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Comparative study on emily dickinson and walt whitman
Comparative study on emily dickinson and walt whitman
Comparative study on emily dickinson and walt whitman
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A Discussion of The Wound-Dresser and Leaves of Grass
During the late romantic period, two of history’s most profound poets, Emily Dickinson and Walt Whitman, emerged providing a foundation for, and a transition into Modern poetry. In its original form, their poems lacked the characteristics commonly attributed to most romantic poets of the mid to late nineteenth century who tended to utilize “highly stylized verses, having formal structures, figurative language and adorned with symbols” (worksheet). Unique and “eccentric use of punctuation” as well as “irregular use of meter and rhyme” were the steppingstones for this new and innovative style of writing (worksheet). Even though these two writers rejected the traditional approach, both remained firmly dedicated to their romantic idealism of the glass of water being “half full” opposed to “half empty.” Noted for his frequent practice of catalogs and parallelism, Whitman stirred up much controversy with his first edition of “leaves of Grass” in 1855. Many critics responded negatively to the ...
When I read poetry, I often tend to look first at its meaning and second at how it is written, or its form. The mistake I make when I do this is in assuming that the two are separate, when, in fact, often the meaning of poetry is supported or even defined by its form. I will discuss two poems that embody this close connection between meaning and form in their central use of imagery and repetition. One is a tribute to Janis Joplin, written in 1983 by Alice Fulton, entitled “You Can’t Rhumboogie in a Ball and Chain.” The second is a section from Walt Whitman’s 1,336-line masterpiece, “Song of Myself,” first published in 1855. The imagery in each poem differs in purpose and effect, and the rhythms, though created through repetition in both poems, are quite different as well. As I reach the end of each poem, however, I am left with a powerful human presence lingering in the words. In Fulton’s poem, that presence is the live-hard-and-die-young Janis Joplin; in Whitman’s poem, the presence created is an aspect of the poet himself.
Investigation to find out if changes in concentration of acid affect the rate of a chemical reaction
A theme in W.P. Kinsella’s “The Thrill of the Grass” is change, for better or for worse, affords the opportunity for us to acknowledge our emotions and love of memories and encourages us to stand up for what we truly believe in. Change, sentiment, reminiscence and defiance are portrayed through the protagonist and the plot in this admiringly, well written short story.
The dash in Emily Dickinson’s poetry, initially edited away as a sign of incompletion, has since come to be seen as crucial to the impact of her poems. Critics have examined the dash from a myriad of angles, viewing it as a rhetorical notation for oral performance, a technique for recreating the rhythm of a telegraph, or a subtraction sign in an underlying mathematical system.1 However, attempting to define Dickinson’s intentions with the dash is clearly speculative given her varied dash-usage; in fact, one scholar illustrated the fallibility of one dash-interpretation by applying it to one of Dickinson’s handwritten cake recipes (Franklin 120). Instead, I begin with the assumption that “text” as an entity involving both the reading and writing of the material implies a reader’s attempt to recreate the act of writing as well as the writer’s attempt to guide the act of reading. I will focus on the former, given the difficulties surrounding the notion of authorial intention a.k.a. the Death of the Author. Using three familiar Dickinson poems—“The Brain—is wider than the Sky,” “The Soul selects her own Society,” and “This was a Poet—It is that,”—I contend that readers can penetrate the double mystery of Emily Dickinson’s reclusive life and lyrically dense poetry by enjoying a sense of intimacy not dependent upon the content of her poems. The source of this intimacy lies in her remarkable punctuation. Dickinson’s unconventionally-positioned dashes form disjunctures and connections in the reader’s understanding that create the impression of following Dickinson through the creative process towards intimacy with the poet herself.
Walt Whitman is one of America’s most popular and most influential poets. The first edition of Whitman’s well-known Leaves of Grass first appeared in July of the poet’s thirty-sixth year. A subsequent edition of Leaves of Grass (of which there were many) incorporated a collection of Whitman’s poems that had been offered readers in 1865. The sequence added for the 1867 edition was Drum-Taps, which poetically recounts the author’s experiences of the American Civil War.
