arguments against t.s. eliot views in the first stanza, the wasteland
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Out of the invulnerable, non-participative juggernaut civilisation we have now it is very difficult to understand why someone would lament the ruin of a vulnerable, responsive civilisation. When the edge of the city is RIGHT THERE it is in the city's interest to ensure that it remains of use to its citizens, and as long as that is the case one would generally expect the citizens to be concerned for the integrity of the city walls. But now, it is debatable whether our city has any edges at all; it sprawls over the whole universe and we cannot escape it. Therefore it has no reason to care if it is any use to us, and we don't care what happens to it. Indeed it is easy to understand how one can long for the wilderness.\n\nFor us, civilisation has ceased to be a sanctuary and has become a prison. For Eliot, Edwardian Europe seems to have been a thing responsive to his participation; if it was a bit spoilt and silly, a bit twee a sanctuary, it was at least vulnerable enough for him to want to protect it - like a spoilt child meeting the real world for the first time.\n\nI still think the contrast between the last line of the first stanza and the first line of the second stanza is some of the most powerful verse ever written.
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Good use of symbols. I like how line 2 fits with the last two lines, it brings unity to the poem. Towards the end I think I got a little bit of a glimpse of what the poem might be about, but ultimately I feel like the message is hidden from me. It seems the third- and fourth-to-last lines are the culmination of the poem; is it possible to reword some of the earlier lines so as the reader can share what you're feeling when they reach the end?\n\nRegarding parenthesis: as long as you know what they mean then they're fine.
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The strong conflict of Puritanism and Transcendentalism in Emily Dickinson's poetry is what allowed her to become one of the greatest and most influential American poets of the nineteenth century. Her Puritan heritage is evident in the early years of her life when she was influenced by a strictly Puritan family, but what is of greatest "importance is not the Puritan tradition itself so much as the breakdown of that tradition that was taking place in Emily Dickinson's lifetime" (Welland 74). In her mind, and only her mind, she can relate to the Puritan foundation because of the influence of her family's beliefs. Emily Dickinson's conforming reverence for God is derived from the beginning of her life, but she could not deny her self-expression. Transcendental philosophy was "asserting the greater importance of the individual as a law unto himself, [and the need to be] his own arbiter of conduct . . ." (Welland 75-76). "[I]n her impatience at the conventional piety of orthodox forms of religious observance Emily Dickinson is only carrying to an extreme the Puritan belief in the necessity of a personal experience of salvation . . ." (Welland 74). Transcendentalism was "a natural outgrowth both of a literary time when visionary ideas were powerfully set abroad and [a time] of personal, exuberant discovery of self in poetry" (Weisbuch 1). As Transcendentalism was beginning to emerge, so was Emily Dickinson's soul.
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Below is Ashante's racist poem:\n\n  "White nationalism is what put you in bondage\nPirate and vampires like Columbus, Morgan, and Darwin\nDrank the blood of the sheep, trampled all over them with\nSteel, tricks and deceit.\nNothing has changed take a look in our streets\nThe mis-education of she and Hegro -- leaves you on your knee2grow\nBlack lands taken from your hands, by vampires with no remorse\nThey took the gold, the wisdom and all of the storytellers\nThey took the black women, with the black man weak\nMade to watch as they changed the paradigm\nOf our village\nThey killed the blind, they killed the lazy, they went\nSo far as to kill the unborn baby\nYeah White nationalism is what put you in bondage\nPirates and vampires like Columbus, Morgan, and Darwin\nThey drank the blood of the sheep, trampled all over them with\nSteel laden feet, throw in the tricks alcohol and deceit.\nNothing has changed take a look at our streets. \n\n  It appears  this girl is a home daddy taught racist. However I have to agree with the other poster in that it sounds more like her daddy's writting than a 7 year old girl. \n\n  I do however believe she is a racist, a home grown racist in a home grown racist education atmosphere. She would put Al "Shakedown" Sharpton to shame.\n\n   The oddity and fact here is that we in America have only two protected types of racism. That being the racism of Blacks and that of Jews. Either one of these two  races could say and do anything and no one will even flinch . But let it be any other race and especially a white person and even more so now a middle eastern person and you've got  what is necessary for a riot.