Remembrance poem emily bronte analysis
How to improve in Unseen Poetry?
2024.05.14 15:43 Plus-Party-5314 How to improve in Unseen Poetry?
For Literature, my teacher said I need to be more insightful though I did some inferences in the analysis of poems.
How to be more insightful in poetry analysis? She doesn’t even teach us the techniques… Can someone enlighten please? Thanks!
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2024.05.14 15:33 wellthatmustbenice Exploring Farsi Through Music - I’d Love Your Feedback!
Hi
Farsi!
I’ve started a little project that combines my love for music with my passion for the Farsi language. The idea is simple: use Persian songs as a fun and immersive way to help people learn Farsi. I believe music can make learning a new language more enjoyable and engaging. Specially Farsi!
Currently its a small library of Persian songs that includes - Lyrics (in Farsi script and also Romanized) - English translation - Key words - Cultural context and poem analysis
I’m reaching out to this wonderful community because I’d really value your input:
- What do you think of learning languages through music?
- What other features would help your learn Farsi with music journey more helpful?
- Are there any particular songs or types of music you think are especially effective for this?
If you’re curious to see what I’ve been working on, you can visit
Learn Farsi with Songs. I’m eager to hear your thoughts and suggestions on how to make it better and more enjoyable for everyone.
Thank you so much for taking the time to read and respond. Your feedback is incredibly important to me!
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2024.05.14 14:01 Zappingsbrew A post talking about 400 words
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2024.05.14 05:26 Carpetfreak The Obscure Birds: A Theory Regarding Shakespeare's Macbeth
[I wrote this article about Macbeth for my college's newspaper, and I thought this subreddit might enjoy reading it!]
I have joked before that Shakespeare’s two favorite subjects–surpassing love, murder, madness, and crossdressing–are botany and birds. If you’ve been to New York City you might be aware of the “Shakespeare Garden” in Central Park, whose theoretical aim (though it proves nigh-impossible in practice) is to house specimens of all the plants which Shakespeare mentions in his plays. As it turns out, Bard quotes make for quite a diverse garden: there are roses which assuredly would smell as sweet by any other name; there are daffodils, that come before the swallow dares, and take the winds of March with beauty; there’s holly, heigh-ho; there’s rosemary, that’s for remembrance, there’s pansies, that’s for thoughts, there’s fennel for you, and columbines–no word on whether or not they could find any violets, though. I suppose there’s no objection to be made against those who complain that Shakespeare’s language is “flowery”; even as vicious a villain as Iago deigns to express his philosophy on life by way of botanical metaphor: “Our bodies are our gardens, to the which our wills are gardeners.” And, of course, the plot of A Midsummer Night’s Dream revolves around a magical flower which makes people fall in love.
I doubt anyone will object to my claiming of birds as Shakespeare’s other poetical fixation: I suspect that the majority of falconry knowledge which most non-falconers have today comes from reading footnotes in their copies of Shakespeare plays, explaining exactly what Richard II means by “How high a pitch his resolution soars,” or why Hamlet says “Hillo, ho, ho” to Marcellus. But while plants are so common in Shakespeare that I don’t know of one play which we might say is especially densely forested with references to them, there is one play that stands out as particularly full of birds in comparison with the rest of the Shakespearean canon. That play is Macbeth.
This is the sort of thing that one only notices after having read a play so many times that the actual events of the plot become akin to the meter of a poem–beats which must be hit, and which start to feel so natural that one hardly notices them–and one’s attention drifts away from the big, important speeches and toward the more utilitarian words and odd little moments that bridge them. I am not the first to point it out, but it is, all the same, a delightful quirk of the play, and could be a good way for Sophomores to throw their classmates for a loop in seminar [Note: Students at our college study Macbeth during their Sophomore year.]: why are there so many birds in Macbeth?
KING. Dismay’d not this/Our captains, Macbeth and Banquo? SERG. Yes,/As sparrows eagles… -Act I, Scene II
LADY. …The raven himself is hoarse/That croaks the fatal entrance of Duncan… -Act I, Scene V
BAN. This guest of summer,/The temple-haunting martlet, does approve/By his loved mansionry, that the heaven’s breath/Smells wooingly here: no jutty, frieze/Buttress, nor coign of vantage, but this bird/Hath made his pendent bed and procreant cradle… -Act I, Scene VI
LADY. Hark! Peace! It was the owl that shriek’d, the fatal bellman… -Act II, Scene II
LADY. I heard the owl scream and the crickets cry. -Act II, Scene II
PORTER. …come in, tailor; here you may roast your goose… -Act II, Scene III
PORTER. ‘Faith, sir, we were carousing till the second cock… -Act II, Scene III
LENNOX. New hatch’d to the woeful time: the obscure bird/Clamour’d the livelong night… -Act II, Scene III
OLD MAN. …On Tuesday last,/A falcon, towering in her pride of place,/Was by a mousing owl hawk’d at and kill’d. -Act II, Scene IV
MACBETH. …Light thickens; and the crow/Makes wing to the rooky wood… -Act III, Scene II
MACBETH. If charnel-houses and our graves must send/Those that we bury back, our monuments/Shall be the maws of kites. -Act III, Scene IV
MACBETH. Augurs and understood relations have/By magot pies and choughs and rooks brought forth/The secret’st man of blood. -Act III, Scene IV
LADY MACDUFF. …the poor wren,/the most diminutive of birds, will fight,/Her young ones in her nest, against the owl. -Act IV, Scene II
LADY MACDUFF. How will you live? SON. As birds do, mother. LADY MACDUFF. What, with worms and flies? SON. With what I get, I mean; and so do they. LADY MACDUFF. Poor bird! Thou’ldst never fear the net nor lime,/The pitfall nor the gin? SON. Why should I, mother? Poor birds they are not set for. -Act IV, Scene II
FIRST MURDERER. What, you egg! -Act IV, Scene II
MACDUFF. …there cannot be/That vulture in you… -Act IV, Scene III
MACDUFF. …O hell-kite! All?/What, all my pretty chickens and their dam/At one fell swoop? -Act IV, Scene III
MACBETH. The devil damn thee black, thou cream-faced loon!/Where got’st thou that goose look? SERVANT. There is ten thousand– MACBETH. Geese, villain? -Act V, Scene III
Above I have listed every ornithological reference that I’ve found in the Scottish Play; as we peruse them, we certainly cannot conclude that every individual reference is of the same kind, or carries the same import. I will not pretend, for example, that, just because geese and ravens are both birds, the Porter’s invitation for the imagined English tailor to cook his goose in Hell merits as much attention as Lady Macbeth’s ominous declaration that “the raven himself is hoarse”. Nor do I think that any individual reference particularly demands explication; by itself, any one of these bird-invocations seems perfectly natural. Shakespeare’s talent is such that he can repeat a motif in such a way that on the macro level it is obvious yet on the micro level it hardly feels present. But that macro level is what interests me here: what impression is created, on the whole, by the presence of so many birds in this play? I have a theory, which, though it may seem far-fetched, I think merits at least some consideration, and which, at the very least, I have not seen stated elsewhere, and so may make a novel contribution to the conversation.
Macbeth is both Shakespeare’s most supernatural tragedy and his most Sophoclean; these two superlatives are inextricably related. The appellative Weird given to the opening scene’s three Sisters–derived from the Old English wyrd, meaning destiny, and famously given its more familiar connotation by Shakespeare himself in this very play–is, among the Bard’s works, unique to Macbeth; and just as that word appears nowhere else in Shakespeare, so is the concept it represents absent in all tragedies but this one. Though Hamlet may cry out against outrageous fortune, and though Othello may rhetoricize about how no man can control his fate, it is only in Macbeth that we truly feel that the events we see play out before us are fated, predestined, inevitable. [See Note 1.] The ghost in Hamlet commands his son to revenge his foul and most unnatural murder, but does not tell him it is certain that he will succeed; indeed, would not the drama be sapped of its intrigue if that level of certainty were present? Meanwhile, the supernatural interlopers in Macbeth offer the Scottish thane not a mission, but a prophecy: All hail, Macbeth! that shalt be king hereafter! From its mystical opening word–When, not If–the Scottish play makes us aware of the certainty of all that is to befall our tragic antihero. Macbeth is thus a different sort of tragedy than Shakespeare’s others, and it works by an inverted mechanism. While the tragedy of, for example, Desdemona’s death is that it may have been prevented, the tragedy of Macbeth’s destruction is that it represents the fulfilment of fate; and this is the very same mechanism by which Oedipus Rex operates, complete with its own “Weird” character in the form of the seer Tiresias. Though Calvin managed to accept that some men are destined for greatness and others for ruin, this idea is, to Shakespeare and Sophocles, nothing short of agonizing–the stuff of tragedy.
