...of the tone throughout the poem III. Description of Hopkin’s perspective of the pied things of the world A. Definition of pied B. Description of the parts of God creation Hopkin chooses to focus on C. Description of Hopkin’s appreciate for the oddest of God’s creation IV. Conclusion Pied Beauty Pied Beauty is a poem that offers praises unto God for his marvelous creation. The imagery within the poem catapults the reader’s attention towards nature’s simplified beauty. Hopkin’s poem “Pied Beauty” exemplifies how the beauty in even the oddest things in the world is worthy to be admired. This paper will discuss the overall summary of “Pied Beauty” as well as focus on the tone and mood Hopkins used throughout this piece, as we review his appreciation of the world’s beauty through his eyes. The author of Pied Beauty, Gerard Manley Hopkins, an English poet known for his celebration of nature and all God has created, was one of the most influential of Victorian writers. Within the stanzas of this poem, Hopkins projects his perception of God’s mercy and his joy in the smallest things as he refers to the motley beauty of the world. “Pied Beauty” is a rhymed curtal or shorten sonnet that follows no specific form, yet it advocates originality and contrariness. In the beginning of the poem Hopkins dance with the magnificent praises of God as he points out the “dappled” things of the world. He goes on to paint a very vivid...
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...2013. M.12 Coimisiún na Scrúduithe Stáit State Examinations Commission LEAVING CERTIFICATE EXAMINATION, 2013 English - Higher Level - Paper 2 Total Marks: 200 Thursday, 6 June – Afternoon, 2.00 – 5.20 Candidates must attempt the following :• ONE question from SECTION I – The Single Text • ONE question from SECTION II – The Comparative Study • ONE question on the Unseen Poem from SECTION III – Poetry • ONE question on Prescribed Poetry from SECTION III – Poetry N.B. Candidates must answer on Shakespearean Drama. They may do so in SECTION I, the Single Text (Macbeth) or in SECTION II, The Comparative Study (Macbeth, The Winter’s Tale). INDEX OF SINGLE TEXTS Wuthering Heights The Great Gatsby The Grass Is Singing Macbeth Antigone − Page 2 − Page 2 − Page 3 − Page 3 − Page 3 Page 1 of 8 SECTION I THE SINGLE TEXT (60 marks) Candidates must answer one question from this section (A – E). A WUTHERING HEIGHTS – Emily Brontë (i) In your opinion, to what extent are the values represented by the world of Thrushcross Grange defeated, in Brontë’s novel Wuthering Heights? Support your answer with suitable reference to the text. OR (ii) “Emily Brontë makes effective use of both Nelly Dean and Mr Lockwood in a variety of ways.” Discuss this statement, supporting your answer with suitable reference to the novel, Wuthering Heights. B THE GREAT GATSBY – F. Scott Fitzgerald (i) “Readers of The Great Gatsby are greatly influenced by the narrator, Nick Carraway.” Discuss...
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...On the 13th of March 1879 Gerard Manley Hopkins, a curate at St Aloysius’ church in oxford at the time took an afternoon stroll in the country side, a place he had been cherishing since he started studying in oxford many years before. He had found that all the bountiful poplars lining the side of the river near Binsey had been cut down. Oxfords countryside had always been very close to Hopkins heart, leaving him distressed at the thought that the effervescent beauty of the countryside had been destroyed; Thus spurring the composition of the well-known poem ‘Binsey Poplars”. The poem is composed in “sprung rhythm,” the pioneering metric form created by Hopkins himself. “In sprung rhythm the number of accents in a line is counted, but the number of syllables is not.” (enotes.com). As a result Hopkins uses this to group accented syllables together to create striking onomatopoeic effects. For example, the third line features a substantial recurrence of the accented words, “all” and “felled that catch the ear like the shocks of a hatchet on the tree trunks. This poem holds two irregular stanzas of eight and 16 lines which grieve the loss of nature to the woodsman’s axe. The first stanza is written with the eye of the author, intimate descriptions of the trees that were once by the bank of the river are depicted. The theme of Tragedy and loss are prominent themes throughout the poem. ‘O if we knew what we do”. Hopkins mourns the wholesale damage of the natural world. Just when...
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... The poem “Pied Beauty” written by Gerald Manley Hopkins on the theme of praising the beauty and diversity of nature, it is almost like a hymn of creation, praising God by praising the created world. The literal meaning of “pied” is having two or more different colours. The title itself gives an impression or an idea about the poem. When we think of pied, an image is created in our minds of beautiful colours in our world. This poem is a miniature or set-piece, and a kind of ritual observance. It begins and ends with variations on the mottoes of the Jesuit order (“to the greater glory of God” and “praise him”), which gives it a traditional flavor, tempering the unorthodoxy of its appreciations. In other words the poet appreciates and puts his thoughts about nature in the poem. The parallelism of the beginning and end correspond to a larger symmetry within the poem: the first part begins with God and then moves to praise his creations. In the next five lines Hopkins elaborates what things in nature he means to include in his rubric of “dappled”.Hopkins has used “couple-colour” which also relates to the different shades of colours of nature. The phrase “brinded cows”,in this respect, skies are like cows, which may be brown with streaks or patches of another colour. The colours of different shades of grey is compared to the different shades of colours of streaks or patches on the cows. Now the poet turns the focus to rivers, Hopkins compares the spots on a speckled trout to mole...