\n\n   Fact is there is white nationalism and this poor misinformed girl dosn't even understand it. In real White nationalism they wouldn't even think of owning slaves. In fact they want nothing to do with them and rightly so. True White natinalism would have never brought slaves over in the first place nor would they have anything to do with their women. If this young girl who is touted as intelligent knew anything true of history she would have never blamed her bondage on "Whites" but in fact would have put the blame on the Jews where it belongs. It is fact that Jews capitalized and controled the slave industry and were responsible for the greater slavery of the black peoples.\n\n  And what is with  "Columbus, Morgan, and Darwin\nDrank the blood of the sheep?" Does she mean real sheep blood or is she intending us to believe that they are implying that they are the sheep of  ( Israel-Gods chosen). If that is her intended farce then we know that this poem is mostly fiction and that of a true racist mind.\n\n She is misinformed about whites taking the blacks land from them. In fact it was the blacks whom were taken from their land and the blacks who sold their own into slavery and gave them their weak men for slavery. It was a joint business deal between the black slave traders and the Jewish slave traders.\n\n And she states " They took the black women," Who took them? Well, this is full of hypocrissy because in America it is the blacks who took the white women!\n\n "They killed the blind, they killed the lazy, they went\nSo far as to kill the unborn baby" Well those who kill the unborn baby are only half the problem, the other half belongs to the black woman who agrees with abortion. It is factual that more blacks have abortions in America than any other race. So how is that black decission a  white mans falt?\n\n "throw in the tricks alcohol and deceit."  Most deciet I have encountered in America is from the Black man. Not to mention that I am hit up for money by blacks some 2 dozen tims or more a year. No one makes the black man buy or lust after the alchohol. Their ideal is that since there are many more bars in black areas which cause more drunken black men that it is the fault of the white man. Ever go into a
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ok summer here is the best i got:\n\nThis poem is (obviously) a lament, or some sorrow for something lost, also known as an elegy.  In this case, the poem is a woman's song.  She is lamenting the loss of her lover (it is possible that he is simply not there, or absent).  \nHowever, it appears as if "her lord" is the same lord that governs the people in this poem.  Therefore, for some reason they are isolating her from him.  Her lord himself tells her to take up a "dwelling" that he has apparently appointed for her.  \nOnce there, she meets a man and falls in love with him, claiming that "death alone" would separate them.\nFor the remainder of the poem, the woman is expressing her deep grief as she is in exile in what seems to be some type of cave or tunnell in the ground.\n\nhere is a paragraph by paragraph analysis:\n1.  \nHere she is introducing her lament as a sorrowful tale of her utmost woe; that never before has she experienced any distress as dire or excruciating as this.\n\n2.\nhere she explains that her lords family/ gentry sent him on a sea journey.  "Dawn-cares" can be interpreted as she either worries about him so much, she is losing sleep, or she wakes up in the morning, and her 1st thought is her husband.  [These compound words are famous in anglo-saxon poetry.]  She decides to go into exile, which was a custom of women to do who were w/o there husbands.  She may have disgraced him and is thencforth banishing herself.  It seems that she is turning to his people for advice, and they have their own plans as to where she should go.  The scheme and plot to send her away and put her in a position which will forever keep them apart. \n\n3.\nHer lord confirms the dwelling place she is to go to.  Where she went for exile, she knows few people.\n\n4.  \nShe falls in love with a man who is depressive and well taken care of.  He also seems to be in exile w/ a broken heart...he may even be suicidal.  They vow together, that, in their exile, they will have eachother.  But, he kills himself, destroying their pact.  she is back to where she stared in her sorrow.\n\n5.  \nFillied with longing, she is sent to live in a cave or some sort of underground hovel.  \n\n6. She describes her surroundings as dismal and "briar-choked".  She bemoans that fact that loves walk the earth and experience joy, while she is condemned to despair.  She explains that she can never gain composure because she used to be so full of hope, promise, and she was enthused for life.  Now that everything is taken from her, she is torn.  She takes a turn to curse her lord and wish upon him sorrow and grief, that he may become lost and wandering in his journeys.  She wished upon him a brooding heart and "breast cares" (broken heart). \n\nWell, I really hope this helps you!! Good luck with everything!  I will also email this to u so u get it.