Rate is determined on how fast something is being consumed in a reaction, or how
Much has been said about Emily Dickinson’s mystifying poetry and private life, especially during the years 1860-63. Allegedly it was during these years that the poetess, at the most prolific phase of her career, withdrew from society, began to wear her “characteristic” white dress and suffered a series of psychotic episodes. Dickinson tended to “theatricalize” herself by speaking through a host of personae in her poems and by “fictionalizing” her inner life as a gothic romance (Gilbert 584). Believing that a poem is “the best words in the best order” (to quote S.T. Coleridge) and that all the poems stemming from a single consciousness bring to surface different aspects / manifestations of the same personal mythology, I will firstly disregard biographical details in my interpretation of Dickinson’s poems 378, 341 and 280 and secondly place them in a sort of “continuum” (starting with 378 and ending with 280) to show how they attempt to describe a “plunge” into the Unconscious and a lapse into madness (I refrain from using the term “journey,” for it implies a “telos,” a goal which, whether unattainable or not, is something non-existent in the poems in question). Faced with the problem of articulating and concretizing inner psychological states, Dickinson created a totally new poetic discourse which lacks a transcendental signified and thus can dramatize the three stages of a (narrated) mental collapse: existential despair, withdrawal from the world of the senses and “death” of consciousness.
In this lab the group studied the effect of temperature on rate of chemical reaction
I will get all of my 6 different solutions, everytime I use a solution I will measure 10cm3 of it and everytime I will use two pieces of magnesium of length 10mm
Allen, Donald, ed. The New American Poetry 1945-1960. Berkely, CA.: U. of California P., 1999.
that the rate of reaction must be fast enough to make as much of the
A recurring theme in Emily Dickinson’s poetry was death. Many years of Emily Dickinson’s adult years consisted of man...
* Amount of acid – if there is more acid the rate of reaction will
Emily Dickinson was a nineteenth – century American writer whose poems changed the way people perceive poetry. She is one of the most mysterious writers of all times. Her personal life and her works are still the cause of debates and are not fully solved. Her poems are dedicated to life and finding the real truth. Her two poems: “Tell all the truth but tell it slant” and “Much madness is divinest sense” represent Dickinson’s quest to reveal the mystery and truth of life. In order to fully understand Dickinson’s poems, one must learn about her personal and historical event such as “The Second Great Awakening” and “The United States women’s suffrage movement “surrounding her life that contributed to the creation of her works.
The rate of reaction is how quickly or slowly reactants in chemical reactants turn into products. A low reaction rate is when the reaction takes a long time to take place; hence, a reaction that occurs quickly has a high reaction rate. A rate refers to how slow or quick the product is produced. It is possible to control the rate of chemical reactions and speed up or slow down the rate of chemical reactions by altering three main factors which are temperature, concentration and the surface area. When the temperature of the reactants increases, the molecules vibrate at a more intense speed therefore colliding with each other more frequently and with increased energy resulting in a greater rate of reaction. Accordingly, as the temperature decreases the molecules will move slower, colliding less frequently and with decreased energy resulting in the rate of reaction decreasing. Concentration is how much solute is dissolved into a solution and is also a factor that affects the rate of reaction. When the concentration is greater this means there is an increased amount of reactant atoms and molecules resulting in a higher chance that collisions between molecules will occur. A higher collision rate means a higher reaction rate. Consequently at lower concentrations there are reduced chances of the molecules colliding resulting in a lower reaction rate. The measurement of how much an area of a solid is exposed is called the surface area. The quicker a reaction will occur the more finely divided the solid is. For example, a powdered solid will usually have a greater rate of reaction in comparison to a solid lump that contains the same mass for it has a lower surface area than the powdered solid.