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...and symbolism, enable the author to evoke specific feelings and thoughts in the reader. Gerard Manley Hopkins uses elements like alliteration and diction to juxtapose life and death in his poem “Spring and Fall.” The poem compares a young girl’s sadness over the changing of seasons to humans’ sadness regarding their own mortality. This inevitable fate causes a loss of innocence even before she is able to describe it with words or emotions. Hopkins alludes to the idea of the contrast of life and death from the very beginning of the poem by choosing contrasting words “spring” and “fall” for the title. Many times when speaking about the seasons, authors will use the term autumn rather than fall. This intentional decision by the author clues readers in on the theme and draws parallels to comparisons of youth versus age and innocence versus experience. Spring, often representative of youth, innocence and renewal, is depicted by young Margaret and her “fresh thoughts” (4). The speaker suggests that autumn is comparable to old age and death with the term “Fall.” The use of the word fall also calls to mind the “fall from grace” of man from the Bible. Adam and Eve ate the forbidden fruit in the Garden of Eden, causing all men to be subjected to a mortal life with sin. This idea speaks to the theme of mortality and loss of innocence, as both were concepts of the Bible story and Hopkins’ poem. The setting of the poem is a town called Goldengrove in the fall. The words golden and...
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...Manifestation of Imperfection Both “Design” by Robert Frost and “Pied Beauty” by Gerald Manley Hopkins recount God’s exhibition in nature. The poems focus on imperfections and abnormalities in God’s creations. Both poets attempt to create acceptance to these imperfections. Frost and Hopkins offer two different conclusions to readers; Frost questions His design of imperfections while Hopkins glorifies it. The reader is left questioning God and his intentions. In “Design” three abnormalities are observed: a stout spider, white moth, and white heal-all. Frost questions why these creatures are not in their usual color or stature. In the first line of the poem’s couplet he asks, “What but design of darkness to appall (line 13)? He concludes the...
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...Student: Hassan Mohammad Hilles. Instructor: Prof. Dr. Kawther Mahdi Course Title: Modern English and American Poetry Wystan Hugh Auden Wystan Hugh Auden was born in York, England, in 1907. He moved to Birmingham during childhood and was educated at Christ Church, Oxford. As a young man he was influenced by the poetry of Thomas Hardy and Robert Frost, as well as William Blake, Emily Dickinson, Gerard Manley Hopkins, and Old English verse. At Oxford his precocity as a poet was immediately apparent, and he formed lifelong friendships with two fellow writers, Stephen Spender and Christopher Isherwood. In 1928, his collection Poems was privately printed, but it wasn't until 1930, when another collection titled Poems (though its contents were different) was published, that Auden was established as the leading voice of a new generation. Auden first gained attention in 1930 when his short verse play called ''Paid on Both Sides'' was published in T. S. Eliot's periodical The Criterion. In the same year appeared Auden's Poems, his first commercially published book, in which he carefully avoided Yeatsian romantic self-expression – the poems were short, untitled, slightly cryptic, but free of philosophical abstraction. The collection had a powerful influence on Auden's peers, including Stephen Spender, Cecil Day-Lewis, and Louis MacNeice. Auden soon gained fame as a leftist intellectual. He showed interest in Marx and Freud and he wrote passionately on social problems, among...
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...to hear. Be a good friend to someone and someone will be a good friend to you.” Although Jennings is more of a traditionalist rather than an innovator, she is known mainly for her lyrical poetry and mastery of the form (Hays). Her works have a simple meter and rhyme that is also used by Philip Larkin, Kingsley Amis and Thom Gunn. All of them are members of the group of English poets known as The Movement (Dowson). Rejection of neoromanticism is also another characteristic poets of The Movement had. Most of the other poets opposed to “working in the neoromantic vein of Dylan Thomas”. Jennings, on the other hand, did not share their objections because she valued neoromantic directions and revered earlier poets such as Gerard Manley Hopkins and George Herbert. Jennings differs from most modern poets in that she takes Christianity, specifically Roman Catholicism, as her primary subject. For her, “poetry is not an exorcism but a sacrament, a sharing” (Hays). Jennings’ deeply held Roman Catholic religious views were the most dwelled upon subjects of much of her works. She also recalled vivid memories of her younger childhood years to describe how she felt growing up and used those memories to influence her poetry. Jennings’ religious views, childhood, and friendship with family members and other writers were the main topics used throughout her works for over 50 years. ...
