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Analysis of Yeats & poetry
Analysis of Yeats & poetry
Analysis of Yeats & poetry
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Tristan and Iseult wander throughout the woods with their pallid faces and tattered clothes. In the high woods, they discern the dwelling of an old, religious man named Ogrin. Ogrin apprises Tristan of two things: 1) King Mark is awarding a ransom of a hundred marks of gold for whoever captures Tristan, 2) Tristan should "do penance" so God can pardon his sins. Tristan informs that there is nothing to repent because he craves being with Iseult, even if he subsists on a tougher life. Ogrin elucidates that Tristan is obligated to return Iseult to the King as he wronged him. In return, Tristan justifies that he is not entailed penance because King Mark sacrifices Iseult to the lepers. Ogrin iterates and reiterates the words of his holy book to Iseult, but Iseult weeps. Despite Ogrin's reasoning, Tristan is nevertheless convinced that he penance is not a necessity.
Tristan and Iseult inhabits the inside a rock, where the wintry cold freezes their leaf couch. When spring approaches, they assemble a hut under the trees. Using his "art",
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Tristan sings a song of birds, prompting multifarious birds to perch on the branches of the hut. For a while, the lovers cease ambling the woods. None of the barons search the woods, until Guenelon dares to do so. Guenelon glimpses Tristan and Iseult, but Gorvenal immediately kills him in an ambush. Then on, none of the barons dared to attack, surmising that Tristan murdered Guenelon. A little after Pentecost, Tristan leaves his hut, and carries his sword and bow for hunting. Tristan returns exhausted and dozes off. A woodsman discovers Tristan and Iseult sleeping in their hut, prudent to keep from awakening Tristan.
The woodsman immediately traverses to Tintagel to notify the king that he sighted the lovers in a hut in Morois. King Mark reminds the woodsman that he will earn gold and silver. Afterwards, King Mark saddles his horse, leaves the city, and reminisces the moment he peered Tristan under the pine-tree. The woodsman leads the way to the couple as King Mark follows. King Mark distinguishes the sword positioned between Tristan and Iseult, comprehending the sword as peace. Instead of murdering Tristan and Iseult, the king places his gloves inside a resplendent crack, exchanges Tristan's sword with his own sword, and swaps Iseult's ring with his own, displaying that he arrivedin peace. Tristan and Iseult wake up in trepidation, thinking erroneously that the king would soon return and burn them. Together, Tristan and Iseult flee to
Wales.
In the article “Twoness in the style of Oscar Micheaux” by J. Ronald Green critiques the common theme of twoness which was a common debilitating dilemma for black film in America concerning American Social Codes. African Americans face the possibility of two identities at the same time but somehow resolve individually for her or himself. The point is made that African Americans are American citizens, but are hindered by the color line which sets them up to be positioned to understand two sides to the American hegemony. Hegemony consists of leadership or domination, either by one country or social group over others. American black cinema acquiesced in segregation, placed white cupidity off limits as theme, rehashed white Hollywood stereotypes
"The bunk house was a long, rectangular building. Inside, the walls were whitewashed and the floor unpainted. In three walls there were small square windows, and in the fourth, a solid door with a wooden latch. Against the walls were eight bunks, five of them made up with blankets and the other three showing burlap ticking..." (17)
Tartuffe, a con artist, knows that if he can give an answer to the ultimate question then he must be of great importance. Tartuffe uses the established hierarchy and ideology of Orgon’s faith to mold himself into an exemplified “holy” individual. Blinded by his own faith Orgon fails to see through the carefully crafted facade. Tartuffe’s holiness resigns Orgon to, “my heart…surrendered to him” (1.5.24) certifying Tartuffe’s influence over Orgon. When questioning Tartuffe, the other characters are questioning Orgon’s faith. Once established an authority figure’s power will be met with confirmation bias. Nothing will convince Orgon of the deception, rather he will rationalize anything he is told. Tartuffe uses Orgon’s faith to manipulate him into evicting Damis who accused Tartuffe of infidelity by a display of faith: “I beg you on bended knee, to pardon him.” (3.6.40-41) This reaffirms Tartuffe’s holiness to Orgon and through this
At the left-bottom corner of the painting, the viewer is presented with a rugged-orangish cliff and on top of it, two parallel dark green trees extending towards the sky. This section of the painting is mostly shadowed in darkness since the cliff is high, and the light is emanating from the background. A waterfall, seen originating from the far distant mountains, makes its way down into a patch of lime-green pasture, then fuses into a white lake, and finally becomes anew, a chaotic waterfall(rocks interfere its smooth passage), separating the latter cliff with a more distant cliff in the center. At the immediate bottom-center of the foreground appears a flat land which runs from the center and slowly ascends into a cliff as it travels to the right. Green bushes, rough orange rocks, and pine trees are scattered throughout this piece of land. Since this section of the painting is at a lower level as opposed to the left cliff, the light is more evidently being exposed around the edges of the land, rocks, and trees. Although the atmosphere of the landscape is a chilly one, highlights of a warm light make this scene seem to take place around the time of spring.
