Walton nurses him back to health in his cabin, and as the two men become acquainted, walton grows to love and admire his mysterious, melancholy guest. Victor is clearly suffering from some terrible loss, and he reveals that he came to the Arctic to pursue the huge man Walton saw previously. After Walton tells him that he is willing to sacrifice anything to achieve his scientific ambitions, victor decides to tell the captain the story of his life, which Walton records. In the first part of his tale, victor spends an idyllic childhood in Geneva, switzerland, with his loving upper-class family. He enjoys particularly close relationships with his adopted sister, Elizabeth, and his best friend, henry Clerval. At an early age he develops a passion for natural philosophy, and he spends his adolescence devouring the works of the medieval alchemists, dreaming of discovering the elixir of life. When he realizes how outdated the alchemists theories are in comparison to modern theories, however, he becomes disillusioned and gives up his study of the sciences entirely. When he is seventeen, victors parents decide to send him to school at the University of Ingolstadt.
Beloved, part One, chapters 9-12, summary and
Is this an ironic dig at unchristian philosophers who believe they are too wise to be drawn to jesus? Or is the poet secretly hoping that he could be wise enough not to get caught? One might be drawn to look deeply into donnes biography to try to uncover the degree to which he genuinely determined to be a christian divine versus succumbing to the pressure of his times. Either way, as a metaphysical poet, donne succeeds here in creating a love poem that does not rely on passion or overt sensuality to convey its point. He goes the opposite direction, speaking of slimy fish, ultimately communicating the purity of ones love for his beloved and, by extension, for God. Volume One, mary Shelleys, frankenstein begins with a series of letters from English explorer Robert Walton to his sister, margaret saville. Walton has traveled to russia to fulfill his lifelong dream of embarking on a voyage to the Arctic, where he hopes to make important scientific discoveries. After sailing steadily north for a while, walton and his crew find themselves surrounded by ice and witness a strange sight: a huge man in a dogsled speeding across the frozen sea. The next day they rescue a different, emaciated man who is stranded on a sheet of ice with the remnants of a dogsled beside him. This man is later revealed to be victor Frankenstein. Victor is near death and remains unable to speak for several days.
The spiritual analog is that group of demagogues or false preachers who deceive or make false promises in order to gain followers. In the final stanza, the poet concludes that the beloved needst no such deceit (line 25). This is because of the natural goodness that inherently draws men: thou guaranteed thyself art thine own bait (line 26). Indeed, the poet has already been caught, comparing himself to one of the fish: That fish, that is not catchd thereby Alas! Is wiser far than I (lines 27-28). He is so enamored of her that he cannot imagine anyone who can escape her charms. Yet, perhaps there really is a fish so wise it is not caught.
This connection helps the reader see what is going on in the rest of the poem. In the second stanza, the water will be warm'd by thy eyes, more than the sun (line 6 indeed, god outshines the sun (in line 14 his beloved is so bright she darkens the sun and moon both). Accordingly, every fish will be enamourd of her (line 7) and abides with her. To take the next step, the beloved enters the water and swims with the fish, parallel to shredder jesus entering the world and attracting followers. On the physical level, the fish represent men who are taken by the womans beauty and thus draw near to her, heedless of the captivity they will endure to her charms. Yet, donnes spiritual meaning is hard to miss once the conceit has been unlocked. Stanzas five and six compare the beloveds ability to draw in her prey with the difficulties other fishermen encounter via their less justifiable strategies. They may freeze and cut their legs in harsh conditions; worse, they may act treacherously (line 19) and use deception or cruelty to catch the fish (strangling snare, line 20, or the curious traitors, sleeve-silk flies used as bait in line 23). The worldly analog to these false baits may be promiscuous or deceitful women, who cannot win a mans love by their own natural beauty and instead act with deception or artifice.
Analysis, this poem shows Donnes ability to take the standard pastoral form and apply it to a traditional spiritual metaphor. Whereas the traditional pastoral would focus on a shepherd or another land-based outdoorsman, The bait takes as its motif a fisherman. Instead of sheep and green fields, donne describes sparkling water and fish. The poem is made up of seven four-line stanzas, each of which follows an aabb rhyme scheme. Donne characteristically begins the poem with an address to his beloved: will she live with him? If she does, they can some new pleasures prove (line 2 suggesting spiritual, intellectual, or sexual pleasures. By the end of the stanzas, he has changed the topic from sand and brooks to—of all things—fishing hooks. This transition is so unusual that the reader might quickly see the spiritual meaning of the conceit: the beloved. Jesus, who is the fisher of men in the Christian Gospels.
