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Puritanism (american literature)
Into the wild character analysis
Into the wild character analysis
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Purity vs Filth: Blurred Lines Purity and filth have been on opposite sides of the fence ever since a distinction was made between the two. The purity vs filth battle can be seen in many aspects of life, whether that be displayed in race, religion, or even geographically. This brings into question, where is the division between filth and purity, or is there a division at all? This division is called out in Joe Weil’s “Ode to Elizabeth”, Nicolás Guillén’s “What Color?”, and possibly even in William Carlos William’s “This is Just to Say”. For Joe Weil, purity can rise from the filth. In Weil’s poem “Ode to Elizabeth,” he describes his hometown of Elizabeth, New Jersey; he starts by quoting Time magazine with “Grimy Elizabeth.” (1) This …show more content…
This poem can be interpreted in many different ways, the most common being that it was an apology poem left on Williams’ fridge. This poem has also been interpreted as being an abstract view of the tale of Adam and Eve. The specific fruit that Adam and Eve eat was never clearly specified as an apple, so the eating of a plum may not be too far off course for the interpretation of “This is Just to Say.” The story begins with the confession to eating the plums in the ice box, similar to Eve confessing to eating the forbidden fruit. The next stanza describes the proprietor as saving the plums for another day. This stanza may be interpreted as god saving the forbidden fruit for the distant future. The third and final stanza is asking the owner of the plums for forgiveness but is also telling how good the plum really was. This last stanza is where Adam and Eve are asking for forgiveness from eating the fruit. This poem shows a transition from purity to filth and the place in-between. The story of Adam and Eve is the transition from the Garden of Eden, a place of complete purity, to being cast down to earth, the place of filth. “This is Just to Say” shows the transition period between these two and how the effect of being cast into the filth was worth the “delicious” plums, giving a sense of purity in the …show more content…
This distinction between filth and purity was called into question by Joe Weil in “Ode to Elizabeth”, where Weil overlaps filth and purity in the city of Elizabeth; also by Nicolás Guillén in “What Color?”, where Guillén negates color from the definition of purity; and also in William Carlos William’s “This is Just to Say”, where Williams provides a sense of purity in a world full of filth. These poems combined show how the distinction between filth and purity is not as easy as black and
A key part of the title of the poem, the word “blood” can be used as a motif in many works of literature as a representation of family, heritage, and background. All of these lend themselves to the division of people into groups of which they often cannot control the formation. The second half of the title is the term “nobility.” This word, by definition, implies that certain groups of people are inherently more privileged or morally competent than other groups of people. Combining these two elements of the title, we achieve a meaning that states that certain people, people of a certain “blood,” have a different level of “nobility,” or privilege, than others. The last three words of this poem are “entitlement of birth,” which encompasses this idea completely. The audience that the speaker of “Nobility of Blood” addresses regard themselves as the “moral majority,” a group of people who are inherently more moral and consequently do not suffer from the AIDS disease. This is yet another instance of how Ramos Otero points out the hypocrisy in the audience’s beliefs, since under the Christian faith, it is believed that God loves all His children, and everyone is equal under God. Similar to how Fury attempts to universalize the disease through her artwork’s high level of diversity, Ramos Otero wishes to point out flaws in the
With a new century approaching, Bruce Weigl's twelfth collection of poetry, After the Others, calls us to stand on the millennium's indeterminate edge. This book, opening with the last four lines of Milton's "Paradise Lost," parallels our departure from this century with Adam's fearful exit from Eden, beyond which is "all abyss, / Eternity, whose end no eye can reach" ("Paradise Lost"). Weigl posits that we stand at the century's uncertain gate naked, cold, and greedy; he refers often to a looming future, to give our collapsing present more urgency. We've forgotten, he says, how to love and live simply, how to write honestly and well.
John Gardner: Making Life Art as a Moral Process. Baton Rouge: Louisiana State University Press, 1988. 86-110. Rpt. in Twentieth-Century Literary Criticism. Ed.
They hypothesized that those who liked cleaning products would show it, so those who make associations of sin with blackness are more concerned about pollution in general. This was tested using 51 students from UVA again from a range of ethnicities. Again a new word list was generated and rated. After the Stroop task, they rated the desirability of 5 cleaning products and 5 non-cleaning products.They found that moral-purity metaphors may be important for regulating moral actions, and by thinking of immoral acts it may lead to avoiding those acts. Also there exists a moral-purity metaphor that likens goodness to actual cleanliness. And, those with the moral Stroop effect liked cleaning so there is in fact a link between immorality-blackness and concern for purity.
Edith Wharton's The House of Mirth is an affront to the false social values of fashionable New York society. The heroine is Lily Bart, a woman who is destroyed by the very society that produces her. Lily is well-born but poor. The story traces the decline of Lily as she moves through a series of living residences, from houses to hotel lodgings. Lily lives in a New York society where appearances are all. Women have a decorative function in such an environment, and even her name, Lily, suggests she is a flower of femininity, i.e. an object of decoration as well as of desirability to the male element. We see this is very true once Lily's bloom fades, as it were, a time when she is cast aside by her peers no longer being useful as something to admire on the surface. The theme of the novel in this aspect is that identity based on mere appearance is not enough to sustain the human soul physically or metaphysically. Once she is no longer able to keep the "eye" of her peers, Lily finds herself with no identity and dies. This analysis will discuss the theme of the objectification of women in a male dominated society inherent throughout the novel.
