Beowulf - The real Story
Beowulf: The REAL Story (A short story written by Charlie Nelson and Joey Unkenholz) Chapter One The dragon sank his fangs into Beowulf neck, Beowulf collapsing into the ground. Wiglaf drew his sword, swung with all his might, missing the dragon. Left vulnerable to the engulfing flames emitted from the dragon, his arm was scorched. Struck with fear and embodied in pain, Wiglaf dropped his shield and sword and took to his feet as the dragon roared in rage. Mislead that Beowulf was dead the dragon went back into his lair. Beowulf's eyes opened suddenly, glancing at his awkward surroundings. As his hand makes contact with his neck, he can feel he has been badly wounded. His surroundings are of rock and of darkness darker than the darkest night. Dark that only evil can produce. Beowulf picked himself up from the cold floors of the cavern. Vision impaired, he could only see the blur of light coming through the entrance of the cave. Foot after foot staggered in front in front of each other as he made his way to the incandescence being emitted through the opening. Once outside, the light blinded him. Dizziness and fatigue took control of his body and in seconds he was back on the ground. "Sir, sir, are you alright?" Beowulf eyes opened slowly. "Yes I think I am alright, but I am a bit confused. Where am I? How did I get here?" "Well, sir, you are in the home of
Explore the Relationship Between Literature and Politics In the Work of Romantic Authors.
EXPLORE THE RELATIONSHIP BETWEEN LITERATURE AND POLITICS IN THE WORK OF ROMANTIC AUTHORS. Much of the writing of the Romantic period was intrinsically bound up with the politics of the time. First and second generation writers commented on and reacted to the political events which were occurring in the world especially in France, America and Britain. It was an age of political upheaval, which had witnessed insurrection in both France and America during the French Revolution and the American War of Independence, revolt in Ireland and riots in Britain, a time when 'all the romantic poets found themselves carried along on movements of social change'.1 This essay will discuss the relationship between literature and politics through the works of William Wordsworth, a first generation poet and two second generation poets, Lord Byron and Percy Bysshe Shelley. Each of these poets shared a political awareness and expressed their political views through their poetry. Nowadays people tend to think of Wordsworth as a nature poet or autobiographical poet, but he also wrote poetry which voiced his political thinking. Wordsworth, who was born in 1770 first became involved with politics while on a visit to France at the beginning of the French Revolution. His experiences in France caused him to become committed to the republican cause and he brought these sympathies for the oppressed
Discuss the relationship between structure and content in Shakespeare's sonnets and Spenser's "The Faerie Queene".
Discuss the relationship between structure and content in Shakespeare's sonnets and Spenser's "The Faerie Queene". Spenser's The Faerie Queene, as an allegorical tour de force of Renaissance art, lends itself greatly to metaphorical interpretation. It has been the subject of much academic discussion, as have the elusive figures to which Shakespeare's sonnets are addressed. However, discussion of their prosodic mechanics and, more specifically, how these mechanics relate to their content, has until now been a more marginalised issue. How far does each writer explicitly address the relationship between structure and content; how important is this relationship; and do form and content happily coexist, or does one ever become subservient to the other? This paper shall aim to address these issues by linking Shakespeare and Spenser, as past scholarship has done, but it will focus more on its linguistic links, looking more specifically at examples from Shakespeare's sonnets1, as well as book I of Spenser's The Faerie Queene2. While the tradition for epic stretches back to the ancient Greek Iliad and Odyssey, the sonnet form was not created until the 13th century in Italy by Dante, before being ascribed to Petrarch. Upon its arrival in England three hundred years later, the structure of the sonnet had already undergone radical transformation due to the difference of ease of rhyming
Poetic Parallelism between Jonne Donne and Lope de Vega
Poetic Parallelism between John Donne and Lope de Vega The identification and comparison between English metaphysical poetry and Spanish poesía conceptista was suggested for the first time by James Smith, and then studied by Frank J. Warnke and Lowry Nelson. Later bibliography has focused almost exclusively on the analysis of Francisco de Quevedo's affinity with metaphysical poetry, and John Donne in particular. Critics and scholars have studied Quevedo's use of the conceit, and the metaphysical themes of some of his poems, and quite recently, the comparative study of Quevedo's and Donne's poems has been undertaken. As a contrast, only a few authors have dealt with John Donne in relationship with Lope de Vega, or viceversa, even though some of Lope de Vega's poems also belong to the conceptista vein. Frank Warnke included two sonnets by Lope de Vega in his collection of European metaphysical poems, and he pointed to the stylistic similarities between the devotional poems of Quevedo and Lope and those of Donne's (52, 59-60). Octavio Paz mentioned the existence of similarities between the passion, both amorous and religious, of Lope de Vega and Donne. Daniel L. Heiple discovered that Lope had used the term 'metaphysical' in much the same way as John Dryden and Dr. Johnson did later. Not long ago, Laurie Ann Kaplis, wrote, as her doctoral thesis, an extensive, yet not
Is there any contradiction between what has been described as Emily Dickinson’s ‘miniaturism’ (most of her poems have less than 30 lines) and the themes she deals with?