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On "Anyone lived in a pretty how town"...\n"anyone lived in a pretty how town"\n\nR. P. Blackmur (1941)\n\nMr. Cummings' poems depend entirely upon what they create in process, only incidentally upon what their preliminary materials or intentions may have been. Thus, above all, there is a prevalent quality of uncertainty, of uncompleted possibility, both in the items and in the fusion of the items which make up the poems; but there is also the persistent elementary eloquence of intension--of things struggling, as one says crying, to be together, and to make something of their togetherness which they could never exhibit separately or in mere series. The words, the meanings in the words, and also the nebula of meaning and sound and pun around the words, are all put into an enlivening relation to each other. There is, to employ a word which appealed to Hart Crane in similar contexts, a sense of synergy in all the successful poems of Mr. Cummings: synergy is the condition of working together with an emphasis on the notion of energy in the working, and energy in the positive sense, so that one might say here that Mr. Cummings' words were energetic. The poems are, therefore, eminently beyond paraphrase, not because they have no logical content--for they do, usually very simple--but because so much of the activity is apart from that of logical relationships, is indeed in associations free of, though not alien to, logical associations. In short, they create their objects.\n\n...I have been one of his admirers for twenty-one years since I first saw his poetry in the Dial; and it may be that my admiration has gone up and down so many hills that it is a little fagged and comes up to judgment with entirely too many reservations. Yet I must make them, and hope only that the admiration comes through.\n\nFirst, there is the big reservation that, contrary to the general belief and contrary to what apparently he thinks himself, Mr. Cummings is not...an experimental poet at all....\n\nMy second reservation...has to do with his vocabulary, which seems to me at many crucial points so vastly over-generalized as to prevent any effective mastery over the connotations they are meant to set up as the substance of his poems....\n\nMy third reservation is minor, and has to do with the small boy writing privy inscriptions on the wall; a reservation which merely to state is sufficiently to expound. Some of the dirt perhaps comes under the head of the poetry of gesture, and some perhaps is only the brutality of disgust. My complaint is meant to be technical; most of the dirt is not well enough managed to reach the level of either gesture or disgust, but remains, let us say, coprophiliac which is not a technical quality.\n\nfrom R. P. Blackmur, "[Review of 50 poems]." Southern Review 7 (1941): 201-05.\n\nhttp://www.english.uiuc.edu/maps/poets/a_f/cummings/reviews.htm\n\n\n\nSome of Cummings's most famous poems do not involve much if any odd typography or punctuation at all, but still carry his unmistakable style. For example, one famous poem begins:\n\nanyone lived in a pretty how town\n(with up so floating many bells down)\nspring summer autumn winter\nhe sang his didn't he danced his did\n\n\nWomen and men(both little and small)\ncared for anyone not at all\nthey sowed their isn't they reaped their same\nsun moon stars rain\n\nhttp://en.wikipedia.org/wiki/E._E._Cummings\n\n\nPoetry as a literary genre is more dependent on the subtleties and nuances of languages than other forms. It depends on every word on the page, its sound and position on the page, the use of figurative language to present a myriad of meanings in a short space. 'O Sweet Spontaneous' and 'anyone lived in a pretty how town' by e.e. cummings are two poems that illustrate this idea.\n'anyone lived in a pretty how town' is set out in quatrains with irregular rhyme and internal rhyme.The conventional stanzaic pattern s
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My suggestion is to begin the essay with the opposite point of view (from yours).  Use the additional paragraphs to discredit that argument.
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Your  English assignment spelling can b checked w/ dictionary or thesarus.  Grammar & Style tips many books & online.   Use one point of view and active or passive voice ( advanced stuff).\n\n    In "I'm Nobody," by Emily Dickinson and "Dusting," by Julia Alvarez, characters struggle with their identities in variety of ways.  In "I'm Nobody," the author expresses how that it is good to be nobody.  For example, "I'm Nobody," is a poem in which she portrays her thoughts on how it is fine with her to lose her identity.  Whereas, the second poem, "Dusting" displays an opposite approach.  In "Dusting," Alvarez writes, "Each morning  I write my name." (Alvarez 1), only to be erased every time after. Every time her name is erased she writes it back again. Her pursuing an identity is illustrated through her desire for an image in society.
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looks at it.\n\n\nBut I'm finding that there are confilcts over who said it originally.  I have found both Emerson and Thoreau as being quoted.
