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Life and works of Samuel Johnson
Samuel johnson essay
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Samuel Johnson's Escape
Samuel Johnson, following in the footsteps of other great English critics, was a great poet. Johnson’s poetry was different from any other writer in the late eighteenth century. He used poetry as a tool for an escape from the reality of life. Johnson would also use poetry as a tool for expression of emotion and praise for accomplishment. When Johnson wrote a poem of praise or to express emotion he would still convey his message beyond reality. He would emphasize an event so immensely that it would seem unrealistic. If being real, or reality, is something sensable, then The Vanity of Human Wishes is the poem in which Johnson best display’s these tools of writing for the purpose of escape. With all of his undertakings, from politics to writing critiques, Johnson used writing poetry as his release from reality and the hardships in his life.
In 1780 Samuel Johnson wrote “A Short Song of Congratulation.” It is a poem of praise to the actions of the nephew of a friend of Johnson. In the poem Johnson depicts the the young man defying the authority of his wealthy family and squandering a substantial inheritance. He is writing about more than the escape of a friend’s nephew, he is writing about his escape from a less than flawless childhood. In the poem Johnson relays to his subject, “If the guardian or the mother / Tell the woes of willful waste, / Scorn their counsel and their pother, / You can hang or drown at last” (25-28). Johnson is using the life and actions of another to relay the struggles he went through as a child to become successful. Johnson’s subject had to separate himself from his prominent family in order to be his own man, or “hang or drown at last,” which symbolizes a freedom to l...
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...his friend’s death. It is difficult to follow Johnson’s manipulation of reality, because he does it so many ways. It is easier to understand why he did it. Everyone would love to escape reality sometime, do we have to write? Or can we just read Johnson? Could Johnson read his own work to escape, or did he have to write to leave reality?
Bibliography:
Works Cited
Damrosch, David, ed. The Longman Anthology of British Literature. V. 1C. New York:
Addison Wesley Longman, Inc., 1999.
Greene, Donald J. Samuel Johnson: A Collection of Critical Essays. Englewood Cliffs, New
Jersey: Prentice-Hall, Inc., 1965
Greene, Donald J. Samuel Johnson: Updated Edition. Boston: Twayne Publishers, 1989
Lustig, Irma S., ed. Boswell: Citizen of the World, Man of Letters. Lexington, Kentucky:
University Press of Kentucky, 1995
Johnson begins his poem on behalf of the hardships of African Americans by acknowledging that after all the Africans hardships and pain they’ve been through, they are on the verge of freedom as long as they stick together. The way Johnson uses diction to show his audience how to face hardships with unity, is by the use of the strong phrases or words used. Johnson implies, “Lest our feet stray from the places, our God, where we met Thee,” (28), and “Out from the gloomy past, Till now we stand at last.”(19-20). The outpour of emotions with the use of strong diction words in that quote, informs the reader that as long as we the people
Masson, Davis. Essays Biographical and Critical: Chiefly on English Poets. La Vergne, Tennessee: Lightning Source, Inc., 2007.
In the early 1800’s, the United States’ culture of slavery was fostered for a lifespan of forcible enslavement. For all Slaves, this was the normality which was callously endured. In his work, Narrative of the Life of Frederick Douglass, “An American Slave,” Frederick Douglass argues and exemplifies that his fate was destined outside of the walls of slavery.
Ralph Waldo Emerson's essay, entitled " The Poet", takes the reader into a new awareness concerning an artistic writer. This essay created new insight about a writer's handicraft. Emerson shows us how a poet uses his gift to connect a non-artist of words to feelings that he is unable to express. A poet uses his God-given ingredient, the soul, to describe the things that engulf our lives. We, that do not have this talent, are given this connection by the writings in "The Poet".
He creates a vision of relief at the beginning of the passage by means of diction, similes, and an impeccable amount of imagery. Douglass also applies an approach for the application of syntax, diction, and connotative sense to amplify the feelings of loneliness and paranoia presented after emancipation. The result is the masterpiece that fluently runs from one state of mind following his escape to another. It is a masterpiece with a timeless sense of moral values being unconsciously taught to its audience, whether or not they succeed in deciphering it. Works Cited Frederick Douglass.
Ogden Nash is a great American author, best known for his “pithy and funny light verse” (“Ogden Biography” 1). New York Times refers to him as America’s “best-known producer of humorous poetry” due to his buffoonery verse style. Born in the August of 1902 in Rye, New York as a child he moved often due to his father’s exporting-importing company (1). After completing high school at St. George’s School he attended Harvard University unfortunately quitting a year later. Reflecting on better times, Nash taught at his previous high school but left less than a year later, with little success in establishing another job (2) (“Ogden Nash” 1-2). Nash tried many different careers throughout the next decade finally finding success as a poetic advisor at Doubleday publishing house. Advertising gave him the opportunity to explore various styles of writing where he eventually came up with his own unique style. During this period he moved to Baltimore, the place he ultimately considered his home, married Francis Leonard and promoted from the market department to the editorial department at Doubleday (“Ogden Nash” 1-3).
