...H. Auden), “Death, be not proud” (John Donne), and “Because I could not stop for Death” (Emily Dickinson) are unique in their own way however, I feel that two poems in particular may show more similarity in each other versus all three being compared at once although, I will be comparing and contrasting all three poems towards the end of this essay. For example, When reading “Funeral Blues” (W. H. Auden), I felt a greater sense of similarity to “Because I could not stop for death” (Emily Dickinson) versus “Death, be not proud” (John Donne) so I will begin to discuss those poems first. When comparing each poem I will list the related styles between the two and the same for contrasting each when discussing the distinctive differences. In “Funeral Blues”; a poem about the mourning of a dear loved one, Auden used a great sense of imagery when writing to assist the audience in creating a mental picture. Each line used a great amount of detail for example, when Auden wrote “Let aeroplanes circle moaning overhead scribbling in the sky the message he is dead.” It was easy for me to actually picture this statement mentally due to his choice of words. Also, he uses a rhyme scheme that is successful in expressing the deep mourning and sorrow that he feels. The same feelings expressed in “Funeral Blues” can also be felt in “Because I could not stop for death” (Emily Dickinson). As in Auden’s poem when speaking of his sadness about the love of his life now deceased, Emily writes about...
Words: 1055 - Pages: 5
...“Because I Could Not Stop for Death,” “I Heard a Fly Buzz,” and “Death, Be Not Proud” speak on death. Emily Dickinson wrote both “Because I Could Not Stop for Death” and “I Heard a Fly Buzz.” John Donne composed “Death, Be Not Proud.” These poems, written over 200 years apart, show how people continually try to understand and process death. Dickenson and Donne used different rhyming patterns to express their thoughts on death. It seems that the only similarities that these authors share appears to be that they wrote about death and were both poets. Emily Dickinson wrote “Because I could not stop for Death” in 1863. Dickinson's poem was not published until 1890, twenty-seven years after it was written and 4 years after Dickinson died. Emily Dickinson spent her life living in isolation. Some consider this Dickinson's most famous poem. In this poem, Dickenson looks at death and the journey that “Death” goes on. Death passes a schoolyard, fields of grain, and the setting sun as it heads toward eternity....
Words: 479 - Pages: 2
...Death is presented as intimidating and scary in most cultures. Death and what happens after is the topic of many poems. Many of the poems are about death not being intimidating or alarming. One such poem being Because I Could Not Stop for Death by Emily Dickinson. Another poem with a similar message Death, Be Not Proud by John Donne. Though Because I Could Not Stop for Death and Death, Be Not Proud both attempt to show that death is not intimidating, they use different depictions of death, the attitude of the narrator, and poem format. Both poets depict death as something people should not fear. Donne confidently ridicules death for being proud of nothing and claims that in the end death will die while everyone else is in the afterlife. He was a devout Christian which helps explain how he can seem so sure of his claim that death is pointless. Dickinson does not take an aggressive stance against death like Donne. Instead, she turns death into a civil gentleman that will give you a peaceful ride to your grave. In the end Donne and Dickinson both show death in a different light than expected by most people....
Words: 509 - Pages: 3
...Issa Haddad Jason Sebacher ENGL102 27 November 2012 Compare/Contrast Essay In Dylan Thomas', “Do Not Go Gentle into That Good Night”, he entreats his father to not succumb quietly to death. He uses the metaphor, "the dying of the light" (3) to illustrate that he feels death to be a destructive power seeking to put out the "light" which is the human life force. That he feels this destruction should not be passively accepted is first shown when he states, "old age should burn and rave at the close of day" (2). He employs the metaphor, "close of day" (2) to show he feels death is an end to human consciousness as he knows it. He also uses "old age" (2) to personify the person/people who should fight death, and "burn and rave" (2) to indicate the fight. He uses examples of different types of men resisting death to add to his argument that life should not be given up lightly. "Wise men" (4) do not "go gentle" because "their words had forked no lightning" (5). Another metaphor, meaning that the words they speak receive no notice, therefor there is still more recognition to achieve before death's finality. "Good men" (7), realizing (with the metaphor/personification) that their "frail deeds might have danced in a green bay" (8), also fight against dying. The use of "green bay" (8) as a metaphor for the inevitable "sea" of mortality shows that they realize their actions in life may not yet be enough to secure them an illustrious place in human history and remembrance. "Wild men"...