Now: what does all of this have to do with birds? Consider these words from Antigone, spoken by Tiresias to Creon:
You shall learn, when you hear the indications of my art! As I took my place on my ancient seat for observing birds, where I can mark every bird of omen I heard a strange sound among them, since they were screeching with dire, incoherent frenzy and I knew that they were tearing each other with bloody claws, for there was a whirring of wings that made it clear… (Lloyd-Jones translation)
Consider next these words from Oedipus Tyrannus, spoken defensively by Oedipus to Tiresias:
Why, come, tell me, how can you be a true prophet? Why when the versifying hound was here did not you speak some word that could release the citizens? Indeed, her riddle was not one for the first comer to explain! It required prophetic skill, and you were exposed as having no knowledge from the birds or from the gods. No, it was I that came, Oedipus who knew nothing, and put a stop to her; I hit the mark by native wit, not by what I learned from birds. (Lloyd-Jones translation)
The practice of divining the future from birds–be it from their behaviors, their cries, or their innards–was, to Sophocles and his contemporaries, not superstitious hokum, but a practical science at which one could be skilled or unskilled, and it bodes ill for Oedipus that he is so quick to disregard it in favor of his own native wit. [See Note 2] By Shakespeare’s day, the practice had long been relegated to the realm of outdated hocus-pocus, but the Bard still saw some truth in it; in Macbeth, there is a recurring sense that, when the world is sick with some great wrong, its first symptoms manifest in the behavior of birds. When the “fatal bellman” the owl shrieks in the night, Lady Macbeth takes it as a sign that her husband is about his bloody business. The day after the murder of Duncan, as Ross converses with an Old Man about the strange things they’ve seen the previous night, “unnatural/Even as the deed that’s done”, the killing of a falcon by a mousing-owl–an omen straight out of Sophocles–is mentioned before the madness and cannibalism of Duncan’s horses, even though the latter would surely be more immediately noticeable and ghastly than the former.
These are the most obvious examples of birds as ill omens in Macbeth; yet even the more innocuous invocations of birds throughout the rest of the play continually turn our thoughts back to the ancient Greek understanding of fate and prophecy, and thereby remind us that, however savagely he may fight at Dunsinane, Macbeth’s fate is as fixed as that of Oedipus. The birds have already foretold all.
Note 1: The closest thing there is to this kind of fatalness in another Shakespearean tragedy is the several superstitious occurrences in Julius Caesar–both the soothsayer’s message of “Beware the ides of March” and the bestial portents such as the lack of a heart in an offering and the whelping of a lioness in the streets. Still, I will insist that these omens do not convey a sense of fatedness to the audience as strongly as the Weird Sisters in Macbeth by virtue of their being told to Caesar himself, not to Brutus, the play’s true protagonist, and by the fact that Shakespeare elsewhere uses dialogue to throw some doubt upon the idea of predestination: "Men at some times are masters of their fates:/The fault, dear Brutus, is not in our stars,/But in ourselves, that we are underlings." -I.ii
Note 2: The Liddell-Scott Greek Lexicon identifies at least two separate verbs referring to bird-based divination, both of which are present in the quoted passages: Tiresias uses ορνϊθοσκοπέομαι, observe birds, interpret their flight and cries, while Oedipus uses οιωνίζομαι, take omens from the flight and cries of birds. The latter term comes from οιωνος, a large bird, bird of prey, such as a vulture or eagle, and so distinguished from a common bird, while the former comes from ορνις, which more generally refers to a bird, including birds of prey and domestic fowls. Birds of both kinds are present in Macbeth; there are οιωναι, such as the “falcon, towering in her pride of place”, as well as ορνες, like the Porter’s goose and cock. I therefore see little value in interrogating the kinds of birds invoked by Shakespeare, the specific cultural associations and significance of the owl, the raven, or the wren; rather, if we reduce them down to their barest existence as birds, animals of the class Aves, and consider them in an ancient Greek light, then things become a bit clearer.
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2024.05.14 04:16 esProc_SPL Put Records with Specific Values at the Beginning During the Sort
Problem description & analysis
There is an EMPLOYEE table in the database. The data is as follows:
EID | NAME | SURNAME | GENDER | STATE | BIRTHDAY | HIREDATE | DEPT |
1 | Rebecca | Moore | F | California | 1974-11-20 | 2005-03-11 | R&D |
2 | Ashley | Wilson | F | New York | 1980-07-19 | 2008-03-16 | Finance |
3 | Rachel | Johnson | F | New Mexico | 1970-12-17 | 2010-12-01 | Sales |
4 | Emily | Smith | F | Texas | 1985-03-07 | 2006-08-15 | HR |
5 | Ashley | Smith | F | Texas | 1975-05-13 | 2004-07-30 | R&D |
6 | Matthew | Johnson | M | California | 1984-07-07 | 2005-07-07 | Sales |
7 | Alexis | Smith | F | Illinois | 1972-08-16 | 2002-08-16 | Sales |
8 | Megan | Wilson | F | California | 1979-04-19 | 1984-04-19 | Marketing |
9 | Victoria | Davis | F | Texas | 1983-12-07 | 2009-12-07 | HR |
10 | Ryan | Johnson | M | Pennsylvania | 1976-03-12 | 2006-03-12 | R&D |
We are trying to sort records in the table by EID in a specific order, which is [9,7,5,3, descending order for the rest]. The first four records corresponding to 9,7,5,3 will be passed in as parameters. Below is the desired result:
EID | NAME | SURNAME | GENDER | STATE | BIRTHDAY | HIREDATE | DEPT |
9 | Victoria | Davis | F | Texas | 1983-12-07 | 2009-12-07 | HR |
7 | Alexis | Smith | F | Illinois | 1972-08-16 | 2002-08-16 | Sales |
5 | Ashley | Smith | F | Texas | 1975-05-13 | 2004-07-30 | R&D |
3 | Rachel | Johnson | F | New Mexico | 1970-12-17 | 2010-12-01 | Sales |
1 | Rebecca | Moore | F | California | 1974-11-20 | 2005-03-11 | R&D |
2 | Ashley | Wilson | F | New York | 1980-07-19 | 2008-03-16 | Finance |
4 | Emily | Smith | F | Texas | 1985-03-07 | 2006-08-15 | HR |
6 | Matthew | Johnson | M | California | 1984-07-07 | 2005-07-07 | Sales |
8 | Megan | Wilson | F | California | 1979-04-19 | 1984-04-19 | Marketing |
10 | Ryan | Johnson | M | Pennsylvania | 1976-03-12 | 2006-03-12 | R&D |
Solution
We write the following script
p1.dfx in esProc:
| A |
1 | =connect("demo") |
2 | =A1.query@x("SELECT * FROM EMPLOYEE").sort(EID).align@as(eid.split@pc(),EID) |
Explanation:
Set a script parameter eid, whose value is 9,7,5,3.
A1 Connect to the database named demo.
A2 Return query result as a table sequence and auto-close database connection when the query is finished. Sort the table sequence fist by EID then by the comma-separated sequence of numbers defined through parameter eid. Put the non-matching members at the end during the second sort.
Refer to
How to Call an SPL Script in BIRT to learn about the method of integrating the SPL script with BIRT.
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2024.05.14 01:15 lilithhollow Songs inspired by classic literature?
With or without lyrics - any genre. I'm just looking for songs based on or about a classic literature story. An example would be: Kate Bush - Wuthering Heights Based on Emily Bronte's Wuthering Heights.
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2024.05.13 22:35 professorchaosishere Prompting and reduce O/P time
Hello everyone,
We have a small in-house app based on LLMs. 30-50 users at a time click on analyse which will call the LLM api and create various sentiment analysis of the user data which they have written. It can be anything from a novel to a poem or an essay.
Each user has a max limit of 5000 token. I have few problems to solve: 1. To reduce the analyse time and creating output - what approach to take? 2. Which LLM to use? Currently using chatgpt APIs but they have token limit which isn't helping. Recently shifted to Perplexity 3. Each output upon clicking analyse has 10 questions the LLM is expected to answer, I understand Perplexity doesn't do a good job of taking context from first question and applying in second. And have to keep the questions very simple and direct. How to reduce time to output when all click together? 4. How to reduce repeatedness in output? Or any inputs on this. Thank you.
Any place where I can read more about this?
Thank you
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2024.05.13 22:33 professorchaosishere Prompting and reduce response time
Hello everyone,
We have a small in-house app based on LLMs. 30-50 users at a time click on analyse which will call the LLM api and create various sentiment analysis of the user data which they have written. It can be anything from a novel to a poem or an essay.
Each user has a max limit of 5000 token. I have few problems to solve: 1. To reduce the analyse time and creating output - what approach to take? 2. Which LLM to use? Currently using chatgpt APIs but they have token limit which isn't helping. Recently shifted to Perplexity 3. Each output upon clicking analyse has 10 questions the LLM is expected to answer, I understand Perplexity doesn't do a good job of taking context from first question and applying in second. And have to keep the questions very simple and direct. 4. How to reduce repeatedness in output? Or any inputs on this. Thank you.
Any place where I can read more about this?
Thank you
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2024.05.13 18:27 temporarysecretary2 [Offer] Beta reader for your short stories, poems, books, etc.
Hi, I’ll read the book (or any other writing piece) you’re working on and give you my critiques on overall plot and its structure and development. I’ll also give you my notes on characters and their development. If you only have a few chapters written, I’ll read them and give you my notes on the things mentioned above.
Any genre is fine. Some of my favorite genres are sci-fi, adult fiction, the classics, YA, fantasy, “chick-lit”, and what I usually refer to as “slice of life fiction”. I like creepy books as well. I’m not the biggest fan of hardcore horror books, but I’ll still read them for you.
