PERSY_BYSSHE_SHELLEYZ_LOVE_FOR_NATURE

#PERSY_BYSSHE_SHELLEYZ_LOVE_FOR_NATURE
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Love for Nature is one of the prerequisites of all the Romantics and Shelley is no exception. Love for Nature is one of the key-notes of his poetry. His poetry abounds in Nature imagery. ‘On Love’ reflects colourful Nature imagery and glorification of Nature. He shows fruition and fulfillment in his poems. Other poems e.g. ‘A Dream of the Unknown’, ‘Ode to the Westwind’, ‘The Cloud’, ‘To Skylark’, ‘To the Moon’, etc. are remarkable poems of Nature in which we find a profusion of Nature.

Like Wordsworth, Shelley believes that Nature exercises a healing influence on man’s personality. He finds solace and comfort in Nature and feels its soothing influence on his heart.

Shelley, in his poetry, appears as a pantheist too. In fact, his attitude towards Nature is analogous to that of Wordsworth, who, greatly influenced Shelly. However, as against Wordsworth, who linked the spirit in Nature with God, Shelley, on the other hand, linked it and identified it with love, for he was an atheist and a skeptic. He believes that this spirit ‘wields the world with never wearied love’.

“Adonais” reflects the most striking examples of Shelley’s pantheism. At an occasion, he thinks that Keats ‘is made one with Nature’ for the power, moving in Nature. Nature’s spirit is eternal. ‘The one remains, many change and pass’. He agrees that there is some intelligence controlling Nature. In fact, he fuses the platonic philosophy of love with pantheism. He finds Nature alive, capable of feeling and thinking like a human organism. Wordsworth equates it with God, Shelley with love.

Shelley loved the indefinite and the changeful in Nature. He presents the changing and indefinite moods of Nature e.g. clouds, wind, lightening etc. ‘Ode to the Westwind’ reflects this particular trend of Shelley, wherein, he shows the West Wind driving the dead leaves, scattering the living seeds, awakening the Mediterranean and making the sea-plants feel its force. His poetry lacks pictorial definiteness and, often, his Nature description is clothed in mist. As compared with Coleridge, Wordsworth etc. he is the least pictorial. It is partly due to the abstract imagery and partly, owing to swift succession of similes which blur the picture. Yet, sometimes, his image is definitely concrete. The picture of the blue Mediterranean, lulled to sleep by his crystalline streams and awakened by Westwind is virtually remarkable and substantial.

Despite his pantheistic attitude, Shelley conceives every object of Nature as possessing a distinct individuality of its own, too, though he believes that the spirit of love unites the whole universe, including Nature, yet he treats all the natural objects as distinguishable entities. The sun, the moon, the stars, the rainbow – all have been treated as separate beings. This capacity of individualizing the separate forces for Nature is termed as Shelley’s myth making power which is best illustrated in “Ode to the Westwind”. He gives the West Wind, the ocean an independent life and personalities. He presents the Mediterranean sleeping and then being awakened by the West Wind, just like a human body.

The ancient Greek gave human attributes to the natural objects whom they personified. Shelley, too, personifies them, but he retains their true characteristics. He personifies the West wind ad the Mediterranean, but both remains wind and ocean. They have not been endowed with human qualities. He has almost scientific attitude towards the objects of Nature. Whatever he says is scientifically true. The Westwind virtually drives the dead leaves and scatters the seeds to be grown in this wind; the sea plants undoubtedly feel the destructive effects of the strong Westwind. Likewise, clouds do bring rain, dew-drops, snow, lightening, thunder etc. He observes the natural phenomenon with a scientific eye, though the description remains highly imaginative.

Time and again, Shelley’s Nature description has a touch of optimism having all the sufferings, tortures, miseries of the world. In “Ode to the Westwind”, he hopes for the best and is confident that “If Winter comes, can spring be far behind?”  His nature treatment is multidimensional; scientific, philosophic, intellectual, mythical and of course human. He is a marvelous poet of Nature.

Every Man in His Humour

Every Man in His Humour Summary

The play opens with a prologue addressing the audience. The speaker talks about how the popularity of the theater is the reason that the show was written. Playwrights hope that their work - like a child - is pleasing to the audience. This particular play is then presented as one that does not whisk the audience away to a foreign land, but will portray a contemporary place and time that people can laugh at.

The first scene starts with the old man Knowell at his house. He instructs his servant Brainworm to wake and bring to him his son, the young Edward Knowell. The elder Knowell then reflects on how happy he is that his son is a scholar like he once was, but is unhappy that his son is so fond of the “fruitless” arts. Then enters Master Stephen, a country man who is easily deceived. He has come to visit his relatives. The elder Knowell thinks he is ridiculous and tries to give him advice on how to be a better, wiser man. As he finishes his speech, a servant enters and after some conversation, Stephen leaves. This allows the servant to deliver a letter to Knowell that is meant for his son. The elder Knowell reads it, knowing it is not for him. Knowell is offended by how impolite and friendly the letter is, and calls in Brainworm to give the letter to his son. To end the scene, Knowell vows he will not force his son to be a good man, but will try to compel him to be one freely.

The second scene of act one opens with Brainworm bringing Edward the letter and admitting that Edward’s father had read it. Stephen enters, inquiring about the man that brought the letter. He wants to go after the man, but he is far gone. The cousins Stephen and Edward Knowell then talk. The two go off to the city to meet with the man who send Edward the letter. Mathew arrives to Cob’s house in scene three and they chat. While Cob goes on and on about various respectable ancestors, Mathew does not believe him. Mathew asks about finding a man named Captain Bobadill, who Cob says is his guest. Mathew also does not believe that Bobadill is Cob’s guest, but Cob insists that the man fell asleep on his bench the night before. A servant of Cob’s then takes Mathew to Bobadill. The scene ends with a monologue by Cob about the drama in his master’s house and Bobadill whom owes him money.

The fourth and final scene of act one takes place in the room in Cob’s house where Bobadill is lying on the bench. Mathew is welcomed by Bobadill. They discuss the previous night’s events wherein guests had asked for Mathew. Bobadill asks to keep it a secret that he spent the night there, and Mathew agrees. Then, Mathew shares a new play, and the two discuss how well written it is. The conversation moves to Mathew’s own work. Downright insulted it and threatened to beat Mathew. The conversation shifts to compliments about Bobadill. The compliments turn into Bobadill offering to teach Mathew how to fight, and the two head off to a near tavern.

Act two opens at the house of Kitely, a merchant at the Old Jewry. His cashier Cash, and the squire Downright enter. Kitely gives his cashier some work to do. Next, Kitely hesitantly tells the squire that his brother Wellbred has become disrespectful. While Wellbred’s actions anger Downright, Kitely remains calm. Kitely states however, that he has no authority over Wellbred and that he cannot scold him for fear of backlash. Bobadill and Mathew enter, and quickly leave when they do not find Wellbred. Downright wants to follow them and fight, but Kitely tells him not to go. The squire leaves, so Kitely reflects on the possibility of the women in his life to be overcome by desire. He decides to not let his rash thoughts get the best of him.

The second scene takes place in the moorfields - open areas of land in London - where Brainworm is disguised as a soldier. He wants to interrupt Knowell’s following of his son. Stephen and the elder Knowell enter. Stephen loses his purse, which holds a ring from a mistress. The two had exchanged poems of love. Then, Brainworm appears and interests the men with some conversation and a barter. Though Knowell tries to discourage Stephen from buying a knife off of the “soldier”, Stephen says he will buy it anyway. Still in the Moorfields, scene three opens with a monologue by Knowell. He is torn between disappointment in the letter to his son, and memories of his own youth. His speech turns to the way that parents shape their children, often in a bad way. Knowell is happy he did not do so with his own son. Yet, he sees that his son has gone astray and is not pleased. Brainworm enters then, in his disguise as before and begs for beer and money. Knowell scolds the “soldier” for begging, and tells him to be a better gentleman. Brainworm claims to not know how to find work, but Knowell says he will show him.

The first scene of act three takes place in a tavern with Mathew, Bobadill, and Wellbred. Mathew and Bobadill speak of not liking Wellbred’s brother, Downright. Squire Downright protests the insults when Edward Knowell and Stephen enter. Wellbred is the one who wrote the letter to Edward so they discuss it, and how it was wrongly delivered to the elder Knowell. The conversation turns to the military service served by both Stephen and Bobadill. Bobadill in particular shares a story about fighting with his trusty rapier. He and Stephen compare their swords (Stephen’s is the one he bought from Brainworm). They all insult his common sword, which makes Stephen angry. Just then, Brainworm enters still disguised. Brainworm admits to fooling Stephen into buying the knife. The group of men are then warned that the elder Knowell is headed their way, and they leave in order to not be found.

In the second scene, Cash helps Kitely prepare to conduct some suspicious business exchanging money. The two discuss who will be present and Kitely feels he does not know what to do or say. Kitely then wishes to tell Cash a secret, but he feels that Cash is hesitant to keep it so he does not reveal the secret and instead sends Cash to do another job. Before he leaves, Kitely asks his cashier to tell him if Wellbred comes to his house with the company of any other man. Additionally, he asks that Cash keep the whole business private to his wife. Next, Cob enters in distress. Cash tries to convince Cob that it is his “humour” making him so distressed. As he continues to speak of fear and persecution, Mathew, Bobadill, Stephen, Wellbred, Brainworm, and Edward Knowell enter. Cash and Cob exit. The group of men discuss Brainworm’s clever trick earlier. Cash reenters looking for some men and accidentally lets out that Kitely went to Justice Clement’s. The men continue to talk, this time about tobacco, and Bobadill boasts about its many uses. Then Cob and Cash reenter and Cob begins talking about recent deaths attributed to tobacco. Bobadill beats the man, but th…
[10:49 PM, 7/29/2019] Sir Yasir Qadri: Every Man in His Humour Character List


Knowell
It is spelt Kno' well , showing its components - Know well as also the principal trait of the character or attitude which is stressed for the purpose of the drama. Knowell really knows well and his anxiety lies in the fact that he wants to see his son in right company. He is made to look ludicrous by his son and his companions, and Jonson takes it from the Roman comedies. But Jonson makes old Knowell different, for instead of treating his discomfiture with contempt, he presents father-son relationship more genially.

