tag:blogger.com,1999:blog-19402383543140253062024-03-13T14:07:13.701-07:00Literary faceall about literature is hereFurqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.comBlogger60125tag:blogger.com,1999:blog-1940238354314025306.post-45631128421820748012016-01-11T02:12:00.002-08:002018-09-26T21:07:25.146-07:00Intrinsic Elements of Drama<div dir="ltr" style="text-align: left;" trbidi="on">
The intrinsic elements of drama is not quite different from prose. It also has Plot, Setting, Character and Characterization, and Theme. However, besides those elements you found in prose, Drama has its own intrinsic elements different from other literature such as Blocking, Conversation/Dialogue, and Acting.<br />
<br />
Here are the description of the intrinsic elements of drama:<br />
<b>Theme</b><br />
<b>Plot</b><br />
<b>Setting</b><br />
<b>Character/Actor</b><br />
<b>Blocking</b><br />
<b>Dialogue</b><br />
<b>Acting </b><br />
<b>Message</b><br />
<b>Language </b><br />
<b><br /></b>
Since I haven't been active writing about english literature anymore, for the above post you can check the detail in a book titled <b>An Introduction to Literature: Fiction, Poetry and Drama</b> by Sylvan Barnet, William Burto and Morton Berman.<br />
<br />
Notes:<br />
Do not try to find/download the ebook provided/you found on the internet. Most of them are fake websites that asked you to fill in some survey that cannot be proven to be true.<br />
<br /></div>
Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com2tag:blogger.com,1999:blog-1940238354314025306.post-464440065095449262015-12-18T18:11:00.000-08:002015-12-18T18:11:00.630-08:00The Three Levels of Hegemony<div dir="ltr" style="text-align: left;" trbidi="on">
In the present time, the concept of Hegemony by Gramsci is more developed. It is rarely noticed that Gramsci speaks of three different levels, or types, of hegemony. However, Femia in his book <i>Gramsci’s Political Thought</i> already makes an explanation that hegemony is divided into three types. The first type, the highest level, of hegemony is integral hegemony. He explains that “in paradigm case, which we can call integral hegemony; mass affiliation would approach unqualified commitment” (1981: 46).<br />
<br />
The second type of hegemony is called decadent hegemony. It happens when the ruling classes are not fully controlling the ruled classes. Femia explains it:<br />
<blockquote class="tr_bq">
But in modern capitalist society, Gramsci claims, bourgeois economic dominance, whether or not it faces serious challenge, has become outmoded (no longer is it capable of representing or furthering) everyone's interest. Neither is it capable of commanding unequivocal allegiance from the non-elite: "as soon as the dominant group has exhausted its function, the ideological bloc tends to decay. Thus, the potential for social disintegration is ever-present: conflict lurks just beneath the surface. In spite of the numerous achievements of the system, the needs, inclinations, and mentality of the masses are not truly in harmony with the dominant ideas. Though widespread, cultural and political integration is fragile; such a situation might be called decadent hegemony (1981: 47).</blockquote>
Femia then called the third level of hegemony as the “lowest form of hegemony ... [which is labeled] minimal hegemony” (1981: 47). He adds that “this type of hegemony rests on the ideological unity of the economic, political and intellectual elites along with ‘aversion to any intervention of the popular masses in State life’” (1981: 47).<br />
<br />
The lowest level of hegemony is formed because the ruling classes start to lose their domination toward the ruled. In order to maintain their last control, the ruling classes have to give an extra intention to the ruled class. This action will minimize the ruled classes’ protest. Sometimes, the ruling classes have to invite the ruled classes to work together with them or to do something that will make the ruled class believe that the ruling classes are good people and caring to them.<br />
<br />
Femia then adds:<br />
<blockquote class="tr_bq">
The dominant economic groups do not 'accord their interests and aspirations with the interests and aspirations of other classes'. Rather, they maintain their rule through trasformismo, the practice of incorporating the leaders - "cultural, political, social, and economic" - of potentially hostile groups into the elite network, the result being 'the formation of an ever broader ruling class. The inducements used may range from mere flattery to offers of employment in administration to the granting of substantial power in decision-making (1981: 47-48).</blockquote>
It can be concluded that hegemony is the acts of dominant class to control their domination towards the ruled class without using forces. They maintain their domination through economic, education, politic and ideology. The ruling class or the dominant class is divided into two kinds of people. The first one is called the State. The state is people who are in charge in the government. They control the society of ruled class using their power in the government. Their actions are dominated in political aspects of domination. The second ruling class is civil society who maintains their domination using another aspect, especially economic.<br />
<br />
The three levels of hegemony are Integral hegemony, decadent hegemony and Minimal hegemony. Integral hegemony can be seen in a society which shows the superpower ruling class rule the other society without having resistance from them. The decadent hegemony shows the hegemony where the ruling class has to give some spaces for the ruled class to do what they want in order to maintain their domination. The third level of hegemony, minimal hegemony, can be seen when the ruling class gets resistance from the ruled class continuously.<br />
<br />
<b>Sources:</b><br />
Femia, Joseph. <i>Gramsci’s Political thought: Hegemony, Consciousness, and The revolutionary Process.</i> Oxford: Clarendon Press, 1981. <b><br /></b></div>
Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-60403960591534394562015-12-11T17:48:00.000-08:002015-12-14T05:03:01.807-08:00Concepts of Hegemony<div dir="ltr" style="text-align: left;" trbidi="on">
The concepts of hegemony have been used for a long time now to refer to the idea of existence of dominance by one social group. It was first used by Italian Communist Antonio Gramsci who had been imprisoned by Mussolini up to his death in 1926. He supported this concept with the idea of emergence of new elite which was followed by a change of men's consciousness. He reasoned that a class that is politically dominant is also ideologically dominant meaning that it keeps its position because the dominated class accepts its moral and intellectual leadership (<i>Forms of United States Power and the Concept of Hegemony</i>, 2012: par. 9)<br />
<br />
There is a ruling group which acquires a degree of consent from the subordinate group without using force to maintain their domination. The concept of hegemony itself has been used widely in many places to refer to any form of dominance through culture and non-military. In an essay entitled <i>Forms of United States Power and the Concept of Hegemony</i>, the concept of hegemony is described as follows:<br />
<blockquote class="tr_bq">
The concept of hegemony can be described in many fronts all which refer to the way dominance is created. For example it can be achieved through the use of institutions in a bid to formalize power, the use of bureaucracy which makes others see power as abstract, and in other manners. It can also be achieved through the articulation of hard power over others like the use of military or imposition of economic sanctions (2012: par. 10).</blockquote>
In his theory, Gramsci splits the ruling class into two major levels, “civil society” and “state”. Mastroianni says in his essay that:<br />
<blockquote class="tr_bq">
The one that can be called ‘civil society,’ that is the ensemble of organisms commonly called ‘private’ and that of ‘political society,’ or ‘the State.’" Civil society includes organizations such as churches, trade unions, and schools, which as Gramsci notes are typically thought of as private or non-political (Mastroianni, 2002: par. 4).</blockquote>
The second level of the ruling class is State. It is said in <a href="http://www.literary-face.blogspot.co.id/2012/02/selections-from-political-writings-1910.html" target="_blank"><i>Selections from the Prison Notebooks of Antonio Gramsci</i></a> that “state is the entire complex of practical and theoretical activities with which the ruling class not only justifies and maintains its dominance, but manages to win the active consent of those over whom it rules” (1992: 244).<br />
<br />
<br />
Sources:<br />
Gramsci, Antonio. <i>Selections from Prison Notebooks.</i> edited and translated by Quintin Hoare & Goffrey Nowell Smith. London: Lawrence and Wishart, 1971.<br />
<i>Forms of US power and the concept of hegemony.</i> Uk Essay: International Essay, 2012. <http://ukessays.com/essays/international-studies/hegemony.php><br />
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: IN; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: IN; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"> </span></span></div>
Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-24077433263819996802015-12-11T01:02:00.002-08:002015-12-11T01:06:48.266-08:00Intrinsic Elements of Prose<div dir="ltr" style="text-align: left;" trbidi="on">
Rene Wellek dan Austin Warren, in their <i>Theory of Literature,</i> define intrinsic analysis as “the interpretation and analysis of the works of literature themselves” (1977:139). Just like Poetry, Prose as one of a literature works also has these kinds of elements which are quite different from poems, of course.<br />
<br />
The following are some intrinsic elements of prose I have been studied, related to the literature work once I analyze using <a href="http://literary-face.blogspot.com/2015/12/the-theory-of-gramscis-hegemony.html" target="_blank">Antonio Gramsci's Theory of Hegemony</a>:<br />
<ul style="text-align: left;">
<li><b>Theme</b></li>
</ul>
Theme is the main idea of a story. It must represent the whole part of the story as it is a basic development of a whole story. From reading the whole story, it can be easy to reveal the theme of the novel. <br />
Brown and Olmsted in <i>Language and Literature</i> mentioned that:<br />
<blockquote class="tr_bq">
The term theme is used in several different ways in literary criticism. Sometimes it means the ‘subject’ of the work, what it is “about”. More often it refers to some central preposition, or set of ideas, which the author presumably had in mind and around which he built his poem or story or play (1962:222).<br />
<a name='more'></a></blockquote>
<ul style="text-align: left;">
<li><b>Setting</b></li>
</ul>
