Abstract
This paper argues that, in writing "Musee des Beaux Arts." Auden, chose to write about the painting because it captures one of his central themes of the suffering and unfeeling attitude in everyday life. By analyzing "Musee des Beaux Arts," we can see how Auden uses imagery, language, and the classical theme of the fall of Icarus not only to communicate his theme, but to discuss Brueghel's painting.

From the Paper
"Auden's use of the Icarus image and of the work of Old Master Brueghel show classical style, but the poetic form of "Musee" is not classical. He uses two unequal stanzas and a varied rhyme pattern that was uncommon in his era. He opens the poem with a reference to the Old Dutch Master painters of the 16th century, of which Bruegel was a member: "About suffering they were never wrong, / The Old Masters: how well they understood / Its human position..." "

Tags:Eliot, Ezra, Pound, Brueghel

Abstract
In this article, the writer studies the poem "Musee des Beaux Arts" by W.H.Auden and searches for the true meaning behind the allusions. The writer notes that seemingly Auden's poem reveals that people don't care about the suffering of others and this paper breaks that theme down. Its historical and artistic allusions are researched by the author of the paper (such as "Musee des Beaux Arts", "The Old Masters", and "Icarus"). The writer's close examination of the references and allusions reveal that humans do in fact care about each others suffering.

From the Paper
"This is the name of a fine arts museum in Brussels, Belgium. Auden chose this title for his poem because he visited this museum, viewed Peter Breughel's painting "Fall of Icarus" and based his poem on it. Already is the poem biased because the theme is based on only one painting at one museum out of all of the museums in the world. There are many other museums from which he could have observed other paintings by other artists, who have a different take on the human position of suffering. Because the title is supposed to represent the entire poem, one museum means that there are other museums, which means that there are other artists with other paintings, with other opinions. Therefore, this title tells us that the poem is about the many opinions of other painters."

Tags:Old, Masters, Icarus, human, suffering, miraculous, birth

Abstract
This paper discusses Auden's poem "Musee de Beaux Arts", which presents the idea that Breughel's work depicted everyday events but in the corner of the painting is a small depiction of human suffering such as the crucifixion of Jesus. The author asks "What can any one man do to make a difference in the face of human tragedy?" and states that Auden's answer would be: Tell the tale, paint the picture, write the poem describing the human suffering to rouse others to consciousness and involvement.

From the Paper
"The first painting, Auden passes,, depicts an example of 'human position" of suffering, a moment of pain, which also is a moment of glory: The birth of Christ. While a woman struggles in labor, the old men, indifferent to her suffering, 'reverently, passionately (await)" (line 6) the product of her labor, and children already born, "who did not specially want it to happen" (lines 7-8) go on with their play, "skating on a pond at the edge of the wood" (lines 8-9)."

Tags:everyday, events, corner, small, depiction, jesus, human, tragedy, consciousness, involvement

Abstract
This paper looks at both the structure and thematic content of Auden's poem and matches it against the sonnet template. The author then makes the case that Auden's poem, ostensibly a free verse piece, meets much of the criteria of a traditional sonnet.

From the Paper
"If one were to sample from the world of the sonnet, one would encounter rhyme and recognizable structure. While the structure might vary-from the English form, with its three quatrains and closing couplet, to the Italian sonnet, with its rima biaciata-ordered octave and concluding sestet,-the reader would experience iambic pentameter organized into fourteen lines, each line's closing contributing to the poem's definable rhyming sequence. Even the heroic sonnet with its rebellious extra quatrain would still conform to this strict poetic structure, including the "turn" explained by Paul Fussell as "a logical or emotional shift by which the speaker enables himself to take a new or altered or enlarged view of his subject" (116). W.H. Auden's "Musee des Beaux Arts," with its thirteen-line first stanza and eight-line second, does not fulfil either the sonnet's line requirements or its rhyme constraints; both its end rhymes and meter, while present, are chaotic in nature (Auden, 2505) ."