I love the art of storytelling. I watch a lot of movies, and I write about them occasionally. I also took a few courses in literary analysis in college, so I do have experience with criticism and analysis. I, of course, love to read. I’d say I’m not a total speed reader, but I can read relatively quickly. I also enjoy writing poetry and was doing that for a bit for money before chat gpt shut that down.
This goes without saying, but I will not share your work with anyone. It’s yours, and I’m not out here trying to take ideas. I’m only trying to help you shape it into the best version it can be and something that you’re completely satisfied with. I can also help you if you’re stuck and give you suggestions.
$5 for short stories, poems, 60 page books
$10 for books longer than 60 pages
If you can only do PayPal friends and family then I can do that, but I prefer Venmo. Thank you.
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2024.05.13 18:23 temporarysecretary2 [Offer] Beta reader for your short stories, poems, books, etc.
Hi, I’ll read the book (or any other writing piece) you’re working on and give you my critiques on overall plot and its structure and development. I’ll also give you my notes on characters and their development. If you only have a few chapters written, I’ll read them and give you my notes on the things mentioned above.
Any genre is fine. Some of my favorite genres are sci-fi, adult fiction, the classics, YA, fantasy, “chick-lit”, and what I usually refer to as “slice of life fiction”. I like creepy books as well. I’m not the biggest fan of hardcore horror books, but I’ll still read them for you.
I love the art of storytelling. I watch a lot of movies, and I write about them. I also took a few courses in literary analysis in college, so I do have experience with criticism and analysis. I, of course, love to read. I’d say I’m not a total speed reader, but I can read relatively quickly. I also enjoy writing poetry and was doing that for a bit for money before chat gpt shut that down.
This goes without saying, but I will not share your work with anyone. It’s yours, and I’m not out here trying to take ideas. I’m only trying to help you shape it into the best version it can be and something that you’re completely satisfied with. I can also help you if you’re stuck and give you suggestions.
$5 for short stories, poems, 60 page books
$10 for books longer than 60 pages
If you can only do PayPal friends and family then I can do that, but I prefer Venmo. Thank you.
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temporarysecretary2 to
slavelabour [link] [comments]
2024.05.13 16:09 rorywilson333 Remembrance (after Emily Brontë)
| As one of my favourite writers, Emily Brontë seemed like a natural place to look for inspiration for music (I just graduated with my master’s in composition.) I set her poem “Remembrance” for soprano singer and piano - happy to share the link here! submitted by rorywilson333 to brontesisters [link] [comments] |
2024.05.13 14:44 adulting4kids Poetry Class Week Seven
Week 7: Limericks and Acrostic Poetry - Lecture and Discussion Objective: - Explore the whimsical nature of limericks and the creative use of acrostic poetry. - Understand the structure and humor in limericks. - Discuss the artistic possibilities of using acrostic forms.
Day 1: Introduction to Limericks -
Lecture: - Definition and characteristics of limericks. - Explanation of the AABBA rhyme scheme and humorous themes.
- Discussion Questions:
- What appeals to you about the whimsical nature of limericks?
- How does the AABBA rhyme scheme contribute to the humor in limericks?
- Can you think of any famous limericks or poets known for this style?
Day 2: Analyzing Limericks - Part 1 -
Lecture: - In-depth analysis of classic limericks. - Exploration of the distinctive rhythm and structure.
- Discussion Questions:
- How does the AABBA rhyme scheme and rhythm contribute to the comedic timing in limericks?
- What humorous themes or scenarios are commonly found in limericks?
- Share your thoughts on the importance of concise storytelling in limericks.
Day 3: Analyzing Limericks - Part 2 -
Lecture: - Discussing modern variations and themes in limericks. - Exploring the versatility of the form.
- Discussion Questions:
- How have modern limericks evolved in terms of themes and structure?
- In what ways does the whimsical nature of limericks allow for creative expression?
- Share examples of humorous scenarios that might work well in a limerick.
Day 4: Crafting Limericks - Part 1 -
Lecture: - Step-by-step guide on crafting the first three lines of a limerick. - Emphasis on establishing humor and rhythm.
- Discussion Questions:
- What challenges do you anticipate in crafting the first three lines of a limerick?
- How can you establish humor and rhythm within the concise structure?
- Share examples of humorous scenarios you might explore in a limerick.
Day 5: Crafting Limericks - Part 2 -
Lecture: - Step-by-step guide on crafting the final two lines of a limerick. - Emphasis on creating resolution and punchline.
- Discussion Questions:
- Why are the final two lines crucial in providing resolution and a punchline in a limerick?
- How can a limerick deliver a humorous twist or surprise within its structure?
- Share and discuss individual limericks, highlighting successful elements.
Homework Assignment: - Craft a limerick focusing on a humorous scenario or theme.
Study Guide Questions: 1. Reflect on the challenges of crafting the first three lines of your limerick. How did you establish humor and rhythm? 2. How did you approach creating resolution and a punchline in the final two lines of your limerick? 3. What insights did you gain from the process of crafting a limerick?
Quiz: Assessment on the understanding of limericks, their AABBA rhyme scheme, and the use of humor within the concise form.
Day 6: Introduction to Acrostic Poetry -
Lecture: - Definition and characteristics of acrostic poetry. - Exploration of arranging words vertically to create hidden messages.
- Discussion Questions:
- What interests you about the creative use of acrostic forms?
- How might the arrangement of words vertically enhance the poetic experience in acrostic poetry?
- Can you think of any famous acrostic poems or poets known for this style?
Day 7: Analyzing Acrostic Poetry - Part 1 -
Lecture: - In-depth analysis of classic acrostic poems. - Exploration of the different approaches to selecting and arranging words.
- Discussion Questions:
- How does the vertical arrangement of words contribute to the overall impact of acrostic poetry?
- What unique perspectives or insights can arise from using acrostic forms in poetry?
- Share your thoughts on the relationship between the hidden message and the overall theme in acrostic poems.
Day 8: Analyzing Acrostic Poetry - Part 2 -
Lecture: - Discussing modern variations and themes in acrostic poetry. - Exploring the diverse ways poets engage with vertical arrangements.
- Discussion Questions:
- How have modern poets expanded the themes and approaches in acrostic poetry?
- In what ways does the incorporation of vertical arrangements broaden the possibilities in written expression?
- Share examples of themes or concepts suitable for acrostic poetry.
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2024.05.13 14:42 adulting4kids Poetry Class Week Four
Week 4: Sestinas and Concrete Poetry - Lecture and Discussion Objective: - Explore the intricate structure of sestinas and the visual creativity of concrete poetry. - Understand the fixed pattern of word repetition in sestinas. - Discuss the artistic possibilities of arranging words visually in concrete poetry.
Day 1: Introduction to Sestinas -
Lecture: - Definition and characteristics of sestinas. - Explanation of the intricate word repetition pattern.
- Discussion Questions:
- What intrigues you about the intricate structure of sestinas?
- How does the repetition pattern contribute to the unique rhythm of sestinas?
- Can you think of any famous sestinas or poets known for this style?
Day 2: Analyzing Sestinas - Part 1 -
Lecture: - In-depth analysis of classic sestinas. - Exploration of the challenge and beauty of word repetition.
- Discussion Questions:
- How does the repetition pattern influence the overall rhythm and impact of sestinas?
- What themes or emotions are effectively conveyed through this structured form?
- Share your thoughts on the significance of word repetition in sestinas.
Day 3: Analyzing Sestinas - Part 2 -
Lecture: - Discussing modern variations and themes in sestinas. - Exploring the flexibility of the form.
- Discussion Questions:
- How have modern sestinas evolved in terms of themes and structure?
- In what ways does the fixed pattern of word repetition challenge or enhance creativity?
- Share examples of themes or emotions suitable for a sestina.
Day 4: Crafting Sestinas - Part 1 -
Lecture: - Step-by-step guide on crafting the first three stanzas of a sestina. - Emphasis on establishing thematic threads through word repetition.
- Discussion Questions:
- What challenges do you anticipate in crafting the first three stanzas of a sestina?
- How can you establish thematic threads through word repetition in this section?
- Share examples of themes or emotions you might explore in a sestina.
Day 5: Crafting Sestinas - Part 2 -
Lecture: - Step-by-step guide on completing the final three stanzas and envoi of a sestina. - Emphasis on creating resolution and impact.
- Discussion Questions:
- Why is the envoi and final three stanzas crucial in providing resolution in a sestina?
- How can a sestina evoke a sense of completeness within the repeated words?
- Share and discuss individual sestinas, highlighting successful elements.
Homework Assignment: - Craft a sestina focusing on a theme or emotion that lends itself well to word repetition.
Study Guide Questions: 1. Reflect on the challenges of crafting the first three stanzas of your sestina. How did you establish thematic threads through word repetition? 2. How did you approach creating resolution and impact in the final three stanzas and envoi of your sestina? 3. What insights did you gain from the process of crafting a sestina?
Quiz: Assessment on the understanding of sestinas, the word repetition pattern, and the emotional impact of this intricate form.
Day 6: Introduction to Concrete Poetry -
Lecture: - Definition and characteristics of concrete poetry. - Exploration of arranging words visually to create a visual impact.