William Flint Thrall and Addison Hibbard in their <i>A Handbook to Literature</i> said that ”setting: the physical, and sometimes spiritual background against which the action of a narrative (novel, drama, short story, poem) take place” (1960:413).<br />
<br />
William Henry Hudson in his <i>An Introduction to the Study of Literature</i> stated that two kinds of setting as “We may therefore distinguish two kind of setting, the social and the material” (1913:158).<br />
Hudson clearly described that social setting is about: <br />
<blockquote class="tr_bq">
Thus we have novels of the sea and of military life; of the upper classes, the middle classes, the lower classes: of industrial life, commercial life, artistic life, clerical life, and so on... Frequently, of course, the local type of character is presented amid its natural surroundings, but often its peculiarities are brought out by the device of transplanting it into another and contrasted environment (159).</blockquote>
<ul style="text-align: left;">
<li><b>Character and Characterization</b></li>
</ul>
David Bergman in <i>The Heath Guide to Literature </i>noted that “in fiction, the performers of the actions are called character in which the performer may be a person or a thing” (1992: 115).<br />
<br />
While Thrall and Hibbard in <i>A Handbook to Literature</i> said that character is “a brief descriptive sketch of a personage who typifies quality” (1960:79).<br />
<br />
There are two kinds of character Protagonist and Antagonist. Michael Meyer in <i>The Bedford Introduction to Literature</i> said that protagonist is “the central character who engages our interest and empathy” (1990:44). He also determined that the antagonist character is “the force that opposes the protagonist” (1960:44). Roberts and Jacobs in <i>Literature: An Introduction to Reading and Writing</i> said that “the protagonist to the central action, moves against an antagonist (‘the opposing actor’) (1998:153).<br />
<br />
Another literature critic, Laurence Perrine in <i>Story and Structure</i>, divides characters into two kinds, flat and round character and dynamic and static character. She mentioned that “flat characters are characterized by one or two traits, they can be summed up in a sentence, and round characters are complex and many sided” (1988:68). She also said that dynamic character “undergoes a permanent change in some aspects of character, personality or outlook” (1988:70)<br />
<br />
Besides character, there is also characterization. It is described as the way the narrator describes and presents the characters in the story. Thrall and Hibbard said that “the creation of the images of these imaginary persons so credible that they exist for the reader as real within limits of the fiction is called characterization” (1960:79).<br />
<ul style="text-align: left;">
<li><b>Plot</b></li>
</ul>
Plot is an important element of literary work. Plot is the logical interaction of the various thematic elements of a text which lead to a change of the situation of the story. One of the most popular parts of plot in a fiction is conflict. Without conflict, there will be no story.<br />
<br />
Conflict, based on the book from Perrine, <i>Story and Structure</i>, is “a clash of actions, ideas, desires, or wills” (1988:42). Robert and Jacobs added that conflict is “the controlling impulse in a connected pattern of causes and effects” (1998:105).<br />
<br />
There is external and internal conflict in a fiction. Meyer said that external conflict “may place the protagonist in opposition to another individual, nature, or society” (1990:45). He also said that the internal conflict is “in such a case some moral or psychological issue must be resolved within protagonist” (1990:45).<br />
<b><br />Sources:</b><br />
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: IN; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><span class="st">Bergman, David. <i>The Heath Guide to Literature</i> </span><i>(3rd Edition). </i></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: IN; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">D C Heath & Co, 1992.</span><br />
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: IN; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><span class="st">Brown, Wentworth K., Sterling Pitkin Olmsted. </span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: IN; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><span class="st"><i>Language and Literature. </i>Harcourt, Brace & World, 1962.</span></span><br />
<span class="st"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: IN; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Hudson,
William Henry. <i style="mso-bidi-font-style: normal;">An Introduction to the
Study of Literature.</i> Second edition enlarged. London: George G. Harrap
& Company, 1913.</span></span></span><br />
<span class="st">Meyer, Michael. <i>The Bedford Introduction to Literature (2nd Edition). </i>Bedford Books of St. Martin's Press, 1990.</span><br />
<span class="st"></span><i></i><br />
Perrine, Laurence<i>. Story and Structure (7th Edition). </i><span class="st">Harcourt College Pub</span>, 1988. <span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: IN; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"> </span><br />
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<span class="st">Roberts, Edgar V.<i></i>, Henry E. Jacobs<i>. </i></span><i>Literature: An Introduction to Reading and Writing (5th Edition). </i>Prentice Hall, 1998<i>.</i><br />
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: IN; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><span class="st">Thrall, William Flint, Addison Hibbard. <i>A Handbook to Literature. </i>New York: </span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: IN; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><span class="st">Odyssey Press, 1960.</span></span><br />
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Rene and Austin Warren. <i style="mso-bidi-font-style: normal;">Theory of
Literature. 3rd edtition</i>. New York: Harcourt, Brace, 1963.</span><br />
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Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-64714914256879017332015-12-04T17:46:00.001-08:002016-01-07T18:22:07.547-08:00The Theory of Gramsci's Hegemony<div dir="ltr" style="text-align: left;" trbidi="on">
Theory of Hegemony introduced by Antonio Gramsci (1891-1937), an Italian Marxist theoretician and politician.<br />
<br />
This post will try to define what is Hegemony cited from some sociology books and writings. In short, Hegemony is domination of one group/people to other groups in a society in some aspects such as economy/social/military which is not using a forced way to obtain it and even the dominated group will obey any instruction/requests from the dominant group without any question the reason to what they have to do.<br />
<br />
As noted in <i>Oxford Advanced Learner’s Dictionary</i>, Hegemony is a “control and leadership especially by one country over others within a group; social/economic/military hegemony” (2009: 555). It is stated in <i>Literary Theory: an Anthology</i> edited by Julie Rivkin and Michael Ryan that in hegemony “power can be maintained without force if the consent of the dominated can be obtained through education and through other kinds of cultural labor on the part of such intellectuals as priests and journalists” (2004: 157).<br />
<br />
<a name='more'></a>Strinati describes in <a href="http://www.mediafire.com/?1uipn5nb94q9qyh" rel="nofollow" target="_blank"><i>An Introduction to Theories of Popular Culture</i></a> the definition of hegemony is about:<br />
<blockquote class="tr_bq">
...Dominant groups in society, including fundamentally but not exclusively the ruling class, maintain their dominance by securing the 'spontaneous consent' of subordinate groups, including the working class, through the negotiated construction of a political and ideological consensus which incorporates both dominant and dominated groups (1995: 165).</blockquote>
He then adds:<br />
<blockquote class="tr_bq">
It can be argued that Gramsci's theory suggests that subordinated groups accept the ideas, values and leadership of the dominant group not because they are physically or mentally induced to do so, nor because they are ideologically indoctrinated, but because they have reason of their own (1995: 166). </blockquote>
Hegemony can be seen as the strategy to hold the control of a society or group of people. In short, hegemony is “the practices of a capitalist class or its representatives to gain state power and maintain it later” (Simon, 1982: 23).<br />
<br />
After this post, it will be explained the following:<br />
<a href="http://literary-face.blogspot.com/2015/12/concepts-of-hegemony.html" target="_blank">Concepts of Hegemony</a><br />
<a href="http://literary-face.blogspot.com/2015/12/the-three-levels-of-hegemony.html" target="_blank">Three Levels of Hegemony</a><br />
<br />
<b>Sources:</b><br />
Homby, AS. <i>Oxford Advenced Learner’s Dictionary</i>. Fifth edition. Ed. Jonathan Crowther. Oxford: Oxford University Press, 1995.<br />
Rivkin, Julie, and Michael Ryan, ed. <i>Literary Theory: an Anthology</i>. Malden MA: Blackwell Publishing, 2004.<br />
Strinati, Dominic. <i>An Introduction to Theories of Popular Culture.</i> London: Routledge, 1995. </div>
Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-86094848366135097772015-11-16T07:11:00.001-08:002015-11-16T07:11:24.192-08:00A History of Literary Criticism and Theory: From Plato to the Present<div dir="ltr" style="text-align: left;" trbidi="on">
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Just like the above title, this book is about the history of literature theory. For you who are studying literature, this is a must-have item on your library. However, if you are not ready to purchase the printout book in case you have no more room for your book. Then, a soft copy (ebook) of the book will just do the trick.<br />
<br />
You can download it <a href="https://www.dropbox.com/s/79y1kseilwgbmm3/%5BM.%20A.%20R.%20Habib%5D%20A%20History%20of%20Literary%20Criticism%20and%20Theory_From%20Plato%20to%20the%20Present.pdf?dl=0" target="_blank"><b>here.</b></a><br />
<br />
However, I really recommend you buy the paper-book on amazon or any other book store.<b> </b></div>
Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-45561158509227954172012-02-18T03:18:00.001-08:002015-12-03T23:52:33.444-08:00Story And Discourse: Narrative Structure in Fiction and Film<div dir="ltr" style="text-align: left;" trbidi="on">
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Narrative Structure in Fiction and Film. 'For the specialist in the study of narrative structure, this is a solid and very perceptive exploration of the issues salient to the telling of a story-whatever the medium. Chatman, whose approach here is at once dualist and structuralist, divides his subject into the 'what' of the narrative (Story) and the 'way'(Discourse)... Chatman's command of his material is impressive.'<br />