Brainworm
This intriguing servant of Knowell is closer to the New comedy of the Ancients. The plot of the play springs from his intrigues. He appears in different disguises, successfully fooling even his master and in the end end help unravel the plot. He is quite ingenious in his intrigues and disguises, and seems to be given the most important role of the motivator , however slippery it may be. Even Justice Clement is impressed by him in the end and he let's the rogue off leniently. He is not really a rogue, but only roguish and he is genial enough to amuse all in the end.

Downright
This character's loathing of insincere talk or hypocrisy and immoral conduct makes him rather blunt, rude and impetuous, a complete foil to Knowell and Wellbred. He has an aversion to poetry and word spinning. But, though he is quite officious, nobody doubts his moral stance. Justice Clement treats him scornfully when he makes himself a victim of Brainworm.

Kitely
Kitely, being associated with Kite, should have represented greed or avarice but instead he represents jealousy. Perhaps the name is derived from the dialect word Kittle or kittly that means ticklish or touchy, one who is easily irritable, and hence difficult to deal with.

Bobadill
Bobadill is a common Spanish name, and once Jonson used it to mean a braggart, it was widely used. However, in Latin comedy, Bobadill is more than a boasting soldier and a coward. Jonson made him very much original. He is not a profligate ,nor is he stained with any vice. He is poor and frugal, and he is very much amusing not just ridiculous in his stupidity.

A Paul's Man
Those days the central isle of St.Paul's was a fashionable resort, and a place for business. Some visited it for their cheap dinner and board.

A country Gull
Gulls were stupid people who were easily duped. The difference between town gull and country gull is that the country gull aped the town gull.

Cob
Those days water had to be fetched and there were water- bearers who fetched water and sold in ' tankards'. They were called cobs.

Clement
The name itself is the 'humour', but then Clement had oddities that made his clemency rather frightening.

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Characters in Shakespeare's Twelfth Night

🌷🌷🍀🍀🍀Characters in Shakespeare's  Twelfth Night🍀🍀🍀🍀🌷🌷 

🌷🌷🌷🌷Viola -  A young woman of aristocratic birth, and the play’s protagonist. Washed up on the shore of Illyria when her ship is wrecked in a storm, Viola decides to make her own way in the world. She disguises herself as a young man, calling herself "Cesario," and becomes a page to Duke Orsino. She ends up falling in love with Orsino—even as Olivia, the woman Orsino is courting, falls in love with Cesario. Thus, Viola finds that her clever disguise has entrapped her: she cannot tell Orsino that she loves him, and she cannot tell Olivia why she, as Cesario, cannot love her. Her poignant plight is the central conflict in the play.

🌷🌷🌷🌷Orsino -  A powerful nobleman in the country of Illyria. Orsino is lovesick for the beautiful Lady Olivia, but becomes more and more fond of his handsome new page boy, Cesario, who is actually a woman—Viola. Orsino is a vehicle through which the play explores the absurdity of love: a supreme egotist, Orsino mopes around complaining how heartsick he is over Olivia, when it is clear that he is chiefly in love with the idea of being in love and enjoys making a spectacle of himself. His attraction to the ostensibly male Cesario injects sexual ambiguity into his character.

🌷🌷🌷🌷🌷Olivia -  A wealthy, beautiful, and noble Illyrian lady, Olivia is courted by Orsino and Sir Andrew Aguecheek, but to each of them she insists that she is in mourning for her brother, who has recently died, and will not marry for seven years. She and Orsino are similar characters in that each seems to enjoy wallowing in his or her own misery. Viola’s arrival in the masculine guise of Cesario enables Olivia to break free of her self-indulgent melancholy. Olivia seems to have no difficulty transferring her affections from one love interest to the next, however, suggesting that her romantic feelings—like most emotions in the play—do not run deep.

🌷🌷🌷🌷Sebastian -  Viola’s lost twin brother. When he arrives in Illyria, traveling with Antonio, his close friend and protector, Sebastian discovers that many people think that they know him. Furthermore, the beautiful Lady Olivia, whom he has never met, wants to marry him. Sebastian is not as well rounded a character as his sister. He seems to exist to take on the role that Viola fills while disguised as Cesario—namely, the mate for Olivia.

🌷🌷🌷🌷Malvolio -  The straitlaced steward—or head servant—in the household of Lady Olivia. Malvolio is very efficient but also very self-righteous, and he has a poor opinion of drinking, singing, and fun. His priggishness and haughty attitude earn him the enmity of Sir Toby, Sir Andrew, and Maria, who play a cruel trick on him, making him believe that Olivia is in love with him. In his fantasies about marrying his mistress, he reveals a powerful ambition to rise above his social class.

🌷🌷🌷🌷Feste -  The clown, or fool, of Olivia’s household, Feste moves between Olivia’s and Orsino’s homes. He earns his living by making pointed jokes, singing old songs, being generally witty, and offering good advice cloaked under a layer of foolishness. In spite of being a professional fool, Feste often seems the wisest character in the play.

🌷🌷🌷🌷🌷Sir Toby -  Olivia’s uncle. Olivia lets Sir Toby Belch live with her, but she does not approve of his rowdy behavior, practical jokes, heavy drinking, late-night carousing, or friends (specifically the idiotic Sir Andrew). Sir Toby also earns the ire of Malvolio. But Sir Toby has an ally, and eventually a mate, in Olivia’s sharp-witted waiting-gentlewoman, Maria. Together they bring about the triumph of chaotic spirit, which Sir Toby embodies, and the ruin of the controlling, self-righteous Malvolio.

🌷🌷🌷🌷🌷Maria -  Olivia’s clever, daring young waiting-gentlewoman. Maria is remarkably similar to her antagonist, Malvolio, who harbors aspirations of rising in the world through marriage. But Maria succeeds where Malvolio fails—perhaps because she is a woman, but, more likely, because she is more in tune than Malvolio with the anarchic, topsy-turvy spirit that animates the play.

🌷🌷🌷Sir Andrew Aguecheek  - A friend of Sir Toby’s. Sir Andrew Aguecheek attempts to court Olivia, but he doesn’t stand a chance. He thinks that he is witty, brave, young, and good at languages and dancing, but he is actually an idiot.

🌷🌷🌷🌷Antonio -  A man who rescues Sebastian after his shipwreck. Antonio has become very fond of Sebastian, caring for him, accompanying him to Illyria, and furnishing him with money—all because of a love so strong that it seems to be romantic in nature. Antonio’s attraction to Sebastian, however, never bears fruit. Despite the ambiguous and shifting gender roles in the play, Twelfth Night remains a romantic comedy in which the characters are destined for marriage. In such a world, homoerotic attraction cannot be fulfilled.

Longinus ON THE SUBLIME

Sources of sublimity..INTRODUCTION: Longinus is one of the greatest Greek critics. His position is only next to Aristotle. His 'On the Sublime' is an immortal critical document of great worth and significance. It deals wit h the principle of sublimity in the world of writing. Here Longinus discusses the meaning, the nature and the sources of sublime.

He distinguishes the true sublime from the false sublime. He advises how to overcome the vices of sublime. His suggestions are of permanent and paramount value.

WHAT IS SUBLIMITY: Sublimity is a certain loftiness, distinction and consummation of excellence in language, expression and composition. It is the echo of a great soul. It raises style above the ordinary. Some persons are of the view that sublimity is a gift of nature. They think that it has nothing to do with art.

But one should not forget that nature needs the help of art to control its wild impulses. In fact, both nature and art contribute to sublimity in literature. According to Longinus, 'Art is perfect when it seems to be nature, and nature hits the mark when she contains art hidden within her'.

THE SOURCES OF THE SUBLIME: According to Longinus there are five principal sources of the sublime. These sources are -
          [1] Grandeur of thought;
          [2] Strong emotion;
          [3] The use of figures;
          [4] Noble diction;
          [5] Dignified composition.
     The 'grandeur of thought' and 'strong emotion' is inborn gifts of nature. The rest three sources are the gifts of art.

[1] GRANDEUR OF THOUGHT: 'Grandeur of thought' is one of the principal sources of the sublime. It is largely the gift of nature. It is essential for a sublime work. Men with mean and servile ideas can't attain sublimity. In fact, great thoughts spring from great souls. In short, it is the echo of a great soul. In the words of Longinus 'their words are full of sublimity whose thoughts are full of majesty'. Sublimity demands skilful selection and organisation of material. Details should be so chosen as to form an organic whole. The imitation is also one of the significant paths, which lead to sublimity.

[2] STRONG EMOTION: Strong and inspired passion is the second significant source of the sublime. The vigorous treatment of it is essential for acquiring sublimity.

Strong emotion is an inborn gift of a genius. According to Longinus nothing makes so much for grandeur as true emotion in the right place. But the subject of emotion has not been dealt with in detail.

[3] THE USE OF FIGURES: The use of figures is the third principal source of the sublime. It can be acquired by art. It helps in the creation of the sublime. Figures of speech should be used in a natural manner.

They should be employed in the right place, on the right occasion, in the right manner and with a right motive. Only such use strengthens the sublime and the sublime supports it. The chief figures like the rhetorical questions; adjuration, asyndeton, hyperbaton, periphrasis, anaphora, diatyposis and polyptota contribute much to the sublime and add greatly to the beauty of language.