- Discussion Questions:
- What interests you about the visual creativity of concrete poetry?
- How might the arrangement of words visually enhance the poetic experience?
- Can you think of any famous concrete poems or poets known for this style?
Day 7: Analyzing Concrete Poetry - Part 1 -
Lecture: - In-depth analysis of classic concrete poems. - Exploration of the ways visual arrangement enhances meaning.
- Discussion Questions:
- How does the visual arrangement of words contribute to the overall impact of concrete poetry?
- What unique perspectives or insights can arise from the visual creativity in these poems?
- Share your thoughts on the relationship between form and content in concrete poetry.
Day 8: Analyzing Concrete Poetry - Part 2 -
Lecture: - Discussing modern variations and themes in concrete poetry. - Exploring the diverse ways poets engage with visual arrangements.
- Discussion Questions:
- How have modern poets expanded the themes and approaches in concrete poetry?
- In what ways does the incorporation of visual arrangements broaden the possibilities in written expression?
- Share examples of visual arrangements that you believe would inspire compelling concrete poems.
Day 9: Crafting Concrete Poetry - Part 1 -
Lecture: - Step-by-step guide on selecting a theme and arranging words visually. - Emphasis on creating meaning through form.
- Discussion Questions:
- What challenges do you anticipate in selecting a theme and arranging words visually for concrete poetry?
- How can you ensure that the visual arrangement enhances the meaning of your poem?
- Share examples of themes or concepts suitable for a concrete poem.
Day 10: Crafting Concrete Poetry - Part 2 -
Lecture: - Discussing the role of experimentation and creativity in concrete poetry.
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2024.05.13 11:08 adulting4kids Dead Sea Scrolls Study Guide -Unedited
The War Scroll, also known as the "War of the Sons of Light Against the Sons of Darkness," is a unique text within the Dead Sea Scrolls that portrays an apocalyptic battle between the forces of good (Sons of Light) and evil (Sons of Darkness). This scroll provides insight into both historical and symbolic elements.
Historical Accuracy: The War Scroll, while containing detailed military tactics and an epic narrative of the ultimate confrontation, doesn't explicitly reference any specific historical event or timeframe. Some scholars believe it could be a product of the community's anticipation of a future messianic conflict or a reflection of their own community's struggles against opposing forces during their time. Interpreting the historical accuracy of the scroll often involves exploring the context of the Qumran community and the turbulent times in which they lived.
Symbolism and Esoteric Wisdom: The War Scroll goes beyond a mere description of a physical battle. It portrays a cosmic conflict between the forces of light and darkness, reflecting not just a literal warfare but also a symbolic and spiritual struggle. The text emphasizes righteousness, divine intervention, and the victory of good over evil.
Within the study guide, activities and exercises could involve dissecting the symbolic elements present in the War Scroll, exploring the deeper meanings behind the battle tactics and the metaphysical implications of the conflict. Understanding the symbolism could involve group discussions, comparative analysis with other ancient texts with similar themes, and exploring the impact of this symbolic representation on the community's beliefs and practices.
Here are a few activities and exercises to explore the symbolism and historical context of the War Scroll from the Dead Sea Scrolls:
- Symbolism Analysis:
Provide excerpts from the War Scroll and encourage participants to identify and discuss the symbolic meanings behind elements like the "Sons of Light" and the "Sons of Darkness," various weapons, and the strategies outlined for battle. Group discussions or written reflections can help participants explore the deeper layers of meaning.
- Comparative Analysis:
Compare the War Scroll's themes with similar apocalyptic or eschatological texts from different cultures or religions, such as apocalyptic passages in the Book of Revelation in the Christian Bible or apocalyptic texts from other ancient traditions. Create worksheets or discussion prompts to highlight similarities and differences in themes, symbols, and beliefs about cosmic battles.
- Historical Context Exploration:
Present historical information about the era when the Dead Sea Scrolls were written. Discuss the political, social, and religious climate of that time, including the turmoil in the region, to understand how these factors might have influenced the composition of the War Scroll. Encourage participants to consider the possible motivations behind the text's creation.
- Creative Interpretation:
Encourage creative expression by asking participants to create artwork, poems, or short stories inspired by the themes and imagery found in the War Scroll. This exercise allows individuals to engage more deeply with the symbolic elements and interpret them in their own unique ways.
- Role-playing or Debates:
Organize a role-playing activity where participants take on the roles of "Sons of Light" and "Sons of Darkness," debating their ideologies, motivations, and strategies for the ultimate battle. This exercise helps in understanding differing perspectives and interpreting the conflicts presented in the scroll.
Interpretative variations regarding the river's crossing in different ancient texts reflect the unique religious, philosophical, and cultural perspectives embedded within these narratives. These differences in interpretation offer insights into diverse worldviews and varying theological frameworks present in ancient texts:
- Mesopotamian Context:
- In Mesopotamian mythology and literature, the Euphrates River often held symbolic significance as a boundary between the known civilized world and the wild, unknown realms. The crossing of the Euphrates could symbolize journeys into unexplored territories or transitions between order and chaos. This perspective reflects a worldview rooted in the physical and geographical division of lands.
- Biblical Context:
- In biblical texts, such as those in the Book of Revelation or Old Testament prophecies, the crossing of the Euphrates carries eschatological significance. It may represent a divine intervention or a decisive moment in God's plan, marking the commencement of apocalyptic events. This interpretation aligns with the biblical narrative of divine judgment and the unfolding of God's ultimate purpose in history.
- Gnostic or Apocryphal Context:
- Gnostic or apocryphal texts often interpret the river's crossing as a symbolic liberation or awakening. It might signify the release of spiritual forces or the ascent to higher consciousness, reflecting a philosophical perspective emphasizing spiritual enlightenment and liberation from material constraints.
- Greco-Roman Interpretation:
- In Greco-Roman literature, crossings of rivers were often associated with mythological journeys or transitions between realms. The crossing of the Euphrates might symbolize a transition from mundane existence to a realm of mystery or spiritual significance, reflecting a cultural perspective rooted in mythology and cosmology.
These varied interpretations highlight the richness and diversity of religious, philosophical, and cultural frameworks present in ancient texts. The river's crossing serves as a flexible symbol that adapts to different narratives, conveying themes of transition, judgment, liberation, or cosmic transformation based on the unique perspectives of each tradition.
Exploring these interpretative variations allows participants to appreciate the complexity of symbolism within ancient texts and provides insights into how different cultures and belief systems interpreted common motifs like the river Euphrates. It showcases the intricate interplay between religious, philosophical, and cultural elements shaping the symbolism and theological implications embedded in these narratives.
The river Euphrates, a prominent geographic feature in ancient texts, embodies universal themes that transcend specific cultural contexts. Identifying these universal themes helps reveal shared human concepts of transition, boundaries, and transformative events across diverse ancient traditions:
- Threshold and Transition:
- The Euphrates often symbolizes a boundary between known and unknown territories. Its crossing represents a transition from one state to another, signifying a pivotal moment of change or passage. This theme of crossing a threshold echoes the human experience of transitions in life, moving from familiar to unfamiliar realms.
- Boundary and Separation:
- As a geographical boundary, the Euphrates signifies separation between distinct territories or civilizations. This concept of demarcation resonates with universal human experiences of setting boundaries, delineating spaces, or marking divisions between different aspects of life.
- Transformative Events:
- Crossing the Euphrates is often associated with cosmic or transformative events in ancient texts. This universal theme reflects the human fascination with the concept of epochal change, cosmic upheavals, or moments of divine intervention that reshape the course of history.
- Symbol of Power and Control:
- The river might represent a symbol of power, control, or geopolitical significance. Crossing it could signify shifts in dominance, challenges to established authority, or the assertion of influence. This theme resonates with human narratives of power struggles and shifts in societal dynamics.
- Metaphor for Spiritual Journeys:
- Across cultures, rivers are often used metaphorically to represent spiritual journeys or quests. The crossing of the Euphrates might symbolize the pursuit of enlightenment, the passage to higher realms of understanding, or the quest for spiritual transformation.
These universal themes associated with the river Euphrates highlight fundamental aspects of the human experience—transitions, boundaries, transformative events, power dynamics, and spiritual journeys. The river's symbolism in ancient texts speaks to shared human aspirations, struggles, and beliefs that transcend cultural boundaries and resonate across different epochs and civilizations.
By identifying and discussing these universal themes, participants gain a deeper appreciation for the profound symbolism embedded in ancient texts and recognize the timeless relevance of concepts such as transition, boundaries, and transformative events in shaping human narratives and aspirations.
- Historical Context:
- What historical events or societal conditions might have influenced the composition of the War Scroll?
- How does the historical context of the Dead Sea Scrolls' discovery contribute to our understanding of this text's significance?
- Symbolism and Esoteric Wisdom:
- How does the War Scroll use symbolism to convey spiritual or cosmic themes?
- What esoteric wisdom or deeper spiritual insights can be derived from the portrayal of cosmic conflict and divine intervention within the text?
- Comparative Analysis:
- Compare the themes and symbolism of the War Scroll with other apocalyptic texts from different cultures (e.g., Book of Revelation, The Book of Daniel). What common motifs or differences in interpretation do you observe?