<br />
You can download this e-book for free <a href="http://www.mediafire.com/download.php?ypv29t52z7z7qjf">here. </a></div>
Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-67897697097072046342012-02-15T07:32:00.001-08:002015-11-16T05:48:25.833-08:00Selections from Political Writings (1910-1920) By Antonio Gramsci<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #993300;"><span style="font-size: small;"><span style="font-family: "arial";">Selections from Political Writings 1910-1920<br />
selected and edited by Quintin Hoare; translated by John Mathews<br />
</span></span></span><br />
<span style="color: #993300;"><span style="font-size: small;"><span style="font-family: "arial";">Traces Gramsci's development as a revolutionary socialist during the first World War, the impact on his thought of the Russian Revolution and his involvement in the general strike and factory occupations of 1920. It details his reactions to the emerging fascist movement and his contributions to the establishment of the Communist Party in Italy.</span></span></span><br />
<span style="color: #993300;"><span style="font-size: small;"><span style="font-family: "arial";"><br />
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<span style="color: #993300;"><span style="font-size: small;"><span style="font-family: "arial";"><span style="color: black;">To download this e-book, </span><a href="http://adf.ly/5VeTx"><b>click here.</b></a></span></span></span></div>
Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-59554774140991256602012-02-15T07:16:00.001-08:002012-02-18T08:14:02.485-08:00The Antonio Gramsci Reader: Selected Writings 1916-1935 Free Download<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="http://ecx.images-amazon.com/images/I/41QZ9WP7WWL._SL500_AA300_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://ecx.images-amazon.com/images/I/41QZ9WP7WWL._SL500_AA300_.jpg" /></a></div>Forgacs has produced a significant one-volume collection of most of the important writings of Italian Marxist <b>Antonio Gramsci</b> (1891-1937), a political thinker who has gained great influence in recent years. Forgacs stresses the "complexity and vitality" of Gramsci's views on hegemony, war, art, education, and popular culture, as well as politics.<br />
<br />
The book is divided into two parts--the first covers the period from 1916-26, the second comes from Gramsci's notebooks written while imprisoned by the Fascists. Particularly valuable are the chapter introductions and a glossary of key terms which facilitate an understanding of Gramsci's philosophy.<br />
<br />
To download this e-book, <a href="http://adf.ly/5Vczq"><b>click here</b></a></div>Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-6130566011607237532012-02-10T08:00:00.001-08:002012-02-18T08:14:40.379-08:00Analysis of Secular and Religious Opinion About Abortion in Keely and Du<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;"><div style="text-align: center;"><span style="font-size: small;"><b>Secular and Religion Crash in Abortion Issue in Keely and Du</b></span></div><br />
<b>Background of the study</b><br />
Keely and Du is a drama that presents something very controversial topic of performance among the world community from the past until now. Abortion is an issue that is always discussed around the world ranging from families to government circles, starting from the academic to the realm of religion.<br />
<br />
There are several views of abortion-related issues. Two opinions are the most obvious is visible between prolife groups that emphasize the protection of infants to be born alive with prochoice which is more partial to the mother's choice to abort the pregnancy or not.<br />
<br />
<b>Purpose of the study</b><br />
The purpose of this paper is to indicate the presence of some views on abortion that is seen in the drama Keely and Du. The two views are essentially representing the view that exists in real society. Both views that will lead the audiences to deliver their opinion on the abortion issue.<br />
<br />
<b>Scope of the study</b><br />
Problems faced by the main character of this drama are associated with abortion and then bring in some effort to oppose abortion as a form of attitude that prefers prolife. The two arguments/views contained in the play can be represented by the two sides of the religious groups with secular groups. So, this paper will discuss only the two parties in response to an issue of abortion.<br />
<a name='more'></a><b>Analysis</b><br />
<div style="text-align: center;"><b>Secular and Religion opinion on abortion issue</b></div>Generally, there are two opinions on abortion in the community. The first opinion take the position as prochoice groups which are represented by the secular society. While the other group take the position as prolife groups represented by religious circles.<br />
<br />
These two opinions, prolife and prochoice, clearly represent two different views of each other concerning in abortion issue. The prochoice group revealed that an abortion cannot be regarded as a wrong action. That is because not every act of abortion have the same reason. Secular groups argue that abortion as other acts incorporated into a life choice that is a human right.<br />
<br />
Secular groups also added that the principle of choice that they extend to an act of abortion is based on the principle benefits of the act itself. If an act of abortion is done because there are strong reasons such as for the safety of the mother or other matters viewed from several factors. Thus, abortion can be considered as an acceptable act.<br />
<br />
Meanwhile, on the other hand, the prolife religious groups tend to be more extreme in their opinion on abortion. Abortion is an act that cannot be justified because it can be included in an act of murder. All opinions expressed by the prolife referring to the religious sources that cannot always be logical. By relying on religious doctrine and scripture, prolife groups consider that abortion is forbidden to do because every man is obliged to possess the descent in accordance with the guidance of religion. So, on behalf of any logical reason that prochoice said as the choice for pregnant women, it still cannot change the conditions that abortion is an act of murder.<br />
<br />
In Keely and Du, the two groups were represented by several main characters involved in the drama. Pro-choice group are represented by the main character of Keely depicted as a woman who is raped by her ex-husband and became pregnant.<br />
<br />
As a victim of rape, Keely feels very wrong if she she has to give birth to the baby. It is based on the fact that she did not want the baby. Not in that way. In accordance seen in the following quote:<br />
<blockquote><div style="text-align: left;">Keely. It’s not my baby, it’s the peoples who made me have it, and I couldn’t treat it as my baby, not even if I loved it, I couldn’t ... and I can’t have his baby .. uh .. it’s just not something I can do ...</div></blockquote>Furthermore Keely argues that religious teachings cannot help to have an abortion. Keely has her own reason to have an abortion. As confirmed by secular groups, according to the utilitarian principle that any act based on whether or not major benefits that can be drawn from such action. These benefits can be seen from several factors such as health, economic and psychological.<br />
<br />
Keely affirms her opinion that abortion can and should she do because she is female workers who take care of her father, who was paralyzed, so it will be very difficult for her to give birth to her baby later and has to take care of him, her father and herself alone. We can see the following quote:<br />
<blockquote>Get these off. My dad’s alone. He has to be fed. Do you understand that? He can’t move, do you hear me? ... listen, I got seventy bucks in the bank, I can’t get laid off. I got two jobs.. (13)</blockquote>Based on the quotation above we can conclude that one reason why Keely wanted an abortion is because the views of economic factors as well as a bit unbalanced. As expressed by secular groups that several factors may lead to an abortion could be permitted.<br />
<br />
Keely in the assertion that she represents the secular person is about the conflict to another characters that we can place them in the prolife group, where the drama is represented by Walter (member of church groups who oppose abortion) and Du, which is a nurse, which is also a member of the assembly. As shown in this quote:<br />
<blockquote>Walter. I am a member, Keely, of Operation Retrieval. We are a group of like-minded Christiants motivated by a belief in the sancity of life and the rights of unborn children. (17)<br />
Walter as the other antagonist main character in the drama represents the prolife side. In order of the purpose against abortion, he and his group kidnapped Keely who was one rape victim who wanted an abortion. As in the following quote:<br />
Walter. ...we choose you as a rape victim, Keely. Rape has always been understood as the extreme edge of abortion policy, and we must make clear that infants rights extend even into this catastrophic area. The rape victim must be given support on every level, but the fact of the child is critical. (18)</blockquote>In several conversations, it is explained clearly how Walter is very representative as the prolife groups derived from the class of religious people, which explains that Walter was a priest. As a very religious person, Walter prohibits abortion, and he tried to prevent people who want to do abortions in order to cancel their abortion plans. All the reasons that Walter has are coming from his knowledge of the religion that refers to the scriptures. As shown in the following quote:<br />
<blockquote>Walter. ... we ahave committed our lives. What can I say to you? I am a father, and caring for, learning from my children ... well, you wouldn’t understand. They resurrected my life through our Lord Jesus Christ. (20)<br />
Walter. Because it is a central issue in a Christian society... (42)<br />
Walter. ... as to my Christ, he will speak to you, saying “be fruitful and increase in number and fill the earth...walter. ... For in the image of God has God made man,” (43)</blockquote>By providing an explanation that refers to the scriptural religion, Walter forced Keely to cancel her plan of abortion. He says that abortion is an act of murder. Walter said that the baby has nothing to do with the action taken by her husband. The following quotation:<br />
<blockquote>Walter. ... but your unborn child is separate from that issue.<br />
Keely. No, it is not.<br />
Walter. It is separate life which may not be taken to solve your very real problems.<br />
Keely. Hey, it’s cells, little cells.<br />
