Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Imagination in literature
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Imagination in literature
The skull is what holds the mind; it is the cavity that holds our perception of the world, society, and our beliefs. By the power that we have to produce creative thought through our mind and thus our skulls, we are able to think, connive, and eventually die. In “Upon A Deadman’s Head,” John Skelton shows a man’s progression of thought when he faces his mortality by seeing a skull. The character’s thought process is indicated by Skelton’s use of imagery, rhythm, word choice and address, motifs, and the presence of the skull to the character and Skelton’s reader. As the poem progresses, the man tries to find ways to escape the literal death he sees in the skull through spiritual salvation. Skelton uses the character’s denial of his literal death to provide a lesson for the reader: be accountable for their earthly actions and accept their inevitable death.
The poem is divided in the three sections of the character’s though process by means of Skelton’s imagery, rhythm, word choice, address, motifs, and the imagery of the skull. The first third of the poem, Lines 1-24, that character’s thoughts revolve around his immediate and honest reaction to the skull and death. Skelton shows this first reaction through three quickly to read stanzas. The rapidity is caused by the aabb rhyme scheme and flowing punctuation. The character’s literal reaction is shown by Skelton’s use of word choice, sensory images, and the visual presence of the skull to the character and the reader. This section is the longest section, emphasizing the importance of self-thought and acceptance of death to Skelton in this poem. The second section is the shortest section from Lines 25-36. Skelton uses several words of wealth and less words of imag...
... middle of paper ...
...s story: do not let Earthly ideas of salvation through the religion blind self-judgment and acceptance of earthly lives and inevitable death.
During a time when the rich could purchase their salvation, Skelton used the man’s progression of thought toward the skull and death to judge how Earthly religious salvation distorted natural human morality. Skelton uses his male character who admits his true beliefs in deaths but lets go of that respect to find a false salvation through wealth and religion as a guide for his readers not to follow this degrading path of Earthly salvation. Skelton’s lesson is that it is not immoral to be religious but it is immoral to use religion to be dishonest and unaccountable for the reader’s own life.
Works Cited
Skelton, John. “Upon A Deadman’s Head.” Jokinen, Anniina. 12 Oct 2001.
www.luminarium.org/renlit/deadman.htm.
The main character, Hard Rock as a kind of “Superman” to other penal patients is recognized immediately in the poem through a repeating of the accounts that are strewed about him; the forthright narrative of the poem sets up the vagueness of how he will respond after his "treatment" in the sanatorium. The poem associates with those who anticipate his return; they are confident that Hard Rock's essence has not been shattered by a surgical “treatment” or shock therapy, and the lines slither nearly to a halt with dissatisfaction in verse four. The "nothing" (line 27) of Hard Rock's reaction to mockery and provoking and the hollowness of his eyes, "1ike knot holes in a fence," (James 194-195) decrease the valiant expectations and delusions to desolation. The final section recounts the spectators' efforts to reinterpret, to grasp onto faith that their idol of heroism could counter against the greatest determinations to dominate him, but the spirit has disappeared out of the hero-worshipers too, and the poem reports them as hammered, submitted, denied of their inner self as Hard Rock has been of his. The poem expresses the anguish of the despondent and it rallies against the implementation of power that can restrain even as fractious a character as Hard Rock.
In Salvation on Sand Mountain, the emotional frustrations, cultural hypotheses, and literary images provide insight into the ethics of the author, Dennis Covington. During his dangerous undertakings while submerged in the religious practices of Appalachia, Covington incites anxiety within the reader when discussing worship services involving snakes, and inquisitorial thought when revealing the number of casualties involved, in turn showcasing his own passions and morality. Covington’s rectitude, goodwill, and intelligence all play important roles in revealing his ethos. Subsequently, they also exemplify his argument: No obstacle can conquer one’s religious devotion.
As America slowly began molding into the creases of different values and cultures, so did its literature. One trait that had always been securing itself within the lines of these literary texts was the protagonists’ naivety. Theses characters typically established an intention to do good things, but eventually fail due to tumbling upon tempting obstacles and falling into the trance of distractions. An example of this situation occurred long ago during the 16th and 17th century. A cult of English Protestants known as Puritans aimed to “purify” the Church of England by excreting all evidence of its descent in the Roman Catholic Church. The Puritans enforced strict religious practices upon its believers and regarded all pleasure and luxury as wicked or sacrilegious. Although their “holy” cond...
Writer and member of the 1920’s literary movement, Langston Hughes, in his autobiographical essay, Salvation, elucidates the loss of innocence and faith due to the pressure of accepting a concept that he has yet to acknowledge. Hughes’ purpose is to describe his childhood experience of the burden to be saved by Jesus, resulting in his loss of faith. He adopts a solemn, yet disappointing tone to convey his childhood event and argues the unqualified religious pressure.
This notion in regards to the question of why we tell stories in society similarly situates the same premises of telling a story for a moral reward or understanding where it up to the reader to interpret the text or in this case the belief. By understanding the context on an individual basis, one can also understand that throughout Armstrong’s argument, religion is not just a belief but rather, “an all-encompassing, wholly transcendent reality that lay[s] beyond neat doctrinal formulations,” (18) that presents the conclusion that without discipline, there is no method of attaining a practical sense of
In the Flannery O’Connor’s great book, “Wise blood”, Hazel motes, the main character of the literature, is a hero struggling against his prophetic vocation, yet turning out to be a Christian martyr at the end of his long and futile ordeals. The development of the literature centers around the protagonist’s struggle to run away from Jesus, who poses Jesus as “something awful,” and his final return to him. Hazel’s movement throughout the literature, therefore, may be seen as a journey: a modern man’s progress from rebellion against God, to penance, and to return to him through the painful recognition of his sinful and fallen nature. The shrill thesis of the literature is stressed by its circular journey pattern of escape from and return to God.