- Parallelism in Biblical Texts:
- Explore connections between the War Scroll and other biblical texts. How does the language, imagery, or themes in the War Scroll intersect with passages from the Hebrew Bible or New Testament?
- Community Beliefs and Practices:
- How might the apocalyptic expectations depicted in the War Scroll have influenced the beliefs and practices of the community that produced it?
- Discuss the impact of such intense anticipation of cosmic conflict on communal life and religious rituals within the community.
- Cultural Significance of Cosmic Battles:
- Across various ancient cultures, why do you think depictions of cosmic battles and eschatological events were significant? What might these narratives represent in a broader cultural context?
- Interpretive Variations and Unique Perspectives:
- Explore the diverse interpretations of specific passages or symbols within the War Scroll. How do different scholars or traditions interpret these elements, and what underlying factors might influence their interpretations?
- Personal Reflection and Modern Relevance:
- Reflect on how the themes of cosmic conflict, righteousness, and spiritual warfare in the War Scroll might resonate in contemporary society or personal belief systems.
- Theological and Philosophical Implications:
- Discuss the theological and philosophical implications of a cosmic battle between forces of light and darkness. How does this theme intersect with broader philosophical inquiries or theological doctrines?
- Literary and Symbolic Analysis:
- Analyze the narrative structure and symbolic elements present in specific passages of the War Scroll. How do these elements contribute to the text's overarching themes and meanings?
These study questions aim to provoke critical thinking, promote in-depth exploration of themes, encourage comparative analysis, and stimulate discussions on the multifaceted nature of the War Scroll's content and its significance within ancient and contemporary contexts.
- Archaeological and Linguistic Analysis:
- How does the physical condition of the Dead Sea Scrolls, including the War Scroll, impact our understanding of their preservation and historical context? - Discuss the linguistic peculiarities or unique textual features found within the War Scroll and their implications for translation and interpretation.
- Apocalyptic Expectations and Messianic Concepts:
- Explore the portrayal of messianic figures or anticipated saviors within the War Scroll. How do these concepts align with or diverge from contemporary expectations of a messianic figure in other ancient texts or religious traditions?
- Impact of Apocalyptic Literature:
- Analyze the enduring influence of apocalyptic literature, such as the War Scroll, on subsequent religious, literary, or cultural traditions. How have these texts shaped later beliefs or inspired artistic and literary works?
- Ethical and Moral Frameworks:
- Discuss the ethical or moral implications of the cosmic conflict depicted in the War Scroll. How do the themes of righteousness and wickedness contribute to the text's underlying moral framework?
- Role of Prophecy and Revelation:
- Explore the role of prophecy and revelation within the War Scroll. How do the prophetic elements contribute to the text's portrayal of future events and cosmic justice?
- Experiential and Ritualistic Elements:
- Investigate potential ritualistic or experiential dimensions associated with the teachings or beliefs conveyed in the War Scroll. How might the community have engaged with these teachings in their religious practices or communal activities?
- Literary Genre and Interpretation:
- Discuss the classification of the War Scroll within the broader genre of apocalyptic literature. How does its classification influence our understanding and interpretation of its themes and symbolic elements?
- Relevance in Modern Scholarship:
- Reflect on the ongoing scholarly debates or discoveries related to the War Scroll. How have modern interpretations evolved, and what implications do these new perspectives have on our understanding of the text?
- Intersection of Faith and Scholarship:
- Consider the interplay between faith-based interpretations and scholarly analyses of the War Scroll. How might religious convictions or theological frameworks influence academic research and vice versa?
- Future Research and Interpretative Avenues:
- Propose potential avenues for future research or areas of exploration concerning the War Scroll. What unanswered questions or unexplored aspects merit further investigation?
The composition of the War Scroll, along with other Dead Sea Scrolls, was likely influenced by several historical events and societal conditions prevalent during the time of its writing, which is estimated to be between the 2nd century BCE and the 1st century CE:
- Hellenistic Rule and Cultural Influence:
- The region where the Dead Sea Scrolls were found was under Hellenistic influence due to the conquests of Alexander the Great and the subsequent control by the Seleucid Empire. This era saw a clash between Hellenistic culture and Jewish traditions, leading to cultural tensions and a desire to preserve religious and cultural heritage.
- Political Turmoil and Resistance Movements:
- The Jewish people experienced political unrest, particularly during the Maccabean Revolt against Seleucid rule. This period was characterized by resistance movements, attempts to preserve Jewish identity, and fervent anticipation of a messianic figure to deliver them from foreign oppression.
- Religious Sects and Spiritual Expectations:
- Various religious sects existed within Judaism, each with its own interpretations and expectations of messianic redemption, purity laws, and theological doctrines. The community associated with the Dead Sea Scrolls, often believed to be the Essenes, likely had distinctive theological beliefs and a strong apocalyptic worldview.
- Anticipation of Cosmic Redemption:
- There was a widespread belief in the imminent arrival of a messianic figure or a divine intervention that would bring about cosmic redemption, ushering in an era of righteousness and divine rule. This anticipation of apocalyptic events and a cosmic battle between forces of light and darkness is reflected in the War Scroll's themes.
Regarding the historical context of the Dead Sea Scrolls' discovery, its significance lies in multiple facets:
- Preservation of Ancient Texts:
- The discovery of the Dead Sea Scrolls, including the War Scroll, provided an invaluable collection of ancient manuscripts that significantly expanded our understanding of ancient Jewish texts, religious beliefs, and the diversity of Jewish thought during the Second Temple period.
- Insights into Jewish Sectarianism:
- The scrolls shed light on the diversity of beliefs and practices among Jewish sects during that time. Understanding the beliefs and expectations of the community associated with the Dead Sea Scrolls helps contextualize the theological and apocalyptic themes present in the War Scroll.
- Confirmation of Scriptural Accuracy:
- The Dead Sea Scrolls' discovery contributed to confirming the accuracy and preservation of certain biblical texts, highlighting the continuity of textual transmission across centuries and supporting the authenticity of biblical manuscripts.
- Impact on Biblical Studies and Scholarship:
- The discovery of the Dead Sea Scrolls revolutionized biblical studies, providing scholars with invaluable primary sources for studying ancient Judaism, the development of biblical texts, and the context in which these texts were composed.
The historical context of political upheaval, religious expectations, and the preservation of texts within the Dead Sea Scrolls contributes significantly to understanding the milieu in which the War Scroll was written. It provides a backdrop against which the themes of cosmic conflict, eschatological anticipation, and religious fervor within the War Scroll can be comprehended.