Yet the pictured urn can do something for them and for succeeding generations as long as it will last. It will bring them through its pictured beauty a vision of happiness (truth) of a kind available in eternity, in the hereafter, just as it has brought keats a vision of happiness by means of sharing its existence empathically and bringing its scenes to emotional. All you know on and earth and all you need to know in regard to beautiful works of art, whether urns or poems about urns, is that they give an inkling of the unchanging happiness to be realized in the hereafter. When keats says "that is all ye know on earth he is postulating an existence beyond earth. Although keats was not a particularly religious man, his meditation on the problem of happiness and its brief duration in the course of writing "Ode on a grecian Urn" brought him a glimpse of heaven, a state of existence which his letters show he did. In his letter of november 22, 1817, to benjamin bailey, he mentioned "another favorite Speculation of mine, that we shall enjoy ourselves here after by having what we called happiness on Earth repeated in a finer tone and so repeated.".
The speaker asks the object of his affection to come live with him—presumably to marry him and be his wife. He then discusses fish in pools and brooks as an indirect way of describing the allure of his beloved. The river will be warmed by her eyes, and the passing fish will be drawn to her, easily caught. If she enters the water, the fish will follow her. While others may catch fish in slimy and hurtful ways, deceiving the fish, the beloved is her own bait, honestly attracting others to her. The poet concludes that any fish that can resist her charms is wiser than himself.
This, keats seems to be telling us, is one of the pleasurable contributions of art to man. The third scene on keats' urn is a group of people on their way to perform a sacrifice to some god. The sacrificial victim, a lowing heifer, is held by a priest. Instead of limiting himself to the sacrificial procession as another scene on his urn, keats goes on to mention the town emptied of its inhabitants by the procession. The town is desolate and will forever be silent. The final stanza contains the beauty-truth equation, the most controversial line in all the criticism of keats' poetry.
No critic's interpretation of the line satisfies any other critic, however, and no doubt they will continue to wrestle with the equation as long as the poem is read. In the stanza, keats also makes two main comments on his urn. The urn teases him out of thought, as does eternity; that is, the problem of the effect of a work of art on time and life, or simply of what art does, is a perplexing one, as is the effort to grapple with the concept. Art's (imagined) arrest of time is a form of eternity and, probably, is what brought the word eternity into the poem. The second thought is the truth-beauty equation. Through the poet's imagination, the urn has been able to preserve a temporary and happy condition in permanence, but it cannot do the same for keats or his generation; old age will waste them and bring them woe.
Literary Essay on Cry The
We see a youth in a grove playing a musical instrument and hoping, it seems, for a kiss from his beloved. The scene elicits some thoughts on the function of art from keats. Art gives a kind of permanence to reality. The youth, the maiden, and the musical instrument are, as it were, caught and held permanently by being pictured on the urn. And so keats can take pleasure in the thought that the music will play on forever, and although the lover can never receive reviews the desired kiss, the maiden can never grow older nor lose any of her beauty. The love that they enjoy is parts superior to human love which leaves behind "a heart highsorrowful and cloy'd, / A burning forehead, and a parching tongue." The aftermath of human love is satiety and dissatisfaction. In these two stanzas keats imagines a state of perfect existence which is represented by the lovers pictured on the urn. Art arrests desirable experience at a point before it can become undesirable.
The maidens admin are probably the nymphs of classical mythology. The men or gods are smitten with love and are pursuing them. Keats, who loved classical mythology, had probably read stories of such love games. In book ii of his. Endymion, he recounts Alpheus' pursuit of Arethusa, and in book iii he tells of Glaucus' pursuit of Scylla. The second scene is developed in stanzas ii and iii. Under the trees a lover is serenading his beloved. In stanza i, keats confined himself to suggesting a scene by questions. The second scene is not presented by means of questions but by means of description.
priest lead a garlanded heifer? What town do they come from? That town will forever remain silent and deserted. Fair urn, keats says, adorned with figures of men and maidens, trees and grass, you bring our speculations to a point at which thought leads nowhere, like meditation on eternity. After our generation is gone, you will still be here, a friend to man, telling him that beauty is truth and truth is beauty — that is all he knows on earth and all he needs to know. Analysis, keats has created a greek urn in his mind and has decorated it with three scenes. The first is full of frenzied action and the actors are men, or gods, and maidens. Other figures, or possibly the male figures, are playing musical instruments.
Why this mad ecstasy? Imagined melodies are lovelier than those heard by human ears. Therefore the poet urges the musician pictured on the urn to play. His song can never reviews end nor the trees ever shed their leaves. The lover on the urn can never win a kiss from his beloved, but his beloved can never lose her beauty. Happy are the trees on the urn, for they can never lose their leaves. Happy is the musician forever playing songs forever new.
Analysis of a valediction of weeping by john Donne
Bookmark this page, summary, keats' imagined urn is addressed as if he were contemplating a real urn. It has survived intact from antiquity. It is a "sylvan historian" telling us a story, which the poet suggests by a series of questions. Who are these gods or men carved or painted on the urn? Who are these reluctant maidens? What is this mad pursuit? Why the struggle about to escape? What is the explanation for the presence of musical instruments?