[4] NOBLE DICTION: It is also a very important source of the sublime. It includes choice of proper words and the use of metaphors and ornamental language. The choice of proper and striking words is essential for producing sublimity.

Longinus is of the view that beautiful words are the very light of lofty thought. Trivial subjects should not be treated in a grand manner. It means that inappropriate magnificence of diction should be avoided. The use of metaphors also contributes a great deal to the sublime.

[5] DIGNIFIED COMPOSION: Dignified composition or the harmonious arrangement of words is the fifth source of the sublime. It is a great source of persuasion as well as pleasure. It makes the reader or hearer share the emotion of the speaker.

It is the sense of harmony that gives charm and organic unity to a word of art. The lack of harmony spoils dignity and elevation and gives the composition an appearance of meanness.

CONCLUSION: Thus Longinus is one of the greatest masters of criticism. He is the pioneer in the field of literary appreciations. His 'On the sublime' is the first and a unique treaty on style. His prescriptions for sublimity are universal.

(M.A English American literature)The most forceful theme can be conveye through the images in the poem.

(M.A English American literature)The most forceful theme can be conveye through the images in the poem.
Q:1- The most forceful theme can be conveyed through the images in a poem. Elaborate with close reference to at least Two poems from your course?
The extensive use of imagery in the poem makes the subjects and themes stand solid in front of the reader's eyes, which makes the poems pleasant to read and easy to understand.
Images makes the poem good enough to be better understand by the readers. The finest way to explan the theme is to employ a range of images to make the theme strong and solid. Images makes the theme of a poem strong enough to be perfectly understand by a reader.
Image- making, according to Aristotle, is the most important faculty of a poet, and to make an image is to discover similarity and dissimilar objects.
For the poet language is the language of imagery, and his images, perfect and satisfying as they are, always represent truth, no matter how simple, no matter how difficult to translate again into abstract words.
Though the images, the vocabulary of a poetry is the vocabulary we hear around us. Presenting to us familiar images in our own daily language, the poet is able by the way in which he groups and associates his words and images to cast "a certain colouring of the imagination" over ordinary things and thus to express truth for us. As Livingston puts it," Poetry starts from poeactual and ends in the true".
It can be said that beautiful and good arrangement of images make the theme of the poem more strong and let the reader's to understand the point of view of the poet perfectly well. It is obvious and it is true as we take the example of Sylvia Plath's poem Your'e, we have several images which illustrates the theme of the poem. For example, in her poem Your'e the theme of mother's love love for her child is expressed through beautiful imagery. Speaking to the child the mother says:
"Clownlike, happiest on your hand
Feet to the stars, and moon-skulled,
Gilled like a fish".
The imagery refers to the child's happy mood. This poem is rich in images through which she strongly conveys her theme, the theme of mother's love for her child.
She shows purely mother's love by using beautiful imagery " mute as turnip", she playfully calls the child " my little loaf". She also takes deeper dip into the child's personality. She makes the theme most forceful by a sharp contrast of images: clownlike, feet to the stars, moon skulled, gilled like a fish, wrapped up in yourself like a spool, dark as owls, mute as a turnip, my little loaf, vogue as fog, snug as a bud, like a sprat, jumpy as a Mexican bean, right like a well- done sum. In each and every image we can easily found mother's love for her child. This poem ends on on outburst of passional, richly musical imagery:
"Like a sprat in a pickle jug,
A cred of eels, all ripples.
Jumpy as a Mexican bean
Right, like a well-done sum.
A clean slate, with your own face on."
To a mother a child is more than on thing; he is rather everything for her. The poetess paints a beautiful image of a mother with her child. The poem is richly expresses the pure love of a mother. We can say that the term "the most forceful theme can be conveyed through the imagery of a poem."
Another poem is Ariel of Sylvia Plath. In which she uses a lot of images like God's lioness, dead hands, nigger- eye, black sweet blood, dead hands, foam of wheat, the dew that fly, suicidal. Through these images she makes the most forceful theme of her soul's suffering and her suicidal wish.
To conclude we can say that the most forceful theme is conveyed through the images in the poem. Images give charm to the theme and the theme gets strong to be better understand by the readers and enhance their interest in the poem.

The sea as a black comedy

#The_Sea_as_a_Black_Comedy

Bond is much conscious about showing the victims of the sectionalized society. He introduces satirical comedy in The Sea. He explains, " My play is pointedly about sane and insanity, and the town represents the entrapment".
It would not be justified to title The Sea as comedy. Although the events support come comic scenes in the course of the play, yet it would be difficult to attribute the play as comedy. Jane Howell rightly points out ,"it comes from Evens in the storm.But it seems so improbable. I don’t think as audience can laugh at it". It has also been labeled as Black Comedy.
The rehearsal scene is also one of the comic highlights of the play. It is a wicked parody of the worst kind of village amateur theatricals. The scene is comically structured by the conventional comic principle of constant interruptions. Mrs.Rafi, the formidable, tries her best to inspire her cast, but is frustrated at the congruity of situation. Mafanway refuses to do the 'dog role' in the play. Jilly is driven emotional and she bursts into tears. The Vicar fails to concentrate on delivering his lines and requests Mrs.Rafi to improvise some comic episode in the scene. The ultimate rehearsal scene is brought to end by sound of the guns and the sudden arrival of Willy. Rose appears in the play directed by Mrs.Rafi and performs her role of Eurydice saying, "I am queen of this dark place. My heart burns with a new cold fire". Such a comment is ironic as the dialogue of the play refers to her own reaction to Colin's death. All the gestures by the performers in the rehearsal scene display the ludicrous hollowness of their lives. Their mechanical behavior of condolence is more than what they actually feel for Colin. Moreover, the feelings of grieves are much inclined towards the wretched condition of Rose as compared to the death of Colin.
Bond installs exaggerated comic style to expose the ridiculousness of the values of the people along with their unnaturalness of behavior. The comic atmosphere is maintained when Mrs.Rafi leads Thompson by ear while Hollarcut watches the scene from a safe position behind the counter, ducking his head down. The arrival and the departure of the people at draper's shop is nothing else but to produce the effect of aimlessness in their lives.
In the seventh scene, the funeral service on the cliff-top disintegrates into utter confusion and chaos with the sudden arrival of Hatch. Colin's ashes,already dropped, scattered and swept by Mrs.Tilehouse with her handkerchief. Mrs.Rafi throws handfuls of them in Hatch's face. Hollarcut gets beaten blue with the music sheet on the piano. The overall impact of the scene is no doubt funny, but is emphasizes the desperate effort of Mrs.Rafi to control the much organized event. The funeral service is brought to an end by the sounds of the guns by the battery at the other side of the sea.  Hatch's lunatic behavior on seeing his victim alive is another comic sequence. He utters, " still alive, still alive" in a frenzied way. His assumption that he has saved the people from foolishness produces comic effects. He says," no one can help you now" is equally foolish as he is the only person who is a constant threat for the people of the forebeach.
Mrs.Rafi's speech in the end is critical which claims sympathy for the her. She is afraid of getting old. She is exposed and the mask she wears is dropped by her confession of being rude. She talks of her life having been wasted. Bond comments, " I think what she says about herself is ultimately unacceptable". The Sea is a black comedy and could hardly hope for a better cast.
Mr. Bond shows some decent comic touches which are milked to the last droplet. the comedy is two-dimensional. It is more to expose the follies of the character rather than just producing laughter among the audience. It can be said that the events are to give comic relief to the audience in the general drama of pain where the society is exposed.

The Rain (poem with explaination)

The Rain (poem with explaination)

Poem (Rain) with explaination
This poem is written by an English poet W.H.Davies.

W.H Davies is an English poet born in 1871 in Wales.He left school at a young age. He lived a number of years as a peddlar and a beggar in USA and England (Europe) .
His father died when he was only three years old.He admitted at the age of Nine in Temple School and then in the age of 14 in Alexandra Road School.
He lived with his grand father because his mother re-married after death of his father. His grandfather helped him in study.He died when Davies was 14 years old. After schooling he worked in a workshop as picture making.
In 1893 he went to America and travel many places in seven years .He crossed Atlantic seven times.In a serious accident by train he lost his right leg.Rest of life he spend in London.That's why his poetry was full of sadness. His first poem name was "death" His first book of poetry was "The Soul's Destroyer", which was published in 1905.
In 1923 he married 23-year-old Helen Payne. He was a great poet.He loved nature . In his real life he liked to walk on the bank of river.Davies was a profelic poet. Main theme of his poetry was nature and hardships of poor.He is lover of life and made new worlds of pleasure by his poetry.He was awarded the degree of doctor from university of wale.Many of his poems were given music. He died in 26 september 1940.