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2024.05.13 08:23 Funny-Barnacle1291 The Mad Woman in The Attic: WAOLOM, mad woman, Jane Eyre and the Eras tour WAOLOM visuals
| Taylor is now repeatedly drawing us back to lesbian and queer poetry and literature, which consistently has themes of madness, sickness, and suppression. I feel that she is telling us over and over that she is sick from closeting, and she can't take it anymore. When I saw the WAOLOM visuals for Eras tour, I thought Taylor is meant to be in an attic. I've come across 'The Mad Woman in the Attic' by Sandra Gilbert and Susan Gubar before, but I have never read it all the way through. I believe Taylor is directly referencing this book, and Jane Eyre, to inform us all that she resonates with this story as a queer woman, and that she is stuck in her own attic - her closeted life - and she wants to burn it all down (with Karma, imho). The WAOLOM visuals https://preview.redd.it/t65tjj0sq40d1.png?width=500&format=png&auto=webp&s=0b67556a1c3a40b003758021bfb3f2ea0bd621bc https://preview.redd.it/z6an5k0sq40d1.png?width=500&format=png&auto=webp&s=5e94d7826f38733daf436aa64884dbbffba286b3 https://preview.redd.it/kzrelk0sq40d1.png?width=500&format=png&auto=webp&s=e781aa36535a50ba101d59a22f982f29aa741411 To me, this house either looks like the Lovers House or her childhood home - or it represents both, amalgamated. The reason I'm drawn to the Lovers House is because of the very obvious triangular imagery as we zoom in, showing her in the attic. She is also using a lot of mirrored images, something that's important when considering The Mad Woman in the Attic. However, it's also possible the Lovers house is drawn from her childhood home, which I have no doubt has been theorised before. Another alternative is through suppressed intergenerational trauma, Taylor is realising themes of her childhood home have been bleeding into her work. The two houses for reference https://preview.redd.it/figix1har40d1.jpg?width=500&format=pjpg&auto=webp&s=81f8f09ca909b246debbe72428e2dd64985f0f7c https://preview.redd.it/5c2mnihar40d1.png?width=400&format=png&auto=webp&s=f73fb08b2cbd159b3d2f3377a1c96176f291d63f The Mad Woman in the Attic WAOLOM is directly related to mad woman, made very clear during the Eras tour (if it wasn’t already!) by the imagery. Taylor is in the attic, the mad woman in the attic, which is also the title of a book by Sandra Gilbert and Susan Gubar analysing Victorian literature through the lense of Jane Eyre (Charlotte Brontë), and it's worth noting Taylor repeatedly makes references to Jane Eyre throughout Folklore and within mad woman. In Jane Eyre, Bertha Mason is locked in an attic by her husband Mr Rochester, and in the mad woman in the attic, Gilbert and Gubar use this as a frame of analysis to explore madness and angelicness in the works of Victorian women authors from a feminist perspective. The book examines work from Charlotte and Emily Brontë, Emily Dickinson, Virginia Woolf, Mary Shelley, Elizabeth Barrett Browning, and Christina Rossetti. What do all of these women have in common, beyond being literary authors? They’re all rumoured, or essentially confirmed (in the case of Christina Rossetti and Emily Dickinson) of being queer, particularly lesbian. It is a very key and formative piece of feminist literature. The premise of the book is the authors explore how women writers were forced to make the women in their books one of two things: angel, or monster. They argue this is imposed by a “reductionist, patriachal view of women’s roles”; they have, from what I understand, received some critisism for not saying the quiet part out loud here: under cisheteronormative patriachy, women are defined in relation to, by and for men – - and so lesbians and lesbian identity is alienated, hidden, erased. The book does not make the obvious connection here - these writers were forced to closet themselves for their own protection in Victorian society. Gilbert and Gubar draw on what Virginia Woolf said for their argument: “[women writers] must " kill the aesthetic ideal through which they themselves have been 'killed' into art". Let’s not forget here, the connections between WAOLOM and Who’s Afraid of Virginia Woolf, posts on this sub with this theory here from u/throw_ra878, here from u/slejeunesse and here from u/AliceStanleyJr. Gilbert and Gubar do argue that men originally set up the dichotomy of female characters as either pure, virginal, angelic or rebelillious, mad, ‘hysterical’. A direct quote that jumped out from me from the Preface is “ for just as women have been repeatedly defined by male authors, they seem in reaction to have found it necessary to act out male metaphors in their own texts, as if trying to understand their impliciations.” Indeed. Crucially, the book describes “ a female schizophrenia of authorship” or a “ split”: as a representation of themselves, authors would write, process and act out their own suppressed nature and emotions through the process of ‘employed mirrors’; and thus create the image of the mad woman. A direct quote: " these madwomen emerge "over and over again from the mirrors women writers hold up both to their own natures and to their own visions of nature,"..."they appear from a silence in which neither [they] nor [their] author[s] can continue to acquiesce"". The book fails to really dig into this silence: the silence, and the common nature, is that of holding a queer or lesbian identity, and all of these women were forced to suppress it. This draws me to the lesbian memoir from Glennon Doyle, Untamed, in which she talks of how suppressing your true, queer self leads to sickness and ill-health, including mental health issues, and Taylor has links to this book too - she has credited it as being a "huge help" during 2020. I will say, it is hard to miss what Gilbert and Gubar are getting at, especially is queer, or even only familiar with just two or three of these authors work (which we know Taylor is); it's natural to ascertain that what these women were hiding was their queerness, and this is specifically a consequence of cisheteronormative society. It is also a widely discussed critisism. I can’t think why Taylor could be drawing from a text like this… mad woman and Jane Eyre A lot of Folklore is littered with references to Jane Eyre, that lots of people have noticed. A really good summary of all the references in Folklore can be found here from @/Karisma Takhar on medium. Here is what they wrote about man woman and references to Jane Eyre " The Jaye Eyre references continue in ‘mad woman’, the track title a reference to who the literary world now refers to as the ‘Madwoman in the Attic’ thanks to Sandra Gilbert and Susan Gubar. On Jane and Mr Rochester’s wedding day, it is revealed the latter is married to Bertha Mason, whose mental health deteriorated rapidly after the wedding. Mr Rochester decides to lock his wife away in the attic of their home, leaving Grace Poole to care for her, though Grace’s drinking occasionally leads Bertha to escape and roam the hallways. She rips Jane’s wedding veil in half the night before the wedding, an incident Mr Rochester blames on one of maids. When Mr Rochester formally introduces his wife to Jane, she ‘scratched and growled like some strange animal’; Taylor makes similar statements in the song, likening the ‘mad woman’ to both a scorpian and a bear in its defence." I think this makes it incredibly likely Taylor is not just drawing from Jane Eyre but she is aware of how her sub-conscious suppressed is spilling out into her work, and she is choosing to deliberately make this bigger and louder. I think the strongest links to this theory are 1989 onwards, which I believe is partly linked to Karma the lost album, the album I do believe is going to 'burn it all down' in order for Taylor to rebuild as an artist who is out and proudly queer. Here are some lyrics which link to this theme of the 'mad woman, with themes of madness, craziness, rebellion and hysteria - and a process of ‘splitting’ in Taylor’s work, where her suppressed desires come through in her lyrics, leading to consistent themes of madness: · Treachourous (Red): " This slope is treacherous, this path is reckless, this slope is treacherous, and I, I, I like it" · Say Don’t Go (1989): “ the waiting is a sadness, fading into madness, oh no, oh no, it won't stop, i'm standin' on a tightrope alone, I hold my breath a little bit longer, halfway out the door, but it won't close” · I Did Something Bad (Reputation): " I never trust a narcissist, but they love me, so I play 'em like a violin, and I make it look oh so easy, 'Cause for every lie I tell them, they tell me three, this is how the world works" / " I can feel the flames on my skin, crimson red paint on my lips, if a man talks shit, then I owe him nothing, I don't regret it one bit, 'cause he had it comingThey say I did something bad, then why's it feel so good?" / " And I let them think they saved me" / "You gotta leave before you get left" / "They're burning all the witches, even if you aren't one, they got their pitchforks and proof, their receipts and reasons, they're burning all the witches, even if you aren't one, so light me up (light me up), light me up (light me up), light me up, go ahead and light me up (light me up)" · Look What You Made Me Do (Reputation): " But I got smarter, I got harder in the nick of time, honey, I rose up from the dead, I do it all the time, I got a list of names, and yours is in red, underlined, I check it once, then I check it twice" / " I don't trust nobody and nobody trusts me, I'll be the actress starring in your bad dreams" · End Game (Reputation): "“ I hit you like, "Bang", we tried to forget it, but we just couldn't, and I bury hatchets but I keep maps of where I put 'em, reputation precedes me, they told you I'm crazy” · Getaway Car (Reputation): " It was the best of times, the worst of crimes, I struck a match and blew your mind, but I didn't mean it, and you didn't see it, The ties were black, the lies were white, In shades of gray in candlelight, I wanted to leave him, I needed a reason, "X" marks the spot where we fell apart, he poisoned the well, I was lyin' to myself, I knew it from the first Old Fashioned, we were cursed, we never had a shotgun shot in the dark" / "There were sirens in the beat of your heart, should've known I'd be the first to leave, think about the place where you first met me, in a getaway car, no, they never get far, no, nothin' good starts in a getaway car, It was the great escape, the prison break, the light of freedom on my face, but you weren't thinkin' and I was just drinkin', while he was runnin' after us, I was screamin', "Go, go, go!", but with three of us, honey, it's a sideshow, and a circus ain't a love story, and now we're both sorry", "We were jet-set, Bonnie and Clyde, until I switched to the other side, to the other side, it's no surprise I turned you in, 'Cause us traitors never win" · The Man (Lover): “ they paint me out to be bad, so it's okay that I'm mad, I'm so sick of running as fast as I can, wondering if I'd get there quicker if I was a man (you know that), and I'm so sick of them coming at me again (coming at me again)” “I’m so sick” is repeated 8 times, which just so happens to be the number representing infinity. · The Archer (Lover): "Combat, I'm ready for combat, I say I don't want that, but what if I do? 'Cause cruelty wins in the movies" / " I've been the archer, I've been the prey, who could ever leave me, darling? But who could stay?" / " And I cut off my nose just to spite my face, then I hate my reflection for years and yearsI wake in the night, I pace like a ghost, the room is on fire, invisible smoke, and all of my heroes die all alone" · The Last American Dynasty (Folklore): “ Holiday House sat quietly on that beach, free of women with madness, their men and bad habits, and then it was bought by me, who knows, if I never showed up, what could've been, there goes the loudest woman this town has ever seen, I had a marvelous time ruinin' everything” · Seven (Folklore): “ I think your house is haunted, your dad is always mad and that must be why, and I think you should come live with, me and we can be pirates, then you won't have to cry, or hide in the closet, and just like a folk song, our love will be passed on, please picture me, in the weeds, before I learned civility, I used to scream ferociously, any time I wanted” · mad woman obviously, just the whole thing! · Champagne Problems (Evermore): ““This dorm was once a madhouse”, I made a joke, "Well, it's made for me"” // “"She would've made such a lovely bride, what a shame she's fucked in the head, " they said, but you'll find the real thing instead, she'll patch up your tapestry that I shred” · Anti-Hero (Midnights): “ Midnights become my afternoons, when my depression works the graveyard shift, all of the people I've ghosted stand there in the room” / “I should not be left to my own devices, they come with prices and vices, I end up in crisis (tale as old as time)” / Did you hear my covert narcissism I disguise as altruism, like some kind of congressman? (Tale as old as time), I wake up screaming from dreaming, one day I'll watch as you're leaving” · WAOLOM ofcourse, just the whole thing. Interestingly, Taylor's references to virtue, or themes of angelic, virginity, are pre-1989. · Hey Stephen (Fearless): "' Cause I can't help it if you look like an angel, can't help it if I wanna kiss you in the rain, so come feel this magic I've been feeling since I met you, can't help it if there's no one else, mmm, I can't help myself" · White Horse (Fearless): " Say you're sorry, that face of an angel, comes out just when you need it to, as I paced back and forth all this time, 'Cause I honestly believed in you, holdin' on, the days drag on, stupid girl, I should've known, I should've known, that I'm not a princess, this ain't a fairy tale, I'm not the one you'll sweep off her feet, lead her up the stairwell, this ain't Hollywood, this is a small town, I was a dreamer before you went and let me down, now it's too late for you and your white horse, to come around" · The Lucky One (Red): " New to town with a made-up name, in the angel's city, chasing fortune and fame, and the camera flashes make it look like a dream" I think this whole song is really interesting to read when considering this idea of beasts versus angels, madness versus virtue, and the idea of her having been sold a lie. In Summary Taylor is using imagery of herself in an attic to imply she is aware her true self, her closeted and suppressed self, is coming through in her music, and she is saying she directly relates to Jane Eyre - she feels trapped by her closeted life, by the " 1950s shit they want from me", she wants to be free, healthy, out. She is telling us all that these themes of madness are a direct result of all she is suppressing, a direct result of living in a cisheteronormative patriachy, and it is stifling her, ruining her life. Taylor has got to a stage where she is now deliberately referencing queer media, authors and literature, knowing full well it will be looked into. These consistent themes are not accidental; she is saying through her art and her music that she is queer and she doesn't want to hide it anymore. I partially think a lot of the themes of death are about how she doesn't want to die in the closet and her work be analysed years later, to them be summarised as possibly gay later on. She wants to be known, now, as queer, as her true self, to cure her sickness of suppression. She is also implying she is an unreliable narrator and there are certain parts of her music you can't trust at face value; that she is suppressing a huge part of herself and it is presenting in her lyrics, it is filled with queer closeted trauma and comphet as a manifestation of the suppression of her true identity, and she needs people to know. I truly think she is ready to burn it all down, with Karma. In the words of Taylor, "all I think about is Karma". submitted by Funny-Barnacle1291 to GaylorSwift [link] [comments] |
2024.05.13 04:13 Maleficent-Heron4309 Ted Hughes Poem Analysis
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2024.05.12 23:20 IllustratorOk7613 Uber SQL Interview Questions
Hey everyone check out our weekly SQL question. Give it a try!