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...http://www.historytoday.com/jerome-de-groot/signposts-historical-fiction These were some of the questions raised at a recent conference at the Institute of Historical Research at which History Today Editor, Paul Lay, hosted a discussion between Hilary Mantel, author of Wolf Hall, and the Tudor historian David Loades. Historians often describe themselves as detectives, seeking out a kind of truth among the conflicting evidence of the past. There is, furthermore, a large and growing subgenre of historical crime fiction. From C.J. Sansom to Philip Pullman, from Orhan Pamuk to Walter Mosley, from Ellis Peters to Boris Akunin, novelists have been keen to use the past as a backdrop for their stories of detection and mystery. The most famous historical detective might be Brother William of Baskerville in Umberto Eco’s peerless The Name of the Rose (Il nome della rosa, 1980). Recently we have seen a flowering of historical crime fiction as the subgenre attains maturity and becomes increasingly popular and innovative. Jason Goodwin, Philip Kerr and Susan Hill were all shortlisted for the prestigious Crime Writers Association Dagger this year (recent historical winners include Arianna Franklin, Jake Arnott and Craig Russell). Clearly the combination of thriller, crime and historical detail is compelling. Anne Perry’s new Inspector Pitt novel, Betrayal at Lisson Grove (out in paperback from Headline this year) is a pacy, twisting thriller. It is 1895 and Pitt is up against a conspiracy...
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...OLD ENGLISH LITERATURE • Palaeolithic nomads from mainland Europe; • New inhabitants came from western and possibly north-western Europe (New Stone Age); • in the 2nd millennium BC new inhabitants came from the Low Countries and the middle Rhine (Stonehenge); • Between 800 and 200 BC Celtic peoples moved into Britain from mainland Europe (Iron Age) • first experience of a literate civilisation in 55 B.C. • remoter areas in Scotland retained independence • Ireland, never conquered by Rome, Celtic tradition • The language of the pre-Roman settlers - British (Welsh, Breton); Cornish; Irish and Scottish Gaelic (Celtic dialect) • The Romans up to the fifth century • Britain - a province of the Roman Empire 400 years • the first half of the 5th century the Angles, Saxons, and Jutes (N Germany, Jutland) • The initial wave of migration - 449 A. D. • the Venerable Bede (c. 673-735) • the Britain of his time comprised four nations English, British (Welsh), Picts, and Scots. • invaders resembling those of the Germans as described by Tacitus in his Germania. • a warrior race • the chieftain, the companions or comitatus. • the Celtic languages were supplanted (e.g. ass, bannock, crag). * Christianity spread from two different directions: * In the 5th century St Patrick converted Ireland, in the 7th century the north of England was converted by Irish monks; * in the south at the end of the 6th century Aethelberht of Kent allowed the monk Augustine...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...yMacmillan Study Companions Sharon R. Wilson-Strann POETRY FOR THE CSEC® ENGLISH B EXAMINATION Second edition Prescribed list for 2012–2017 CSEC® is a registered trademark of the Caribbean Examinations Council (CXC) POETRY FOR THE CSEC® ENGLISH B EXAMINATION is an independent publication and has not been authorised, sponsored, or otherwise approved by CXC. CSEC Study Comp Poetry 2nd Ed_2011.indd i 9/6/11 4:31 PM Macmillan Education Between Towns Road, Oxford OX4 3PP A division of Macmillan Publishers Limited Companies and representatives throughout the world www.macmillan-caribbean.com ISBN: 978-0-230-41802-8 Text © Sharon R. Wilson-Strann 2011 Design and illustration © Macmillan Publishers Limited 2011 First published 2008 This edition published 2011 All rights reserved; no part of this publication may be reproduced, stored in a retrieval system, transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publishers. These materials may contain links for third party websites. We have no control over, and are not responsible for, the contents of such third party websites. Please use care when accessing them. Designed by Mike Brain Graphic Design Ltd Typeset by E Clicks Enterprise, Malaysia Cover design by Clare Webber Cover photo by Jenny Palmer The author and publishers are grateful for permission to reprint the following copyright material: Bloodaxe Books for the poem...
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...Rastafari This page intentionally left blank Rastafari From Outcasts to Culture Bearers Ennis Barrington Edmonds 2003 198 Madison Avenue, New York, New York 10016 Oxford University Press is a department of the University of Oxford It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Taipei Tokyo Toronto Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Copyright © 2003 by Ennis Barrington Edmonds The moral rights of the authors have been asserted Database right Oxford University Press (maker) All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer Library of Congress Cataloging-in-Publication Data Edmonds...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Very Short Introductions are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in 15 languages worldwide. Very Short Introductions available from Oxford Paperbacks: ANCIENT PHILOSOPHY Julia Annas THE ANGLO-SAXON AGE John Blair ARCHAEOLOGY Paul Bahn ARISTOTLE Jonathan Barnes Augustine Henry Chadwick THE BIBLE John Riches Buddha Michael Carrithers BUDDHISM Damien Keown CLASSICS Mary Beard and John Henderson Continental Philosophy Simon Critchley Darwin Jonathan Howard DESCARTES Tom Sorell EIGHTEENTH-CENTURY BRITAIN Paul Langford The European Union John Pinder Freud Anthony Storr Galileo Stillman Drake Gandhi Bhikhu Parekh HEIDEGGER Michael Inwood HINDUISM Kim Knott HISTORY John H. Arnold HUME A. J...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Jonathan Culler LITERARY THEORY A Very Short Introduction 1 Great Clarendon Street, Oxford o x2 6 d p Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Jonathan Culler 1997 The moral rights...
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