“Trees of the Arctic Circle” and “Heat” depict nature as having its faults such as the trees being a disappointment in Purdy’s case and the weather being too intensely hot in Lampman’s case but by the end of each poem find clarity is almost essential not only physically but internally. The two works give nature characteristic views as well as personification that differ from 20th century modernist works to impressionist ideals upon nature. Both poems bring out realizations in ones self within coming to terms with shifting out of the negative to a positive and demonstrating that nature is always capable bring out
The play begins with a grand celebration, in which the characters toast to the New Year. Agnes admits that she feels relatively safe living at Berlin at this time, and the group decides to make up a story together. They story is of a cold night and a watchman who tries to beat nature by fighting back and arming himself with a warm coat and scarf. At first he succeeds, but later finds that even his coat and scarf are
Lastly, when Iseult is set to leave for her impending marriage to King Mark, “her mother gathered herbs and flowers and roots and steeped them in a wine, and brewed a potion of might... (Bedier 41). This love potion, that was intended to be shared between Iseult and King Mark on their wedding night, again shows the power that women possessed.
searching for evil. He goes to the forest to do his deed and "he had taken a
When all the courtly love elements that flow through The Knight of the Cart are composed, in addition to a tale of love affair between Queen Guinevere and Lancelot of the Lake, a document revealing the enchanting history of the Twelfth Century Renaissance is created. Troyes, our powerful storyteller, was able to do this by taking us on a journey with Lancelot, not only though his exciting battles to Guinevere but, through his passionate and enamored thoughts and behaviors that yearns for his beloved.
As this short drama goes on the reader can witness how they change the room and furniture around trying to get it arranged perfectly to keep their guests visiting as long as possible.
Though he may seem acquitted and amiable, Gerard de Villefort can be dangerous and even murderous. Gerard has done numerous things in his life to corroborate his sinfulness, including the assayed murder of his son, Andrea, by burying him alive when he was a newborn. Gerard is also one of the three main conspirators in the Count's arrest and imprisonment; it is he who is the most measurable of the three. The Count, Edmond Dantes, was an innocent man about to be married, before Gerard’s conception between right and wrong was twisted by the name of his father in a letter. Also, Gerard forces his wife to commit suicide; even though he had had many faults of his own.
Macbeth invites the King over to his castle for a celebration with the intent to kill the King, beginning the next deception. When Macbeth arrives at his castle, he cannot grasp the idea of himself consummating his scheme, however; Lady Macbeth, his wife, convinces him to do so anyway. Macbeth’s deception to the King is not the only deception in this portion; even nature seems to be in on the plot. When the King and Banquo arrive at the castle, they observe a House Martin building its nest in the castle walls. This bird only settles in pleasant areas and is considered a sign of purity, so they conclude that purity and righteousness follows whoever lives in this home which leads to both of their demises. After Macbeth finally commits the grievous atrocity against his King, he sets the blame on the King’s servants and feigns grief over his dead liege. The majority of the guests believe Macbeth, but some have their suspicions, including
“Mending Wall” by Robert Frost displays the seasonal routine of two neighbors who are constantly mending a wall which separates their properties. Every spring the two neighbors meet at the wall to repair any damaged or ill placed stone which may have occurred during the long winter months. Frost expresses the wall’s misshapen condition due to specific conditions like when,
...years later, it becomes clear that for all the emphasis put on art, on creation, and on mass production—nature is central to our human experience. We can symbolize this natural connection with art—but the art itself always harkens back to something that elicits an emotional response from the viewer. For Leontes, a statue of his presumably deceased wife, Hermione triggers a sorrowful reaction. Art indeed embellishes life as it does with flowers, but we are always working from some perspective, some emotion, before we are merely creating art. “The Winter’s Tale” takes on the challenge of investigating whether or not art can in fact breathe outside the womb of nature, and as we witness art break down, and nature hold the characters together, it becomes resoundingly clear that art seeks to react to nature, but that it cannot work without maintaining nature at its core.
“The Snow Man,” by Wallace Stevens, dramatizes a metaphorical “mind of winter”, and introduces the idea that one must have a certain mindset in order to correctly perceive reality. The poet, or rather the Snow Man, is an interpreter of simple and ordinary things; “A cold wind, without interpretation, has no misery” (Poetry Genius). Through the use of imageries and metaphors relating to both wintery landscapes and the Snow Man itself, Stevens illustrates different ideas of human objectivity and the abstract concept of true nothingness. Looking through the eyes of the Snow Man, the readers are given an opportunity to perceive a reality that is free from objectivity; The Snow Man makes it clear that winter can possess qualities of beauty and also emptiness: both “natural wonder, and human misery”. He implies that winter can also be nothing at all: “just a bunch of solid water, dormant plants, and moving air.” (The Wondering Minstrels). “One must