Uber, is conducting an analysis of its driver performance across various cities.
Your task is to develop a SQL query to identify the top-performing drivers based on their average rating.
Only drivers who have completed
at least 6 trips should be considered for this analysis. .
The query should provide the driver's name, city, and their average rating, sorted in descending order of average rating
Note: Round the average rating to 2 decimal points.
Driver:
ID | NAME | CITY |
| | |
4 | Emily Davis | San Francisco |
5 | Christopher Wilson | Miami |
6 | Jessica Martinez | Seattle |
Trip:
ID | DRIVER_ID | RATING |
| | |
21 | 4 | 5 |
22 | 4 | 4 |
23 | 4 | 5 |
You can try solving it here:
analystnextdoor.com/question/public submitted by
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2024.05.12 20:35 TheJM1509 HELP!
2024.05.12 16:22 IllustratorOk7613 Uber SQL Interview Question
Hey everyone check out our weekly SQL question. Give it a try!
Uber, is conducting an analysis of its driver performance across various cities.
Your task is to develop a SQL query to identify the top-performing drivers based on their average rating.
Only drivers who have completed
more than 5 trips should be considered for this analysis.
The query should provide the driver_name, city, and their average_rating, sorted in descending order of average rating
Note: Round the average rating to 2 decimal points.
Drivers:
DRIVER_ID | DRIVER_NAME | CITY |
| |
| | |
4 | Emily Davis | San Francisco |
5 | Christopher Wilson | Miami |
6 | Jessica Martinez | Seattle |
Trips:
TRIP_ID | DRIVER_ID | RATING |
| |
| | |
21 | 4 | 5 |
22 | 4 | 4 |
23 | 4 | 5 |
You can try solving it here:
analystnextdoor.com/question/public submitted by
IllustratorOk7613 to
CodingHelp [link] [comments]
2024.05.12 16:09 adulting4kids Literary Devices Thesis Topics
- Thesis: The Power of Epistrophe in Shakespearean Tragedy
- Example: Explore how William Shakespeare utilizes epistrophe for emotional impact in Hamlet's soliloquies, emphasizing the protagonist's internal conflicts and contributing to the overall tragic tone.
- Thesis: Anadiplosis as a Tool for Moral Reflection in Victorian Literature
- Example: Analyze Charles Dickens' use of anadiplosis in "Great Expectations" to underscore moral lessons and societal critique, examining its role in shaping the narrative's ethical framework.
- Thesis: Aposiopesis in Gothic Fiction: Unveiling the Unspeakable
- Example: Investigate the presence of aposiopesis in Mary Shelley's "Frankenstein," exploring how the device enhances the suspense and horror elements by leaving critical details unsaid.
- Thesis: The Rhetorical Force of Epizeuxis in Lincoln's Gettysburg Address
- Example: Examine Abraham Lincoln's use of epizeuxis in the Gettysburg Address, dissecting how repetitive emphasis contributes to the speech's enduring impact on the American psyche.
- Thesis: Chiasmus in F. Scott Fitzgerald's "The Great Gatsby": Symmetry and Disillusionment
- Example: Investigate the thematic significance of chiasmus in key passages of "The Great Gatsby," unraveling how Fitzgerald employs symmetrical language structures to convey the novel's themes of illusion and disillusionment.
- Thesis: Enjambment and Modernist Experimentation in T.S. Eliot's Poetry
- Example: Analyze T.S. Eliot's "The Waste Land" to understand the role of enjambment in his modernist exploration of fragmented consciousness, societal collapse, and spiritual desolation.
- Thesis: Paraprosdokian in Oscar Wilde's Satirical Wit
- Example: Explore how Oscar Wilde uses paraprosdokian in "The Importance of Being Earnest" to satirize societal norms and conventions, adding a layer of unexpected humor to his comedic masterpiece.
- Thesis: Anaphora in Langston Hughes' Poetry: Giving Voice to the Harlem Renaissance
- Example: Examine the use of anaphora in Langston Hughes' poems, such as "The Negro Speaks of Rivers," to analyze how repetition becomes a powerful tool for expressing the collective voice and identity of the Harlem Renaissance.
- Thesis: Hendiadys in Jane Austen's Social Commentary
- Example: Investigate Jane Austen's use of hendiadys in "Pride and Prejudice," exploring how this device adds nuanced layers to character relationships and societal critique in her Regency-era novels.
- Thesis: Litotes in George Orwell's "1984": The Art of Understatement in Dystopian Discourse
- Example: Analyze George Orwell's use of litotes in "1984," considering how the device contributes to the bleak atmosphere of the novel and emphasizes the oppressive nature of the dystopian regime.
Note: These examples are for illustrative purposes and provide a starting point for further exploration in literary analysis. It's essential to consult the actual texts and relevant scholarly articles for in-depth research.