Tags:ekphrasia, ekphrasic, meter, petrachan, quatrain, sestet

Abstract
W.H. Auden's poem, "Musee des Beaux Arts", was inspired by the images of suffering in a painting by Brueghel. The paper shows how the central image of the painting serves to convey Auden's idea that only artists, the "Old Masters", truly understood suffering from a global point of view.

From the Paper
"Auden uses the structure of the poem to visually present his conflict. The first part of the poem is a general depiction of suffering and the indifference to this suffering. Whereas he names specific instances of suffering, the poet does not put a name to any of the persons engaged either in suffering or in indifference. He only refers to them only as "the aged" and "children". The same is true of artists, who receive the general reference of "Old Masters" in the first part of the poem. During the second part of the poem Auden suddenly turns to specific suffering. One specific person, depicted in one specific painting by one specific artist is mentioned."

Tags:Icarus, ploughman

From the Paper
" The Myth of Icarus
Generally, the gods in Greek mythology are portrayed as human in form and in character. However, as Morford & Lenardon state, although they may look and act like men, "very often their appearance and their actions are at least to some extent idealized" (73). This means that their beauty usually appears as beyond that of ordinary mortals, their passions are grander and more intense, and their feelings more praiseworthy and touching (Morford & Lenardon 73). Nonetheless, Morford & Lenardon observe that these gods, who can often "embody and impose the loftiest moral values in the universe," also can mirror the physical and spiritual weakness of their human counterparts (73). They can be crippled or deformed, and vain, petty, and insincere. They can steal, lie, and cheat, "sometimes with a finesse that is.."

Abstract
This paper explores the works and styles employed by Cecilia Beaux and one of her teachers, John Singer Sargent. It gives a brief personal history of each painter and their early influences. It further explores their unique styles, for Beaux, it was based on French impressionism and color, and Sargent's ability to portray essence. Finally this paper attempts to show why portraits remained popular during a time in which photography was widely used.

From the Paper
"One of the reasons that Beaux and Sargent were popular painters even in an era in which portraiture was becoming more and more the domain of the photographer was that while portraits have always been made to serve as keepsakes and visual memoirs, they have also always served other functions as well, perhaps the primary of these being to mark the social status of the subject. Portraits by their very nature never be mass-produced but must also be commissioned. This means that they are expensive, requiring someone to be able to pay an artist to devote all of her or his skills and time to the subject alone. Thus portraits have always served as a proxy, a marker of high status."

Tags:painting, art, Beaux, Sargent

Abstract
This paper compares and contrasts George Farquhar's 'The Beaux Stratagem' and Oliver Goldsmith's 'She Stoops to Conquer'. After providing the reader with adequate data, the author takes a position in conclusion.

Abstract
A paper that focuses on how the Beaux art styles influenced and facilitated the Romanesque revival.

Tags:american, art, styles

Abstract
This paper examines how both Bierce's short story and Auden's poem imply that humankind is cruel at best, indifferent at worst. However, the author discovers how these pieces also differ from each other in many ways. This essay distinguishes between the way in which Bierce sees death as a 'dignitary' who must be met with certain rituals as compared to Auden who sees death as haphazard, accidental, occurring without ritual or even much notice.

From the Paper
"Bierce and Auden seem to take a similar dim view of human nature. In the early paragraphs of "An Occurrence at Owl Creek Bridge," Bierce shows the condemned Farquhar to be a loving husband and father. ("He closed his eyes in order to fix his last thoughts upon his wife and children.") Bierce also describes Farquhar as having a "kindly expression." However, this does nothing to soften the hearts of his captors. "The liberal military code makes provision for hanging many kinds of persons, and gentlemen are not excluded," Bierce tells the reader. Not only are the officers committed to hanging Farquhar, they make every possible effort to kill him following his "escape."

Tags:death, ceremonial, occasion, accident, sympathetic, character, condemned, man, claustrophobic, humankind, tragic