The Rain (Poem)
I hear leaves drinking rain;
I hear rich leaves on top
Giving the poor beneath
Drop after drop;
Tis a sweet noise to hear
These green leaves drinking near.
And when the Sun comes out,
After this Rain shall stop,
A wondrous Light will fill
Each dark, round drop;
I hope the Sun shines bright;
'T will be a lovely sight.
Explaination of poem(The rain)
In this poem the poet describes a great phenomena of nature; rain. The poet says that he hears the leaves which are drinking water of rain and it is nice to hear when the drops of rain fall on the leaves. But on the other hand, he is very worried about the poor man who is sitting under the tree. He has nothing except the shelter of leaves and he is shivering with cold. The poet says that this rain shall stop and the sun will come out. It will shine brightly. Each dark, round drop will be filled with light.
It will be a lovely sight. In this poem the poet describes a universal law of nature. No doubt, there is pleasure after sorrow and sorrow after, pleasure. Time always does not remain the same. There, is a change at every moment. Everything is advancing towards its destiny. Rainy day can be enjoyed in different ways. The children, elders and poet can enjoy rainy day in their own ways. Especially in warm weather, when there is a rain everyone feels pleasure and likes to enjoy the rain. The children can enjoy playing cricket, football or hockey in the rain. It gives much pleasure to play in the rain. But the poet can enjoy ' the rainy day in his own way. Because he observes nature and its objects with keen interest and explains it in terms of poetry. Davies says that the musical fall of rain appeals him. It also troubles a person beneath the tree at the same time. The appearing of sun after rain presents a delightful scene. The rainwater makes the trees, plants and leaves fertile and productive. Therefore, the ; leaves are rich because they are full of rainwater. When the poet hears the rain falling on the leaves he feels ultimate effects of rain and calis the upper leaves rich. After the rain stops, the sun comes out and its bright rays fill the dark round drops of ' water with beautiful light. The bright drops present a beautiful scene. Therefore, when the sun rises after the rain the whole atmosphere presents a beautiful sight. The poet hopes that the weather will change.
If it is cold now, then after sometime the sun will come out and it will be a lovely sight. It is a natural phenomenon that there is sun after . rain, pleasure after sorrow and good days after hard days. That is why the poet expects that there will be a lovely sight after rain. When it rains the upper leaves receive water, become rich and give this water drop after drop to the lower thin leaves.
Therefore, the upper leaves having much rain water are called rich and the lower leaves getting this water from the upper leaves are called the poor. When it rains on the upper leaves it creates soft and sweet voice. The poet calls it a sweet noise. Actually, the poet feels the beauty of nature found in rain water by hearing it as a sweet noise.
The rain creates delightful feelings in the hearts of people. When it rains, rain drops produce sweet music. The sun shines after rain and presents a beautiful sight. In this 1 way rain creates joy and pleasure in the hearts of the people. Natural phenomena like rain or sun present ! natural beauty, give life, joy and pleasure to plants and humans.

Short vs. Long Vowels

Short vs. Long Vowels
The easiest way to remember the difference between short and long vowels is by remembering the rule about long vowels, specifically. If a word with a certain vowel in it says the name of the vowel, then that vowel is making a “long” sound. By “name” we mean, the name of the actual letter. When we look at “a” we pronounce it /ā/, or “ayy.” This is the first letter of the alphabet, and when looking at the isolated letter, we’ll refer to it by its name: the way we say it when we begin to recite the alphabet. This is known as a long vowel sound, because it says the “name” of the letter. The same goes for the other vowels.

A short vowel sound is a vowel sound that does not follow this rule. When reading a word that uses a short vowel sound, will say the sound that the letter can make that is not its actual name. So in the case of “A,” the word “main” might have a long “A” sound because we pronounce the “A” as /ā/, whereas the word “man” has a short vowel sound.
Let’s get started with those examples.

A a
Short: /æ/ Long: /eɪ/

Short: “fat” Long: “fāte”

E e
Short: /ɛ/ Long: /iː/

Short: “wet” Long: “whēat”

I i
Short: /ɛ/ Long: /iː/

Short: “win” Long: “wīne”

O o
Short: /ɒ/ Long: /oʊ/

Short: “bot” Long: “bōat”

U u
Short: /ʌ/ Long: /juː/

Short: “cup” Long: “cūbe”

SHAKESPEARE AS A SONNETEER

SHAKESPEARE AS A SONNETEER

What is sonnet??

Sonnet is derived from an Italian word “Sonneto” which means a little sound. Sonnet can be defined as;

         “A short poem expressing one main idea or emotion consisting of fourteen decasyllabic lines.”

Emergence of sonnet;

As far as sonnet is concerned, sonnet was emerged in late 13th century by the famous poets Petrarch and Dante. The sonnet is classified into two forms;

Italian or Petrarch
English or Shakespearean

English sonnet;

As far as English sonnet is concerned, it was introduced by Sir Thomas Wyatt and Earl of Surrey in the 16th century. This sonnet was consisted of three quatrains (of four lines) followed by rhyming couplet “Heroic Couplet”.

Sonnet and Shakespeare;

Shakespeare followed this scheme and he handled it with such mastery that today English sonnet is known as “Shakespearean Sonnet.” Its rhyming scheme is “abab, cdcd,efef, gg.” Shakespeare wrote 154 sonnets out of which 126 are devoted to a young man and the remaining 28 are addressed to a black lady.

Analysis of Sonnet;

The sonnets tell us the story of Shakespeare’s love affair. The story is that Shakespeare had a rich, young and a noble friend to whom he devoted 126 sonnets. Shakespeare loved a woman to whom he addressed 28 sonnets.

Summary of sonnets;

The thing is that Shakespeare sent his rich, noble and young friend to his beloved with love messages. Unfortunately, the lady fell in love with the rich, young and noble friend of Shakespeare. She wooed and won him and left Shakespeare to mourn the loss of both his friend and his beloved. 

Shakespeare describes his failure in love in these sonnets but one remarkable feature in his sonnets is that there is not any single or slight or a word of blame, contempt or complaint. The whole atmosphere is that of supreme affection. As he starts his sonnets by saying;

“From fairest creatures we desire increase,
That thereby beauty’s rose might never die.”

In sonnets firstly, he tries to convince his handsome and young friend to get married with the lady to preserve his beauty for future generation by passing it in to a child. Later, Shakespeare feels exhausted and dejected as he feels himself isolated. He is missing his friend. In later sonnets, he apologizes his friend for his own treatment. Now, he addresses “Dark Lady”, as he calls her on seeing her with another man. He, in sonnet 131 says;
                                                                                                  “In nothing art thou black save in thy deeds."

THEMES AND CHARACTERISTICS;

Shakespeare uses a lot of themes in his sonnets such as marriage, friendship, lust and rivalry. Hence, his main focus in on his devotion to his friend and his hopeless passion for his mistress. He mourns on loss of both his friendship by his friend and failure of love by his mistress respectively.

YEATS AS A MODERN POET

YEATS AS A MODERN POET

INTRODUCTION:

William Butler Yeats was one of the modern poets, who influenced his contemporaries as well as successors. By nature he was a dreamer, a thinker, who fell under the spell of the folk-lore and the superstitions of the Irish peasantry. He felt himself a stranger in the world of technology and rationalism. He is a prominent poet in modern times for his sense of moral wholeness of humanity and history.

A REALISTIC POET:

Yeats was a realistic poet though his early poetry was not realistic. His later poems, despite realistic accent, are not free from magic and the mysterious world. The First World War and the Irish turmoil gave Yeats a more realistic track. This can clearly be seen in his poem, “Second Coming”, when he says;

"The best lack all conviction, while the worst
Are full of passionate intensity."

OBSCURITY AND MYSTICISM:

Obscurity in Yeats’ poetry is due to his occultism, mysticism, Irish mythology, use of symbolism and theory of ‘Mask’. Yeats was keen to replace traditional Greek and Roman mythological figures with figures from Irish folk lore which results in obscurity. The juxtaposition of the past and the present, the spiritual and the physical, and many such dissimilar concepts and his condensed rich language make his poetry obscure.

PESSIMISM:

Like Eliot, Yeats’ poetry is marked with pessimism. After his disappointment with Maud Gonne and his disenchantment with the Irish National Movement, Yeats started writing bitter and pessimistic poems. But he tried to dispel this feeling by philosophizing in his poems. “To A Shade”, “When Helen Lived”, and two Byzantium poems along with many more of his poems reflect this mood.

And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

MYSTICISM:

Yeats’ mysticism is also a modern trait. Although modern age is scientific, yet modern poetry has traces of mysticism in it. Yeats is the only modern poet who initiated occult system and mysticism in his poetry. Mysticism runs throughout his poetry in which the gods and fairies of the Celtic mythology live again. To Yeats, a poet is very close to a mystic and poet’s mystical experience give to the poem a spiritual world. The state of spiritual exaltation is described in “Sailing to Byzantium”:

-----------------------, unless
Soul clap its hands and sing,

OCCULTICISM:

Yeats believed in magic as he was anti-rationalist. By ‘Magic’ Yeats meant the whole area of occult knowledge. Occult was very much common in modern poetry for numerology was lately been introduced in 19th century. Most of his symbols have a touch of the supernatural about them. Number 14 is his typical occult number which symbolizes decline. In “The Wild Swans at Coole”, he says:

Upon the brimming water among the stones
Are nine-and-fifty swans.

HATREF OF MODERN WORLD:

Being disillusioned by lack of harmony and strength in modern culture, Yeats tried to revive the ancient spells and chant to bring unity and a spirit of integration in modern civilization torn by conflicts and dissensions. Modern man was a disillusioned due to mechanism. All the romances were coming to an end and people were getting brutal. In “Easter 1916” he highlights the disillusionment of modern man.

He says:

                                                                             What is it but nightfall?

ANTI WAR ATTITUDE:

Yeats was an anti-war poet and does not admire war fought under any pretext. In his last years, he wrote poems dealing with the crumbling of modern civilization due of war. He believed that a revolutionary change is in the offing. In “The Second Coming” he describes what lies at the root of the malady;

Things fall apart; the entire cannot hold ….
The best lack all conviction, while the worst

HUMANISM:

Humanism is another modern trait in literature. The threat of war cast a gloomy shadow on the poetic sensibility of the modern poets. The sad realities of life paved the way of humanitarian aspect in modern literature. Yeats’ poetry also abounds in humanism. In “Easter 1916”, he feels even for his rival. He says:

He had done most bitter wrong
To some who are near my heart,

LOSS OF FAITH:

Yeats believed that much chaos has entered in Christianity as it has lost its effect and now it is about to end. The good people sadly lack conviction, while the bad pursue their wicked ends with passionate intensity. The second coming is at hand. This coming prophet will be the prophet of destruction. The falcon, symbolizing intellectual power, has got free of the control of the falconer, representing the heart or soul.

