... through the "charter'd" streets, he is commenting on this commercial aspect of London. As he moves on in his poem he also refers to the "charter'd" Thames, he is telling us in this second line that even a river which is a force of nature, is owned in London. When Blake says that he sees "marks of weakness, marks of woe" in "every face" he meets, he means that he can see how this commercialism is affecting everyone rich and poor. Yet, despite the divisions that the word charter'd suggests, the speaker contends that no one in London, neither rich or poor, escapes a pervasive sense of misery and entrapment. The speaker talks of how in "every cry of every man" h ...
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... poem unity and makes it easy to read. "I Could Not Stop for Death" gives the reader a feeling of forward movement through the second and third quatrain. For example, in line 5, Dickinson begins death's journey with a slow, forward movement, which can be seen as she writes, "We slowly drove-He knew no haste." The third quatrain seems to speed up as the trinity of death, immortality, and the speaker pass the children playing, the fields of grain, and the setting sun one after another. The poem seems to get faster and faster as life goes through its course. In lines 17 and 18, however, the poem seems to slow down as Dickinson writes, "We paused before a House that ...
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... I hold within my hand Grains of golden sand- . . . they creep through my fingers . . . O God! Can I not grasp Them with a tighter clasp? In the first stanza of his poem, Poe is speaking to a person who has seen him through some rough times. He is trying to convince her as well as himself that his life has not changed through the years. He questions the realness and significance of the everyday events of life and finally concludes that they are unimportant and superficial. "All that we see or seem is but a dream within a dream." The second stanza takes on a more despairing tone. His air of carelessness begins to vanish. He realizes that everything he holds ...
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... 3, 63-64). Although this implies that the Son is a model of perfection as is God, it does not clarify it by stating it outright. Milton definitely portrays Satan's evil in Book four by asserting that Satan is hell and that evil is his good because good has been lost to him. (Bk. 4, lines 75, 108-110). Satan's moral state further decays in Book nine as detailed in a soliloquy at the beginning of the book by Satan. Satan recognizes his descent into bestiality after once being in contention with the gods to sit on top of the hierarchy of angels. He is unhappy with this "foul descent" and in turn wants to take out his grief on humanity. Despite recognizing th ...
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... in time is that they had celebrations, feasts, and entertainment by way of scops in meadhalls. The meadhall of the story is Heorot and they describe it saying, "The great hall rose / high and horn-gabled" (l. 55-56). The phrase ‘horn-gabled' is referring to the group called the Scyldings which were always associated with the stag. They also probably decorated the hall with horns. Some further elements of the setting are the geographical features. The story mentions many places such as the misty moors, the marshlands, and the wastelands. These places are all dangerous and uninhabited by humans so that would make you curious about them. There are things ...
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... there isn't anything there. That is exactly what he did. He says it is a late night visitor and nothing more. Then he begins to explain out loud that he was napping, and the visitor came rapping and woke him up. He opens the door to look at who or what is there, but all he sees is the darkness of the night. At that point the man's mind went wild, wondering, fearing, and dreaming of what might lie beyond his front stoop. The only sound that was heard was the soft whisper of the name "Lenore", as if the man was expecting her to answer his faint plea. Jolting back into the chamber, the man hears another rapping. Only this time it is coming from the window lat ...
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... Nature, in many Romantic sonnets, is in direct parallel with the emotions being conveyed. Smith, for example, uses the water to aid the reader's comprehension of the speaker's state of mind. Included in this traditional natural setting is the use of the sea as stormy, deep, extensive, and dark which ties the speaker in with the setting as the scene applies to the tone of the poem as well. Also characteristic of the Romantic sonnet is the retreat from the neo-classical age and its significant historical references into a new age where it becomes common to speak of "nothing." In William Wordsworth's "Composed Upon Westminster Bridge," there is no deeper meaning t ...
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... aspect Pope uses is that his main character Belinda gains wisdom from a dream. Ariel is a Sylph that guides Belinda. When Belinda was asleep Ariel came into her dream to tell her to “Beware of all, but most beware of Man!” He was telling her to watch out for man because he will try to take her chastity. When Belinda awoke she thought deeply about what was said to her in her dream but then she forgot all about the lesson when she started to think about Baron. This is the gaining of wisdom aspect of the epic poem. The greatest aspect of an epic poem is the quest and the battle. Pope uses both of these in a quite different manner in his poem. Baron is quest ...
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... the speaker uses hyperboles when describing in the fifth tercet that she lost "two cities...some realms I owned." Since she could not own, much less lose a realm, the speaker seems to be comparing the realm to a large loss in her life. Finally, the statement in the final quatrain "Even losing you" begins the irony in that stanza. The speaker remarks that losing this person is not "too hard" to master. The shift in attitude by adding the word "too" shows that the speaker has an ironic tone for herself in her loss or perhaps her husband or someone else close to her. Language and verse form show in "One Art" how the losses increase in importance as the poem progres ...
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... offers, and the tone of each speaker, these differing methods can be understood. The "Passionate Shepherd" is set in a romantic, natural backdrop in the seventeenth century. In this rural setting the Shepherd displays his flock and pastures to his love while promising her garlands and wool for weaving. Many material goods are offered by the speaker to the woman he loves in hopes of receiving her love in return. He also utilizes the power of speech to attempt to gain the will of his love. In contrast, the poem "Song" is set in what is indicative of a twentieth century depression, with an urban backdrop that is characteristically unromantic. The speaker "h ...
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