Walter. (very clearly) it is a separate life. (17)</blockquote>In addition to Walter, Du was also another character in the same position as with the prolife group. However, the approach taken by Du is more acceptable for Keely. Du uses a personalized approach to Keely by telling about his family experiences. With such an approach that can be seen in some scenes, Keely start to think to cancel her abortion plan. So, one might say that there are two different sides in this drama about prolife groups. Walter is representing prolife person that are very fanatical about his religion, while on the other side there is also Du prolife but uses a more familial approach.<br />
<br />
<b>Conclusion</b><br />
As explained in the analysis above, that there are two different opinions in response to an abortion issue. The first opinion is represented by Keely as a secular person that assumes that abortion is a right for a mother. Abortion can be done if there are some good reasons for it. Taking the principle of benefit and the primacy of economic factors Keely insisted on an abortion.<br />
<br />
While on the other hand, there are prolife groups, represented by Walter and Du favor of the prolife where any reason for abortion can be done is wrong and unacceptable. By using their religion Walter forced Keely not to have an abortion, because abortion can be classified in an act of murder. While Du has a slightly different way she treats about Keely. With the same purpose and on the same side with Walter, Du is trying to achieve their goals with a more subtle way.<br />
<br />
Basically these two opinions are not two conflicting opinions. However, if brought together in one situation there will be a crash which resulted in a conflict between these two opinions. As seen in the drama Keely and Du.</div></div>Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-15328237596375428142012-02-10T06:50:00.003-08:002015-12-04T18:22:18.804-08:00Feminism: A Very Short Introduction by Margareth Walters Free Download<div dir="ltr" style="text-align: left;" trbidi="on">
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How much have women's lives really changed? In the West women still come up against the 'glass ceiling' at work, most earning considerably less than their male counterparts. What are we to make of the now commonplace insistence that feminism deprives men of their rights and dignities? And how does one tackle the issue of female emancipation in different cultural and economic environments - in, for example, the Middle East, the Indian sub-continent, and Africa?<br />
<br />
This book provides an historical account of feminism, exploring its earliest roots as well as key issues including voting rights, the liberation of the sixties, and its relevance today. Margaret Walters touches on the difficulties and inequities that women still face more than forty years after the 'new wave' of 1960s feminism, such as how successful women are at combining domesticity, motherhood, and work outside the house. She brings the subject completely up to date by providing an analysis of the current situation of women across the globe, from Europe and the United States to Third World countries.<br />
<br />
To download this e-book for free, follow this <a href="http://adf.ly/5ajv1"><b>link. </b></a></div>
Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-3442122728576282172012-02-08T03:21:00.001-08:002015-12-04T18:19:27.999-08:00Critical Theory And Literary Canon Free Download<div dir="ltr" style="text-align: left;" trbidi="on">
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Kolbas stakes out new territory in assessing the war over literary canon formation, a subject that contemporary polemicists have devoted much ink to. Throughout this succinct manuscript, Kolbas ranges through the sociology and politics of culture, aesthetic theory, and literary theory to develop his point that texts not only must should be situated in the historical and material conditions of their production, but also evaluated for their very real aesthetic content.<br />
<br />
One reason the is an important issue, Kolbas contends, is that the canon is not simply enclosed in the ivory tower of academia; its effects are apparent in a much wider field of cultural production and use. He begins by critiquing the conservative humanist and liberal pluralist positions on the canon, which either assiduously avoid any sociological explanation of the canon or treat texts as stand-ins for particular ideologies.<br />
<br />
Kolbas is sympathetic to the arguments of Bourdieu et. al. regarding positioning the canon in a wider "field of cultural production" than the university, but argues that theirs are purely sociological explanations of aesthetics (i.e., there is no objective aesthetic content) that ignore art's autonomous realm, which he argues -- a la Adorno -- exists (if only problematically). Ultimately, he argues that critical theory, particularly the arguments of Adorno on aesthetics, offers the most fruitful path for evaluating the canon, despite the approach's clear flaws. His vision is a sociological one, but one that treats the components of the canon as possessing objective aesthetic content, albeit content that shifts in meaning over history.<br />
<br />
To download this e-book, click <a href="http://adf.ly/5ajkf">here</a> </div>
Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-79237743938646849132010-12-10T02:11:00.001-08:002010-12-10T02:11:40.981-08:00The Rainbow - a poem by William Wordsworth<div style="font-family: Arial,Helvetica,sans-serif;"><b>The Rainbow - a poem by William Wordsworth</b></div><div style="font-family: Arial,Helvetica,sans-serif;"><b><br />
</b></div><div style="font-family: Arial,Helvetica,sans-serif;">My heart leaps up when I behold<br />
A Rainbow in the sky:<br />
<br />
So was it when my life began;<br />
So is it now I am a man;<br />
So be it when I shall grow old,<br />
Or let me die!<br />
<br />
The Child is father of the man;<br />
And I could wish my days to be<br />
<br />
Bound each to each by natural piety.<b></b></div>Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-40004313279061656822010-12-10T02:10:00.000-08:002010-12-10T02:10:36.706-08:00The Solitary Reaper - a poem by William Wordsworth<div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>The Solitary Reaper - a poem by William Wordsworth</b></span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b><br />
</b></span></div><div style="font-family: Arial,Helvetica,sans-serif;">Behold her, single in the field,<br />
Yon solitary Highland Lass!<br />
Reaping and singing by herself;<br />
Stop here, or gently pass!<br />
Alone she cuts and binds the grain,<br />
And sings a melancholy strain;<br />
O listen! for the Vale profound<br />
Is overflowing with the sound.<br />
<br />
No Nightingale did ever chaunt<br />
More welcome notes to weary bands<br />
Of travellers in some shady haunt,<br />
Among Arabian sands:<br />
A voice so thrilling ne'er was heard<br />
In spring-time from the Cuckoo-bird,<br />
Breaking the silence of the seas<br />
Among the farthest Hebrides.<br />
<br />
Will no one tell me what she sings?--<br />
Perhaps the plaintive numbers flow<br />
For old, unhappy, far-off things,<br />
And battles long ago:<br />
Or is it some more humble lay,<br />
Familiar matter of to-day?<br />
Some natural sorrow, loss, or pain,<br />
That has been, and may be again?<br />
<br />
Whate'er the theme, the Maiden sang<br />
As if her song could have no ending;<br />
I saw her singing at her work,<br />
And o'er the sickle bending;--<br />
I listened, motionless and still;<br />
And, as I mounted up the hill,<br />
The music in my heart I bore,<br />
Long after it was heard no more.<span style="font-size: small;"><b></b></span></div>Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-41152798830137960262010-12-10T02:08:00.000-08:002010-12-10T02:08:35.066-08:00We Are Seven - a poem by William Wordsworth<div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>We Are Seven by William Wordsworth</b></span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b> </b></span> </div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">--A Simple Child,<br />
That lightly draws its breath,<br />
And feels its life in every limb,<br />
What should it know of death?<br />
<br />
I met a little cottage Girl:<br />
She was eight years old, she said;<br />
Her hair was thick with many a curl<br />
That clustered round her head.<br />
<br />
She had a rustic, woodland air,<br />
And she was wildly clad:<br />
Her eyes were fair, and very fair;<br />
--Her beauty made me glad.<br />
<br />
"Sisters and brothers, little Maid,<br />
How many may you be?"<br />
"How many? Seven in all," she said<br />
And wondering looked at me.<br />
<br />
"And where are they? I pray you tell."<br />
She answered, "Seven are we;<br />
And two of us at Conway dwell,<br />
And two are gone to sea.<br />
<br />
"Two of us in the church-yard lie,<br />
My sister and my brother;<br />
And, in the church-yard cottage, I<br />
Dwell near them with my mother."<br />
<br />
"You say that two at Conway dwell,<br />
And two are gone to sea,<br />
Yet ye are seven!--I pray you tell,<br />
Sweet Maid, how this may be."<br />
<br />
Then did the little Maid reply,<br />
"Seven boys and girls are we;<br />
Two of us in the church-yard lie,<br />
Beneath the church-yard tree."<br />
<br />
"You run above, my little Maid,<br />
Your limbs they are alive;<br />
If two are in the church-yard laid,<br />
Then ye are only five."<br />
<br />
"Their graves are green, they may be seen,"<br />
The little Maid replied,<br />
"Twelve steps or more from my mother's door,<br />
And they are side by side.<br />
<br />
"My stockings there I often knit,<br />
My kerchief there I hem;<br />
And there upon the ground I sit,<br />
And sing a song to them.<br />
<br />
"And often after sun-set, Sir,<br />
When it is light and fair,<br />
I take my little porringer,<br />
And eat my supper there.<br />
<br />
"The first that died was sister Jane;<br />
In bed she moaning lay,<br />
Till God released her of her pain;<br />
And then she went away.<br />
<br />
"So in the church-yard she was laid;<br />
And, when the grass was dry,<br />
Together round her grave we played,<br />
My brother John and I.<br />
<br />
"And when the ground was white with snow,<br />
And I could run and slide,<br />
My brother John was forced to go,<br />
And he lies by her side."<br />
<br />
"How many are you, then," said I,<br />
"If they two are in heaven?"<br />
Quick was the little Maid's reply,<br />
"O Master! we are seven."<br />
<br />
"But they are dead; those two are dead!<br />
Their spirits are in heaven!"<br />
'Twas throwing words away; for still<br />
The little Maid would have her will,<br />