Words: 1276 - Pages: 6
...province, Emily Dickinson challenged the existing definitions of poetry and the poet’s work. Like writers such as Ralph Waldo Emerson, Henry David Thoreau, and Walt Whitman, she experimented with expression in order to free it from conventional restraints. Like writers such as Charlotte Brontë and Elizabeth Barrett Browning, she crafted a new type of persona for the first person. The speakers in Dickinson’s poetry, like those in Brontë’s and Browning’s works, are sharp-sighted observers who see the inescapable limitations of their societies as well as their imagined and imaginable escapes. To make the abstract tangible, to define meaning without confining it, to inhabit a house that never became a prison, Dickinson created in her writing a distinctively elliptical language for expressing what was possible but not yet realized. Like the Concord Transcendentalists whose works she knew well, she saw poetry as a double-edged sword. While it liberated the individual, it as readily left him ungrounded. The literary marketplace, however, offered new ground for her work in the last decade of the nineteenth century. When the first volume of her poetry was published in 1890, four years after her death, it met with stunning success. Going through eleven editions in less than two years, the poems eventually extended far beyond their first household audiences. Emily Elizabeth Dickinson was born in Amherst, Massachusetts, on December 10, 1830 to Edward and Emily (Norcross) Dickinson. At the...
Words: 9008 - Pages: 37
...Poetry Nursery Rhymes Most children love being told nursery rhymes. Many of the nursery rhymes that we have read to our children have their origins in British history. Rhymes were written for many different reasons. Some rhymes were written to honor a particular local event that has since been forgotten, while others were written to express feelings of love. Rhymes were also used to hide real meanings, such as when someone wanted to express displeasure toward the government or the sovereign without being executed. Another reason for rhymes is that they’re easy to remember, and therefore could be spread by word-of-mouth—an essential feature for a large population of people who could not read or write. So here are some of many nursery rhymes that have been written: Jack be Nimble (aka Jack b Nimble) Jack be nimble Jack be quick Jack jump over The candlestick. Little Tommy Tucker Little Tommy Tucker sings for his supper, What shall we give him? Brown bread and butter. How shall he cut it without a knife? How shall he marry without a wife? The Grand old Duke of York The Grand old Duke of York he had ten thousand men He marched them up to the top of the hill And he marched them down again. When they were up, they were up And when they were down, they were down And when they were only halfway up They were neither up nor down. Diddle Diddle Dumpling Diddle, diddle, dumpling, my son John, Went to bed with his trousers on; One shoe off, and one shoe...
Words: 14522 - Pages: 59
...Stanza 1 Summary Get out the microscope, because we’re going through this poem line-by-line. Line 1 I am silver and exact. I have no preconceptions. While "Sylvia" might sound a little bit like silver, we're pretty sure from this first-person declaration that Plath isn't the speaker in this poem. Instead, we have to think back to the title: what is silver and exact? Well, a mirror! We know mirrors don't talk – but that just makes us more curious about what this mirror is going to say. We know from looking at them that mirrors are silver and give an exact reflection of what is in front of them. The second part of the line is not so simple. This mirror is telling us it has no preconceptions. The mirror doesn't change what it shows you based on it's understanding of who you are, or whether you're having a bad day or a good day – it just shows what it sees. So, while this mirror may be personified in the poem, it doesn't, like most people, let what it has seen before affect what it does in the present. Line 2 Whatever I see, I swallow immediately. Now the personification becomes a little weirder. We can imagine a person who is exact, who has no preconceptions, but a person who swallows everything he sees – now that's a stretch. To figure out this line, it helps to think of what mirrors do to everything they see – they reflect it. Swallowing everything, then, is a metaphor for reflecting everything. The substitution of "swallowing" for "reflecting" makes this...
Words: 2271 - Pages: 10
...B.A. (HONOURS) ENGLISH (Three Year Full Time Programme) COURSE CONTENTS (Effective from the Academic Year 2011-2012 onwards) DEPARTMENT OF ENGLISH UNIVERSITY OF DELHI DELHI - 110007 0 Course: B.A. (Hons.) English Semester I Paper 1: English Literature 4(i) Paper 2: Twentieth Century Indian Writing(i) Paper 3: Concurrent – Qualifying Language Paper 4: English Literature 4(ii) Semester II Paper 5: Twentieth Century Indian Writing(ii) Paper 6: English Literature 1(i) Paper 7: Concurrent – Credit Language Paper 8: English Literature 1(ii) Semester III Paper 9: English Literature 2(i) Paper 10: Option A: Nineteenth Century European Realism(i) Option B: Classical Literature (i) Option C: Forms of Popular Fiction (i) Paper 11: Concurrent – Interdisciplinary Semester IV Semester V Paper 12: English Literature 2(ii) Paper 13: English Literature 3(i) Paper 14: Option A: Nineteenth Century European Realism(ii) Option B: Classical Literature (ii) Option C: Forms of Popular Fiction (ii) Paper 15: Concurrent – Discipline Centered I Paper 16: English Literature 3(ii) Paper 17: English Literature 5(i) Paper 18: Contemporary Literature(i) Paper 19: Option A: Anglo-American Writing from 1930(i) Option B: Literary Theory (i) Option C: Women’s Writing of the Nineteenth and Twentieth Centuries (i) Option D: Modern European Drama (i) Paper 20: English Literature 5(ii) Semester VI Paper 21: Contemporary Literature(ii) Paper 22: Option A: Anglo-American Writing from 1930(ii) Option B:...