Turning and turning in the widening gyre
The falcon cannot hear the falconer;

Yeats’ later poetry is typified by a stark, naked brutality and bluntness. His poems present the truth about the human state and he does not hesitate to use blunt and brutal terms to express it. He called spade a spade. He calls the world “the frog-spawn of a blind man’s ditch”. He says that a man is:

All mere complexities,
The fury and the mire of human veins.

SYMBOLISM:

Yeats’ use of symbols in poetry is complex and rich. He was the chief representative of the Symbolist Movement. He draws his symbols from Irish folklore and mythology, philosophy, metaphysics, occult, magic, paintings and drawings. Several allusions are compressed into a single symbol. His symbols are all pervasive key symbols. His key-symbols shed light on his previous poems and “illuminates their sense”. ‘The Rose’, ‘Swan’ and ‘Helen’ are his key-symbols. Symbols give ‘dumb things voices, and bodiless things bodies’ in Yeats’ poetry.

HATRED OF OLD AGE:

One of Yeats’ concerns was old age which is seen as a symbol of the tyranny of time. Rage against the limitations of age and society upon an old man occurs frequently in his poetry. In “Among School Children” he considers himself a comfortable scarecrow. The heart becomes ‘comprehending’, unfortunately attached to a ‘dying animal’. In “The Tower”, Yeats calls the aged body an ‘absurdity’. A powerful expression of Yeats’ agony facing old age appears at the beginning of “Sailing to Byzantium”:

That is no country for old men. The young
In one another’s arms, birds in the tress
Those dying generations – at their song.

Yeats attitude to old age cannot be typified. Old age is certainly a handicap to the still strong sensual desires. He talks of the limited choices available to an old man who is simply a torn coat upon a stick:

An aged man is but a paltry thing,
A tattered coat upon a stick, ----

ROMANTICISM AND MODERNISM:
He was both romantic and modern and so talks about balance. In the age of industrialization, man was losing the equilibrium between science and religion. They were destroying their physical beauty by injuring it for the elevation of soul. The balance was lost.

O body swayed to music, O brightening glance,
How can we know the dancer from the dance?

Eliot was contemporary and had a great influence on Yeats. Both have certain things in common. Both are intensely aware of man in history and of the soul in eternity. Both at times see history as an image of the soul writ large. Both see an uncongenial world disintegrating and an unknowable future taking shape in the surrounding dark. Both call in eternity to redress the balance of time.

CONCLUSION:

Yeats is a unique poet as he is a traditional and a modern poet at the same time. Though he started his poetic career as a Romantic and the Raphaelite, he very soon evolved into a genuine modern poet. All the romantic traits found in Yeats early poetry collapsed in his later poetry. Before coming in contact with the Imagist school, he was writing poems, common with the writings of the Imagist Movement. But Yeats symbolism is not derived from that movement. Thus, Yeats is a poet who is both traditional and modern.

GULLIVERS TRAVELS PAST PAPERS

JOHNATHAN SWIFT GULLIVERS TRAVELS

Past papers

2019 SUPPLY

Q. Discuss the idea of History and Historiography in Swift's Gullivers Travels. 

2019 ANNUAL

SWIFT SATIRIZES HUMAN HISTORY BY DECLARING IT A PACK OF LIES DISCUSS

CRITICLLY EVALUATE LAST SECTION OF GULLIVER TRAVELS

discuss the theme of power dynamics  in Gulliver travels

discuss the meaninglessnes of human existence in gullivers travels

2018

in gulliver travel, language is also used to manupulate power and society. what is your point of view.

2017

academy in lagado in GULLIVERS TRAVEL , CRITIQUE OUR UNCRITICAL ACCEPTANCE OF MEDERNITY

DISCUSS THE THEME OF POWER POLITICS IN ANY PASRT OF GULLIVERS TRAVELS

2016 SUPPLY

SATIRE IN SWIFT IS CORROSIVE TO EXTENT that it seems that nothing has been left to cherish in our eistence as human belongs. what is your point of view.

swift prose style

2015annual

1; Swift has been charged with misanthropy. Uphold or refute the charge with concrete evidence from his works, especially, "Gulliver's Travels".

2; Political satire in the first two parts of Gulliver's Travels is interesting as well as instructive. Elaborate.

3;From your reading of Gulliver's Travels what impression have you formed of Swift's attitude towards mankind? Would you describe him as a misanthrope?

4;Swift was the greatest satirist in an age of satire". Elaborate with special reference to the first two voyages of "Gulliver's Travels".

5; His satire grows more and more bitter as Swift progresses from book to book of his 'Gulliver's Travels'. Discuss.

6; Swift devised a prose style that suited his purpose very well. Elaborate with special reference to his Gulliver's Travels.

7;Swift is not a reformer but a demolisher. Discuss with reference to his works, especially 'Gulliver's Travels'.

8;Swift's Travel to Laputa my or may not be stillbirth but it contains, the same flair and the same flame as the rest of 'Gulliver's Travels'. Elaborate.

9;What are the literary techniques Swift draws upon to downscale man and his achievements?

10;A satirist is a perfectionist. Discuss with reference to Swift

11;Which part of the voyage in "Gulliver's Travels" is interesting to you and why?

12;Write a comprehensive note on different satirical devices used by Swift in Gulliver's Travels.

13;Write a detailed appraisal of Swift's versatility as a satirist as revealed in Gulliver's Travels.

14;Would you agree with the opinion that the first three parts of Gulliver's Travels show Gulliver's degeneration while the fourth part shows his regeneration? Give evidence from the text to prove or disapprove.

15;Produce evidence from Gulliver's Travels, especially Book IV to prove of disprove that Swift was a misanthrope.

 16;Compare and contrast the prose style of Bacon and Swift.

17; How far would the lot of humanity have changed if men had adopted absolute rationality of Houyhnhnms? Discuss with reference to 'Gulliver's Travels'.

18; Arguing from your study of 'Gulliver's Travels', discuss Swift as a wounded moralist who never forgave the world.

19;Swift devised a prose style that suited his purpose very well. Elaborate with special reference to his Gulliver's Travels.

20; His satire grows more and more bitter as Swift progresses from book to book of his 'Gulliver's Travels'. Discuss.

   GOOD LUCK!

"Break, break, break" by Alfred Tennyson

"Break, break, break"
by Alfred Tennyson

Summary
The speaker is watching the sea whose waves are breaking on the “cold grey stones”. He is sad because "he cannot give voice to his thoughts." He hears the shouting of the fisherman’s boy with his sister while they play, and the young sailor sings in his boat, but the speaker is in different mood. Other ships move silently to their “haven under the hill,” and this scene seems to remind him of the absence of a dear friend he cared for. He cannot feel "the person’s touch or hear the person’s voice". The speaker compares between the recurrent voice of the colliding waves on the rocks and the “tender grace” of the bygone days with his friend that
will never return to him.

Analysis:---
The poem conveys the feelings of a person toward his lost friend. It was written in 1834 right after the sudden death of Tennyson’s friend Arthur Henry Hallam, the poem was published in 1842. Although some have interpreted the speaker’s sorrow as sadness over a lost lover, it probably reveals the feeling at any loss of a beloved person in death, like Tennyson’s depression over losing Hallam.
Apparently, the poem seems relatively simple and straightforward, and the feeling is easy to distinguish: the problem of the speaker is that he could not express his sad thoughts and his memories, compared with the vitality of the sea with its waves and ships. The people around him don't care about his sadness and his great loss. The poem’s deeper attention is "in the series of comparisons between the external world and the poet’s internal world". The outer world represents real life, or the real field where the speaker used to play. The inner world is what reflects on his mind according to the influence of the outer world. The example in this poem is the loss of his friend and his memories with him.In the first stanza, the sea is beating the stones, and the speaker looks sadthat the sea is vital and moving while he is unable to express his sadness.In addition, the sea does not care of what happens to his friend and does not share him his sadness. The recurrence of “break” appropriately bearsthe incessant movement of the waves, and these waves emphasize his disability to act. Another interpretation for the recurrence of the word 'break' is that the speaker's inner wish is to crash everything in order to express his feelings of sorrow.In the second stanza, the poet correspondingly distances between himself and the cheerful people around him. They have happiness and completion, but he does not. The brother and sister; the sailor and his boat; the speaker has no friend. They have reason to be happy, but he has no reason to be alike. The sense of envy might be valid here, but it is usually to suggest that these unconcerned young people have fatalitiesyet to come. In the third stanza the speaker watches the “stately ships” proceeding to their “haven under the hill,” and they seem satisfied with their ends. But the grave is not a pleasurable haven, in contrast, which means, "there is no more hand to touch, no more voice to hear". The speaker is obsessed by his sad feelings, his memory of his deceased friend overwhelmingwhat the speaker watches around him. The critic H. Sopher comments on the discrepancy in this stanza as such: “The stateliness of the ships contrasts with the poet’s emotional imbalance; and the ships move forward to an attainable goal ... while the poet looks back to a ‘vanish’d hand’ and a ‘voice that is still.’”In the fourth stanza, the speaker watches the waves which break on the steep rock faces, with their useless efforts to go beyond. Also, for the speaker, there is no way to get the dead back. Sopher comments on this image that “the poet’s realization of the fruitlessness of action draws the reader’s attention to the fact that the sea’s action is, seemingly, fruitless too—for all its efforts [it] can no more get beyond the rocks than the poet can restore the past.” Yet, both the sea and the speaker keep their fruitlessefforts since they have no other choice.
Form:
The poem is four stanzas of four lines each each quatrain in irregular iambic tetrameter. The irregularity in the number of syllables in each line might convey the instability of the sea or the broken, sharp edges of the speaker’s grief. Meanwhile, the ABCB rhyme scheme in each stanza may express the regularity of the waves when they collide with the rocks.

John Donne and The Sun Rising

John Donne and The Sun Rising
🍁🌷🌿🍁🍁🍁💐💐👇
The Sun Rising is a love poem set in the speaker's bedroom, where he and his lover lay in bed presumably after a night of passion. The sun is seen as an unwanted dawn intruder, invading the couple's space, and is initially insulted before being challenged.