Paley, Grace. "Samuel." Literature for Composition: Essay, Fiction, Poetry, and Drama. 5th ed. Ed. Sylvan Barnet. New York: Longman, 2001. 190-192
One of the most well known historic characteristics of poetry is that of rhyme, a technique that Alexander rejects. In American Sublime, every poem is written in free verse. Although some poems may contain an occasional slant rhyme, there is no fixed rhyme scheme in Alexander’s works. Along with her lack of rhyme, there is a no consistency in the structure of Elizabeth Alexander’s poetry. This is best demonstrated in the “Amistad” section of American Sublime. Each of the poems in this part tell a piece of the story of the Amistad ship and the slave revolt. However, only a few of these poems share similar structures. While some poems contain seven stanzas, others a written in haikus, and while others do not contain stanza breaks, making the poem one long stanza. By doing this, Elizabeth Alexander keeps herself from having a signature structure for her poems. Instead, by neglecting to use a specific style, Alexander creates a stark distinction between herself and other
In the poem, he mentions black people that were treated unfairly and how many of those people are not recognized as much. He powerfully wrote: “Names lost. Know too many Trayvon Martins / Oscar Grants / and Abner Louimas, know too many / Sean Bells, and Amadou Diallos / Know too well that we are the hard-boiled sons of Emmett Till” (Lines 53-60). This quote shows how many of our black people are discriminated by their skin color are mistreated. Abner Louimas, Sean Bells and Amadou Diallos were men that were victims of police brutality and were shot several times by police officers. Specifically, Emmett Till and Trayvon Martin’s deaths were great examples as to how people were and still are racist. To take a case in point, Emmett Till who was African-American was tortured and killed because he flirted with a white woman. Trayvon Martin was a teenager who was shot and killed just because he went to grab a bag of skittles from his pocket, which the person who shot him thought he was reaching for a weapon. The many examples that Johnson makes help show how racism and stereotypes play a major role in our society because many people are still victims of discrimination. They are automatically stereotyped into a criminal who is about to do something that is illegal. In the society that we live in, blacks do not have any power, they do not get the benefit of the doubt whether or not
Kelly, John. ENGLISH 2308E: American Literature Notes. London, ON: University of Western. Fall 2014. Lecture Notes.
Throughout life, we have all experienced the loneliness of being excluded at some point or another. In “This Lime-Tree Bower My Prison,” Samuel Taylor Coleridge shows how his experience with this resentful jealousy matured into a selfless brotherly love and the acceptance of the beneficial effects some amount of denial can have. Each of the poem’s three stanzas demonstrates a separate step in this transition, showing Coleridge’s gradual progression from envy to appreciation. The pervading theme of Nature and the fluctuating diction are used to convey these, while the colloquial tone parallels the message’s universal applications. The poem culminates to show the reader that being deprived of something in life is not always to be regretted, but rather to be welcomed as an opportunity to “smell the roses,” so to speak, and appreciate the blessings we often take for granted.
During the early seventeenth century, poets were able to mourn the loss of a child publicly by writing elegies, or poems to lament the deceased. Katherine Philips and Ben Jonson were two poets who wrote the popular poems “On the Death of My Dearest Child, Hector Philips”, “On My First Son”, and “On My First Daughter” respectively. Although Philips and Jonson’s elegies contain obvious similarities, the differences between “On the Death of My Dearest Child” and “On My First Son” specifically are pronounced. The emotions displayed in the elegies are very distinct when considering the sex of the poet. The grief shown by a mother and father is a major theme when comparing the approach of mourning in the two elegies.
The way in which Samuel Johnson is depicted in Life of Johnson by James Boswell differs in various way from other biographers of Johnson as well as other works of Johnson. In Jeffrey Meyer’s Samuel Johnson: the struggle Johnson’s relationship with women is shown differently than it was in Life of Johnson. In Life of Johnson Boswell tries to depict a very manly and masculine Johnson. Whereas in Meyer’s biography of Johnson readers are able to see a side of Johnson that isn’t as chauvinistic and is sympathetic towards women. Even though, many might see Johnson as being misogynistic in reality Johnson did support both women and one can see this if examining and inquiring deeper into Johnson’s writing and his relationship with women becomes clearer. Further, Boswell’s depiction at times might be flawed but it was strong enough to provide a lasting impression of Johnson being chauvinist when in reality he did support women in their educational and intellectual interests.
W.H. Auden’s poems are celebrated for their intelligence, detachedness, and musicality. Often, idealism is associated with romanticism and the excessively personal, because it is an attempt at envisioning the world as it ought to be and not as it is. However, Auden successfully blends idealism into his objective poems, and this idealism manifests itself in his “O who can ever gaze his fill,” “Out on the lawn I lie in bed” (“A Summer Night 1933”), and “The Shield of Achilles.”
During the time-period when they authored this essay, the commonly held notion amongst people was that “In order to judge the poet’s performance, we must know what he intended.”, and this notion led to what is termed the ‘Intentional fallacy’. However, Wimsatt and Beardsley argue that the intention, i.e., the design or plan in the author’s mind, of the author is neither available nor desirable for judging the success of a work of literary art. It is not available because the author will most certainly not be beside the reader when he/she reads the text, and not desirable because intention as mentioned already is nothing but the author’s attitude towards his work, the way he felt while writing the text and what made him write that particular piece of writing and these factors might distract the reader from deciphering the meaning from the text. This method of reading a text without any biographical or historical background of either the poem or the poet practiced by the New Critics was known as ‘Closed Reading’. This stemmed from their belief in the autonomy of the text.