Words: 4049 - Pages: 17
...Answer Booklet provided. Answer two questions. Answer one question from Section A and one question from Section B. Section A is open book. INFORMATION FOR CANDIDATES The total mark for this paper is 120. All questions carry equal marks, ie 60 marks for each question. Quality of written communication will be assessed in all questions. 3 Section A: The Study of Poetry Written after 1800 Answer one question on your chosen pairing of poets. Heaney: Opened Ground Montague: New Selected Poems 1 John Montague and Seamus Heaney both write about the Irish past. Compare and contrast the two poets’ treatment of the Irish past in two poems you have studied. Hopkins: Selected Poems Dickinson: A Choice of Emily Dickinson’s Verse 2 Gerard Manley Hopkins and Emily Dickinson both express intense anguish in their poetry. Compare and contrast how both poets express intense anguish in two poems you have studied. Duffy: Selected Poems Lochhead: The Colour of Black and White 3...
Words: 25332 - Pages: 102
...501 Word Analogy Questions 501 Word Analogy Questions ® N E W YO R K Copyright © 2002 LearningExpress, LLC. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by LearningExpress, LLC, New York. Library of Congress Cataloging-in-Publication Data: 501 word analogy questions / LearningExpress.—1st ed. p. cm. ISBN 1-57685-422-1 1. English language—Synonyms and antonyms—Problems, exercises, etc. 2. Vocabulary—Problems, exercises, etc. I. LearningExpress (Organization) PE1591 .A24 2002 428.1'076—dc21 2002006843 Printed in the United States of America 9 8 7 6 5 4 3 2 First Edition ISBN 1-57685-422-1 For more information or to place an order, contact LearningExpress at: 55 Broadway 8th Floor New York, NY 10006 Or visit us at: www.learnatest.com The LearningExpress Skill Builder in Focus Writing Team is comprised of experts in test preparation, as well as educators and teachers who specialize in language arts and math. LearningExpress Skill Builder in Focus Writing Team Brigit Dermott Freelance Writer English Tutor, New York Cares New York, New York Sandy Gade Project Editor LearningExpress New York, New York Kerry McLean Project Editor Math Tutor Shirley, New York William Recco Middle School Math Teacher, Grade 8 Shoreham/Wading River School District Math Tutor St. James, New York Colleen Schultz Middle School Math Teacher, Grade 8 Vestal Central School District ...
Words: 17361 - Pages: 70
...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
Words: 221284 - Pages: 886
...VOLUME EDITOR S. WALLER is an Associate Professor of Philosophy at Montana State University Bozeman. Her areas of research are philosophy of neurology, philosophy of cognitive ethology (especially dolphins, wolves, and coyotes), and philosophy of mind, specifically the parts of the mind we disavow. SERIES EDITOR FRITZ ALLHOFF is an Assistant Professor in the Philosophy Department at Western Michigan University, as well as a Senior Research Fellow at the Australian National University’s Centre for Applied Philosophy and Public Ethics. In addition to editing the Philosophy for Everyone series, Allhoff is the volume editor or co-editor for several titles, including Wine & Philosophy (Wiley-Blackwell, 2007), Whiskey & Philosophy (with Marcus P. Adams, Wiley, 2009), and Food & Philosophy (with Dave Monroe,Wiley-Blackwell, 2007). P H I L O S O P H Y F O R E V E RYO N E Series editor: Fritz Allhoff Not so much a subject matter, philosophy is a way of thinking.Thinking not just about the Big Questions, but about little ones too.This series invites everyone to ponder things they care about, big or small, significant, serious … or just curious. Running & Philosophy: A Marathon for the Mind Edited by Michael W. Austin Wine & Philosophy: A Symposium on Thinking and Drinking Edited by Fritz Allhoff Food & Philosophy: Eat,Think and Be Merry Edited by Fritz Allhoff and Dave Monroe Beer & Philosophy: The Unexamined Beer Isn’t Worth Drinking Edited by Steven D. Hales Whiskey & Philosophy:...