And said, "Nay, we are seven!"</span> </div>Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-77972393281049607472010-12-10T02:04:00.000-08:002010-12-10T02:04:34.458-08:00Lucy Gray - a poem by William Wordsworth<div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>Lucy Gray by William Wordsworth</b></span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Oft I had heard of Lucy Gray:<br />
And, when I crossed the wild,<br />
I chanced to see at break of day<br />
The solitary child.<br />
<br />
No mate, no comrade Lucy knew;<br />
She dwelt on a wide moor,<br />
--The sweetest thing that ever grew<br />
Beside a human door!<br />
<br />
You yet may spy the fawn at play,<br />
The hare upon the green;<br />
But the sweet face of Lucy Gray<br />
Will never more be seen.<br />
<br />
"To-night will be a stormy night--<br />
You to the town must go;<br />
And take a lantern, Child, to light<br />
Your mother through the snow."<br />
<br />
"That, Father! will I gladly do:<br />
'Tis scarcely afternoon--<br />
The minster-clock has just struck two,<br />
And yonder is the moon!"<br />
<br />
At this the Father raised his hook,<br />
And snapped a faggot-band;<br />
He plied his work;--and Lucy took<br />
The lantern in her hand.<br />
<br />
Not blither is the mountain roe:<br />
With many a wanton stroke<br />
Her feet disperse the powdery snow,<br />
That rises up like smoke.<br />
<br />
The storm came on before its time:<br />
She wandered up and down;<br />
And many a hill did Lucy climb:<br />
But never reached the town.<br />
<br />
The wretched parents all that night<br />
Went shouting far and wide;<br />
But there was neither sound nor sight<br />
To serve them for a guide.<br />
<br />
At day-break on a hill they stood<br />
That overlooked the moor;<br />
And thence they saw the bridge of wood,<br />
A furlong from their door.<br />
<br />
They wept--and, turning homeward, cried,<br />
"In heaven we all shall meet;"<br />
--When in the snow the mother spied<br />
The print of Lucy's feet.<br />
<br />
Then downwards from the steep hill's edge<br />
They tracked the footmarks small;<br />
And through the broken hawthorn hedge,<br />
And by the long stone-wall;<br />
<br />
And then an open field they crossed:<br />
The marks were still the same;<br />
They tracked them on, nor ever lost;<br />
And to the bridge they came.<br />
<br />
They followed from the snowy bank<br />
Those footmarks, one by one,<br />
Into the middle of the plank;<br />
And further there were none!<br />
<br />
--Yet some maintain that to this day<br />
She is a living child;<br />
That you may see sweet Lucy Gray<br />
Upon the lonesome wild.<br />
<br />
O'er rough and smooth she trips along,<br />
And never looks behind;<br />
And sings a solitary song<br />
That whistles in the wind.</span> </div>Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-42717469858543314812010-12-10T02:02:00.000-08:002010-12-10T02:02:37.360-08:00Composed Upon Westminster Bridge - a poem by William Wordsworth<div align="left" style="padding-left: 14px; padding-top: 13px;"><span style="font-size: small;"><span style="color: #3c605b; font-family: Times New Roman; font-weight: bold;"><span style="color: black;">Composed Upon Westminster Bridge</span> <span style="color: black;">by William Wordsworth</span></span></span></div><div style="font-family: Arial; padding-left: 14px; padding-top: 20px;"><span style="font-size: small;"> Earth has not anything to show more fair:<br />
Dull would he be of soul who could pass by<br />
A sight so touching in its majesty:<br />
This City now doth like a garment wear<br />
The beauty of the morning; silent , bare,<br />
Ships, towers, domes, theatres, and temples lie<br />
Open unto the fields, and to the sky,<br />
All bright and glittering in the smokeless air.<br />
Never did the sun more beautifully steep<br />
In his first splendour, valley, rock, or hill;<br />
Ne'er saw I, never felt a calm so deep!<br />
The river glideth at his own sweet will:<br />
Dear God! the very houses seem asleep;<br />
And all that mighty heart is lying still! </span></div>Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-39594911307758289282010-12-10T02:00:00.001-08:002010-12-10T02:00:38.621-08:00Lines Written In Early Spring - a poem by William Wordsworth<div align="left" style="padding-left: 14px; padding-top: 13px;"><span style="color: #3c605b; font-family: Times New Roman; font-size: 16px; font-weight: bold;"><span style="color: black;">Lines Written In Early Spring</span> <span style="color: black;">by William Wordsworth</span></span></div><div style="font-family: Arial; font-size: 13px; padding-left: 14px; padding-top: 20px;"> I heard a thousand blended notes,<br />
While in a grove I sate reclined,<br />
In that sweet mood when pleasant thoughts<br />
Bring sad thoughts to the mind.<br />
<br />
To her fair works did Nature link<br />
The human soul that through me ran;<br />
And much it grieved my heart to think<br />
What man has made of man.<br />
<br />
Through primrose tufts, in that green bower,<br />
The periwinkle trailed its wreaths;<br />
And 'tis my faith that every flower<br />
Enjoys the air it breathes.<br />
<br />
The birds around me hopped and played,<br />
Their thoughts I cannot measure:--<br />
But the least motion which they made<br />
It seemed a thrill of pleasure.<br />
<br />
The budding twigs spread out their fan,<br />
To catch the breezy air;<br />
And I must think, do all I can,<br />
That there was pleasure there.<br />
<br />
If this belief from heaven be sent,<br />
If such be Nature's holy plan,<br />
Have I not reason to lament<br />
What man has made of man? </div><!-- AddThis Button BEGIN --> <div class="addthis_toolbox addthis_default_style"> <a class="addthis_button_preferred_2 addthis_button_twitter at300b" href="" target="_blank" title="Tweet This"><span class="at300bs at15t_twitter"></span></a> <a class="addthis_button_preferred_7 addthis_button_digg at300b" href="http://www.addthis.com/bookmark.php?v=250&winname=addthis&pub=fpap&source=tbx-250&lng=en&s=digg&url=http%3A%2F%2Ffamouspoetsandpoems.com%2Fpoets%2Fwilliam_wordsworth%2Fpoems%2F10953&title=Lines%20Written%20In%20Early%20Spring%20-%20Poem%20by%20William%20Wordsworth&ate=AT-fpap/-/-/4d01f90103da71b5/1/4c9b3f860dd43900&uid=4c9b3f860dd43900&sms_ss=1&at_xt=1&CXNID=2000001.5215456080540439074NXC&pre=http%3A%2F%2Ffamouspoetsandpoems.com%2Fpoets%2Fwilliam_wordsworth%2Fpoems&tt=0" target="_blank" title="Digg This"><span class="at300bs at15t_digg"></span></a> <a class="addthis_button_preferred_10 addthis_button_live at300b" href="http://www.addthis.com/bookmark.php?v=250&winname=addthis&pub=fpap&source=tbx-250&lng=en&s=live&url=http%3A%2F%2Ffamouspoetsandpoems.com%2Fpoets%2Fwilliam_wordsworth%2Fpoems%2F10953&title=Lines%20Written%20In%20Early%20Spring%20-%20Poem%20by%20William%20Wordsworth&ate=AT-fpap/-/-/4d01f90103da71b5/2/4c9b3f860dd43900&uid=4c9b3f860dd43900&sms_ss=1&at_xt=1&CXNID=2000001.5215456080540439074NXC&pre=http%3A%2F%2Ffamouspoetsandpoems.com%2Fpoets%2Fwilliam_wordsworth%2Fpoems&tt=0" target="_blank" title="Send to Messenger"><span class="at300bs at15t_live"></span></a> <a class="addthis_button_preferred_5 addthis_button_google at300b" href="http://www.addthis.com/bookmark.php?v=250&winname=addthis&pub=fpap&source=tbx-250&lng=en&s=google&url=http%3A%2F%2Ffamouspoetsandpoems.com%2Fpoets%2Fwilliam_wordsworth%2Fpoems%2F10953&title=Lines%20Written%20In%20Early%20Spring%20-%20Poem%20by%20William%20Wordsworth&ate=AT-fpap/-/-/4d01f90103da71b5/3/4c9b3f860dd43900&uid=4c9b3f860dd43900&sms_ss=1&at_xt=1&CXNID=2000001.5215456080540439074NXC&pre=http%3A%2F%2Ffamouspoetsandpoems.com%2Fpoets%2Fwilliam_wordsworth%2Fpoems&tt=0" target="_blank" title="Send to Google"><span class="at300bs at15t_google"></span></a> <a class="addthis_button_preferred_8 addthis_button_delicious at300b" href="http://www.addthis.com/bookmark.php?v=250&winname=addthis&pub=fpap&source=tbx-250&lng=en&s=delicious&url=http%3A%2F%2Ffamouspoetsandpoems.com%2Fpoets%2Fwilliam_wordsworth%2Fpoems%2F10953&title=Lines%20Written%20In%20Early%20Spring%20-%20Poem%20by%20William%20Wordsworth&ate=AT-fpap/-/-/4d01f90103da71b5/4/4c9b3f860dd43900&uid=4c9b3f860dd43900&sms_ss=1&at_xt=1&CXNID=2000001.5215456080540439074NXC&pre=http%3A%2F%2Ffamouspoetsandpoems.com%2Fpoets%2Fwilliam_wordsworth%2Fpoems&tt=0" target="_blank" title="Send to Delicious"><span class="at300bs at15t_delicious"></span></a> </div><script type="text/javascript">
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<br />
There was a roaring in the wind all night; <br />
The rain came heavily and fell in floods; <br />
But now the sun is rising calm and bright; <br />
The birds are singing in the distant woods; <br />
Over his own sweet voice the Stock-dove broods; <br />
The Jay makes answer as the Magpie chatters; <br />
And all the air is filled with pleasant noise of waters. <br />
<br />
II <br />
<br />
All things that love the sun are out of doors; <br />
The sky rejoices in the morning's birth; <br />
The grass is bright with rain-drops;--on the moors <br />
The hare is running races in her mirth; <br />
And with her feet she from the plashy earth <br />
Raises a mist, that, glittering in the sun, <br />
Runs with her all the way, wherever she doth run. <br />
<br />
III <br />
<br />
I was a Traveller then upon the moor, <br />
I saw the hare that raced about with joy; <br />
I heard the woods and distant waters roar; <br />
Or heard them not, as happy as a boy: <br />
The pleasant season did my heart employ: <br />
My old remembrances went from me wholly; <br />
And all the ways of men, so vain and melancholy. <br />
<br />
IV <br />
<br />
But, as it sometimes chanceth, from the might <br />
Of joy in minds that can no further go, <br />
As high as we have mounted in delight <br />
In our dejection do we sink as low; <br />
To me that morning did it happen so; <br />
And fears and fancies thick upon me came; <br />
Dim sadness--and blind thoughts, I knew not, nor could name. <br />
<br />
V <br />
<br />
I heard the sky-lark warbling in the sky; <br />
And I bethought me of the playful hare: <br />
Even such a happy Child of earth am I; <br />
Even as these blissful creatures do I fare; <br />
Far from the world I walk, and from all care; <br />
But there may come another day to me-- <br />
Solitude, pain of heart, distress, and poverty. <br />
<br />
VI <br />
<br />
My whole life I have lived in pleasant thought, <br />
As if life's business were a summer mood; <br />
As if all needful things would come unsought <br />
To genial faith, still rich in genial good; <br />
But how can He expect that others should <br />
Build for him, sow for him, and at his call <br />
Love him, who for himself will take no heed at all? <br />
<br />
VII <br />
<br />
I thought of Chatterton, the marvellous Boy, <br />
The sleepless Soul that perished in his pride; <br />
Of Him who walked in glory and in joy <br />
Following his plough, along the mountain-side: <br />
By our own spirits are we deified: <br />
We Poets in our youth begin in gladness; <br />