Donne wrote many an amorous poem in his younger days, using the extended metaphor or conceit to explore in depth the relationship between himself, the cosmos and love. Poems such as The Flea and To His Mistress Going to Bed are particularly popular.

Because of his interest in love, religion and morals and inventive use of form and intellectual prowess, he is often known as the father of the metaphysical poets.

Later on in life he devoted himself to religion, eventually becoming dean at St Pauls cathedral in London. His Holy Sonnets and other religious verse are a counterbalance to his more erotic writings.

John Donne's poems were first collected and published in 1633, two years after he died. No copies of his handwritten poems survive but manuscripts were circulated during his life, passing amongst friends and other admirers.

The Sun Rising is one such poem. It begins with a rush of blood, a blunt telling off, as if the speaker's space and style has been cramped. He is annoyed. To allay the self-induced tension the speaker soon begins to compare himself with the sun, belittling the power of that mighty star, declaring love the master of all.

In the end the lovers and, more importantly, the bed in the room, become the focal point of the cosmos, around which everything revolves, even the unruly sun.

The Sun Rising

Three Stanzas
1st Stanza

The speaker has a go at the sun for invasion of privacy and declares that love isn't subject to the everyday routines, and is certainly no slave to time.

2nd Stanza

Helplessly in love with his mistress/wife, the speaker rather arrogantly belittles the sun by suggesting that his bed is the place to be.

3rd Stanza

The bed and the lovers are a microcosm of the universe, according to the speaker, who in the end invites the sun to become a part of the whole.

Analysis of The Sun Rising
Form

Three stanzas, each ten lines long, make this an unusual aubade (a dawn love poem). With irregular line length and regular rhyme scheme of abbacdcdee it is a bit of a hybrid. The first four lines build up the argument, sonnet-like, the next four consolidate and the final couplet concludes. The meter (metre) is also varied, lines having anywhere from four to six beats, iambs mixing with anapaest and spondee to produce a stuttering uncertain rhythm.

Syntax

Short, sharp clauses, longer sentences and plenty of punctuation bring energy and emotion to the speaker's voice, and help deliver the arguments and images in a dramatic, depthful manner. Take the final couplet in the third stanza:

Shine here to us, and thou art everywhere;

This bed thy centre is, these walls, thy sphere.

Simplicity itself, with pauses that allow the reader to take in the conclusion, yet, typically of Donne, he throws in an image to catch us off guard - the bed is rectangular, the room likewise, but sphere suggests a spherical shell, one in which a celestial body might orbit in a fixed relationship.

Tone

The speaker is initially affronted by the presence of the sun and wastes no time in berating the intrusion, questioning its appearance at a time when love is the priority, and love is not to be influenced or regulated by the course of a pedant. You can picture the lovers being disturbed by bright sunshine streaming in at dawn - the equivalent of someone shouting. All they want to do is continue their sleep. Who wouldn't be annoyed?

The speaker's tone does shift as the poem progresses. In the second stanza all the heat has dissipated and there is a more thoughtful approach as the speaker attempts to persuade the sun that his lover has the power to blind him. In the end the speaker suggests that the lover's bed and room is a microcosm of the solar system, so the sun is invited to revolve around them.

Further Analysis - First Stanza
Lines 1-4

This poem begins with insults. The sun is called an old fool, which is quite controversial because we're talking about the giant star that keeps everyone and everything alive on the planet, right? The sun can never be unruly, surely? Donne personifies the sun in order to have a go at it. The speaker is saying : Get out of my life! Love is not under your control!!

thou - you
thus - in this way
Lines 5 - 8

The insults continue. You can picture the lovers being rudely awakened by the strong rays and wanting the sun to go elsewhere. But the emphasis here is on belittling - the sun is told to go and call on people arguably less important - boys late for school, resentful apprentices and farm workers.

chide - reprimand
prentices - apprentices
offices - duties
Lines 9-10

The end couplet, fully rhymed, affirms that love is beyond weather, place and time of year. It never changes, is unaffected by the divisions of the clock.

all alike - the same at all times
clime - a region known for particular weather
rags - fragments
Second Stanza
Lines 11-14

What makes you think your light is so awesome? All it takes is for me to blink an eye and, hey presto, I've beaten you. But I don't want to waste time doing that, my eyes are for my lover only. The speaker is boasting now, putting the sun in its place with two perfectly constructed iambic pentameter lines - to emphasise the ease with which he could eclipse the sun.

Thy - your
reverend - worthy of reverence
Lines 15-18

My lover's eyes easily outshine yours, she is dazzling, and it wouldn't be such a shock if, on your return tomorrow, the whole of India and the East and West Indies are all here in her, in our bed.

This is hyperbole par excellence. Donne has the speaker declaring that the exotic countries of th'Indias with their spices and gold won't be where the sun last saw them, they'll be embodied in his lover.

thine - yours
th'Indias of spice and mine - East and West Indies, spice from the East, gold from the West.
thou leftst - you left
Lines 19-20

And if you saw a monarch or two on your travels yesterday ask after them, I think you'll be told they're here, in our bed.

thou saw'st - you saw
thou shalt - you shall

Third Stanza
Lines 21-24

My lover is the whole world to me, and I'm total prince. End of story. Real royalty act as if they're us; all rank, status, mark of pedigree is imitation compared to her and me. We're the real deal, our love is our wealth, we don't need cash or bling, especially that false fool's gold the alchemists claim to make from junk metal.

* alchemy - alchemists claimed to be able to create gold from base metals.

Lines 25-30

You're only half happy, being one. We are two and we are the entire world so, take it easy, you're old don't forget and you've still got to keep the earth warm, it's your duty after all. To make it easier, I invite you in to our room. Shine on our bed, into the whole room; that way this will become your solar system with you revolving around us.

thy sphere - your solar system. Donne has the Ptolemaic model of the cosmos in mind, with the bed the focal point around which the sun revolves.

Home Burial is a poem by Robert Frost

Home Burial is a poem by Robert Frost. It has quite a few themes. There are themes of death, gender equality and communication between couples. The theme of death surrounds the whole story as the death of the child, and the death of the marriage create an atmosphere around the story.

Summary,

The poem "Home Burial" starts with a husband watching his wife as she walks down the stairs. She stops to look at something, but she does not tell his husband. Husband thinks that she's looking at their child's grave, in the family graveyard, which she can see through the window.

But as the husband climbs the stairs to talk to his wife, she does everything to avoid talking to her husband about their dead child. She feels trapped, and is trying to leave the house. The husband tries to convince her to talk to him, but she does not talk. He doesn't know how to have a conversation without angering her.

The wife, on the other hand, is so upset by the loss of her child that she is not able to be comforted. She can't understand how her husband can carry himself normally when she's been so covered by the loss. The dialogue between the two begins to develop and soon covers their differing ideas about relationships, life, and death.

The poem ends with a suspense. The wife has opened the door to leave, with her husband threatening to go after her and bring her back if she goes. We're left to guess whether or not she manages to get out, and what happens to the couple

REDRESS OF POETRY quotes

🔖 REDRESS OF POETRY

1. Poetry is not only pleasant but also useful for man and society. ( Aristotle)
2. If you want to make poetry practical then it will not remain poetry. (Seamus Heaney)
3. Poetry is a condition not a profession. (Robert Frost)
4. Poetry is not the turning loose of emotions but an escape from emotions, it is not the impression of personality but an escape from personality. (T.S.Eliot)
5. A poet is not a teacher but preacher. (John Keats)
6. Poetry is a violence from within , which protects us from the violence without. (Wallace Stevens)
7. Poetry should be great and obtrusive, a thing which enters into one's soul , it should not startle it or maze it by itself but with its subject. (John Keats)
8. Poetry is a spontaneous overflow of strong feelings. A poet gets 'Catharsis' through his poetry. (William Wordsworth)
9. Poetry is most philosophical of all writings,the breath and finer spirit of all writings. (William Wordsworth)
10. It is not the function of poetry to relate what is happened but what may happen. (Aristotle & Heaney)
11. Poetry is not concerned so much with what is but with what ought to be. (Aristotle)
12. Reparation of satisfaction or compensation for a wrong sustained or the loss resulting from this. ( Heaney)
13. Heaney has the most flexible and beautiful lyric voice of our age, and his prose often answers his poetry in a run of subtle and subtly resonant phrasing. (William Logon)
14. Poetry cannot afford to loss its fundamentally self-delighting inventiveness. (Seamus Heaney)
15. I want to profess the surprise of poetry as well as its reliability. (Heaney)
16. The movement is from delight to wisdom and not vice versa. (Redress of Poetrt)
17. The poets have no knowledge of truth, since they imitate only appearances. (Plato)
18. Every poet is an imitator and therefore all imitators are twice away from the truth. (Plato)
19. Though, poetry is a flight of imaginations yet its ultimate purpose is to give a moral lesson and reveal the reality in the best possible way. (Seamus Heaney)
20. Poetry gives us moral with pleasure. (Heaney)
21. Poetry is the alleviating function of reality.
22. Life worries man, poetry relives man.
23. Poetry takes us to paradise while we stay on earth.
24. This world is a labyrinth where man is lost, poetry shows us the right way.
25. Poetry gives us idealized version of reality.
26. Poetry is the real picture of perfection.
27. Poetry cannot bring political change, it tries to change the mind. It never gives straight facts but inspires people to bring change.
28. Poetry builds for us the world if aspiration.
29. God loves the sinner and man gets closer to God because of his sin. This is the reality of human life and pressnted beautifully by the poet "Herbert " in " The Collar".
30. It is Poetry which has the real motive power in life.
......🌸🌷🌸🏵🌸🌷🌸.....
                             

