that destroy tangible objects (Shakespear 5). Love remains in the mind;'; it is “living record of [the lover’s] memory'; and cannot be destroyed (Shakespear 8). “Licia'; also mentions strong tangible objects being out-lasted by love. However, it also says that true love lasts beyond the superficial “rose and silver lilies;'; as they die, love remains. Even as the rivers dry and the earth decays, love prevails. The last two lines of each sonnet emphasize the subject; as time passes, everything fades except love.
"The Weary Blues” by Langston Hughes outlines Hughes type of writing in an energetic beat. Hughes is known for his lyrics about the accounts of African American lives amid the many years of the most recent century. His verse is normally effortlessly comprehended and straight forward to the point. However, it could be analyzed in three different theories; New Historicism, Post-Colonial Criticism, and Queer Theory.
As A. Kent Hieatt did a great job in citing certain similarities in Sonnets to Spencer's Ruines of Rome: by Bellay, I was surprised enough not to dfind any parallels on sonnet 64 to that of Ruines of Rome. This sonnet delivers, moreso, the theme of Rome succumbing to time rather than textual correlations. I will provide a quatrain by quatrain explicaton that cites certain allusions to Spencer's text. In the first quatrain, time has destroyed Rome, the "buried age," having lived too long ("outworn") as a prosperous civilization. The "lofty towers" being "raz'd" echoes Rome being "Heapt hils on hils, to scale the starrie sky"; the first "hils" in Spencer refers to the Roman civilization and the physical buildings, whereas the latter "hils" refers to the mountains on which Rome was built. Thus, being "raz'd" are all of the monuments of Rome that are subject to mutability. Ambiguity in the second quatrain allows for two readings following the Roman theme. First, the "hungry ocean" is the sea itself which gains on Rome, "the kingdom of the shore," but if the ocean is rising against Rome, it is incongruous to say that the "firm soil" defeats the "watery main." A more appropriate alternate reading still refers to Rome as "the kingdom of the shore," but the "hungry ocean" refers to other civilizations that have tried to conquer Rome yet failed. 5-7: 'When I have seen usurping nations hostily advance towards Rome, and then steadfast Rome defeat the opposing navy,'. This latter reading more supports line 8, in which Rome 'increases [its] wealth through the gains of (Rome's) conquests [thus, "with loss"], and yet at the same time increases [its] loss "with store," (that is, time's store [of time])'.
has the gentle heart of a woman but is not inconsistent as is the way
The ear is looked upon as a miniature receiver, amplifier and signal-processing system. The structure of the outer ear catching sound waves as they move into the external auditory canal. The sound waves then hit the eardrum and the pressure of the air causes the drum to vibrate back and forth. When the eardrum vibrates its neighbour the malleus then vibrates too. The vibrations are then transmitted from the malleus to the incus and then to the stapes. Together the three bones increase the pressure which in turn pushes the membrane of the oval window in and out. This movement sets up fluid pressure waves in the perilymph of the cochlea. The bulging of the oval window then pushes on the perilymph of the scala vestibuli. From here the pressure waves are transmitted from the scala vestibuli to the scala tympani and then eventually finds its way to the round window. This causes the round window to bulge outward into the middle ear. The scala vestibuli and scala tympani walls are now deformed with the pressure waves and the vestibular membrane is also pushed back and forth creating pressure waves in the endolymph inside the cochlear duct. These waves then causes the membrane to vibrate, which in turn cause the hairs cells of the spiral organ to move against the tectorial membrane. The bending of the stereo cilia produces receptor potentials that in the end lead to the generation of nerve impulses.
Prophets are found in nearly every period of biblical history, but the period which extends from approximately 750 to 550 B.C. is the most famous. Certainly most of the persons whom we think of as biblical prophets (Isaiah, Jeremiah, Amos, Hosea, among others) ministered during those two hundred years. What are the characteristics of these so-called “classical prophets”?
Our ears are intricate pieces of work and there is a lot to the anatomy and physiology of how the ear. The visible or external part of the ear has more of an action like funnel, amplifying sound waves to be captured and easily directed in the ear canal. The Pinna has an interesting role allowing the canal to receive low sound frequencies by reflecting off of the Pinna. The interesting observation about the Pinna is that not only does it act as a reflector for low frequency but acts as a filter for High frequencies to not destroy the ear drum. (http://en.wikipedia.org/wiki/Pinna_(anatomy))
Shakespeare begins this sonnet by telling him he should realize, because of his aging, that it is time to produce a child, for is he does not, he cheats the world, mother earth, who then becomes an unblessed mother. The "mother" also refers to the mother of the would be child--she then being unblessed from the lack of a child. 5-6: 'What part of her, physicall or emotionally, keeps you from friuting her womb through procreation [an act that comes with marriage]?' 7-8: '(If not that reason), are you so narcissistic that you will bring the end of your family to the tomb?'
Among this being the first sonnet, it is the first of a sequence of procreation sonnets which are addressed to a man as an arguement for him to bear children. The image of flowers arises in this sonnet as we see beauty represented as a rose. 1-4: 'We want to reproduce with the most beatiful of people, so that beauty will remain [in life], but as the elder dies due to time, his child will quite possibly will remember him'. (Time can be read as personified as with the other sonnets). An idea of the offspring resembling the parents is present; therefore, it is of no wonder why we desire either the "increase" in aesthetic pleasure or the "increase" of heirs from the most beautiful. Line 7 gives the reader the notion that this man, since he has not produced children yet, is making barren the fruitful womb of his lover, thus making himself his own enemy. 11: 'bury your happiness in the bud (of the rose), [with the rose alluding to beauty], but beauty cannot bring forth happiness'. Shakespeare is chiding him for this as he is under the impression that he is making waste of the fruitful womb of his
1-2: 'As fast as time takes hold of you, you do grow (in attributes) as you leave one of yourself [an heir] behind'; or, more generally, 'if you're persuing two things, drop one and you'll increase in that aspect that much more'. 3-4: 'And the children to whom you (would) have given life, you can call your own (self) when you stray from youth'. 5-6: 'Within children (procreation) resides wisdom, beauty and increase (of a good life), however, without children, you are prone to folly, aging and the rest of your life without warming love (of children)'. 7-8: 'If everyone acted as you do in not bearing children, generations would be no more, and the [or your] world would die within (your) sixty years'. 9-10: 'Let those people who Nature decides shall not have heirs perish, because they are "harsh, featureless, and rude"'. 13-14: 'She has you as a stamp (for sealing wax, not the wax itself), and meant for you to reproduce more of yourself through children, and not to let yourself die without not doing so (because life is everlasting through