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the sad thing about this poem is that, EVERY SINGLE WORD IS TRUE, we have been used and abused to the point of even the most placid of people now becoming anti asylum and anti immigration, or racist as some would say.\nit is time all this came to a stop, enough is enough, we are now so overcrowded that there is no longer enough resources to go round,ie, jobs, houses, schools,NHS etc, if this carries on the way it is now we will soon become a third world country ourselves, and all that we have worked for and paid into will have all been for nothing.
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Some people think poems are exciting\nBut I am not so good at writing\nwords or lines with meter or rhyme\nI try but have a real hard time.\n\nI don't know why, but it could be\nthe fault of someone else - not me.\nI'd rather learn the capitols of nations\nor practice difficult calculations\n(or even memorize quotations\nand names of different rock formations)\n\nMy thoughts are not quite in alignment\nbut I have this dang assignment\nSo I'll sit down and think about it\nmaybe write one, but i doubt it
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Look in Falling Up or Where the Sidewalk Ends or any other collection of Shel Silverstein.  He gets outside the box when it omes to poetry.  You might also want to look at some of Carl Sandburg's works.
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[For whatever it's worth, I’ve tried recasting it, trying my best not to change the way you wanted to say what you wanted to say, relocating some of your ideas for a more unified presentation, better impact, all the while remaining consistent with your preference for the present tense. The paragraph breakdowns are more for consistency, flow and visual impact. Please verify your quotes; make sure they're verbatim and punctuated as they are in the book. Here goes:]\n\nFear is one of the most powerful emotions that control the way a human being acts in certain circumstances. It contributes to one’s instability and, ultimately, to irrationality.\n\nWilliam Golding’s “Lord of the Flies” is all about fear and its irrational consequences. It sheds light on that kind of fear that may not be of something physical at all. It is the irrational fear of fear itself, the big horrid “Beast of Fear” with claws, eyes, and teeth lurking inside us. It is the fear we prefer to ignore. In “Lord of the Flies,” it is the fear which leads to irrational acts.\n\nIn “Lord of the Flies,” the boys fear almost everything they see and hear on the island, assuming them to be beasts. As the novel progresses, their fear of the unknown beast becomes exceedingly powerful their attitudes towards it become increasingly irrational. Terror paralyzes their minds, leaving them too weak to face the truth about their fears. \n\nThe beast in the novel symbolizes fear flying around on the island. Fear is evident in all the boys, from the nightmares to the belief in the existence of a beast. From the moment the first littlun claims to have seen snake-monster in Chapter 2, even the hunters begin having nightmares of their own. In Chapter 5, Jack, addressing Ralph, says, “You said they dream and cry out. Now they talk not only the littluns, but also my hunters sometimes talk of a thing, a dark thing, a beast, some sort of animal.” (p. 83). Indeed, the boys’ fear of the beast becomes an increasingly important aspect of their lives. The fact that all the boys on the island are younger than thirteen greatly affects the amount of fear that control them. Their cries can only reverberate within the walls of their own nightmares.\n\nFurther, a little boy named Phil dreams of weird animals, saying, “And I was frightened…and then I saw something moving among the trees, something big and horrid.” (p. 85) His mind is so obsessed with “beasties” it simply refuses to accept the reality that it is Simon he see in the dark. As a matter of fact, imagination and fear shape their illusory description of the beast which the twins, Samneric, describe, “There were eyes, teeth, claws. The beast followed us, nearly touched me.” (p. 100) [Question: Is this the way you intended to write this part? Your original posting made them appear like sub-topics.] But beast, it was not; it was a dead parachutist.\n\nFear of the beast totally conquers their minds, making their brains too crippled to think straight. Their imaginations are so powerful, so overpowering and wild that they fail to see the fear for what it is: the beast that impels them to crime.\n\nFear so control them to the point of believing and doing anything, even trying to regain peace and freedom from fear itself by killing the beast. Thus, when Simon comes stumbling out of the dark forest while the boys are doing a victory dance, everyone surrounds him, chanting, "Kill the beast! Cut his throat! Spill his blood!" (p. 152) Believing him to be the beast, they poke savagely at him with their spears until the “Beast” is dead. The beast is dead, indeed, and fear has just taken an innocent life.\n\nHowever, not all the boys are too affected by fear. Ralph and Piggy struggle to be logical. \n\nWhen the topic of fear is brought up during one of their assemblies, Ralph declares boldly, “The thing is Fear can't hurt you any more than a dream. There aren't any beasts to be afrai