Words: 90119 - Pages: 361
...In Cold Blood Truman Capote I. The Last to See Them Alive The village of Holcomb stands on the high wheat plains of western Kansas, a lonesome area that other Kansans call "out there." Some seventy miles east of the Colorado border, the countryside, with its hard blue skies and desert-clear air, has an atmosphere that is rather more Far West than Middle West. The local accent is barbed with a prairie twang, a ranch-hand nasalness, and the men, many of them, wear narrow frontier trousers, Stetsons, and high-heeled boots with pointed toes. The land is flat, and the views are awesomely extensive; horses, herds of cattle, a white cluster of grain elevators rising as gracefully as Greek temples are visible long before a traveler reaches them. Holcomb, too, can be seen from great distances. Not that there's much to see simply an aimless congregation of buildings divided in the center by the main-line tracks of the Santa Fe Rail-road, a haphazard hamlet bounded on the south by a brown stretch of the Arkansas (pronounced "Ar-kan-sas") River, on the north by a highway, Route 50, and on the east and west by prairie lands and wheat fields. After rain, or when snowfalls thaw, the streets, unnamed, unshaded, unpaved, turn from the thickest dust into the direst mud. At one end of the town stands a stark old stucco structure, the roof of which supports an electric sign - dance - but the dancing has ceased and the advertisement has been dark for several years. Nearby is another building...
Words: 124288 - Pages: 498
...In Cold Blood Truman Capote I. The Last to See Them Alive The village of Holcomb stands on the high wheat plains of western Kansas, a lonesome area that other Kansans call "out there." Some seventy miles east of the Colorado border, the countryside, with its hard blue skies and desert-clear air, has an atmosphere that is rather more Far West than Middle West. The local accent is barbed with a prairie twang, a ranch-hand nasalness, and the men, many of them, wear narrow frontier trousers, Stetsons, and high-heeled boots with pointed toes. The land is flat, and the views are awesomely extensive; horses, herds of cattle, a white cluster of grain elevators rising as gracefully as Greek temples are visible long before a traveler reaches them. Holcomb, too, can be seen from great distances. Not that there's much to see simply an aimless congregation of buildings divided in the center by the main-line tracks of the Santa Fe Rail-road, a haphazard hamlet bounded on the south by a brown stretch of the Arkansas (pronounced "Ar-kan-sas") River, on the north by a highway, Route 50, and on the east and west by prairie lands and wheat fields. After rain, or when snowfalls thaw, the streets, unnamed, unshaded, unpaved, turn from the thickest dust into the direst mud. At one end of the town stands a stark old stucco structure, the roof of which supports an electric sign - dance - but the dancing has ceased and the advertisement has been dark for several years. Nearby is another building...
Words: 124288 - Pages: 498
...Acclaim for Chuck Palahniuk’s Choke “Just as dark and outrageous as his previous work. … His voice is so distinctive that he exists as a genre unto himself.” —The Washington Post “Palahniuk’s language is urgent and tense, touched with psychopathic brilliance, his images dead-on accurate. … [He] is an author who makes full use of the alchemical powers of fiction to synthesize a universe that mirrors our own fiction as a way of illuminating the world without obliterating its complexity.” —LA Weekly “Puts a bleakly humorous spin on self-help, addiction recovery, and childhood trauma. … Choke’s funny, mantra-like prose plows toward the mayhem it portends from the get-go.” —The Village Voice “Oddly, defiantly, addictive.” happily —Daily News “[Choke] shines a flashlight into America’s dark corners. … As darkly comic and starkly terrifying as your high school yearbook photo.” —GQ “Palahniuk is a gifted writer, and the novel is full of terrific lines.” —The New York Times Book Review “[Palahniuk’s] most enduring trait … is that marvelous quicksilver voice of his. … The exuberance of his language makes it still worthwhile to brave these often chilly and dark waters.” —The Oregonian “Choke is another welcome antidote to antiseptic consumer life, and you can’t blame it for grabbing you by the throat.” —Maxim “Palahniuk is a cult writer in the truest sense.” —Entertainment Weekly “His subversive riffs conjure a kind of jump-cut cinema of the diseased imagination, resulting...
Words: 70866 - Pages: 284
