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The use of symbolism in the novel
Importance of symbolism in literature
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Images of Life and Death in Bavarian Gentians
As the last few days of summer fade away, and September's end brings promises of a cold, sad autumn, the feast of Michaelmas has come and gone, and one can not help but be reminded of D. H. Lawrence's "Bavarian Gentians," a poem that commences by reminiscing of the sad days at the end of September, when summer has finally departed along with its intoxicating and life-giving breath. Like the days that separate summer from autumn, Lawrence's poem, one of his last, is a sad and dreamy read. It seduces audiences with its slow dance with blue death. It speaks to students with its melancholic passion. It breathes life into the last days before death.
A death that comes from tuberculosis is never sudden. The disease progresses slowly until it gradually overcomes its victim, who must wait with a tragic patience for that final moment. At the end of The Magic Mountain, Thomas Mann speaks parting words to his protagonist that speak for the ravages of TB and its almost inevitable force, "The wicked dance in which you are caught up will last many a sinful year yet, and we would not wager much that you will come out whole." As a longtime sufferer of TB, Lawrence too was caught up in a "wicked dance," one that must have caused him, like the speaker in the poem, to feel like he was guiding himself "...with the blue, forked torch of this flower / down the darker and darker stairs..." until he finally reached his destination, the "sightless realm where darkness is awake upon dark." The poem itself is a complex web, a trance like dream that suggests both a gravitation toward death and a transcendence beyond it. The speaker speaks of "the halls of Dis" and of travelling down where ...
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...Chapter 7: Prosperine - Glaucus and Scylla." Oct. 2001. http://www.bulfinch.org/fables/bull7.html
Ferris, T. "Bavarian Gentians by D.H. Lawrence." Oct. 2001. http://home.earthlink.net/~rudedog2/bavarianpoem.htm
Lawrence, line 16.
Lawrence lines 17-18.
Lawrence, line 14, line 2.
Lawrence, line 13.
Lawrence, line 11.
This portion of the later version, along with the second stanza, can be found at:
Ferris, T. "Bavarian Gentians by D.H. Lawrence." Oct. 2001. http://home.earthlink.net/~rudedog2/bavarianpoem.htm.
The complete poem, however, can not be found there.
Ferris, T. "Bavarian Gentians by D.H. Lawrence." Oct. 2001. http://home.earthlink.net/~rudedog2/bavarianpoem.htm.
Ferris, T. "Bavarian Gentians by D.H. Lawrence." Oct. 2001. http://home.earthlink.net/~rudedog2/bavarianpoem.htm.
The timeline carries on chronologically, the intense imagery exaggerated to allow the poem to mimic childlike mannerisms. This, subjectively, lets the reader experience the adventure through the young speaker’s eyes. The personification of “sunset”, (5) “shutters”, (8) “shadows”, (19) and “lamplights” (10) makes the world appear alive and allows nothing to be a passing detail, very akin to a child’s imagination. The sunset, alive as it may seem, ordinarily depicts a euphemism for death, similar to the image of the “shutters closing like the eyelids”
More than death itself, Harwood’s poetry shows how many people fail to accept death. Their belief in immortality and fear of the end is also potrayed in Nightfall. Although when the subject of the poem is death, the words describe life, as if reluctant to face up to reality. The images are of suburbs, lights, birds and trees. Even with so many experiences, many of us will forever be ignorant seems to be the truth ringing perpetually though Harwood’s verses.
In Washington Irving’s work “Rip Van Winkle,” Irving demonstrates all characteristics of an American Mythology rather humorously. These characteristics affect the story attracting the attention of readers and impacting the reader’s experience of the story by relishing America’s unique attributes and values. In “Rip Van Winkle,” Irving incorporates attributes of American Mythology by setting the story in exciting pastimes, filling the story with strange and exaggerated characters, and featuring magical mysterious events.
Throughout his villanelle, “Saturday at the Border,” Hayden Carruth continuously mentions the “death-knell” (Carruth 3) to reveal his aged narrator’s anticipation of his upcoming death. The poem written in conversation with Carruth’s villanelle, “Monday at the River,” assures the narrator that despite his age, he still possesses the expertise to write a well structured poem. Additionally, the poem offers Carruth’s narrator a different attitude with which to approach his writing, as well as his death, to alleviate his feelings of distress and encourage him to write with confidence.
