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Essay - Yeats
Crazy Jane Talks with the Bishop: Themes and Symbolism
W.B. Yeats had a very interesting personal life. He chased after Maud Gonne, only to be rejected four times. Then, when she was widowed, he proposed to her only out of a sense of duty, and was rejected again. He then proposed to her daughter, who was less than half his age. She also rejected his proposal. Soon after, he proposed to Georgie Hyde Lees, another girl half his age. She accepted, and they had a successful marriage, apart from some indiscretions on his part. His personal history seems relevant when discussing a poem that praises sex and sin as essential to our spiritual fulfillment. In “Crazy Jane Talks with the Bishop”, Yeats uses symbolism, themes of sexuality and good versus evil, and double entendre to express his idea that people cannot be wholly fulfilled without sin.
In “Crazy Jane Talks with the Bishop” Yeats employs two themes, the theme of good versus evil, and the theme of sexuality. He conveys the theme of good versus evil through the Bishop’s statements in the first stanza, as well as J...
Holstad, Scott C. , "Yeats's 'Leda and the Swan': Psycho-Sexual Therapy in Action". n.pag. On-line. AOL. 23 Sept. 2003.
Yeats speaks of her 'glad grace' (l.5) as her willingness to help and serve her family. Many people a...
Womanhood in The Eve of St. Agnes and La Belle Dame Sans Merci and Mariana by Keats
Keats, John. “The Eve of St. Agnes”. The Norton Anthology of English Literature: The Romantic
After a four week survey of a multitude of children’s book authors and illustrators, and learning to analyze their works and the methods used to make them effective literary pieces for children, it is certainly appropriate to apply these new skills to evaluate a single author’s works. Specifically, this paper focuses on the life and works of Ezra Jack Keats, a writer and illustrator of books for children who single handedly expanded the point of view of the genre to include the experiences of multicultural children with his Caldecott Award winning book “Snowy Day.” The creation of Peter as a character is ground breaking in and of itself, but after reading the text the reader is driven to wonder why “Peter” was created. Was he a vehicle for political commentary as some might suggest or was he simply another “childhood” that had; until that time, been ignored? If so, what inspired him to move in this direction?
To the uninitiated, the writing of Flannery O'Connor can seem at once cold and dispassionate, as well as almost absurdly stark and violent. Her short stories routinely end in horrendous, freak fatalities or, at the very least, a character's emotional devastation. Working his way through "Greenleaf," "Everything that Rises Must Converge," or "A Good Man is Hard to Find," the new reader feels an existential hollowness reminiscent of Camus' The Stranger; O'Connor's imagination appears a barren, godless plane of meaninglessness, punctuated by pockets of random, mindless cruelty.
In Zora Neale Hurston’s novel, Their Eyes Were Watching God, the reader is treated to an enthralling story of a woman’s lifelong quest for happiness and love. Although this novel may be analyzed according to several critical lenses, I believe the perspectives afforded by French feminists Helene Cixous and Luce Irigaray have been most useful in informing my interpretation of Hurston’s book. In “The Laugh of the Medusa,” Cixous discusses a phenomenon she calls antilove that I have found helpful in defining the social hierarchy of women and relationships between them in the novel. In addition, Cixous addresses the idea of woman as caregiver, which can be illustrated through the character of Janie in Their Eyes Were Watching God. On the other hand, Luce Irigaray discusses the different modes of sexual desire of men and women in her essay, “The Sex Which is Not One.” Many examples supporting and refuting her claims can be found in the novel. According to Cixous, the most heinous crime committed by men against women is the promotion of antilove. “Insidiously, violently, they have led [women] to hate women, to be their own enemies, to mobilize their immense strength against themselves, to be the executants of their virile needs” (1455). Their Eyes Were Watching God offers many examples of women in vicious contention with one another, usually involving or benefiting a man. Janie is confronted by the malice of her female neighbors in the very first chapter of the novel, as she arrives back in Eatonville after her adventure with Tea Cake. “The women took the faded shirt and muddy overalls and laid them away for remembrance. It was a weapon against her strength and if i...
The tales were rediscovered around 1880 inspiring the Irish literary revival in romantic fiction by writers such as Lady Augusta Gregory and the poetry and dramatic works of W.B. Yeats. These works wer...
William Yeats is deliberated to be among the best bards in the 20th era. He was an Anglo-Irish protestant, the group that had control over the every life aspect of Ireland for almost the whole of the seventeenth era. Associates of this group deliberated themselves to be the English menfolk but sired in Ireland. However, Yeats was a loyal affirmer of his Irish ethnicity, and in all his deeds, he had to respect it. Even after living in America for almost fourteen years, he still had a home back in Ireland, and most of his poems maintained an Irish culture, legends and heroes. Therefore, Yeats gained a significant praise for writing some of the most exemplary poetry in modern history
White, Keith D. John Keats And The Loss Of Romantic Innocence.(Costerus NS 107). Minneapolis: Rodopi BV Editions, 1996. Print.
Yeats in Time: The Poet's Place in History All things can tempt me from this craft of verse: One time it was a woman's face, or worse-- The seeming needs of my fool-driven land; Now nothing but comes readier to the hand Than this accustomed toil. In these lines from "All Things can Tempt Me" (40, 1-5), Yeats defines the limitations of the poet concerning his role in present time. These "temptations" (his love for the woman, Maude Gonne, and his desire to advance the Irish Cultural Nationalist movement) provide Yeats with the foundation upon which he identifies his own limitations. In his love poetry, he not only expresses his love for Gonne, he uses his verse to influence her feelings, attempting to gain her love and understanding.
This refrain enforces his disgust at the type of money hungry people that the Irish have become. In the third and fourth stanza, however, Yeats completely changes the tone of his poetry. He praises the romantics of Irish history, such as Rob...
Yeats and Eliot are two chief modernist poet of the English Language. Both were Nobel Laureates. Both were critics of Literature and Culture expressing similar disquietude with Western civilization. Both, prompted by the Russian revolution perhaps, or the violence and horror of the First World War, pictured a Europe that was ailing, that was literally falling apart, devoid of the ontological sense of rational purpose that fuelled post-Enlightenment Europe and America(1). All these similar experience makes their poetry more valuable to compare and to contrast since their thoughts were similar yet one called himself Classicist(Eliot) who wrote objectively and the other considered himself "the last Romantic" because of his subjective writing and his interest in mysticism and the spiritual. For better understanding of these two poets it is necessary to mention some facts and backgrounds on them which influenced them to incorporate similar (to some extent) historical motif in their poetry.
Keats, John. “Letters: To George and Thomas Keats.” The Norton Anthology: English Literature. Ninth Edition. Stephen Greenblatt, eds. New York: W.W. Norton & Company, 2012. 967-968. Print.
"No Second Troy" expresses Yeats' most direct vision of Maud Gonne, the headstrong Irish nationalist he loved unrequitedly throughout his life. The poem deals with Yeats’ disenchantment with the modern age: blind to true beauty, unheroic, and unworthy of Maud Gonne's ancient nobility and heroism. The "ignorant men," without "courage equal to desire," personify Yeats’ assignment of blame for his failed attempts at obtaining Maud Gonne's love. The poet's vision of his beloved as Helen of Troy externalizes his blame by exposing the modern age's lack of courage and inability to temper Maud Gonne's headstrong heroism and timeless beauty.