The mind is a very powerful tool when it is exploited to think about situations out of the ordinary. Describing in vivid detail the conditions of one after his, her, or its death associates the mind to a world that is filled with horrific elements of a dark nature.
The perception of religion is different for everyone and for the grandmother in the story, “A Good Man is Hard to Find”, being a lady with good Christian values was how she defined herself. The grandmother’s innocence of the evil existing in the world cost her and her family their lives. The story “Cathedral” however, has a more positive outlook on faith. The narrator, “Bub”guided by a blind man named Robert was able to visualize and draw a picture of a cathedral, without really knowing what one was. This essay will examine how the outcomes of both stories were affected by the beliefs of those involved.
Death can both be a painful and serious topic, but in the hands of the right poet it can be so natural and eloquently put together. This is the case in The Sleeper by Edgar Allan Poe, as tackles the topic of death in an uncanny way. This poem is important, because it may be about the poet’s feelings towards his mother’s death, as well as a person who is coming to terms with a loved ones passing. In the poem, Poe presents a speaker who uses various literary devices such as couplet, end-stopped line, alliteration, image, consonance, and apostrophe to dramatize coming to terms with the death of a loved one.
Many people wonder what it would be like to go from a dangerous city where they live and journey to a plentiful heaven. This storyline is portrayed in John Bunyan’s allegorical book, Pilgrim’s Progress. This fascinating story describes the life of Christian, a married man living in the City of Destruction, who longs to travel to the Celestial City. As Christian struggles to stay on the right, though more difficult path, I fight to focus in school and not pay attention to distracting ideas. I also fight to get strong enough in dance to become a professional dancer, just as Christian has to climb the Hill of Difficulty to get to the Palace Beautiful. In order for Christian to arrive at the Celestial City without wasting away his life, he must be patient. In the same way, I must be patient to reach my life goal. Just as Christian struggled to get through his obstacles in his life, I must get stronger to dance, focus in school, and be patient in order to reach my life goal of becoming a faithful and patient person of God.
Not only the words, but the figures of speech and other such elements are important to analyzing the poem. Alliteration is seen throughout the entire poem, as in lines one through four, and seven through eight. The alliteration in one through four (whisky, waltzing, was) flows nicely, contrasting to the negativity of the first stanza, while seven through eight (countenance, could) sound unpleasing to the ear, emphasizing the mother’s disapproval. The imagery of the father beating time on the child’s head with his palm sounds harmful, as well as the image of the father’s bruised hands holding the child’s wrists. It portrays the dad as having an ultimate power over the child, instead of holding his hands, he grabs his wrists.
On its surface, Martel’s Life of Pi proceeds as a far-fetched yet not completely unbelievable tale about a young Indian boy named Pi who survives after two hundred twenty-seven days on a lifeboat with a Bengal tiger named Richard Parker. It is an uplifting and entertaining story, with a few themes about companionship and survival sprinkled throughout. The ending, however, reveals a second story – a more realistic and dark account replacing the animals from the beginning with crude human counterparts. Suddenly, Life of Pi becomes more than an inspiring tale and transforms into a point to be made about rationality, faith, and how storytelling correlates the two. The point of the book is not for the reader to decide which story he or she thinks is true, but rather what story he or she thinks is the better story. In real life, this applies in a very similar way to common belief systems and religion. Whether or not God is real or a religion is true is not exactly the point, but rather whether someone chooses to believe so because it adds meaning and fulfillment to his or her life. Life of Pi is relevant to life in its demonstration of storytelling as a means of experiencing life through “the better story.”
Two characters that are blinded by their own version of living a religious life are Mr. Hines and Mr. McEachern. I will argue that the obsession with their religion and their belief of how it should be followed is an ideology that fails each of these characters in their purpose. Consequently, the more these characters are faced by failure the more they try to embody God and take actions as if they are the Almighty Himself. Ironically, while using religion as a shield these characters fail to see their own sins. These characters see their sins instead, as the most essential and virtuous deeds and the work of God.
In the poems “Because I Could Not Stop for Death”, by Emily Dickinson and “Home Burial”, by Robert Frost, literary elements are used throughout both poems to get the message the authors are trying to portray. One main important literary element that is used to entice the reader, is symbolism, because it helps the authors describe something without actual describing it. Symbolism is also used because it shows how significant an object is. Characterization is also an important literary technique because it, gives the reader an idea on how the character would act, work, and their values in life. Death is a topic that is used in both poems. Also, every character express their opinion about death differently.
In poetry, death is referred as the end of literature and it is associated with feeling of sorrows. However Emily Dickinson demonstrates that death is not the end of literature or feeling of sadness but death is a new element of inspiration in poetry and is the beginning of a new chapter in our life. In the poem ‘’Because I Could Not Stop for Death’, she discusses the encounter of a women with death, who passed away centuries ago. Dickenson uses metaphors and similes to show that the process of dying can be an enjoyable moment by appreciating the good moments in life, and by respecting death rather than fearing it. Also Dickinson portrays death in a humorous way as she compares it to man seducing her to go to her death as well, to childhood games that show the innocence of this encounter (Bloom). The poem is a reflection of how unpredictable death can be. Death is a scary process in life that should not be feared because it should be celebrate as new start.