Jonathon Swift’s Prose Style

Jonathon Swift’s Prose Style

The Greatest Satirical Prose writer :-

It has rightly and honestly been said that Swift was the greatest prose satirist of England. He dominated the first half of the eighteenth century as Dr. Johnson did the second: and as an intellectual, he was far superior to Johnson. Some of his satires are obscene, misanthropic, and cynical, but none can question his moral integrity and the unflinching earnestness with which he removes the externals of things to bring out the corruption which lies at their heart. Swift‘s satire is all embracing. Its rapier-like thrust‘s spare neither a fraudulent almanac-maker, nor a misguided zealot,. nor an airy philosopher, nor a glib politician, nor a conceited fop, nor a pretentious scientist. Indeed, the extensiveness of his satire is remarkable. This greatest of satirists once satirised even satire! The platry Partridge (an almanac-maker) and the great Walpole (The Prime

Minister of England) alike winced under his terrible ―whip of scorpions‖.

His Razor-edged Satire :-

Swift‘s sensitiveness to the corruption, the numerous frustrations which punctuated the entire span of his life, and the egregious folly, corruption, and self-seeking which he found marring the prospect of ―the age of reason and good sense‖, prompted him to take up his lash. The age deserved satire, and his personal disposition and disappointments made him keen enough to give it. Swift‘ is perfectly right when he says in The Death of Dean Swift:

Perhaps I may allow the Dean

Had too much satire in his vein,

And seem’d determined not to starve it,

Because no age could more deserve it.

His Technique:-

The greatness of Swift‘s satire is, in the last analysis, a triumph of technique. His arsenal as a satirist is chockful of weapons of all descriptions. Wit, raillery, sarcasm, irony, allegory, banter, and so many more weapons are used to perfection by him in his crusade against folly, injustice, and unreason. Whichever weapon may he be employing for attack, his satire is usually darker and more telling than that of most writers. He may sometimes touch lightly, but very often he pierced deep to the very heart of life. In any case, his satire is very disturbing as it presents things in a fairly unconventional perspective eminently calculated to shatter the complacency of the reader. When Swift points out the acquired follies, he is quite constructive; but when he saves the very nature of man, he is nothing but destructive.

His Prose; Full of irony:-

Of all the satiric techniques, the one most effectively used by Swift is irony. With Swift, irony is often much more than just a figure of speech, it is extended so that the entire range of thoughts and feelings presented in a satiric work seem to be coming not from Swift himself but from a fictive character created for the purpose. The irony lies in the difference between the views expressed by the persona and tile common sense views.

His Prose – pieces:-

Swift wrote a very large number of prose pieces of which the most important are The Battle of .the Books, A Tale of a Tub, and Gulliver‘s Travel. The first is just a feitid‘ esprit, and was meant to lampoon in mock-heroic terms the opponents of his patron Sir William Temple — particularly Richard Bentley and William Wotton, both of disputed the view of Temple granting supremacy to ancients over moderns. A Tale of a Tub was meant to be a satire on the numerous and gross corruptions in religion and learning, It represented the Church of England as the best of all Churches in ―doctrine and discipline,‖ and also lashed the shallow writers and critics of the age. Gulliver‘s Travels is the most famous of Swift‘s works. In it he savagely indicted ―that animal‖ called man.‖ Though it ‗has the externals of a travel romance, yet in reality it is a terrible but well-calculated satire on all the activities of human life and all the attributes of human nature, not‘ sparing even the human body. However, its irony is so deep that it has been a favourite gift book for children. Kipling once said that Swift ―ignited a volcano to light a child to bed.‖ In fact, the book is enjoyed by all children from nine to ninety.

Concise Prose Style:-

Credit must be given to Swift for the clarity, precision, and, what Herbert Davis calIs the conciseness, of his prose style. Swift despises all unnecessary ornament. HIS imagery, however, is prolific and concrete, at any rate, he gives us the impression of an easy mastery of the language. Halliday in the introduction to his Section on Swift observes: ―…the various phases of scorn and satire of appraisement and direct denunciation, the various moods and tempers of the writer are expressed with wonderful and subtle skill. The secret of his power over his readers is to be sought for here. He makes you responsive to every emotion and draws you with the magic of his pipe into whatever region desires.‖ No doubt, swift had a mastery over the use of his prose technique.

Some_Major_Themes_and_Aspects_in_JAZZ

Violence
Cultural violence and race are woven into Jazz's historical setting. Race riots erupt as African American workers crowd into Northern industrial cities to work in factories; veterans who fought in the war come home to endure racist treatment; and systemic racism by whites threatens African American men with violence and women with sexual violence. The novel is packed with examples: Alice's brother is "stomped to death." Joe survives a beating only because a white man decides he should. Young men are lynched or beaten. The narrator maintains, usually, a strangely neutral tone when she reports violence, perhaps to let readers make of this madness what they may.
Friends, families, enemies—all are susceptible to interpersonal violence or the urge toward it in Jazz. Dorcas's last memories of her mother are of the "pop and sting" of a slap to the face. Alice imagines a horrific death for her rival: she would ride "four iron hooves" over the woman until nothing was left but a "twitchy, pulpy body." The novel's central act of interpersonal violence seems to happen of its own accord. Joe doesn't actively intend to harm the "easy prey," yet the trail "finds" him and leads him to Dorcas. Violence seeps from generation to generation, as Vera Louise's pregnancy is revealed. Colonel Gray's "rage seeped into the room, clouding the crystal," while Mrs. Gray provided the "final cut"—a look of disgust. Vera Louise, though not physically harmed, is sent away to "die ... elsewhere."
Even the language of the novel resonates with violence. The narrator describes light that "slants like a razor cutting the buildings in half," and the drugstore illuminates customers in a "thin sharp light," for example. Violent music rings with "complicated anger" and hostility. And yet set against this permeating violence, like balm spread over burned skin, are many acts of gentleness, compassion, and restraint.

#Race
History underpins Jazz's realistic depiction of the effects of slavery and racism on families. True Belle, for example, has been Vera Louise's slave for years when Vera Louise goes to Baltimore to have her baby. Vera Louise simply assumes that True Belle will leave her husband and two young daughters, and she does. True Belle redirects her love for her daughters to Golden until she comes home, free and with wages to spend. Meanwhile, Rose Dear loses a competent, caring mother, marries a wandering man, and hardly attends to her children. The consequences ring down two generations, filling Violet with a terror of losing the only person she has, Joe.
Post-slavery, racism still destroys families. When Felice complains that her parents' jobs keep her from seeing them often, Dorcas reminds her that she has no parents—only a picture. Fearful, racist beliefs—that whites were losing their jobs to new workers from the South, being crowded out of "their" homes, "their" city—shatter Dorcas's family. The friend who was keeping Dorcas that day can't or won't speak of what she saw.
Many characters attempt to flee Southern racism and seek opportunities by migrating north. Geography determines what African Americans can do. When Joe and Violet take the train north, an attendant announces breakfast in the dining car—but only once the train clears Delaware. This attendant longed to see every person get up and walk to the dining car because no longer does the "green-as-poison curtain" separate them from the white dining area. Of course, Northern cities are not free from racism. Alice Manfred experiences it on Fifth Avenue, where "whitemen" reach for her from the cars, money in hand, and white women won't sit by her because "you never know what they have." And the riots are proof that the violence of the South can happen anywhere. But in the City, where many African Americans have congregated, art and music flourish, and families raise their children in relative security.

#Identity_and_Motherhood
Individuals such as Joe and Golden seek to create and maintain identity in Jazz. Joe's "inside nothing" stems not from a lack of love—his foster family embraces him. He does not know who he is because he does not know to whom he belongs. His misunderstanding of "without a trace" makes the point. The name Joe chooses is a case of mistaken identity. The "proud-making" decision Henry made in training Joe provides him with identity as a hunter and woodsman, but these skills are of little use to a salesman. Joe has identity, too, as Violet's husband, but this falls away when she becomes silent; his affair with Dorcas is an attempt to become another "new" man.
Golden suffers, too, unaware of his father until he has imbibed the cultural hate of the South. The loss feels like a missing arm; he'll never know what life would have been with the arm, though he gets along well enough without it. No father "helped me over the stile" or "fed me food." Golden's father-longing is a hunger. He both despises his African American heritage and wants to tell his father about the "missing part of him" so that they are "free, arm-tangled and whole." But reconciliation is difficult; Henry is not what Golden expects. Henry challenges Golden to choose his identity. "If you choose black, you got to act black"—like a competent man responsible to himself and his community. Either way Henry won't take Golden's "whiteboy sass." Fascinated by Wild, however, Golden finds a third choice. He walks away from his white privilege and from Henry's model of manhood, finding his identity in the woods. Golden will not be parted from Wild; the sight of them together—her very dark skin and hair by his pale skin and golden curls—amazes people and suggests an identity that supersedes race.

MOTHERHOOD occupies an important place in Jazz. Mothers—good, absent, incompetent, or surrogate—pepper the novel. Joe wants his mother to acknowledge him, but there is no substitute for Wild's touch. If Joe can't convince himself that he felt it, in the twilight of the woods, he can't complete his identity. Violet's identity, on the other hand, is mostly wrapped up in her marriage to Joe. She felt complete with him at the beginning of their marriage. Her unfulfilled longing to become a mother, however, created a rift between them. When Joe has an affair with Dorcas, Violet almost believes she could have loved Dorcas the way she would have loved her own daughter, but this was not meant to be. Violet's desire to be a mother is perhaps related to the absence of her own mother, Rose Dear, who committed suicide, an act that had a profound effect on young Violet. True Belle becomes Violet's surrogate mother, but as an adult Violet wants to experience the motherly love that Rose Dear did not provide. Conversely Alice treats her niece, Dorcas, like her own child and tries to shield her from the wicked ways of the City. Alice's strict religious upbringing causes her to see the City in a negative light, full of perversity and danger. Dorcas feels loved by Alice but also stifled. Golden experienced motherly love growing up from both his mother, Vera Louise Gray, and her slave, True Belle. However, this is not enough for him, and he seeks out his father, Henry, as a means to understand his true identity.

