Abstract This paper explains that Donne's ?Sonnet 10? argues that Death is simply living a masquerade; therefore, we do not have to accept the fact that Death is the end of everything. The author points out that the poem follows the Italian sonnet form with a standard "abbaabba" rhyme scheme consisting of fourteen lines and ends with a dramatic couplet, which is generally associated with Elizabethan sonnets. The paper relates that Donne's point is that Death itself is really asleep; in the end, we will wake from our sleep with Death, which leads us to eternal life.
From the Paper "Donne begins by addressing Death with a serious, yet cynical attitude. His tone is straightforward and he appears to be very confident when he tells death that it has nothing to be proud of, although "many have called thee/Mighty and dreadful" (1-2). Donne tells Death that this fact is simply "not so" (2). Again, we get a sense for Donne's tone with this line?he is meeting Death face to face without fear or intimidation. Donne then introduces us to an interesting paradox when he says, "For those whom thou think"st thou dost overthrow,/Die not? (3-4). This is important because it sets the mood for the entire poem. Donne is speaking to Death without absolutely any reservation. He points out that even those who do die, have not been actually overthrown by Death. In essence, Donne has absolutely no respect for Death."
Abstract In addition to describing Blake's artistic and creative life, this paper reviews two of Blake's greatest poems, "Laughing Song" and "The Lamb". The paper explains the different approach to each poem that Blake took and analyzes his use of literary elements, such as metaphors, similes, alliterations, allusion, apostrophe, analogy, assonance, hyperbole, irony, paradox, and personification in both writings. The paper also attempts to explain how and why Blake used the style, themes, ideas, and topics that contributed to his work being associated to the Romantic period.
From the Paper "William Blake's life spanned from 1757 to 1827. In that period, Blake was known as a successful English poet and artist throughout London circles. ?In the visionary imagination of William Blake there is no birth and no death, no beginning and no end, only the perpetual pilgrimage within time toward eternity'' (Ackroyd) Blake was known to have had a great influence on the English romanticism period. But he went beyond any such school, movement, or period. Blake's poetry was an insight into the realities of human condition of the time. William Blake was born in London November 28 and as was the custom of the time christened around the eleventh of December of the same year at a local church called St. James's Church."
Abstract This paper compares and contrasts the different approaches each author takes to time passing and human mortality and explores how their differences in gender are reflected in their different approaches to these aspects of life. The paper explains how Marvell's approach to death and the passage of time reveals how men attempt to defy time with sexuality, while Rossetti's approach reflects women's acceptance of time's passing and the fact that the flesh is transient.
From the Paper "When examining the poem "To his Coy Mistress" by Andrew Marvell, in comparison to the poem "When I am dead my dearest" by Christiana Rossetti one can see that, although both explore a similar theme of the transience of human sexual life and physical, romantic love in the face of mortality each poet approaches this theme in very different ways, based on the gendered approaches of each author towards sexual congress and religious faith. At first, it might seem to be unfair to compare the male Cavalier poet with the Victorian member of the Oxford Movement Christina Rossetti. Marvell lived an active life as a court poet, soldier, and adventurer. Rossetti lived a quiet and retiring life at home, as did most women of her day, although she was intimately involved in the pre-Raphaelite movement spearheaded by her brother, Dante Gabriel Rossetti. (Marsh, 1995)"
Abstract This paper is a summary and critique of the humorous grammar instruction book "Eats, Shoots, and Leaves" by Lynne Truss. The paper looks at the main points of the book, specifically focusing on the apostrophe and the comma, which are the most featured. The paper then evaluates the purpose of the book and how well Truss achieves her goal, and recommends the book to other college students.
From the Paper "Grammar might not be considered a pressing problem for most of society, but Lynne Truss, author of Eats, Shoots, and Leaves thinks it is. This humorous and educational book describes some of the major problems with grammar facing the English-speaking world today. This paper will look at this book in some detail, highlighting the essentials, followed by a discussion of its strengths and weaknesses, and an evaluation of its usefulness to others, especially college students. Truss introduces her topic by asking the reader to evaluate their gut reaction to many common grammar and punctuation mistakes we see in the mass media, shops and elsewhere in everyday life. She compares her reactions to signs advertising "DVD's," and "Book's" with that of the little boy in The Sixth Sense. She says of grammar sticklers like herself, "we can see dead punctuation" (Truss 3)."
Abstract The paper demonstrates how the three parts of the poem reflect the elegiac, apostrophe and poetic mimicry of Yeats' verse in Auden's "In Memory of William Butler Yeats." The paper discusses that while the poem immediately shows a traditional form of reflection and commemoration of Yeats's life and his death in the modern world, it is clear that Auden sought to idealize the naturalism and mythical mastery that Yeats beheld in poetical history.
From the Paper "This study will examine the three parts of W.H. Auden's poem: "In Memory of William Butler Yeats." In the first part of the poem, Auden uses a reflective elegiac ideology to commemorate a poet that he held in high literary regard. After Auden describes the differing social perspectives of Yeats' influence on the world, the second part of the poem brings forth an apostrophe that speaks to Yeats as a brother in poetry. Finally, the third part of the poem is written in verse style of Yeats, as Auden brings to life the actual poetic talents that his hero had emulated in his lifetime. In essence, the three parts of the elegy will be examined within the context of the style that Auden has chosen to commemorate William Butler Yeats."
A psychological reading of the title character, Titus, in William Shakespeare's in "Titus Andronicus", through an analysis of Shakespeare's use of dramatic language.
Abstract This paper discusses Shakespeare's revenge tragedy "Titus Andronicus," and the complex psychological interiority created by his use of dramatic language. The writer analyzes some of Titus' speeches in detail to show how the language he uses reflects an oscillating emotional state and a great inner tension. What Titus does not say also throws light on his true feelings as a grieving father, as can be seen in the stagecraft of scenes such as the one where, as a victorious general, he makes a formal address to Jupiter. The paper concludes that this tragedy communicates the fundamentally impossible task of holding together competing elements of human character.
From the Paper "Clearly Titus' thoughts are upon his slain sons; indeed, Titus' speech draws our attention to the deaths of his sons through their treatment as cargo (1.1.71-73). We observe his use of simile, a rhetorical device which, in this instance, helps to create the illusion of his complex psychological or interior life. Titus objectifies his sons by referring to them as cargo carried aboard a ship - the "precious lading" returns with the bark. This simile explicitly suggests commodity exchange. Titus has sailed off to war in a bark with living sons and returned with dead ones, and as such he has exchanged the lives of his sons for Rome's victory."