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Wilfred Owen? Thats the poet who wrote 'The naming of Parts isn't or is it Ducle et Decorum est Pro patri Mori - It Is Fitting and right to die for one's country?\n\nThere isn't really enough information in your question to answer this conclusively but I'll have a go with what I've got. I do know that Wilfred Owen was one of a number of poets around at the turn of the twentieth century who wrote a number of poems about the haggers of the first world war.\n\nIn your commentry I would research a little about the poet and then highlight the imagery he uses in the poems (as they all did in this genre) and compare it to what he's actually saying.\n\nFor instance in Dulce Et Decorum Est the poet prefaces the Latin banner with 'the old lie' suggesting that the latin phrase was merely a piece of propaganda to instill a sense of togetherness determination in the field of human adversity, when in truth, if you were being shipped out to the battlefields of France, where much of the first world war was fought you were almost certain to befall a horrid death at the hands of the mustard gas bombs being used at the time. As in 'Choking, with froth corrupted lungs'\n\nIn the Naming of Parts, the poet likens the parts of the gun being broken down by the instructor to nature observations as the author stares out of the window looking at the fields while the gun lecture is going on. Suggesting that with all the natural beauty outside, the people living among it are far more interested in inventing things with which to kill their fellow man.\n\nI believe that Wilfred owen may have been a consciencecious objector, but don't quote me on that. Research his name on Ask Jeeves and see what you come up with. You will be looking towards comparing associating his life with the way he wrote his poems. Try to show why he wrote what he did, by what you can learn from Owen's personal history. That's the way I'd approach it anyway. You may e-mail me for further help if you find yourself stuck on it, but without more information I can't help you further.\n\nRegards
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We have a local poet and book store owner, Laurence Ferengetti, who is a contemporary of Alan Ginsberg. In fact, he is the one who published " Howl ", by Ginsberg. Ferengetti wrote a piece for the SF Chronicle not to long ago and , even in uber-liberal San Francisco, it was not too well received. It was a piece calling the atomic bombing of Japan racist. It was poorly written, unsupported by fact and intellectually lazy. Ferengetti seems to carry on the tradition of weak, though ideologically driven, scholarship of the " beat generation " and it's progeny. You do not have to believe me; go to the San Francisco Chronicle " graveyard " for the full history of the beat movement in San Francisco.
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I wish I had kept the essay I had written on this book last year, but I do remember some about Ralph.\n\nRalph used the conch shell as a method of gathering the group together, and in doing so, he took an iniative as a leader.  The novel foreshadows him as a good leader because of his physical stature (lean body, fair hair, good complexion).  He embodied all of these characteristics.  Ralph represents democracy and he sees the island as an opportunity to exercise his newfound strength.\n\nHe has some originality of ideas too, such as building shelter first, setting up the fire, the camp, directing who should do what jobs, finding hunters and others to gather fruit, and designating the "bathroom" spot so the tide clears up the waste.\n\nRalph is ineffective because he gets most of his ideas from Piggy and refuses to compromise with Jack and his choir.  Because of this, they separate and get into fights, thereby allowing themselves to transcend into savagery.  The more conflict, the worse his reliabiliy is.  Futhermore, Ralph buys into the theory of a "ghost" or "beast."  It is Simon that discovers the truth, although untimately he pays the price when trying to warn the others of his discovery about the parachuted man on the mountain.  \n\nAs far as his inability to remember his purpose, Ralph gets tied up in so many small conflicts over power.  Gradually, these get bigger and his leadership diminishes.  The final symbolism of his full loss of power  occurs when Piggy is killed and the conch shell is shattered.\n\nI hope this helps!
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I love that book.  Anyway, in the "Voyage to Lilliput" section, that nation is at war with Blefuscu over the proper manner to eat a hard boiled egg, obviously a trivial matter.  \n\nThere are many layers of satire in "Gulliver's Travels", and one of them here concerns the Catholic-Protestant problems which have often plagued Britain.  Swift was basically claiming that bloodshed between Catholics and Protestants over their theological differences made just as much sense as going to war over the correct way to eat eggs.\n\nI hope this helps.  "Gulliver's Travels" really is a great book, the later parts are, in my view, even better than the more famous voyages to Lilliput and Brobdingnag.