#City_versus_Country
The City is Harlem during the Harlem Renaissance. The City is a place for reinvention; the people who move there are free to be "their stronger, riskier selves" in a place relatively sheltered from racist behaviors. The City acts almost as a conspiratorial character; it "makes people think they can do what they want" and lays out paths before their feet. But the City also tempts, "looking raunchy" and "sending secret messages" that lead to opportunities for sex. "Seeping music," it calls, "Come and do wrong." When Joe tracks Dorcas down, the City doesn't "object." Not even the narrator is safe from the City's influence; it "distracted" her when she tried to "speak its loud voice," causing her to miss clues to Joe and Violet's future.
In stark contrast to the City, the country represents a kind of purity, untainted by human civilization. The woods become a refuge for Wild, a place where she can escape and live a life of solitude "where wild women grow." To Henry and Joe, the woods are home. As hunters and trackers, they are attuned to its sights and sounds and have learned to "read" the woods. They can also appreciate its beauty and serenity. Despite the bustling activity of the City, Joe feels lonely and longs for the woods. He uses the skills he acquired in the woods to track down Dorcas in the City.

#Marriage
Marriage is an important theme of Morrison's novel. Joe and Violet's marriage is riddled with problems, mainly stemming from the fact that they are unable to produce children. The ensuing emotional separation causes Joe to seek companionship elsewhere. Violet's view of marriage is affected by her mother's failed marriage, and thus she clings to Joe, a man very different from her own absent father. Violet takes her revenge on Dorcas for threatening her marriage by cutting the dead woman's face.
Alice's failed marriage has distorted her view of men. Her late husband's affair devastated her, and she convinces Dorcas that men are dangerous and not to be trusted. Learning about Dorcas's affair with Joe brings back painful memories of her own marriage. Marital problems and infidelity are recurring issues in Jazz, and they mostly affect women, Violet and Alice in particular.

#Violence
Cultural violence and race are woven into Jazz's historical setting. Race riots erupt as African American workers crowd into Northern industrial cities to work in factories; veterans who fought in the war come home to endure racist treatment; and systemic racism by whites threatens African American men with violence and women with sexual violence. The novel is packed with examples: Alice's brother is "stomped to death." Joe survives a beating only because a white man decides he should. Young men are lynched or beaten. The narrator maintains, usually, a strangely neutral tone when she reports violence, perhaps to let readers make of this madness what they may.
Friends, families, enemies—all are susceptible to interpersonal violence or the urge toward it in Jazz. Dorcas's last memories of her mother are of the "pop and sting" of a slap to the face. Alice imagines a horrific death for her rival: she would ride "four iron hooves" over the woman until nothing was left but a "twitchy, pulpy body." The novel's central act of interpersonal violence seems to happen of its own accord. Joe doesn't actively intend to harm the "easy prey," yet the trail "finds" him and leads him to Dorcas. Violence seeps from generation to generation, as Vera Louise's pregnancy is revealed. Colonel Gray's "rage seeped into the room, clouding the crystal," while Mrs. Gray provided the "final cut"—a look of disgust. Vera Louise, though not physically harmed, is sent away to "die ... elsewhere."
Even the language of the novel resonates with violence. The narrator describes light that "slants like a razor cutting the buildings in half," and the drugstore illuminates customers in a "thin sharp light," for example. Violent music rings with "complicated anger" and hostility. And yet set against this permeating violence, like balm spread over burned skin, are many acts of gentleness, compassion, and restraint.

#Race
History underpins Jazz's realistic depiction of the effects of slavery and racism on families. True Belle, for example, has been Vera Louise's slave for years when Vera Louise goes to Baltimore to have her baby. Vera Louise simply assumes that True Belle will leave her husband and two young daughters, and she does. True Belle redirects her love for her daughters to Golden until she comes home, free and with wages to spend. Meanwhile, Rose Dear loses a competent, caring mother, marries a wandering man, and hardly attends to her children. The consequences ring down two generations, filling Violet with a terror of losing the only person she has, Joe.
Post-slavery, racism still destroys families. When Felice complains that her parents' jobs keep her from seeing them often, Dorcas reminds her that she has no parents—only a picture. Fearful, racist beliefs—that whites were losing their jobs to new workers from the South, being crowded out of "their" homes, "their" city—shatter Dorcas's family. The friend who was keeping Dorcas that day can't or won't speak of what she saw.
Many characters attempt to flee Southern racism and seek opportunities by migrating north. Geography determines what African Americans can do. When Joe and Violet take the train north, an attendant announces breakfast in the dining car—but only once the train clears Delaware. This attendant longed to see every person get up and walk to the dining car because no longer does the "green-as-poison curtain" separate them from the white dining area. Of course, Northern cities are not free from racism. Alice Manfred experiences it on Fifth Avenue, where "whitemen" reach for her from the cars, money in hand, and white women won't sit by her because "you never know what they have." And the riots are proof that the violence of the South can happen anywhere. But in the City, where many African Americans have congregated, art and music flourish, and families raise their children in relative security.

#Identity_and_Motherhood
Individuals such as Joe and Golden seek to create and maintain identity in Jazz. Joe's "inside nothing" stems not from a lack of love—his foster family embraces him. He does not know who he is because he does not know to whom he belongs. His misunderstanding of "without a trace" makes the point. The name Joe chooses is a case of mistaken identity. The "proud-making" decision Henry made in training Joe provides him with identity as a hunter and woodsman, but these skills are of little use to a salesman. Joe has identity, too, as Violet's husband, but this falls away when she becomes silent; his affair with Dorcas is an attempt to become another "new" man.
Golden suffers, too, unaware of his father until he has imbibed the cultural hate of the South. The loss feels like a missing arm; he'll never know what life would have been with the arm, though he gets along well enough without it. No father "helped me over the stile" or "fed me food." Golden's father-longing is a hunger. He both despises his African American heritage and wants to tell his father about the "missing part of him" so that they are "free, arm-tangled and whole." But reconciliation is difficult; Henry is not what Golden expects. Henry challenges Golden to choose his identity. "If you choose black, you got to act black"—like a competent man responsible to himself and his community. Either way Henry won't take Golden's "whiteboy sass." Fascinated by Wild, however, Golden finds a third choice. He walks away from his white privilege and from Henry's model of manhood, finding his identity in the woods. Golden will not be parted from Wild; the sight of them together—her very dark skin and hair by his pale skin and golden curls—amazes people and suggests an identity that supersedes race.

MOTHERHOOD occupies an important place in Jazz. Mothers—good, absent, incompetent, or surrogate—pepper the novel. Joe wants his mother to acknowledge him, but there is no substitute for Wild's touch. If Joe can't convince himself that he felt it, in the twilight of the woods, he can't complete his identity. Violet's identity, on the other hand, is mostly wrapped up in her marriage to Joe. She felt complete with him at the beginning of their marriage. Her unfulfilled longing to become a mother, however, created a rift between them. When Joe has an affair with Dorcas, Violet almost believes she could have loved Dorcas the way she would have loved her own daughter, but this was not meant to be. Violet's desire to be a mother is perhaps related to the absence of her own mother, Rose Dear, who committed suicide, an act that had a profound effect on young Violet. True Belle becomes Violet's surrogate mother, but as an adult Violet wants to experience the motherly love that Rose Dear did not provide. Conversely Alice treats her niece, Dorcas, like her own child and tries to shield her from the wicked ways of the City. Alice's strict religious upbringing causes her to see the City in a negative light, full of perversity and danger. Dorcas feels loved by Alice but also stifled. Golden experienced motherly love growing up from both his mother, Vera Louise Gray, and her slave, True Belle. However, this is not enough for him, and he seeks out his father, Henry, as a means to understand his true identity.

#City_versus_Country
The City is Harlem during the Harlem Renaissance. The City is a place for reinvention; the people who move there are free to be "their stronger, riskier selves" in a place relatively sheltered from racist behaviors. The City acts almost as a conspiratorial character; it "makes people think they can do what they want" and lays out paths before their feet. But the City also tempts, "looking raunchy" and "sending secret messages" that lead to opportunities for sex. "Seeping music," it calls, "Come and do wrong." When Joe tracks Dorcas down, the City doesn't "object." Not even the narrator is safe from the City's influence; it "distracted" her when she tried to "speak its loud voice," causing her to miss clues to Joe and Violet's future.
In stark contrast to the City, the country represents a kind of purity, untainted by human civilization. The woods become a refuge for Wild, a place where she can escape and live a life of solitude "where wild women grow." To Henry and Joe, the woods are home. As hunters and trackers, they are attuned to its sights and sounds and have learned to "read" the woods. They can also appreciate its beauty and serenity. Despite the bustling activity of the City, Joe feels lonely and longs for the woods. He uses the skills he acquired in the woods to track down Dorcas in the City.

#Marriage
Marriage is an important theme of Morrison's novel. Joe and Violet's marriage is riddled with problems, mainly stemming from the fact that they are unable to produce children. The ensuing emotional separation causes Joe to seek companionship elsewhere. Violet's view of marriage is affected by her mother's failed marriage, and thus she clings to Joe, a man very different from her own absent father. Violet takes her revenge on Dorcas for threatening her marriage by cutting the dead woman's face.
Alice's failed marriage has distorted her view of men. Her late husband's affair devastated her, and she convinces Dorcas that men are dangerous and not to be trusted. Learning about Dorcas's affair with Joe brings back painful memories of her own marriage. Marital problems and infidelity are recurring issues in Jazz, and they mostly affect women, Violet and Alice in particular.

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