EXTENSION AGREED BY ROBERT GRANT "Is there any contradiction between what has been described as Emily Dickinson's 'miniaturism' (most of her poems have less than 30 lines) and the themes she deals with?" By Jamie Ellis, jpe1 (Keynes) Wednesday 13th November, 2002 For: "Nineteenth Century American Literature" - EN557; Essay one Seminar Leader - Dr. Robert Grant Emily Dickinson (1830 - 1886) was writing in the pioneering heyday of the 'Great American Short Story'. Although her device was poetry, Dickinson certainly subscribed to the idea of 'less is more', and her aphoristic work often had that similitude of a parable or proverb, sometimes in its content; more often in style. She largely deals with very profound themes, which could be collectively described as 'soul-searching' in an eloquent and evocative way, and the brevity in much of her work far underestimates the content with which she was dealing. Mark Twain advised any writer to "Eschew Surplusage." Adages aside, Emily Dickinson was certainly not verbose, and, at times, it is almost as though words lay in the way of her path to significance. Some of Emily Dickinson's work could almost be described as a code of conduct to live by; inherent in its advice and often rich in maxim. Indeed, the second poem in the selection in the Norton Anthology1, 'Success is counted sweetest', is an example of her economic use of
Predominately within Keats poetry one must indeed note the antithetic relationships between reality and ideals, rationality and imagination, physical sensations and logical reasoning.
Predominately within Keats poetry one must indeed note the antithetic relationships between reality and ideals, rationality and imagination, physical sensations and logical reasoning. The conflict between beauty and sensation and the clarity of intellect and reason was felt keenly by Keats, to whom true perception was the purity of sensation, free of any intellectual restrictions. Keat's was not simply a poet who longed for a life of sensation rather than thought, but was a man who desired sensation rather than the factual truth. To Keats the sensual imagination was the core of experience and unlike intellectual analysis, it was the abject imagination that brought intensity to all things; "...the imagination has pleasures more airy and luminous than those of sense, more massive and rapturous than those of the intelligence of the pure intellectuals who hunger after truth." (George Santayana quoted in 'Introduction to Keats' William Walsh 1991, Meuthuen Press, Pg 78) Yet in ordinary life Keats could not be described as a sensual person, content with the privations and life of a hermit he maintained in the world. Keats was a platonic poet to whom ideas and abstractions were his life, having a lucid perception of essences and sensations. Furthermore, Keats concept of imagination as a power closely associated with sensation, intuition and a visionary insight; "apprehended a
Write a study of a sonnet, looking at examples by two different poets writing before 1900, showing how they use form to express their ideas. You should include at least two sonnets written by the same poet. Accompanying this with a sonnet of your own.
Write a study of a sonnet, looking at examples by two different poets writing before 1900, showing how they use form to express their ideas. You should include at least two sonnets written by the same poet. Accompanying this with a sonnet of your own. The greatest aspect of a sonnet is that it reflects hard work and vigour. It also displays some of the characteristics that the sonneteer may possess. For example, Shakespeare has given himself a wealth of characteristics throughout his works, but what struck me most, was his power to fulfil what he wanted to say and would take up innumerable roles in which to display his message. I believe that this unveils a new side of Shakespeare every time he writes. I feel that my main aim in this essay is to look at the differences, both subtle and outright that make some of the greatest sonnets and sonneteers so very contrasting from one another. Firstly, it is very important to explore a sonnet. The first sonnet is called, "Batter My Heart" by John Donne. This is a classic English sonnet written at the beginning of the Seventeenth century where Donne unravels his negativity towards himself, and how he demands to be freed from his evil and cast back to God's side. The second sonnet is called, "Death Be Not Proud" by John Donne. This is a sort of argument against the rights of Death, exploring why Death does not, in fact, have any
"Keats' Odes are obsessed by the imagination's possibilities and limits." Discuss.