But thereof come in the end despondency and madness. <br />
<br />
VIII <br />
<br />
Now, whether it were by peculiar grace, <br />
A leading from above, a something given, <br />
Yet it befell, that, in this lonely place, <br />
When I with these untoward thoughts had striven, <br />
Beside a pool bare to the eye of heaven <br />
I saw a Man before me unawares: <br />
The oldest man he seemed that ever wore grey hairs. <br />
<br />
IX <br />
<br />
As a huge stone is sometimes seen to lie <br />
Couched on the bald top of an eminence; <br />
Wonder to all who do the same espy, <br />
By what means it could thither come, and whence; <br />
So that it seems a thing endued with sense: <br />
Like a sea-beast crawled forth, that on a shelf <br />
Of rock or sand reposeth, there to sun itself; <br />
<br />
X <br />
<br />
Such seemed this Man, not all alive nor dead, <br />
Nor all asleep--in his extreme old age: <br />
His body was bent double, feet and head <br />
Coming together in life's pilgrimage; <br />
As if some dire constraint of pain, or rage <br />
Of sickness felt by him in times long past, <br />
A more than human weight upon his frame had cast. <br />
<br />
XI <br />
<br />
Himself he propped, limbs, body, and pale face, <br />
Upon a long grey staff of shaven wood: <br />
And, still as I drew near with gentle pace, <br />
Upon the margin of that moorish flood <br />
Motionless as a cloud the old Man stood, <br />
That heareth not the loud winds when they call <br />
And moveth all together, if it move at all. <br />
<br />
XII <br />
<br />
At length, himself unsettling, he the pond <br />
Stirred with his staff, and fixedly did look <br />
Upon the muddy water, which he conned, <br />
As if he had been reading in a book: <br />
And now a stranger's privilege I took; <br />
And, drawing to his side, to him did say, <br />
"This morning gives us promise of a glorious day." <br />
<br />
XIII <br />
<br />
A gentle answer did the old Man make, <br />
In courteous speech which forth he slowly drew: <br />
And him with further words I thus bespake, <br />
"What occupation do you there pursue? <br />
This is a lonesome place for one like you." <br />
Ere he replied, a flash of mild surprise <br />
Broke from the sable orbs of his yet-vivid eyes, <br />
<br />
XIV <br />
<br />
His words came feebly, from a feeble chest, <br />
But each in solemn order followed each, <br />
With something of a lofty utterance drest-- <br />
Choice word and measured phrase, above the reach <br />
Of ordinary men; a stately speech; <br />
Such as grave Livers do in Scotland use, <br />
Religious men, who give to God and man their dues. <br />
<br />
XV <br />
<br />
He told, that to these waters he had come <br />
To gather leeches, being old and poor: <br />
Employment hazardous and wearisome! <br />
And he had many hardships to endure: <br />
From pond to pond he roamed, from moor to moor; <br />
Housing, with God's good help, by choice or chance, <br />
And in this way he gained an honest maintenance. <br />
<br />
XVI <br />
<br />
The old Man still stood talking by my side; <br />
But now his voice to me was like a stream <br />
Scarce heard; nor word from word could I divide; <br />
And the whole body of the Man did seem <br />
Like one whom I had met with in a dream; <br />
Or like a man from some far region sent, <br />
To give me human strength, by apt admonishment. <br />
<br />
XVII <br />
<br />
My former thoughts returned: the fear that kills; <br />
And hope that is unwilling to be fed; <br />
Cold, pain, and labour, and all fleshly ills; <br />
And mighty Poets in their misery dead. <br />
--Perplexed, and longing to be comforted, <br />
My question eagerly did I renew, <br />
"How is it that you live, and what is it you do?" <br />
<br />
XVIII <br />
<br />
He with a smile did then his words repeat; <br />
And said, that, gathering leeches, far and wide <br />
He travelled; stirring thus about his feet <br />
The waters of the pools where they abide. <br />
"Once I could meet with them on every side; <br />
But they have dwindled long by slow decay; <br />
Yet still I persevere, and find them where I may." <br />
<br />
XIX <br />
<br />
While he was talking thus, the lonely place, <br />
The old Man's shape, and speech--all troubled me: <br />
In my mind's eye I seemed to see him pace <br />
About the weary moors continually, <br />
Wandering about alone and silently. <br />
While I these thoughts within myself pursued, <br />
He, having made a pause, the same discourse renewed. <br />
<br />
XX <br />
<br />
And soon with this he other matter blended, <br />
Cheerfully uttered, with demeanour kind, <br />
But stately in the main; and when he ended, <br />
I could have laughed myself to scorn to find <br />
In that decrepit Man so firm a mind. <br />
"God," said I, "be my help and stay secure; <br />
I'll think of the Leech-gatherer on the lonely moor!" </div>Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-66121835694230839972010-12-10T01:57:00.000-08:002010-12-10T01:57:08.583-08:00London, 1802 - a poem by William Wordsworth<div align="left" style="font-family: Arial,Helvetica,sans-serif; padding-left: 14px; padding-top: 13px;"><span style="font-size: small;"><span style="color: #3c605b; font-weight: bold;"><span style="color: black;">London, 1802</span> <span style="color: black;">by William Wordsworth</span></span></span></div><div style="font-family: Arial,Helvetica,sans-serif; padding-left: 14px; padding-top: 20px;"><span style="font-size: small;"> Milton! thou should'st be living at this hour:<br />
England hath need of thee: she is a fen<br />
Of stagnant waters: altar, sword, and pen,<br />
Fireside, the heroic wealth of hall and bower,<br />
Have forfeited their ancient English dower<br />
Of inward happiness. We are selfish men;<br />
Oh! raise us up, return to us again;<br />
And give us manners, virtue, freedom, power.<br />
Thy soul was like a Star, and dwelt apart:<br />
Thou hadst a voice whose sound was like the sea:<br />
Pure as the naked heavens, majestic, free,<br />
So didst thou travel on life's common way,<br />
In cheerful godliness; and yet thy heart<br />
The lowliest duties on herself did lay. </span></div>Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-81608628727103903752010-12-03T19:14:00.000-08:002010-12-03T19:23:03.576-08:00Biography of The Poet<b><span class="Apple-style-span" style="font-size: large;"><a href="http://literary-face.blogspot.com/2010/11/biography-of-alexander-pope.html">Biography of Alexander Pope</a></span></b><br />
<br />
<div class="MsoNormal" style="color: #371301; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;"><span lang="IN" style="color: black; font-family: 'Times New Roman'; font-size: 12pt; line-height: 18px;">Alexander Pope was the leading English poet of the early 18th century, famous for his works <i>An Essay on Criticism</i> and <i>The Rape of the Lock</i>. He was a major critic and satirist. In the 1700s, he was so popular that this era was once known as the "Age of Pope."</span><span style="color: black; font-family: 'Times New Roman'; font-size: 12pt; line-height: 18px;"><o:p></o:p></span></div><div class="MsoNormal" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;"><span lang="IN" style="font-family: 'Times New Roman'; font-size: 12pt; line-height: 18px;">Alexander Pope was born on May 21, 1688 into a Roman Catholic ... <a href="http://literary-face.blogspot.com/2010/11/biography-of-alexander-pope.html">read more</a></span></div><div class="MsoNormal" style="color: #371301; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;"><span lang="IN" style="color: black; font-family: 'Times New Roman'; font-size: 12pt; line-height: 18px;"><br />
</span></div><div class="MsoNormal" style="color: #371301; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; line-height: 20px;"><span lang="IN" style="color: black; font-family: 'Times New Roman'; line-height: 18px;"><b><span class="Apple-style-span" style="font-size: large;"><a href="http://literary-face.blogspot.com/2010/11/biography-of-john-milton.html">Biography of John Milton</a></span></b></span></div><div class="MsoNormal" style="color: #371301; line-height: 20px;"><span lang="IN" style="color: black; line-height: 18px;"><b><span class="Apple-style-span" style="color: #371301; font-weight: normal; line-height: 20px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">John Milton was born on December 9, 1608, in London, as the second child of John and Sara (neé Jeffrey). John Milton Sr. worked as a scrivener, a legal secretary whose duties included preparation and notarization of documents, as well as real estate transactions and moneylending. Milton's father was also a composer of church music, and Milton himself experienced a lifelong delight in music. The family's financial ... <a href="http://literary-face.blogspot.com/2010/11/biography-of-john-milton.html">read more</a></span></span></b></span></div><div class="MsoNormal" style="color: #371301; line-height: 20px;"><span lang="IN" style="color: black; line-height: 18px;"><b><span class="Apple-style-span" style="color: #371301; font-weight: normal; line-height: 20px;"><br />
</span></b></span></div><div class="MsoNormal" style="color: #371301; line-height: 20px;"><span lang="IN" style="color: black; line-height: 18px;"><b><span class="Apple-style-span" style="color: #371301; line-height: 20px;"><span class="Apple-style-span" style="font-size: large;"><a href="http://literary-face.blogspot.com/2010/11/biography-of-william-blake.html">Biography of William Blake</a></span></span></b></span></div><div class="MsoNormal" style="color: #371301; line-height: 20px;"><span lang="IN" style="color: black; line-height: 18px;"><b><span class="Apple-style-span" style="color: #371301; line-height: 20px;"><span class="Apple-style-span" style="color: black; font-weight: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">William Blake was born on November 28, 1757 in <st1:place w:st="on"><st1:city w:st="on">London</st1:city></st1:place>, the third of five children. His father James was a hosier, and could only afford to give William enough schooling to learn the basics of reading and writing, though for a short time he was able to attend a drawing school run by Henry Par. William worked in his father's shop until his talent for drawing became so obvious that he was apprenticed to engraver James Basire</span></span><span class="Apple-style-span" style="color: black; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; font-weight: normal;"> ... </span></span></b></span><a href="http://literary-face.blogspot.com/2010/11/biography-of-william-blake.html">read more</a></div><div class="MsoNormal" style="color: #371301; line-height: 20px;"><span lang="IN" style="color: black; line-height: 18px;"><b><span class="Apple-style-span" style="color: #371301; font-weight: normal; line-height: 20px;"><br />