She tells the girl to “walk like a lady” (320), “hem a dress when you see the hem coming down”, and “behave in front of boys you don’t know very well” (321), so as not to “become the slut you are so bent on becoming” (320). The repetition of the word “slut” and the multitude of rules that must be obeyed so as not to be perceived as such, indicates that the suppression of sexual desire is a particularly important aspect of being a proper woman in a patriarchal society. The young girl in this poem must deny her sexual desires, a quality intrinsic to human nature, or she will be reprimanded for being a loose woman. These restrictions do not allow her to experience the freedom that her male counterparts
Despite the fact that Lady Mary disputes Swift’s view of women, she inadvertently supports the societal expectation that women be physically striking. In response to Swift’s accusation about women’s filth, Lady Mary presents the woman as bold and beautiful by proclaiming, “The nymph grown Furious roared by God / ‘The blame lies all in Sixty odd’” (74-75). Both of these lines emphasize the expectation for women to be beautiful in different ways. Lady Mary’s use of the word “nymph” raises an image of women as inherently and divinely beautiful. In addition, by placing the blame totally on the man for the disappointing intercourse, she denies what he had previously claimed about her disgusting state. Lady Mary shows the woman as a perfectly beautiful
To be “clean” or “pure” was the most important to those of the 18th century.
Is this an apology or blame? In the beginning, God tells Adam not to eat the forbidden fruit. Adam disobeys God by doing so, but most people put the blame on Eve. In the poem, “Eve’s Apology,” Eve expresses her feelings toward the entire situation and shows how she is not to blame. She blames Adam for the pain we endure today. Eve eats from the forbidden tree out of curiosity. She wants to share it with Adam, so he can feel like she feels. Eve gives the fruit to Adam out of love, but she does not force him to eat it. Adam has control of his mind, so he disobeys God on his own. “Do not the thing that goes against thy heart” (Lanyer 424). Aemilia Lanyer, the author of the poem, “Eve’s Apology,” lived in the mid 1500’s and 1600’s. Living in this time period, had much influence on her writing. She published her landmark book, Salve Deus Rex Judaeorum, the same year that the King James Bible and three of Shakespeare’s plays were published (Wilhelm 424). Lanyer brings out the life of this poem with the poetic devices, irony, and unusual language.
Blake was both a poet and an artist and he created many Illuminated works which combined the two. These forms, each powerful in their own right are even more so when used together as in "The Divine Image." In analyzing this piece I will be looking at the elements and principles of art, the corresponding ‘elements and principles' of poetry and how they support one another to convey William Blake's idea of Innocence.
Scott, Lynn. "Beauty, Virtue and Disciplinary Power:" Midwestern Miscellany 24 (1996): 9-23. Rpt. in Contemporary Literary Criticism. Ed. Janet Witalec. Vol. 173. Detroit: Gale,2003.Literature Resource Center. Web. 14 Mar. 2011
In several poems found in Songs of Experience and Innocence Blake presents the church, as well as religion, as corrupt and damaging to the innocence and purity of youth’s souls. The poe...
"Given or lent?” asks T. S. Eliot in his poem “Marina,” as he examines the construction of one’s own life from the point of view of a speaker who, reaching the later years of life, feels an urge to “resign” tattered, old life for “the hope, the new ships.” J. M. Coetzee grapples with some similar issues with his character Elizabeth Curren in the novel Age of Iron. Curren throughout the course of the novel goes through a process of realizing and accepting the fact that her comfortable life as a retired white professor in apartheid South Africa has truly been built on the foundation of a deplorable social system, as well as that she is not completely innocent in her complacency with that system. As Eliot understands that he has “Made this [life] unknowing, half-conscious, unknowing, my own,” Curren awakens as she disintegrates towards death to the reality of the conditions in South Africa and her own failures in life. However, whereas Eliot sees some salvation or rebirth, even if perhaps unreachable, in the youth of “the new ships,” Curren sees only a worrisome coldness and lack of innocence in the youth around her and feels nostalgia for earlier times. During the last days of her life, she dwells on the need for a softening in people that has been overcome by an iron-like attitude in the current climate, but she herself is swept into the very state that she denounces in many ways. She internalizes the softer side of herself, becoming more and more introspective and self-absorbed as the days move on, while displaying a harder shell to the outside world. Her inability to cast off her ways of thinking and acting within South African society despite her growing awareness of their pro...
T.S. Eliot’s The Waste Land is an elaborate and mysterious montage of lines from other works, fleeting observations, conversations, scenery, and even languages. Though this approach seems to render the poem needlessly oblique, this style allows the poem to achieve multi-layered significance impossible in a more straightforward poetic style. Eliot’s use of fragmentation in The Waste Land operates on three levels: first, to parallel the broken society and relationships the poem portrays; second, to deconstruct the reader’s familiar context, creating an individualized sense of disconnection; and third, to challenge the reader to seek meaning in mere fragments, in this enigmatic poem as well as in a fractious world.
Making comparisons between the current state of an idea within modern culture and the same concept as it was in a different time is a difficult task for several reasons. First, the texts concerning how that subject existed in the past may be, to some extent, incomplete or inaccurate. Second, words unquestionably change over time, and it can be difficult, in some cases impossible, for the observer to look back without casting the modern definition over the idea as it would have been understood in the past; this typically causes mistakes in judgment and false conclusions. Based on these issues, it is unlikely that an absolute answer to such a question can be reached, so the best that may be hoped for is a high level of probability that one’s conclusion is correct. With this in mind, the modern investigator can start to answer the question being asked.