"Keats' Odes are obsessed by the imagination's possibilities and limits." Discuss. Keats, throughout his creative career, continually returned to the concept of the imagination. He professed a great belief in the imagination's power to create and recreate the world, famously writing "The imagination can be compared to Adam's dream, he awoke and found it truth."1 The possibilities and limits of the imagination are a recurring theme throughout the major odes as Keats contemplates both the heights which can be achieved "On the viewless wings of Poesy," and also the failings of the "deceiving elf" fancy. The odes employ complex imaginary concepts, building images and worlds in the imagination but they contrast these images with the realities of human existence. Keats therefore creates a conflict between the compelling but elusive fantasies of the imagination and the hard but necessary realities of human existence. The concept of the imagination changes and develops throughout the odes moving from a generally positive endorsement of the imaginative powers in Ode to Psyche to a seeming rejection of imaginative escapism in Ode to Melancholy and finally achieving reconciliation between imagination and reality in To Autumn. as N. F. Ford argues: "Given its different perspective and emphasis each of the odes actively involves us in a process of imaginative intuition that leads to a
Discuss the significance of the term metaphysical poetry in relation to three of the poems you have studied this term. You should also look up the word metaphysical in the OED and use some of the information given in your ess
Metaphysical poetry Analysis and comparison of three poems and their relation to the term 'metaphysical poetry' This essay will revolve around the genre of 'metaphysical poetry' and some of its most prominent poems, specifically 'Holy Sonnet X' and 'A Valediction: Forbidding Mourning' by John Donne and 'To His Coy Mistress' by Andrew Marvell. 'Holy Sonnet X' and 'To His Coy Mistress' will be analysed together and will undergo an investigation to find parallels and contrasts. They will primarily focus on the subject of death. 'A Valediction: Forbidding Mourning' will also be analysed and used to describe John Donne's authorship and his impact on metaphysical poetry. Lastly, this essay will try to explain the key features and aspects of the genre and, thereby, relate to the genre in a historical context. The term 'metaphysical poetry' was coined by the critic and poet, Samuel Johnson. Under its heading, Samuel Johnson gathered a large group of unaffiliated British lyric poets who had a common interest in the rising new sciences, debauchery, and the changing times. Despite their being unaffiliated, the group of poets shared a collective way of investigating and portraying their interests, namely through inventive ways of applying metaphors. This inventiveness in using metaphors has resulted in the genesis of the term 'metaphysical conceit'. Metaphysical conceit is 'a
!['Paradise Lost' - "Our Flesh is An Eve Within Us"[1]- The Presentation of Eve and her role in the Fall.](https://mbt-essays-prod-public.s3.eu-west-1.amazonaws.com/45964/listing/45964_1.jpg)
'Paradise Lost' - "Our Flesh is An Eve Within Us"[1]- The Presentation of Eve and her role in the Fall.
Word Count: 3,266 'Paradise Lost' "Our Flesh is An Eve Within Us"1 - The Presentation of Eve and her role in the Fall Paradise Lost begins and ends with Man, but this is not Man as we know him in daily life, nor indeed as he is usually depicted in literature, but a perfect, pre-lapsarian Man. The primary concern of this epic poem appears to be "man's first disobedience"2 and the results of that action. However, although Milton uses the word "man", it is universally understood that it was not a man, but a woman who disobeyed God and brought about the downfall of the human race. This woman is Eve. Diane Kelsey McColley in her book Milton's Eve asserts that the "story of our first parents shows woman as flesh, passions, nature, and sexuality seducing man as soul, reason, spiritual virtue and contemplation from his proper relation to God".3 The portrayal of Eve as primordial temptress is a long-standing one and can be found not only discursively in literary history but also pictorially in art history, and these traditions are perhaps accountable for the reductive opinion of Eve today. Before Paradise Lost, literary accounts of the Fall interpreted the story as male virtue undone by female concupiscence and masculine reason undermined by feminine passion. This blame for Eve as Adam's inferior perhaps originates from the source of the story, the book of Genesis. When God