</span></b></span></div><div class="MsoNormal" style="color: #371301; line-height: 20px;"><span lang="IN" style="color: black; line-height: 18px;"><b><span class="Apple-style-span" style="color: #371301; line-height: 20px;"><span class="Apple-style-span" style="font-size: large;"><a href="http://literary-face.blogspot.com/2010/11/biography-of-william-shakespeare.html">Biography of William Shakespeare</a></span></span></b></span></div><div class="MsoNormal" style="color: #371301; line-height: 20px;"><span lang="IN" style="color: black; line-height: 18px;"><span class="Apple-style-span" style="color: #371301; line-height: 20px;"><span class="Apple-style-span" style="color: #371301;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">William Shakespeare was born on April 23, 1564, in Stratford-upon-Avon,</span></span><span class="Apple-style-span" style="color: #371301; line-height: 20px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> England</span></span><span class="Apple-style-span" style="color: #371301; line-height: 20px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">. He was born to John Shakespeare and Mary Arden, a glover/leather</span></span><span class="Apple-style-span" style="color: #371301; line-height: 20px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> merchant</span></span><span class="Apple-style-span" style="color: #371301; line-height: 20px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> </span></span><span class="Apple-style-span" style="color: #371301; line-height: 20px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">and local land heiress, respectively. He was baptized in the parish church of Stratford-upon-Avon in Warwickshire on the 26th of April. Shakespeare's father owned many houses in Stratford around the time of Shakespeare's birth, so the exact location of his birth cannot be known for sure (Mabillard 7). William, according to the church register</span></span><span class="Apple-style-span" style="color: #371301; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;"> ... </span><a href="http://literary-face.blogspot.com/2010/11/biography-of-william-shakespeare.html">read more</a></span></span></div><div class="MsoNormal" style="color: #371301; line-height: 20px;"><span lang="IN" style="color: black; line-height: 18px;"><br />
</span></div><div class="MsoNormal" style="color: #371301; line-height: 20px;"><span lang="IN" style="color: black; line-height: 18px;"><b><span class="Apple-style-span" style="font-size: large;"><a href="http://literary-face.blogspot.com/2010/11/biography-of-robert-frost.html">Biography of Robert Frost</a></span></b></span></div><div class="MsoNormal" style="color: #371301; line-height: 20px;"><span lang="IN" style="color: black; line-height: 18px;"><b><span class="Apple-style-span" style="color: #371301; font-family: Calibri; font-size: 15px; font-weight: normal; line-height: 17px;"><span class="apple-style-span"><span lang="IN" style="color: black; font-family: 'Times New Roman'; font-size: 12pt; line-height: 18px;">Robert Lee Frost (named after Southern General Robert E. Lee) was born on 26 March 1874 in San Francisco, California to Isabelle Moodie (1844-1900) teacher, and William Prescott Frost Jr. (1850-1885), teacher and journalist. </span></span><span lang="IN" style="color: black; font-family: 'Times New Roman'; font-size: 12pt; line-height: 18px;">He moved to New England at the age of eleven and became interested in reading and writing poetry during his high school years in Lawrence, Massachusetts. </span><span class="apple-style-span"><span lang="IN" style="color: black; font-family: 'Times New Roman'; font-size: 12pt; line-height: 18px;">After enrolling in Lawrence High School he was soon writing his own poems including “La Noche Triste” (1890) which .... <a href="http://literary-face.blogspot.com/2010/11/biography-of-robert-frost.html">read more</a></span></span></span></b></span></div><div class="MsoNormal" style="color: #371301; line-height: 20px;"><span lang="IN" style="color: black; line-height: 18px;"><b><span class="Apple-style-span" style="color: #371301; font-family: Calibri; font-size: 15px; font-weight: normal; line-height: 17px;"><span class="apple-style-span"><br />
</span></span></b></span></div><div class="MsoNormal" style="color: #371301; line-height: 20px;"><span lang="IN" style="color: black; line-height: 18px;"><b><span class="Apple-style-span" style="color: #371301; line-height: 17px;"><span class="apple-style-span"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;"><a href="http://literary-face.blogspot.com/2010/11/biography-of-william-wordsworth.html">Biography of William Wordsworth</a></span></span></span></span></b></span></div><div class="MsoNormal" style="color: #371301; line-height: 20px;"><span lang="IN" style="color: black; line-height: 18px;"><b><span class="Apple-style-span" style="color: #371301; line-height: 17px;"><span class="apple-style-span"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Calibri; font-size: 15px; font-weight: normal;"><span class="apple-style-span"><span lang="IN" style="color: black; font-family: 'Times New Roman'; font-size: 12pt; line-height: 18px;">Wordsworth, born</span></span><span lang="IN" style="color: black; font-family: 'Times New Roman'; font-size: 12pt; line-height: 18px;"> was born April 7, 1770,<span class="apple-style-span"> in his beloved Lake District,</span> Cockermouth, Cumberland<span class="apple-style-span">. He was the son of an attorney. </span></span><span lang="IN" style="color: black; font-family: 'Times New Roman'; font-size: 12pt; line-height: 18px;">His father was John Wordsworth, Sir James Lowther's attorney - the fifth Baronet Lowther was the most feared and hated aristocrat in all of Cumberland and Westmoreland, "an Intolerable Tyrant over his Tenants and Dependents". </span><span class="apple-style-span"><span lang="IN" style="color: black; font-family: 'Times New Roman'; font-size: 12pt; line-height: 18px;">He went to school first at</span></span><span class="apple-converted-space"><span lang="IN" style="color: black; font-family: 'Times New Roman'; font-size: 12pt; line-height: 18px;"> </span></span><span lang="IN" style="font-family: 'Times New Roman'; font-size: 12pt; line-height: 18px;"><span style="color: black; text-decoration: none;">Penrith ... </span></span></span></span></span></span></b></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 17px;"><a href="http://literary-face.blogspot.com/2010/11/biography-of-william-wordsworth.html">read more</a></span></div>Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-6054575732344448302010-11-27T02:23:00.000-08:002015-12-04T18:30:17.042-08:00Socioanalysis of Chimney Sweeper<div dir="ltr" style="text-align: left;" trbidi="on">
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Socioanalysis of Chimney Sweeper <br />
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<span class="Apple-style-span" style="font-family: "times" , serif; font-size: large;"><span class="Apple-style-span" style="font-size: 19px; line-height: 21px;"></span></span></div>
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<span class="Apple-style-span" style="font-family: "times" , serif; font-size: large;"><span class="apple-style-span"><span style="color: black; font-family: "times" , "serif"; font-size: 13pt; line-height: 115%;">Sociology of literature (socioliterature) is a science that examines the literature related to its relationship with human life (society). sociology of literature is divided into four categories, namely: the sociology of literature, sociology reader of literature, sociology of the author and sociology of production-consumption. however, among the four categories, sociology of literature is most often used to analyze a work of literature by academics.</span></span></span></div>
<a href="https://www.blogger.com/blogger.g?blogID=1940238354314025306" name="more"></a><span class="Apple-style-span" style="font-family: "times" , serif; font-size: large;"><span style="font-size: 13pt; line-height: 115%;"></span></span><br />
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<b><span class="Apple-style-span" style="font-family: "arial" , sans-serif; font-size: 16px;"><span title=""></span></span>Poem</b></div>
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<b>The Chimney Sweeper</b></div>
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By William Blake</div>
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When my mother died I was very young</div>
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And my father sold me while yet my tongue</div>
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Could scarcely cry “weep weep!weep weep!”</div>
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So your chimney I sweep and in soot I sleep</div>
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There’s little Tom Dacre, who cried when his head</div>
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That curl’d like a lamb’s back was shav’d, so I said</div>
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Hush Tom, never mind it, for when your head’s bare</div>
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You know that the soot cannot spoil your white head </div>
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And so he was quite, and that very night</div>
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As Tom was asleeping he had such a sight</div>
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That thousand of sweeper, Dick, Joe, Ned and Jack</div>
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Were all of them lock’d up in coffins of black</div>
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And by came an Angel who had a bright key</div>
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And he open’d the coffins and set them all free</div>
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The down a green plain, leaping laughing they run</div>
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And wash in the river and shine in the sun</div>
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Then naked and white, all their bags left behind</div>
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They rise upon clouds and sport in the mind</div>
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And the angel told Tom if he’d be a good boy</div>
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He’d have god for his father never want joy</div>
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And so Tom awoke and rose in the dark</div>
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And got with our bags & our brushes to work</div>
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Tho’ the morning was cold, Tom was happy & warm</div>
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So if all do their duty, they need no fear harm </div>