Most Americans probably believe our times are different from Washington Irving’s era. After all, almost 200 years have passed, and the differences in technology and civil liberties alone are huge. However, these dissimilarities seem merely surface ones. When reading “Rip Van Winkle” and “The Legend of Sleepy Hollow,” I find that the world Irving creates in each story is very familiar to the one in which I grew up. The players may have changed, and institutions have mostly replaced roles traditionally taken on by people, but the overall pieces still fit the rural lifestyle of contemporary America.
...n American Literature. By Henry Louis. Gates and Nellie Y. McKay. 2nd ed. New York: W.W. Norton &, 2004. 387-452. Print.
Achilles’ true nature is that of a warrior. The son of Peleus must fight. When he denounces Agamemnon and the Achaeans, he does not go home. His ship is last in line, near Troy. Subconsciously, he has already made the choice of accepting a short life filled with glory. Subconsciously, he wants to go back to war. He needs to. However, he also needs to insure his possession of glory and honor. But what kind of glory, what kind of honor? He already possesses the honor of the gods. He says, “my honor lies in the great decree of Zeus…” (IX.741.p.272). By book IX, material wealth is no longer what Achilles wants. He spurns Agamemnon’s offers. The typical mortal concepts of heroism no longer concern him; his ideals differ from those of his peers. Phoenix’s Meleager is no example to him. However, at this point Achilles still does not know what he wants. Pride and stubbornness still supplement his rage, but now his anger appears to be a manifestation of his fear and confusion—“Stop confusing my fixed resolve with this…” (IX.745-746.p.272). Achilles knows that he wants honor and glory, but in what form?
Irving, Washington. "Rip Van Winkle." The Heath Anthology of American Literature. Ed. Paul Lauter. Boston: Houghton Mifflin Company, 1998.
Meinke, Peter. “Untitled” Poetry: An Introduction. Ed. Michael Meyer. 6th ed. Boston: Bedford/ St. Martin’s 2010. 89. Print
The second stanza starts off saying much the same thing. It expands upon the idea of wanting the Lord to mold his heart an...
To prove that Chopin implies Ms. Mallard’s husband was cruel to her. Chopin states, “When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: free, free, free!” (para, 11). Now when will someone say I am free, free, f...
Frost is far more than the simple agrarian writer some claim him to be. He is deceptively simple at first glance, writing poetry that is easy to understand on an immediate, superficial level. Closer examination of his texts, however, reveal his thoughts on deeply troubling psychological states of living in a modern world. As bombs exploded and bodies piled up in the World Wars, people were forced to consider not only death, but the aspects of human nature that could allow such atrocities to occur. By using natural themes and images to present modernist concerns, Frost creates poetry that both soothes his readers and asks them to consider the true nature of the world and themselves.
The speaker started the poem by desiring the privilege of death through the use of similes, metaphors, and several other forms of language. As the events progress, the speaker gradually changes their mind because of the many complications that death evokes. The speaker is discontent because of human nature; the searching for something better, although there is none. The use of language throughout this poem emphasized these emotions, and allowed the reader the opportunity to understand what the speaker felt.
Miss Emily’s bad luck caused her to separate herself from reality and into her figment of her imagination. She was perceived as personnel who had fallen into a steep mental depression. She sealed herself away from reality and turned down making acquaintances. No one requested for her and she did not try to alternate her lifestyle. Eventually she was buried deeper and deeper into her figment of imagination. She desired to find a stand-in for her father and was drawn to an authoritarian personality in the men that she adored and this may be the explanation why she stored their carcass around after their deaths to preserve the same atmosphere to which she had been used to and to reduce the feeling of seclusion. The power of death in “Roses for Emily” may well be a reflection of the loss that American’s faced during the great depression.
morning to get to the parking lot early, only to find her space taken, she then exclaims,"This is exacly why I rushed, just so I can hunt for a empty space." We understand that she is not happy, and that her meaning is not literal. A form of verbal irony is sarcasm, this is when the statement made is ironic, but it is bitter, coarse, and vulgar. An example of this is, a Beth says to Sally (who is covered in mud), "Oh Sally, you look so nice today!" The comment from Beth is made out of spite, simply to be rude and unkind. Sally understands that Beth's real meaning is not what was said. The second form of irony is situational, this form is often confused with cosmic, the difference between the two is minimal. Situational irony is contradiction between what is expected to happen and happens.