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2024.05.12 15:43 Yurii_S_Kh Divine Liturgy and Moleben at 2nd Sunday of Pascha (Thomas Sunday, Anti-Pascha)
| Christ is risen, dear friends! Today, May 12, is the 2nd Sunday of Pascha, or the Thomas Sunday, Antipascha. https://preview.redd.it/6rzzi3x1000d1.jpg?width=512&format=pjpg&auto=webp&s=643f7bc3ee4068525ef689bf3222d247fcd1b3c6 Today the Divine Liturgy was served by Fr. Andrey Pavlyuk. After the Liturgy, a moleben was held before the icons with the relics of the holy wonderworkers St. Nicholas and St. Spyridon. Then Fr. Andrey served the Panikhida, the first one after the feast days of Pascha. Source: http://sofia.kharkov.ua/en/article/antipasha-nedelya-2-ya-po-pashe-apostola-fomy Visit our Instagram group to get more articles, photos, videos, etc. https://preview.redd.it/30be7ab6000d1.jpg?width=512&format=pjpg&auto=webp&s=6f8f3223c3ce3d6db0dd8103817481d0a63f7ce6 https://preview.redd.it/dpz25ab6000d1.jpg?width=512&format=pjpg&auto=webp&s=7ce5c768fdb525219104f5d2623636ea35444401 https://preview.redd.it/aqmjflf9000d1.jpg?width=512&format=pjpg&auto=webp&s=09de2793e819ebc3e69eadf29c9f09b2e05cef17 Antipascha (from Greek ἀντιπασχα - instead of, opposite to Easter) is the first Sunday after Easter, serving as a renewal of the feast of Easter on the 8th day. This day has three names: Antipascha, the Sunday of Thomas, and the New Sunday. Each of these names has a certain meaning and reflects a stage in the history of this holiday. Antipascha is the oldest name (it appeared in the VI century), which reflects the early tradition of the perception of this day as the departure of Easter. This feast was already perceived in the 4th century as the day when the Easter celebrations were completed, as Blessed Augustine said when he called Antipascha “the octave of Easter” (later the term “octave” in Western liturgical terminology became a technical term denoting the apodosis, or leavetaking of the feast). In the ancient Jerusalem tradition, on this day the divine service was performed in many respects according to the same order as on the Passover day itself. On this day the rites were performed, which were the completion of the baptism of the catechumens, which took place on Holy Saturday: the newly baptized took off their white robes, washed their heads (during the whole Holy Week their heads were not washed, they wore a special kukul to preserve the anointing with myrrh, which was applied only on the forehead). It turns out that Antipascha is the day that completed the ancient Easter cycle, as if “Easter from the other side”. The name “ Sunday about Thomas”, or “Thomas Sunday”, appeared after the IX century and is connected with the change of the main accent in the divine service. Instead of apodosis of the Easter, the feast commemorates the second appearance of the risen Christ to the apostles (which took place on the eighth day after the resurrection), among whom was Thomas, who did not want to believe the news of the Savior's resurrection until he saw Him with his own eyes (see John 20: 19-31). The modern divine service of this day is mainly devoted to the 2nd theme - the remembrance of the Apostle Thomas' assurance on the eighth day after Easter and is based on the Gospel reading of the feast. On this day we make, as it were, an alternative celebration of the Resurrection of Christ. Indeed, an analysis of the ideological content of the hymns shows that the theme of Christ's resurrection is also dominant in this service, but it is viewed from a slightly different perspective. We celebrate the same event of the resurrection, but we emphasize other details related to it: the appearance to the Apostle Thomas and the renewal of the world. St. Gregory speaks of the difference between Pascha and Antipascha as follows: “That was the day of salvation, and this is the day of remembrance of salvation. That day separates the burial and the resurrection, and this is only the day of the new birth, so that as the first creation begins with a Sunday (and this is evident from the fact that the seventh day of it is made Saturday, because it is the day of rest from works), so also the second creation began again with the same day, because it is the first among those following it and the eighth among those preceding it”. The entire service of Antipascha is celebrated according to the Flowery Triodion according to the order of the Lord's Feasts of the Twelve Great Feasts, although the day itself does not formally belong to such feasts. We can call Antipascha “the thirteenth Bicentennial Feast” (realizing the conventionality of such terminology). This feast opens the period after Great Lent, Holy Week and Bright Week, when the sacrament of Marriage is being celebrated again. “From the excess of spiritual joy over the risen Savior and in the Church of Christendom, the eighth day of Easter, as the end of the celebration of Bright Week, has from ancient times constituted a special celebration, as if to replace Easter itself; hence the name Antipascha, which means: "instead of", or "against Easter". Moreover, this day, serving as the conclusion of the Bright Week, also serves as the beginning of another - the New Week after Easter - the queen of feasts; it begins the circle of Sundays and Weeks of the whole year; on this day for the first time the memory of the Resurrection of Christ is renewed, which since apostolic times it has been customary in the Church to commemorate every seven days, i.e. on every first day of the week. Hence came the name - New Week, i.e., the first, the day of renewal, or simply renewal; which, according to the explanation of St. Gregory the Theologian, recalls that first weekly day of the world which followed the solemn consummation of creation.” https://preview.redd.it/pt1g2qzf000d1.jpg?width=512&format=pjpg&auto=webp&s=e1b64427eaed460772e8fed374f3263e119f0273 https://preview.redd.it/u1kfqszf000d1.jpg?width=512&format=pjpg&auto=webp&s=51c9da65ee41c93863cbd5ea63483e6b4d59016d https://preview.redd.it/fndsgxzf000d1.jpg?width=512&format=pjpg&auto=webp&s=cb318da02d9cbb5a5e18d30a60b5797c3655b8b5 https://preview.redd.it/jhgnjyzf000d1.jpg?width=512&format=pjpg&auto=webp&s=481cf56a36e6a60382c33d050b8d2b17ab6177d4 https://preview.redd.it/9b15hwzf000d1.jpg?width=512&format=pjpg&auto=webp&s=877609a7e667d6df1333234879e6a89458dbae5d https://preview.redd.it/znzftzzf000d1.jpg?width=512&format=pjpg&auto=webp&s=1fc3ba6fde6d7dc14f9e239a9a715428cbe3c068 *** Dear brothers and sisters, today Church also commemorates the Saints: The nine martyrs of Kizic: Theognides, Rufus, Antipater, Theostichus, Artemas, Magna, Theodotus, Thammasius and Philemon (286-299); St. Memnon the Wonderworker, Abbot of Egypt; St. Nektarius of Optina (1928); St. Amphilochius of Pochaev (Golovatyuk) (1970); Mts. Diodorus and Rhodopianus, deacons (284-305); St. Basil of Ostrog, Metropolitan (1671) (Serb.); three hundred martyrs who suffered in the mountains of Dudikvati and Papati (Turkey) (XVII-XVIII) (Georgian). God bless you all! Many happy and blessed years to you! Christ is truly risen! submitted by Yurii_S_Kh to SophiaWisdomOfGod [link] [comments] |
2024.05.12 14:40 adulting4kids Poetry Class Week Two
Week 2: Haikus and Free Verse - Lecture and Discussion Objective: - Explore the concise beauty of haikus and the expressive freedom of free verse. - Understand the traditional structure and themes of haikus. - Discuss the flexibility and artistic possibilities in free verse.
Day 1: Introduction to Haikus -
Lecture: - Definition and structure of haikus (5-7-5 syllable pattern). - Explanation of the traditional themes and nature focus.
- Discussion Questions:
- What appeals to you about the concise structure of haikus?
- Why do you think nature is a common theme in traditional haikus?
- Can you identify any famous haikus or haiku poets?
Day 2: Analyzing Haikus - Part 1 -
Lecture: - In-depth analysis of classic haikus. - Exploration of the 5-7-5 syllable pattern and its impact.
- Discussion Questions:
- How does the 5-7-5 syllable pattern contribute to the rhythm of haikus?
- What emotions or images are conveyed through the haikus analyzed?
- How does the traditional nature focus enhance the themes of haikus?
Day 3: Analyzing Haikus - Part 2 -
Lecture: - Discussing modern variations and themes in haikus. - Exploring the flexibility of the form.
- Discussion Questions:
- How have modern haikus evolved from traditional themes?
- In what ways does the flexibility of haikus allow for more diverse expression?
- Share your thoughts on the artistic possibilities in breaking away from traditional structures.
Day 4: Crafting Haikus - Part 1 -
Lecture: - Step-by-step guide on crafting the first two lines of a haiku. - Emphasis on capturing a moment or emotion.
- Discussion Questions:
- How can you effectively capture a moment or emotion in just two lines?
- What challenges do you anticipate in adhering to the 5-7 syllable pattern?
- Share examples of moments or emotions that might inspire haikus.
Day 5: Crafting Haikus - Part 2 -
Lecture: - Step-by-step guide on crafting the third line of a haiku. - Emphasis on creating a sense of resolution.
- Discussion Questions:
- Why is the third line of a haiku crucial in providing resolution?
- How can a haiku evoke a sense of completeness within the 5-7-5 structure?
- Share and discuss individual haikus, highlighting successful elements.
Homework Assignment: - Craft a haiku focusing on capturing a specific moment or emotion.
Study Guide Questions: 1. Reflect on the challenges of crafting the first two lines of your haiku. How did you capture a moment or emotion? 2. How did you approach creating a sense of resolution in the third line of your haiku? 3. What insights did you gain from the process of crafting a haiku?
Quiz: Assessment on the understanding of haikus, the 5-7-5 syllable pattern, and the expressive possibilities within this concise form.
Day 6: Introduction to Free Verse -
Lecture: - Definition and characteristics of free verse. - Emphasis on the absence of a strict rhyme or meter.
- Discussion Questions:
- What intrigues you about the absence of rhyme and meter in free verse?
- How does free verse differ from more structured poetic forms?
- Can you think of any famous poets known for their use of free verse?
Day 7: Analyzing Free Verse -
Lecture: - In-depth analysis of classic free verse poems. - Exploration of the varied structures and rhythms.
- Discussion Questions:
- How does the absence of rhyme and meter contribute to the overall feel of free verse poems?
- What impact does varied structure and rhythm have on the reader's experience?
- Share your thoughts on the artistic freedom provided by free verse.
Day 8: Crafting Free Verse - Part 1 -
Lecture: - Step-by-step guide on embracing the freedom of expression in free verse. - Emphasis on the importance of imagery and emotion.
- Discussion Questions:
- How can you effectively convey emotion in free verse without relying on rhyme?
- What challenges do you anticipate in embracing the freedom of expression?
- Share examples of imagery or emotions you might explore in free verse.
Day 9: Crafting Free Verse - Part 2 -
Lecture: - Discussing various techniques to enhance rhythm in free verse. - Exploration of line breaks and pacing.
- Discussion Questions:
- How can you create a sense of rhythm without a strict meter in free verse?
- Why are line breaks important in the pacing of a free verse poem?
- Share and discuss individual free verse poems, highlighting successful elements.
Day 10: Peer Review and Feedback -
Activity: - Peer review workshop for free verse poems. - Focus on providing constructive feedback on expression, imagery, and rhythm.
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