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<b>Biography of william blake</b></div>
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<span style="color: black;">William Blake was born on November 28, 1757 in London, the third of five children. His father James was a hosier, and could only afford to give William enough schooling to learn the basics of reading and writing, though for a short time he was able to attend a drawing school run by Henry Par. William worked in his father's shop until his talent for drawing became so obvious that he was apprenticed to engraver James Basire at age 14. He finished his apprenticeship at age 21, and set out to make his living as an engraver. </span></div>
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<span style="color: black;">Blake married Catherine Boucher at age 25, and she worked with him on most of his artistic creations. Together they published a book of Blake's poems and drawings called <i>Songs of Innocence</i>. Blake engraved the words and pictures on copper plates (a method he claimed he received in a dream), and Catherine colored the plates and bound the books. <i>Songs of Innocence</i> sold slowly during Blake's lifetime, indeed Blake struggled close to poverty for much of his life.</span></div>
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<span style="color: black;">Blake did not have a head for business, and he turned down publisher's requests to focus on his own subjects. In his choice of subject Blake was often guided by his gentle, mystical views of Christianity. <i>Songs of Experience</i> (1794) was followed by <i>Milton</i> (1804-1808), and <i>Jerusalem</i> (1804-1820).</span></div>
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<span style="color: black;">Blake is frequently referred to as a mystic, but this is not really accurate. He deliberately wrote in the style of the Hebrew prophets and apocalyptic writers. He envisioned his works as expressions of prophecy, following in the footsteps (or, more precisely strapping on the sandals) of Elijah and Milton. In fact, he clearly believed himself to be the living embodiment of the spirit of Milton.</span></div>
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<span style="color: black;">In 1800 Blake gained a patron in William Hayley, who commissioned him to illustrate his <i>Life of Cowper</i>, and to create busts of famous poets for his house in Felpham, Suurey. While at Felpham, Blake was involved in a bizarre episode which could have proven disastrous; he was accused by a drunken soldier of cursing the king, and on this testimony he was brought to trial for treason. The cae against Blake proved flimsy, and he was cleared of the charges.</span></div>
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<span style="color: black;">Blake poured his whole being into his work. The lack of public recognition sent him into a severe depression which lasted from 1810-1817, and even his close friends thought him insane.</span></div>
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<span style="color: black;">William Blake died on August 12, 1827, and is buried in an unmarked grave at Bunhill Fields, London.</span></div>
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<b>Analysis</b></div>
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<b>Intrinsic Elements</b><br />
a. figure of speech<br />
- Simile<br />
The Chimney Sweeper poems mentioned above using simile as seen in the second row of the second stanza:<br />
<i><u>That curl’d like a lamb’s back was shav’d, so I said</u></i><u>,<br />
</u>In that line, William tried to give an picture of Tom Dacre with his slightly wavy hair, like a newly shorn sheep. Using word like is a hallmark of the simile.<br />
- Metaphor<br />
there are also metaphorical figure of speech that can be seen in the word black coffins on the fourth line of the third stanza:<br />
<i><u>all of Them were the resource lock’d-up in coffins of black<br />
</u></i>black coffin by William is a manifestation of lack of freedom of the sweeper which should still get care of his parents. They are always locked in endless suffering.<br />
- Hyperbola<br />
This figure of speech is seen in the first line of the third stanza:<br />
<i><u>and so he was quiet and That very night</u></i><br />
describes the situation that night which was very late. Very night can be defined as the situation is already very late at night to look so dark.<br />
Also in the second line of the fifth stanza:<br />
<i><u>They rise upon clouds and sport in the wind</u></i><br />
William tries to portray that in the dream they look so free, not the slightest thought of the shackles of work that binds them every day.Such depictions are found to be too much because it happens in a dream, where all things are very likely to happen.<br />
- Antithesis<br />
Written in the third row last stanza poem above:<br />
<i><u>Tho’ The morning was cold, Tom was happy and warm<br />
</u></i>William define the situation that was very cold in morning with a feeling Tom is happy and delighted after dream. Although it was very cold Tom still felt warm, like when he was basking in the sun in his dream.<br />
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b. Imagery<br />
There are various kinds imagery in this poem by William Blake, including visual imagery, as seen in black coffins words, bright key, green plain, naked & white, too dark. Another is auditory imagery as in the word weep-weep, quiet. Tactile imagery in the word cold, warm.<br />
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c. Rhyme (poem)<br />
Poetry The Chimney Sweeper uses AA-BB rhyme as seen in each of four lines of each stanza.<br />
<i>When my mother I was very young Died<br />
And my father sold me while yet my tongue<br />
Could scarcely cry, weep Äúweep! Weep weep!, Äù<br />
So your first Chimney sweep and in soot I sleep<br />
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d. Symbol<br />
There are some symbols used in this poem like black coffins as a symbol of suffering. Chimneys as a symbol that it is a time of industrial revolution in England. Naked and white symbolizes that the workers are children who are still very small and consists of white children.</div>
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<b>2. Extrinsic Elements</b><br />
In poetry, “the Chimney Sweeper” by William Blake, written that it is a form view of a William who is a England poet who lived in pre-industrial revolution of the 18th century. in the poem William tried to give a state of England people during the romantic literature. Where slavery was still a strong culture in the middle of the community who are trapped in poverty. Exploitation of children is rampant. Slavery at that time was not only dominated by black slave or negro people, but has started to spread to the white citizens.<br />
it was very sad for those who do not have specific expertise in the work force they have to work as a laborer. It is clear that labor is the most rugged job level just above slaves. More tragic fate suffered by their children. With the conditions of deprivation parents who work as laborers in part be a very cruel towards their own children.Told in the poem, many parents are sacrificing their children for their own pleasure. As if no matter the suffering experienced by children far exceeds the ability of the child.<br />
As soon as they are suffering workers who sweep the chimney, and even implies that the freedom and pleasure only they could get in their dreams. The dream that gave them strength to continue to survive.<br />
Social classes by Marx tried to be removed because it proved only to give pleasure for a handful of parties, the same thing that are also trying to be disclosed by William. He tried to tell the England people that the enactment of social class does not give a positive development for the nation. With a system of social classes would further exacerbate the nation's welfare state. Those religious leaders actually looks off the hands of the suffering of his people. Position as religious leaders when it is proven to provide social security, but not to his followers. Religion as an opiate is very visible in the depiction of the poem.</div>
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Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-11030302044339729422010-11-26T04:57:00.000-08:002010-11-26T04:57:51.333-08:00Mad Song - poem by William Blake<span style="font-size: large;"><b>Mad Song</b></span><br />
<b>by William Blake</b><br />
<br />
The wild winds weep<br />
And the night is a-cold;<br />
Come hither, Sleep,<br />
And my griefs infold:<br />
But lo! the morning peeps<br />
Over the eastern steeps,<br />
And the rustling birds of dawn<br />
The earth do scorn.<br />
<br />
Lo! to the vault<br />
Of paved heaven,<br />
With sorrow fraught<br />
My notes are driven:<br />
They strike the ear of night,<br />
Make weep the eyes of day;<br />
They make mad the roaring winds,<br />
And with tempests play.<br />
<br />
Like a fiend in a cloud,<br />
With howling woe,<br />
After night I do crowd,<br />
And with night will go;<br />
I turn my back to the east,<br />
From whence comforts have increas'd;<br />
For light doth seize my brain<br />
With frantic pain.Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-37473978574726357512010-11-26T04:56:00.000-08:002010-11-26T04:56:13.778-08:00Infant Sorrow - a poem by William Blake<span style="font-size: large;"><b>Infant Sorrow</b></span><br />
<b>by William Blake</b><br />
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My mother groaned, my father wept,<br />
Into the dangerous world I leapt;<br />
Helpless, naked, piping loud,<br />
Like a fiend hid in a cloud.<br />
<br />
Struggling in my father's hands,<br />
Striving against my swaddling bands,<br />
Bound and weary, I thought best<br />
To sulk upon my mother's breast.Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0tag:blogger.com,1999:blog-1940238354314025306.post-36411090263246389192010-11-26T04:54:00.000-08:002010-11-26T04:54:35.713-08:00I Heard an Angel - a poem by William Blake<span style="font-size: large;"><b>I Heard an Angel</b></span><br />
<b>by William Blake</b><br />
<br />
I heard an Angel singing <br />
When the day was springing, <br />
"Mercy, Pity, Peace <br />
Is the world's release." <br />
Thus he sung all day <br />
Over the new mown hay, <br />
Till the sun went down <br />
And haycocks looked brown. <br />
I heard a Devil curse <br />
Over the heath and the furze, <br />
"Mercy could be no more, <br />
If there was nobody poor, <br />
And pity no more could be, <br />
If all were as happy as we." <br />
At his curse the sun went down, <br />
And the heavens gave a frown. <br />
Down pour'd the heavy rain <br />
Over the new reap'd grain ... <br />
And Miseries' increase <br />
Is Mercy, Pity, Peace.Furqon Abdihttp://www.blogger.com/profile/04811449388410865651noreply@blogger.com0